Department of Music Concert and Event Listing

Camera Lucida is a chamber music collaboration between four musicians with diverse backgrounds. Camera Lucida is a unique project matching masterpieces of the chamber music repertoire with a group of world-class instrumentalists who happen to call San Diego home.

Haydn
Piano Trio in E-flat major, Hob XV:30
Schubert
Sonata in a minor "Arpeggione" for viola and piano
Beethoven
String Quartet in A major, Opus 18 No. 5

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No late seating.

For additional program information, please visit Camera Lucida's website: sdcamlu.org

Subscription and single tickets available at the UC San Diego Box Office. Ticket information: (858) 534-TIXS (8497). Season tickets on sale: AUGUST 8th.  Single tickets on sale: SEPTEMBER 5th.

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Under the artistic directorship of UC San Diego professor and cellist Charles Curtis and anchored by regular featured performances by San Diego Symphony Concertmaster Jeff Thayer, Formosa Quartet violist and USC professor Che-Yen Chen, concert pianist Reiko Uchida, UC San Diego performance faculty and occasional guests, Camera Lucida has established a tradition of challenging, musically ambitious programs performed with the assurance of an established ensemble, with the added flexibility of changing instrumentation and guests from the international chamber music world.

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Currently BBC New Generation Artists, Quatuor Van Kuijk won first prize at the 2015 Wigmore Hall International String Quartet Competition, as well as the Best Beethoven and Best Haydn prizes. Since their formation in 2012, the quartet has quickly established an international reputation, playing concerts in Europe, Australia, the U.S., and Asia, and receiving accolades at the Trondheim International Chamber Competition and the Aix-en-Provence Festival Academy. The quartet is currently in residence at ProQuartet, Paris, where they study with members of renowned ensembles, including the Alban Berg, Artemis, and Hagen quartets.

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RAVEL String Quartet in F; Franz Schubert: String Quartet no. 10 in E-flat Major; György Ligeti: String Quartet no. 1 “Métamorphoses nocturnes”

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Reidemeister Move is Christopher Williams, contrabass, and Robin Hayward, tuba, a duo dedicated to exploring and expanding the possibilities of sustained-tone music in just intonation for their instruments. Hayward's self-designed microtonal tuba developed together with the instrument manufacturers B & S, and Williams' previous work with Charles Curtis and LaMonte Young's legendary Theatre of Eternal Music, provide the backbone for a performance practice based on purely tuned intervals, noise, corporeal rhythms, and spatial resonance.

Funded by Berlin Senate Department for Culture and Europe

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Borromean Rings (2011) 35-40 minutes. Acoustic.

Arcanum 17 (2012) 43 minutes. With 8.1-channel electronics.

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Tactile Paths: An Introduction to Notation for Improvisers

Funded by Berlin Senate Department for Culture and Europe

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Since the 1960s, many composers and musicians have worked at the interface of notation and improvisation. The list is long and diverse: Richard Barrett, Anthony Braxton, Earle Brown, Cornelius Cardew, Malcolm Goldstein, Vinko Globokar, George E. Lewis, Annea Lockwood, Pauline Oliveros, Bob Ostertag, Wadada Leo Smith, John Zorn, and myself are just a few examples. Thinking about this body of work as a whole – connected by methods and practices that belie aesthetic and historical differences – has much to recommend itself to both practitioners and scholars. As I detail in my Ph.D. dissertation "Tactile Paths", it reveals hidden assumptions about notation and improvisation beyond this repertoire alone. It also broadens our awareness of the many ways in which performers and composers approach collectivity and collaboration.

This presentation introduces some of the dynamics, potentials, and problems that this music shares, centering on the following questions:

• What aspects of improvising can be fruitfully addressed through notation? -In what ways can notation incorporate improvisers’ unique and embodied performance practices into the compositional process?
• How does notation construct, deconstruct, or reconstruct improvisers’ relationships to each other? How do performers listen to each other differently with and without a score?
• How does music involving notation for improvisers encourage us to rethink the way we conceptualize and talk about musical labor?

 

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Tiger Trio, the inspired union of pianist Myra Melford and bassist Joëlle Léandre, brings an uncommon lucidity to the art of spontaneous composition.

*Nicole Mitchell will no longer be participating in this program.

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On their 2016 release Unleashed (RogueArt), the three pioneering women exhibit a mode of interplay that is “remarkably disciplined and focused, with an emphasis on…mutuality that gives each track a unified feel” (freejazzblog.com). The trio began as a result of Melford’s Doris Duke Building Demand for the Arts Residency at the Yerba Buena Center of the Arts in San Francisco (2013-15), intended to aid the center in building an audience for their jazz and improvised music program. This culminated in the New Frequencies Fest: Jazz@YBCA in February of 2015. For her own performance on that festival, Melford chose to invite Léandre and Mitchell, whose duo work on Sisters Where (RogueArt) and collaborations with Thomas Buckner, Michael Dessen and others have shown a potent simpatico. The performance at YBCA revealed a wonderful chemistry, and the three decided to continue working as a collectively led trio. Although the chamber-like texture of the full trio predominates, Tiger Trio weighs all options in terms of orchestration, venturing duo combinations, solo interludes and other unexpected strategies as the music unfolds. “I watch Myra climb into the piano, and Joëlle pull the wood out of her bass,” Mitchell says, “and I see myself squeezing through the flute’s silver holes. We soar through the triangle of women, fiercely committed to the rapture of instrumental sound.” In addition to Melford’s Doris Duke funded residency at YBCA, she has received the Doris Duke Performing Artist Award, a Guggenheim Fellowship and the Alpert Award in the Arts. A professor at the University of California-Berkeley, she is among the most celebrated pianist-composers of her time, “an explosive player, a virtuoso who shocks and soothes” (San Francisco Chronicle). Mitchell, a longtime Chicagoan and professor of music at the University of California- Irvine, has been hailed for her “Afrofuturist vision” and credited as “probably the most inventive flutist in the past 30 years of jazz” by The New York Times. Her varied projects and leadership as first woman chair of the AACM have widened the scope of improvised music as a whole. Léandre, from France, served as Darius Milhaud Visiting Professor at Mills College in Oakland; it was during that time that she and Melford first met and played together. Léandre also received the DAAD grant in Berlin for two years, as well as a Villa Kujoyama Kyoto residency. Prior to that she was Creative Associate at the Center for Performing Arts in Buffalo, NY, working with Morton Feldman and John Cage. Heard on more than 180 CDs, she has been likened by fellow bassist William Parker to “a sculptor carving and shaping musical poems from large blocks of sonic matter.”

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DAD is Michael Matsuno (flutes), Madison Greenstone (clarinets & voice), and T.J. Borden (cello). Originally conceived of as an open-ended, cross-institutional collaboration between the musicians of UCSD and the composers of the Harvard Group for New Music, this concert is the culmination of a year of workshops and artistic research, resulting in four new works for these musicians. The program will include West Coast premieres of music by Adi Snir, Julio Zúñiga, John Pax and UCSD alumnus James Bean, along with two solo works by Timothy McCormack.

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The Clarinets: Anthony Burr, Oscar Noriega and Chris Speed.

This will be the first performance of this trio in more than five years. The Clarinets began as a cooperative improvising group in Brooklyn in the early 2000s. For a number of years we had a residency at Barbes during which time we developed a way of playing freely improvised music together that focused on moving as a single complex entity rather than as three individuals. The music draws on our collective experience as performers in jazz, classical, noise and folk styles. We released a critically acclaimed self-titled album in 2006 and then a follow up in 2009. A new record, recorded at UCSD in 2017 is more or less in the can. This trio was also the original clarinet section of Banda de los Muertos, at the time New York’s only banda group. 

 

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The Clarinets on Skirl Records.

Anthony Burr's Bio | Oscar Noriega's Bio | Chris Speed's Bio

Listen to Jazz critic Kevin Whitehead review their album on NPR here.

Listen to their first album on Spotify.
 

 

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Grad Forums provide an outlet for Music Department graduate students to present individual and collaborative works on their own terms.

Program information to be announced.

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INHERITANCE: A Chamber Opera

Inheritance is a chamber opera revolving around Sarah Winchester, the eccentric widow and heiress to the Winchester rifle fortune.  According to popular belief, she imprisoned herself in her labyrinth-like home to seek refuge from the spirits of those killed by the same weapons whose manufacture and sale gave her a life of indescribable wealth.  With music by composer Lei Liang and libretto by poet Matt Donovan, Inheritance juxtaposes elements of Winchester’s biography with contemporary events in a work that explores America’s deeply complex relationship with guns.

Music director Steven Schick and stage director Cara Consilvio lead the world premiere performances in a production featuring multimedia stage design by artist Ligia Bouton and lighting design by Mary Ellen Stebbins. The seventy-five minute work has a cast of four and is scored for chamber ensemble of virtuoso musicians with soprano/producer Susan Narucki in the role of Sarah Winchester.

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Inheritance

 

Music by Lei Liang

Libretto by Matt Donovan

Production Design by Ligia Bouton

Lighting Design by Mary Ellen Stebbins

Produced by Susan Narucki

 

Stage Direction by Cara Consilvio

Musical Direction by Steven Schick

 

Cast

Sarah Susan Narucki

Ghost 1 Kirsten Ashley Wiest

Ghost 2 Hillary Jean Young

Tour Guide/Ghost 3 Josué Cerón

 

Musicians

Madison Greenstone and Anthony Burr, clarinets/bass clarinets

David Aguila, trumpet

Fiona Digney and Sean Dowgray, percussion

    Pablo Gomez Cano, guitar

Takae Onishi, harpsichord

Mark Dresser, contrabass

 

Steven Schick, conductor

 

Music Staff:

Celeste Oram, Associate Music Director / Conductor

James Beauton, Assistant Conductor

Kyle Adam Blair, Vocal Coach / Rehearsal Accompanist
 

Production Team:

Rita Navarro, Stage Manager

Esther (NEED LAST NAME)  Assistant Stage Manager

Stacie Logue, Assistant Costume Designer

 

Credits:

Inheritance is co-presented by ArtPOWER and  the UC San Diego Department of Music

 

David Borgo, Chair

Barbara Jackson, CAO

Linda Higgins, Fiscal Manager

Elizabeth Cuevas, Fiscal Assistant

Neal Bociek, Facilities Manager

Andrew Munsey, Recording Engineer

Alexis Negron, Marketing and Promotions Coordinator

Miguel Ramirez, HR/AP Manager

 

Inheritance has received the generous support of

Creative Capital Foundation

National Endowment for the Arts

NewMusicUSA

 

UC San Diego Division of Arts and Humanities,

Cristina Della Coletta, Dean

 

With additional underwriting by

Phyllis and Dan Epstein

Julia Falk

Catherine and Robert Palmer

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BIOGRAPHIES

Lei Liang  - Composer

Chinese-born American composer Lei Liang is the winner of the Rome Prize, the recipient of a Guggenheim Fellowship, a Koussevitzky Foundation Commission, two National Endowment for the Arts grants and a Creative Capital Award. His concerto for saxophone and orchestra “Xiaoxiang” was named a finalist for the Pulitzer Prize in Music in 2015.

Lei Liang was commissioned by the New York Philharmonic and Alan Gilbert for the inaugural concert of the CONTACT! new music series. Other commissions and performances come from the Fromm Music Foundation, Meet the Composer, Chamber Music America, the Boston Modern Orchestra Project, the Taipei Chinese Orchestra, among others. Lei Liang’s six portrait discs are released on Naxos, New World, Mode, and Bridge Records. A solo album of his orchestral music will be released by BMOP/sound in 2018. He edited and co-edited four books and editions, and published more than twenty articles.

Lei Liang studied composition with Sir Harrison Birtwistle, Robert Cogan, Chaya Czernowin and Mario Davidovsky, and received degrees from the New England Conservatory of Music (B.M. and M.M.) and Harvard University (Ph.D.). He is Professor of Music at the University of California, San Diego where he served as chair of the composition area and as Acting Chair of the Music Department. His catalogue of more than seventy works is published exclusively by Schott Music Corporation (New York). More at: lei-liang.com

Matt Donovan - Librettist

Matt Donovan is the author of the collection of essays A Cloud of Unusual Size and Shape: Meditations on Ruin and Redemption (Trinity University Press 2016) as well as two collections of poetry – Vellum (Mariner 2007) and Rapture & the Big Bam (Tupelo Press 2017). His nonfiction has been selected as a notable essay in The Best American Essays 2013, and his work has appeared in journals such as AGNI, The Believer, Gettysburg Review, Kenyon Review, Seneca Review, Threepenny Review, and Virginia Quarterly Review. Donovan is the recipient of a Whiting Award, a Rome Prize in Literature, a Pushcart Prize, a Creative Capital Grant, and an NEA Fellowship in Literature. He lives in Massachusetts, where he serves as the Director of the Poetry Center at Smith College.

Ligia Bouton  - Production Designer

Ligia Bouton was born in Sao Paulo, Brazil, and spent her childhood in London, England. She received her education at Vassar College and at the Mason Gross School of the Arts at Rutgers University.  Her creative work combines sculpture and drawing with performance, digital video, and photography to recreate appropriated narratives. Recent sculptural projects have been shown at the Crystal Bridges Museum of American Art, the National Museum of Women in the Arts, Guildhall Art Gallery in London, Minneapolis Institute of Art, SITE Santa Fe, the New Mexico Museum of Art, the Philadelphia Art Alliance, Bellevue Arts Museum, and the Boulder Museum of Contemporary Art.  In 2016, Bouton’s work was featured in the exhibition, “Charlotte Great and Small,” celebrating the bicentenary of Charlotte Brontë’s birth at the Brontë Parsonage Museum in Yorkshire, England. Her most recent project We All Fall Down was shown at Station Independent Project in New York, NY in July 2017.  Bouton’s video work has been shown at Art Claims Impulse in Berlin, in the Biennial of Contemporary Art, Nimes, France, and at the Temporary Art Center, Eindhoven, The Netherlands, as well as in The Female Avant Garde Festival in Prague.  Reviews of this work have appeared in Art in America, Art Papers, The Art Newspaper, Art Ltd., and The New York Times.

Bouton is currently Associate Professor of Studio Art at Mount Holyoke College in Massachusetts.

Susan Narucki  - Producer/ Sarah

For over three decades, American soprano Susan Narucki has forged a unique path; her interest in the music of our time led to award winning recordings, critically acclaimed performances with musicians of the first rank and close collaborations with generations of composers with distinctive artistic viewpoints.  Since joining the faculty at the University of California at San Diego in 2008, she has been deeply engaged in commissioning, producing and performing chamber operas that illuminate critical issues in society. Her projects have earned major philanthropic support from the MAP Fund /Doris Duke Charitable Foundation, UC MEXUS, Creative Capital Foundation, New Music USA and multiple awards from the National Endowment for the Arts.

Ms. Narucki serves as Artistic Director for Cuatro Corridos (2013), the critically acclaimed chamber opera that addresses trafficking of women across the U.S.- Mexico border.  With libretto by internationally renowned Mexican author Jorge Volpi, and music by Hebert Vazquez, Arlene Sierra, Lei Liang and Hilda Paredes, the opera has been performed over a dozen times in the United States and Mexico and has been broadcast multiple times on Canal 22, Mexico's art and culture television network.  The recording of Cuatro Corridos on Bridge Records earned a 2017 Latin Grammy Nomination and was a Critic's Choice of both Opera News and Gramophone.   Ms. Narucki's most recent production is Inheritance, a chamber opera that addresses gun violence in America.  

A dedicated mentor to the next generation of singers, Ms. Narucki's recent residencies include the Shanghai Conservatory of Music, the Aichi University of the Arts, the Longy School of Music and the Oberlin Conservatory.  At UC San Diego, she directs the vocal ensemble kallisti.

Cara Consilvio - Stage Director

In the 2018-2019 season, Cara Consilvio will direct Suor Angelica for Tri-Cities Opera, An American Dream for Anchorage Opera, The Elixir of Love for Piedmont Opera and The Threepenny Opera for Syracuse Opera. Recent directing projects include Hydrogen Jukebox for Chautauqua Opera, Glory Denied and Hansel and Gretel for Tri-Cities Opera, Street Scene, After Life and Dialogues of the Carmelites for Loyola University New Orleans and The Merry Widow for The Hartt School.  Cara has directed educational outreach shows at Tri-Cities Opera, Tulsa Opera, Opera Saratoga and Chautauqua Opera. Cara has been an Assistant Director for Fort Worth Opera, Opera Saratoga, Chautauqua Opera, American Opera Projects, Portland Opera, Boston Lyric Opera and Central City Opera. Teaching credentials include an adjunct lecturer position at the Boston University Opera Institute in 2014-2015. Cara is a co-founder of Hup! Productions. Her film directing projects include her narrative film short film C.I.T., and short documentary videos for OPERA America and the American Composer’s Orchestra. She has produced the NEA Opera Honors video tributes, NEA Jazz Masters videos, and the OPERA America New Works Forum videos as well as narrative films, including the award-winning Bowes Academy and an upcoming feature film entitled Camp Wedding.

Steven Schick - Music Director

Percussionist, conductor, and author, Steven Schick (Music Director) was born in Iowa and raised in a farming family.  For forty years he has championed contemporary music by commissioning or premiering more than one hundred-fifty 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). Schick is founder and Artistic Director of the percussion group, red fish blue fish.

Steven Schick serves as Music Director of the La Jolla Symphony and Chorus; he has held numerous leadership positions including Artistic Director of the San Francisco Contemporary Music Players, music director of the 2015 Ojai Festival and, along with flutist Claire Chase, serves co-director of the Banff Centre for the Arts Summer Music Program.  He maintains a lively schedule of guest conducting including appearances with the BBC Scottish Symphony Orchestra, the Saint Paul Chamber Orchestra, the Asko/Schönberg Ensemble and the International Contemporary Ensemble.  Among his acclaimed publications are a book, “The Percussionist’s Art: Same Bed, Different Dreams,” and numerous recordings of contemporary percussion music including a 3 CD set of the complete percussion music of Iannis Xenakis (Mode).  Steven Schick is Distinguished Professor of Music and holds the Reed Family Presidential Chair at the Department of Music at the University of California, San Diego.

Kirsten Ashley Wiest  - Ghost 1

Award-winning coloratura soprano Kirsten Ashley Wiest's “bright, dazzling vocal technique” (San Diego Story) has captured the attention of composers worldwide, resulting in numerous world premiere performances. She has sung as a soloist with the GRAMMY-winning Partch ensemble, La Jolla Symphony and Chorus, YMF Debut Orchestra, MiraCosta Symphony, HEAR NOW Festival of New Music, the Industry experimental opera company, and wild Up new music collective, among many others, and has performed at venues including Walt Disney Concert Hall, REDCAT, Copley Symphony Hall, and Aratani Japan America Theater. She has given solo recitals on concert series' hosted by Harvey Mudd College, Chapman University, and Tuesdays @ MONK Space, was a featured soloist in the LA Philharmonic’s installation, Nimbus, and has recorded for several interactive operatic experiences and film scores. Operatic roles include "La Princess" in Ravel's L'enfant et les sortileges (Perigueux, France), "Polly Peachum" in Weill's Threepenny Opera (San Diego CA), and "Mabel" in Gilbert and Sullivan's Pirates of Penzance (Fort Worth, TX).

A DMA candidate at UCSD under the guidance of GRAMMY-winning soprano Susan Narucki, Kirsten holds an MFA from California Institute of the Arts and a BM cum laude from Chapman University’s Conservatory of Music.

Hillary Jean Young  - Ghost 2

Canadian soprano Hillary Jean Young is happiest when they are making music amongst friends. Hillary’s eclectic creative practice involves a diverse range of projects, including traditional opera, contemporary chamber music, devised dance theatre work, experimental pop music, and more. Last year, Hillary and pianist Kyle Adam Blair’s performance of Poulenc’s La Voix Humaine was described as “creating something remarkable: an intertwined sensitivity that resulted in remarkable music-making” (UT San Diego). Hillary also recently toured around western Canada with their queercore performance art duo, “masc4masc”, with a final sold out homecoming show at Weird Hues in Chula Vista. Hillary has performed with numerous ensembles and orchestras, such as UCSD’s Palimpsest, kallisti chamber opera, red fish blue fish, the Vancouver Symphony Orchestra, and the La Jolla Symphony Orchestra. Hillary’s operatic experience includes roles such as the title role in Janáček’s PÅ™íhody lišky Bystroušky, La Modista in Rota’s Il cappello di paglia di Firenze, and Lisha in the premiere of Steve Lewis’ Noon at Dusk. In addition, their interpretation of Jenny in Weill’s The Threepenny Opera was hailed as “showing both the acidity and the humanity at the core of this work” (UT San Diego). From the studio of Nancy Hermiston, Hillary received their Masters of Music in Opera from the University of British Columbia in May, 2014. Hillary is currently pursuing a Doctor of Musical Arts in Contemporary Music Performance at the University of California, San Diego under the tutelage of Susan Narucki. More information at: www.hillaryjeanyoung.com.

Josué Cerón  - Ghost 3/Tour Guide

Mexican baritone Josué Cerón graduated from the prestigious Academy of Vocal Arts (AVA) in Philadelphia, PA. From his performance of Respighi’s La Fiamma at the Kimmel Center, the Philadelphia Inquirer said, “...his articulation of the text gave such emotional life to the music that surfaces failed to matter...”. The quality and passion of his performances led to invitations to perform in three different continents. He made his European debut at Teatro Carlo Felice in Genova, as Enrico in Donizetti’s Il Campanello under the stage direction of legendary baritone Rolando Panerai. The 2017-2018 season saw him as Taddeo in Rossini’́s The Italian Girl in Algiers with Opera del Palacio de Bellas Artes in his native Mexico City. In previous seasons with the same company he has sung performances of L’Orfeo by Monteverdi (revised by Maderna) in the title role; the Latin American premiere of Il Viaggio a Reims; the Requiem mass by Tigran Mansurian; among other titles. He has been a  member of the Rossini Opera Academy in Lunenburg,Canada under the guidance of Maestro Alberto Zedda and was a finalist at the international competition of Teatro Colón de Buenos Aires, before judges such as Kiri Te-Kanawa, Sherill Milnes, and Sumi-Jo. Mr. Cerón made his professional operatic debut in Palacio de Bellas Artes in Mexico City as “Sulpice” in Donizetti ́s La Fille Du Regiment in 2004. He holds a Bachelor degree from the National Conservatory of Mexico.

Mary Ellen Stebbins  - Lighting Design

Mary Ellen  is a theatrical lighting designer based in New York City.  She returns to UCSD Department of Music after having designed Lear On The 2nd Floor in 2013.  Recent credits include Black Inscription (Prototype Festival), War Stories (Opera Philadelphia), Olagon (eighth blackbird), Orpheus Unsung (Guthrie Theater, Princeton University), Quixote (Peak  Performances at Montclair State), THIS with Adrienne Truscott (New York  Live Arts). Other collaborators include Princeton University, Performance Space 122, Pipeline Theatre, Banana Bag and Bodice, Ars  Nova, Manhattan School of Music, Gotham Chamber Opera, Monica Bill Barnes, Columbia Stages, The New School, New Repertory Theatre, Bristol  Valley Theater. Resident: HOWL ensemble, Third Space. 2016 Henry Hewes Award nominee. 2014 Live Design Young Designer to Watch, 2011 USITT  Barbizon Lighting Design Award, 2009 Hangar Theatre Lab Company Design Fellow. Member USA 829. MFA, Boston University; AB, Harvard College. Upcoming: Savior (Chicago Symphony Orchestra MusicNOW), Dinner with Georgette (New York Theater Workshop Next Door Series)  maryellenstebbinsdesign.com

 

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ABLETON UNIVERSITY TOUR

Ableton is proud to partner with UC San Diego for the Ableton University Tour, a day and evening of student workshops and public presentations held at the UC San Diego campus in La Jolla, CA. Students are invited to join Ableton representatives and Certified Trainers for an afternoon of break-out sessions exploring composition, sound design, production techniques and performance utilizing Ableton Live, Max for Live and Push. Day time activities will be followed by a free evening presentation open to the public, featuring performances, tips and tricks and unique approaches for music-making from artists and Ableton experts. 

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Presenters:

Makaya McCraven
Beat Scientist
https://www.makayamccraven.com/

In a new era of genre-bending music, Makaya McCraven pushes the boundaries of sound and rhythm to create categories of his own. Called “a sound visionary” (jazzinchicago.org) who is “not your everyday jazz drummer” (thewordisbond.com), McCraven is a beat scientist. Whether behind the drums or in the lab, mixmaster Makaya McCraven moves between genres at lightning speed. “You are listening to one incredible musician. His style and sound is unique, a heady, skillful, sophisticated and boldly uncompromising mix of jazz and hiphop” (UKVibe). Makaya’s breakthrough debut 2XLP, “In the Moment” (International Anthem, 2015) has garnered international attention, earning critical acclaim from The New York Times, The Los Angeles Times, BBC (Gilles Peterson’s “Album of the Week”), and NPR. “In the Moment” is one of DownBeat and Pop Matters’ Top Jazz Albums of 2015. UK’s The Wire writes, “While Teo Macero’s work with Miles [Davis] might seem the obvious reference point, ‘In The Moment’ is closer in spirit to Madlib and J Dilla.” Jazz Times calls “In The Moment” “mesmerizing” and “an important document.” Makaya endorses Vic Firth sticks and Istanbul AGOP Cymbals.

Makaya McCraven layers his extensive experience with hip hop bands, African dance bands, Hungarian folk music, and indie rock on top of a deep history of “straight ahead” jazz, improvisation, and the avantgarde with beats, sampling, and electronics as a form of unique self expression.


Ricky Graham
CEO of Delta Sound Labs, Certified Ableton Trainer
http://rickygraham.net/

Richard Graham, Ph.D. is a musician, former professor and business owner based in Cleveland, Ohio. He has performed and presented music and art projects at festivals and conferences all over the world including Moogfest, Celtronic and the International Symposium on Electronic Art. He has composed music for British and US television, recorded live sessions for BBC radio and has authored music for popular video games. He is a Co-Founder and the CEO of US based audio technology company, Delta Sound Labs.


Thomas Faulds
Ableton Representative, Trainer
https://www.ableton.com/

Thomas Faulds is a sound designer and percussionist based in Chicago, Illinois. Inspired by new technologies and production, Thomas is an active participant in the dynamic music scene in Chicago.

Teaching students the secrets of recording, producing, playing, and releasing music with today's technology has become the single most important subject in his musical career. Thomas' objective is to prepare students for participation in this evolving and exciting musical world. With a heavy focus on beat making, editing, and multi-track recording, he has used Ableton Live for the majority of his work (live and in the studio), giving him extensive practical knowledge of the software.

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INHERITANCE: A Chamber Opera

Inheritance is a chamber opera revolving around Sarah Winchester, the eccentric widow and heiress to the Winchester rifle fortune.  According to popular belief, she imprisoned herself in her labyrinth-like home to seek refuge from the spirits of those killed by the same weapons whose manufacture and sale gave her a life of indescribable wealth.  With music by composer Lei Liang and libretto by poet Matt Donovan, Inheritance juxtaposes elements of Winchester’s biography with contemporary events in a work that explores America’s deeply complex relationship with guns.

Music director Steven Schick and stage director Cara Consilvio lead the world premiere performances in a production featuring multimedia stage design by artist Ligia Bouton and lighting design by Mary Ellen Stebbins. The seventy-five minute work has a cast of four and is scored for chamber ensemble of virtuoso musicians with soprano/producer Susan Narucki in the role of Sarah Winchester.

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View Google Map | Add to Google Calendar

INHERITANCE: A Chamber Opera

Inheritance is a chamber opera revolving around Sarah Winchester, the eccentric widow and heiress to the Winchester rifle fortune.  According to popular belief, she imprisoned herself in her labyrinth-like home to seek refuge from the spirits of those killed by the same weapons whose manufacture and sale gave her a life of indescribable wealth.  With music by composer Lei Liang and libretto by poet Matt Donovan, Inheritance juxtaposes elements of Winchester’s biography with contemporary events in a work that explores America’s deeply complex relationship with guns.

Music director Steven Schick and stage director Cara Consilvio lead the world premiere performances in a production featuring multimedia stage design by artist Ligia Bouton and lighting design by Mary Ellen Stebbins. The seventy-five minute work has a cast of four and is scored for chamber ensemble of virtuoso musicians with soprano/producer Susan Narucki in the role of Sarah Winchester.

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The Fall Composition Jury Concert presents an evening of premieres by graduate composers.

Anqi Liu - Wave Coming …
Sammi Jo Stone - Skalugsuak
Alex Stephenson - The Same Wind

Featuring: 
Wilfrido Terrazas (flutes), Alexandria Smith (trumpet), Jonathan Nussman (baritone), Christopher Clarino (percussion), Ashley Zhang (piano), Matthew Kline (double bass), and Dimitrios Paganos Koukakis (keyboard).  Conducted by Steven Schick

 

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***Jury Discussion starts at 10am, please disregard time at top***

Discussion session for Thursday evening's concert.

 

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A fun and informative introduction to the symphony! Conductor Steven Schick and orchestra perform annotated excerpts from the season-opening concert. Free Event-reservations required.

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Mari Kawamura is a concert pianist whose curiosity and wide-ranging interests have taken her in many directions.

François Couperin - Dix-huitième Ordre (excerpts)
Allemande La Verneüil, La Verneüilléte

Anthony Vine - Soft Margins and Wide Peripheries (2018)

François Couperin - Dix-huitième Ordre (excerpts)
Soeur Monique, Le turbulent, L’atendrissante

Joseph Bourdeau - Imaginary Concerto (2018)

François Couperin - Dix-huitième Ordre (excerpts)
Le tic-toc-choc, ou Les maillotins, Le gaillard-boiteux

Annie Hui-Hsin Hsieh - Chamber of Glistening Whispers (2018)

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Additional Description:

Mari Kawamura's repertoire includes pieces by William Byrd, late Scriabin, Xenakis, Cage and several contemporary Japanese composers. She has been collaborating with composers for many years and has premiered many works by young composers. She has appeared in the major festivals, such as Tanglewood Music Center, Spoleto Festival USA and the Darmstadt International Summer Course and has given both solo and chamber music concerts in various venues, including Jordan Hall (Boston), Regent Hall (London) and Kirsten Kjær Museum (Denmark). Her 2013 performance of Xenakis’s Dikthas at the SICPP in Boston was described as "an unrelenting volcanic eruption" by NEWMUSICBOX. Kawamura holds a Master’s degree from the Royal Academy of Music, where she achieved the DipRAM prize for her outstanding final recital. Her master’s thesis “Realization of Music for Piano 21-36” focused on “performers’ own discretion in Cage’s music, which is indeterminate with respect to its performance.” Her teachers included Vadim Sakharov and Tatiana Sarkissova. After studying with Stephen Drury at the New England Conservatory in the Graduate Degree Program, Kawamura is now pursuing her DMA degree under Aleck Karis at the University of California, San Diego.

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Our 64th season asks questions about lineage: Where do we come from? How does the music of our past inform our understanding of the future? We begin with Lineage, a piece by the young Canadian composer Zosha de Castri, who recalls how her grandmother’s tales shaped her own sense of being Canadian. Stravinsky’s Petrushka was inspired by his memories of Russian Shrovetide fairs, in all their color and excitement. Finally, everything on the planet began with water, and in celebration, Music Director Steven Schick gives up his baton to solo in Tan Dun’s Water Concerto, with Michael Gerdes conducting.

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Additional Description:

ZOSHA DI CASTRI Lineage
TAN DUN WATER Concerto
IGOR STRAVINSKY Petrushka

Soloist: Steven Schick, percussion

 

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Our 64th season asks questions about lineage: Where do we come from? How does the music of our past inform our understanding of the future? We begin with Lineage, a piece by the young Canadian composer Zosha de Castri, who recalls how her grandmother’s tales shaped her own sense of being Canadian. Stravinsky’s Petrushka was inspired by his memories of Russian Shrovetide fairs, in all their color and excitement. Finally, everything on the planet began with water, and in celebration, Music Director Steven Schick gives up his baton to solo in Tan Dun’s Water Concerto, with Michael Gerdes conducting

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Additional Description:

ZOSHA DI CASTRI Lineage
TAN DUN WATER Concerto
IGOR STRAVINSKY Petrushka

Soloist: Steven Schick, percussion

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queer time | two happenings on November 5th: a recital

Join me for the first of two happenings featuring works that explore nostalgia, memory, personal history, and queer time. In this recital, pianist Kyle Adam Blair and I will perform "L'ame en bourgeon" (1937) composed by Claire Delbos (1906-1959). This song cycle is seldom performed; with music by Olivier Messiaen's first wife, this cycle sets poems by Cecile Sauvage (1883-1927), Messiaen's mother, that deal with her experience of pregnancy and motherhood. Despite recognition during their lifetimes, history has largely overlooked the artistic contributions of these two women artists, instead focusing on their male counterpart whose identity and artistry they undoubtedly shaped.

The second half of the program will be the world premiere of "Pinterest Sex", composed by Justin Murphy-Mancini with text by Migueltzinta Solís. This cycle uses camp and pastiche as a lens for exploring how we cope with queer adolescence; a careful balance of sincerity and melodrama, this piece explores how we reconcile our personal histories.

This recital has free admission and will be about 50 minutes long. The theatre is accessible and located very close to the Gilman parking structure. The bathrooms nearest to the theatre are gendered, but there are gender-neutral bathrooms available in the Visual Arts building across the street.

Poster beautifully designed by Margo Alleman

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Additional Description:

L'âme en bourgeon (1937) by Claire Delbos (1906-1959), text by Cecile Sauvage (1883-1927) (~20 mins)
1.) Dors
2.) Mon coeur revient à son printemps
3.) Je suis là
4.)Te voilà hors de l'alvéole
5.) Je savais que ce serait toi
6.) Maintenant il est né
7.) Te voilà mon petit amant
8.) Ai-je pu t'appeler de l'ombre

Brief Intermission

Pinterest Sex (2018, world premiere) by Justin Murphy Mancini, text by Miguelzinta Solis (~20 mins)
I (titles of movements TBD)
II
III
IV
 

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Award-winning coloratura soprano Kristen Ashley Wiest is firmly committed to the continuous evolution of classical vocal music. Her “bright, dazzling vocal technique” (San Diego Story) has captured the attention of composers worldwide, resulting in numerous world premiere performances including works by James Erber (UK), Veronika Krausas (CA/US), Rand Steiger (US), Tina Tallon (US), Jack Van Zandt (US), and Annie Hsieh (AU). among many others.

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Additional Description:

Kirsten has sung as a soloist with the GRAMMY-winning Partch ensemble, La Jolla Symphony and Chorus, YMF Debut Orchestra, MiraCosta Symphony, HEAR NOW Festival of New Music, the Industry, kallisti chamber opera, Musica Vitale, wild Up new music collective, UCLA John Cage Symposium, UCSD's Palimpsest, CalArts New Century Players Ensemble, and Chapman University’s New Music Ensemble, and has performed at venues including Walt Disney Concert Hall, REDCAT, Copley Symphony Hall, Aratani Japan America Theater, Théâtre Le Palace, Autonomous University of Baja California, and the Moore Theater. She has given solo recitals on concert series' hosted by Harvey Mudd College, Chapman University, and Tuesdays @ MONK Space, was a featured soloist in the LA Philharmonic’s installation, Nimbus, and has recorded for several interactive operatic experiences and film scores. Kirsten has also performed with Bang on a Can All-Stars, Accordant Commons, San Diego Symphony percussion, red fish blue fish, San Diego Pro Arte Voices, the Metroplex Opera Company in Dallas, and the Texas 'Lone Star' Ambassadors of Music. Operatic roles include "La Princess" in Ravel's L'enfant et les sortileges (Perigueux, France), "Polly Peachum" in Weill's Threepenny Opera (San Diego CA), and "Mabel" in Gilbert and Sullivan's Pirates of Penzance (Fort Worth, TX). Collaborations-in-progress include works by Lei Liang (CN/US), Katharina Rosenberger (CH/US), Joseph Bishara (US), Gerard Pape (FR), and Jeffrey Holmes (US), premiering soon! A DMA candidate at UCSD under the guidance of GRAMMY award-winning soprano Susan Narucki, Kirsten holds an MFA from California Institute of the Arts and a BM cum laude from Chapman University’s Conservatory of Music.

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Camera Lucida is a chamber music collaboration between four musicians with diverse backgrounds. Camera Lucida is a unique project matching masterpieces of the chamber music repertoire with a group of world-class instrumentalists who happen to call San Diego home.

Dvorak:
Terzetto for two violins and viola, Opus 74
Kodaly:
Serenade for two violins and viola, Opus 12
Fauré:
Piano Quartet in c minor, Opus 15

 

No late seating.

For additional program information, please visit Camera Lucida's website: sdcamlu.org

 

Subscription and single tickets available at the UC San Diego Box Office. Ticket information: (858) 534-TIXS (8497). Season tickets on sale: AUGUST 8th.  Single tickets on sale: SEPTEMBER 5th.

 

Additional Description:

In his program notes for this Monday's Camera Lucida concert, Amir Moheimani remarks on a state of listening that is intimately bound up with the music of Gabriel Fauré:

This poignant, fleeting quality makes Fauré’s music intensely gripping, as well as highly demanding; as a listener, one fears that even a momentary lapse in concentration can squander unimaginable beauties. 

Like the nineteenth century novel, Romantic chamber music sets forth an experience of time that is perpetually going away. Unlike mythical time, complete and unchanging in its essence, cyclical in its apparent change, time in the nineteenth century is a series of instants, each evaporating into nothingness, yielding to another instant that is entirely new, precious, fragmentary and likewise destined to disappear forever. While the novel describes this condition, with its detailed enumerations of daily life, its teeming sensations, feelings and tensions, music enacts it. Listeners are not just witnesses, but participants in a process of ongoing self-generation and self-destruction.

Fauré's great c-minor Piano Quartet epitomizes this experience with its subtle, seemingly infinite shifts in tonality, harmony, timbre, motive and meter. This floating, shifting world is its subject as well as its medium. The encounter with total fragmentation, the struggle to overcome it, may account for the almost unbearable pathos of the music. 

Join us next Monday, November 5 for Fauré's Piano Quartet Opus 15, and for the smaller, more restrained joys of Dvorak and Kodaly in their unusual settings for two violins and viola.

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Under the artistic directorship of UC San Diego professor and cellist Charles Curtis and anchored by regular featured performances by San Diego Symphony Concertmaster Jeff Thayer, Formosa Quartet violist and USC professor Che-Yen Chen, concert pianist Reiko Uchida, UC San Diego performance faculty and occasional guests, Camera Lucida has established a tradition of challenging, musically ambitious programs performed with the assurance of an established ensemble, with the added flexibility of changing instrumentation and guests from the international chamber music world.

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In collaboration with the Faculty Club, the restaurant will now serve light-fare to Camera Lucida ticket holders before the concert at Cecil’s bar-lounge.

Cecil’s has an expanded and exciting new menu, available 4:30-7:30, on November 5, December 3, January 28, April 1 and 29. You don’t need to be a Club member to enjoy!

Cecil’s menu: http://facultyclub.ucsd.edu/lounge-happy-hour/index.html

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From Macartney to May Fourth: The Intellectual Histories of the Sino-Western Encounter in Music

"In my forthcoming book Listening to China: Sound and the Sino-Western Encounter, 1770-1839 (U. of Chicago Press) I trace how Westerners around 1800 used encounters with Chinese soundworlds to refashion their own musical identities. The Macartney Embassy to the court of Qianlong in 1793 is a key episode in this story. Macartney, who took musical advice from his acquaintance the music historian Charles Burney, included several musically knowledgable officials in his entourage. They were specifically charged with the acquisition of knowledge about Chinese musical practices and the demonstration of “advanced” Western ones to Chinese audiences. As was the case with the Embassy as a whole, the results were at best ambivalent, for both sides. In this talk I will build on this material to explore how the Chinese experiences of Western musicking, and the production of knowledge in the West about Chinese music and its practices, might be understood in ways that depart from traditional notions of “encounter” and “cultural transfer.” Such notions, I will argue, invite interpretations that too often revolve around (Eurocentric) commonplaces such as “progress” and “modernization.” A methodological impulse will come from Actor-Network Theory (following Bruno Latour). How, I will ask, might the Sino-Western musical experience be related to experiences in science and technology? I will touch briefly on three case studies: the theorization of the space of the sounding octave in the early modern era, the mass “keyboardization” of China via the introduction of the piano in the nineteenth and early twentieth centuries, and the overlap between scientific and musical expertise in the "May Fourth generation” of Chinese intellectuals (e.g. Cai Yuanpei, Zhao Yuanren) in the Nationalist period."

Additional Description:

Dr Thomas Irvine works on the intellectual history of music from 1750 to the present, with special interests in transnational and global history, the history of musical institutions in the British Empire and science and technology studies. His monograph Listening to China: Sound and the Sino-Western Encounter (1770-1839) is forthcoming from the University of Chicago Press. A volume co-edited with the historian Neil Gregor, Dreams of Germany: Musical Imaginaries from the Concert Hall to the Dance Floor, is will be published by Berghahn Books in late 2018. He is Associate Professor and Doctoral Programme Director in Music at the University of Southampton. He is a non-executive director of the Southampton Web Science Institute.

Co-sponsored by the UC San Diego Music Department and the UC San Diego History Department.

 

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Aleck Karis has performed recitals, chamber music, and concertos across the Americas, Europe and in China. As the pianist of the new music ensemble Speculum Musicae he has participated in over a hundred premieres and performed at major American and European festivals. His appearances with orchestra have ranged from concertos by Mozart, Beethoven and Chopin to those of Stravinsky, Messiaen and Carter. His five solo discs on Bridge Records include Aleck Karis performs Schumann, Carter, Chopin; Aleck Karis: Mozart Recital; Stravinsky: Music for Piano 1911-1942; John Cage: Sonatas and Interludes; and Karis Plays Webern, Wolpe & Feldman. His two discs on Romeo Records are Piano Music of Philip Glass and Late Piano Music of Frederic Chopin. Last month, Bridge released his most recent disc, Feldman's haunting last work Piano, Violin, Viola, Cello. Karis has studied with William Daghlian, Artur Balsam and Beveridge Webster. 

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Program information:

Mozart: sonata in D, K. 576

Stravinsky: piano sonata (1925)

Schubert: sonata in a, D 845 

Additional Description:

 

 

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Hailed as musician with “flair and fury,” Shaoai Ashley Zhang is a concert pianist performing throughout the US and Europe. An advocate of contemporary music, Ashley’s recent performances include the Boston premiere of Sofia Gubaidulina’s Die Pilger and Franco Donatoni’s Rasch II, as well as collaborations with Georg Friedrich Haas, Unsuk Chin, Vinko Globokar, and John Zorn. A graduate of New England Conservatory, Ashley is currently a doctoral student at the University of California, San Diego where she studies with Aleck Karis.

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Helmut Lachenmann: Serynade
Franz Schubert: Piano Sonata in B flat, D. 960

Additional Description:

 

 

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Grad Forums provide an outlet for Music Department graduate students to present individual and collaborative works on their own terms.

Program information to be announced.

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Choreographed, written, and directed by David Roussève, Halfway to Dawn is an evening-length work weaving dance, music, sound, video, and text to uncover the deeper ”truths” of African American, gay jazz composer Billy Strayhorn’s life (1915–67) while also creating a dialogue on urgent social issues of our own time.

Additional Description:

The work is danced to a score of Strayhorn and Duke Ellington songs, from raise-the-roof jazz anthems to emotion-laden ballads. Halfway to Dawn intersects fact, conjecture, comment, abstraction, and fantasy to create an abstract portrait of Ellington’s most important, though largely unknown, collaborator.

Founded in 1988, David Roussève/REALITY creates expressionistic dance/theater works that combine the accessibility, grit, and passion of African American traditional and pop cultures with the challenging compositional structures of avant-garde dance and theater in order to explore socially-charged, immensely relevant, and often spiritual themes.

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Featuring Luciano Berio's masterwork, Circles with percussionists Steve Schick and Sean Dowgray, soprano Susan Narucki, and harpist Tasha Smith Godinez . This program will also include the world premiere piece Vakovakya by Composer/Sound Designer Shahrokh Yadegari for red fish blue fish and the Persian hand drum master Milad Jahadi.

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Additional Description:

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Circles, commissioned by the Fromm Foundation, was composed in 1960 and first performed in August of that same year during the Berkshire Music Festival by Cathy Berberian and members of the Boston Symphony Orchestra. Circles develops musically three poems by e. e. cummings, with different degrees of complexity: No. 25, “stinging gold swarms...”, No. 76, “riverly is a flower...” and No. 221, “n(o)w the how dis(appeared cleverly)world…” from Collected Poems. In Circles the three poems are arranged in the following order: 25-76-221, (221)-76-25. No. 221 goes backwards over itself, while poems No. 25 and No. 76 appear twice in different moments of the musical development.

 

The New York Times calls red fish blue fish a "dynamic percussion ensemble from the University of California." Founded 20 years ago by Steven Schick, the San Diego-based ensemble performs, records, and premieres works from the last 85 years of western percussion's rich history. The group works regularly with living composers from every continent. Recent projects include the world premiere of Roger Reynolds' Sanctuary and the American premiere of James Dillon's epic Nine Rivers cycle with the International Contemporary Ensemble (ICE). In the Summer of 2011 red fish blue fish collaborated with George Crumb, Dawn Upshaw and Peter Sellars to premiere the staged version of The Winds of Destiny. Eighth Blackbird invited red fish blue fish to join them in performances of works by American icons John Cage and Steve Reich at the Park Avenue Armory in New York City. The New York Times called their "riveting" John Cage performance the "highlight" of the program. Recordings of the percussion chamber music of Iannis Xenakis and Roger Reynolds on Mode Records have been praised by critics around the world. Recordings released in the 2012-13 season included the works of Karlheinz Stockhausen, Giacinto Scelsi and rare works of Iannis Xenakis.

In 2012 red fish blue fish presented four concerts of percussion music alongside Percussion Group Cincinnati at the John Cage Centennial Festival in Washington, D.C., where they performed highlights from Cage's collection of percussion works.

RFBF has had a huge impact on new music percussion performances, recordings and education. Successful RFBF/UC San Diego Department of Music alums include Ross Karre, now with ICE; Aiyun Huang, who heads the percussion department at McGill University; Morris Palter, an assistant professor at University of Alaska Fairbanks, where he is also the artistic director of the 64.8 percussion group; and Justin DeHart, who is a member of the Chapman University faculty and of the Los Angeles Percussion Quartet.

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Filera is a trio of musicians, Natalia Perez, Wilfrido Terrazas and Carmina Escobar, that share similar interests in contemporary/experimental music, improvised music and performance art.

PROGRAM:

• Prelude: Carmina Escobar - Candle Music (2017)
• Fobias 1
• Ignacio Baca Lobera - Soneto (2014)
• Fobias 2
• Two Cantigas de Santa María (Anonymous, 13th Century)
  • Ondas do mate de Vigo
  • Mia irmana fremosa (Arranged by Filera)
• Fobias 3
• Wilfrido Terrazas - Pequeño huerto (2015)
• Despedida: Filias/Fobias

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Additional Description:

FILERA:
FILIAS/FOBIAS

Philia (/ˈfɪliÉ™/; Ancient Greek: φιλία), often translated "brotherly love", is one of the four ancient Greek words for love: philia, storge, agape and eros. In Aristotle's Nicomachean Ethics, philia is usually translated as "friendship" or affection. The complete opposite is called a phobia. [Wikipedia]

PROGRAM:

Prelude:
Carmina Escobar
Candle Music (2017)

Fobias 1

Ignacio Baca Lobera
Soneto (2014)

Fobias 2

Two Cantigas de Santa María 
(Anonymous, 13th Century)
-Ondas do mate de Vigo
-Mia irmana fremosa
Arranged by Filera

Fobias 3

Wilfrido Terrazas
Pequeño huerto (2015)

Despedida:
Filias/Fobias


Filera, n. Slang word used at Mexican border cities such as Tijuana, Ensenada or Mexicali, for knife.

Having met in different contemporary music and free improv ensembles, we (Carmina, Natalia and Wilfrido) first got together as a trio in 2013 to play temA, the groundbreaking work written by German composer Helmut Lachenmann in 1968. From then, we have collaborated with composers like Ignacio Baca Lobera and Carola Bauckholt, besides creating our own pieces.

The other side of Filera’s work is free improvisation. One thing that the three of us have in common is that we equally enjoy playing notated music and improvisation. When we decided to start a trio together, we took it upon ourselves to balance these two worlds that interest us, and so we always try to do a bit of both wherever we go. Both sides inform and nurture each other in our work and we feel both are indispensable.

Filera: Filias/Fobias Tour 2018
November 15, 2018 7pm UCSD Experimental Theater, Conrad Prebys Music Center, La Jolla CA
November 16, 2018 8pm (?) Bread & Salt, San Diego, CA
November 17, 2018 8pm Betalevel, Los Angeles, CA
November 18, 2018, 6pm Echo Park Film Center, Los Angeles, CA

 

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The Paris-based Modigliani Quartet, formed by four close friends in 2003, is one of the most sought-after string quartets and a regular guest at the world’s top venues, including London’s Wigmore Hall, New York’s Carnegie Hall, Salzburg’s Mozarteum, Philadelphia’s Kimmel Center, Warsaw Philharmonic Hall, and Tokyo’s Oji Hall, among others. 

Additional Description:

Praised for their “elegance and shaded refinement [that brings] a distinctive style to the tapering of phrase, balance, and quality of sound” (Sydney Morning Herald), the quartet brings their distinctively French style and astonishing technical finesse back to ArtPower for an evening of string quartet masterpieces.

MOZART Quartet in C Major, K. 465 “Dissonance” 
STRAVINSKY Three Pieces for String Quartet 
TCHAIKOVSKY String Quartet no. 3 in E-flat Minor, op. 30

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W.A Mozart (1756-1791) - Trio in E flat Major, ‘Kegelstatt’, K.V. 498 (1786)
 
for clarinet, viola and piano      
Andante – Menuetto – Rondeaux




Kalevi Aho (1949-) - Trio for clarinet, viola and piano (2006)



Darius Milhaud (1892-1974) - Suite for clarinet, violin and piano, Op. 157b (1936)  â€¨    
Ouverture – Divertissement – Jeu – Introduction et Final




Aram Khachaturian (1903-1978) - Trio for clarinet, violin and piano (1932) ʉ۬
Andante con dolore, con molto espressione – Allegro – Moderato



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Additional Description:

Robert Zelickman, clarinetist, has been teaching and performing in San Diego since 1982.  He is a member of the bass clarinet quartet JAMB and co-director of Second Avenue Klezmer Ensemble.  Robert was a member of Orchestra Nova for 23 seasons and has performed with the San Diego Symphony and the San Diego Opera.

Recently, Robert retired from UC San Diego (1983-2015) where he lectured on Jewish Music, conducted the Wind Ensemble and performed regularly, premiering many new compositions.  He currently performs in recitals and chamber music concerts throughout San Diego.

Zelickman earned his BA at UCLA and a MFA at Cal Arts. He studied with Hugo Raimondi, Michele Zukovsky and Ronald Rueben. 

 

A versatile recitalist and chamber musician, violinist/violist Päivikki Nykter, is equally at home with standard repertoire as well as contemporary music. A native of Finland, she is a graduate of the Sibelius Academy in Helsinki. Ms. Nykter served as an Artist-in-Residence at the University of California San Diego Music Department from 1994 to 2006. She is now a freelance violinist maintaining a busy concert schedule as well as teaching the Alexander Technique both in the US and Europe. Ms. Nykter is an artistic director of a Chamber Music Concert Series in Lappeenranta, Finland. She has recorded on Neuma, Aucourant Records, CRI, Old King Cole, Omega Editions and mode labels.

 

Mari Kawamura is a concert pianist whose curiosity and wide-ranging interests have taken her in many directions. 

Her repertoire includes pieces by William Byrd, late Scriabin, Xenakis, Cage and several contemporary Japanese composers. She has been collaborating with composers for many years and has premiered many works by young composers. 

She has appeared in the major festivals, such as Tanglewood Music Center, Spoleto Festival USA and the Darmstadt International Summer Course and has given both solo and chamber music concerts in various venues, including Jordan Hall (Boston), Regent Hall (London) and Kirsten Kjær Museum (Denmark). Her 2013 performance of Xenakis’s Dikthas at the SICPP in Boston was described as "an unrelenting volcanic eruption" by NEWMUSICBOX. 

Kawamura holds a Master’s degree from the Royal Academy of Music, where she achieved the DipRAM prize for her outstanding final recital. Her teachers included Vadim Sakharov and Tatiana Sarkissova. 

After studying with Stephen Drury at the New England Conservatory in the Graduate Degree Program, Kawamura is now pursuing her DMA degree under Aleck Karis at the University of California, San Diego. 

 

 

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Program information to be announced.

 

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Program information to be announced.

 

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Richard Barrett: Urlicht (2013-2014) for vibraphone trio and auxiliary percussion, North-American Premiere,Dustin Donahue, Ryan Nestor, Sean Dowgray
 
Justin Murphy-Mancini: sic itur ad astra (2018) for harpsichord and percussion, World Premiere. Justin Murphy-Mancini, harpsichord; Sean Dowgray, percussion
 
Luciano Berio: Circles (1960) for voice, harp, and two percussionists
Susan Narucki, voice; Tasha Smith-Godinez, harp; Steven Schick & Sean Dowgray, percussion

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Additional Description:

Dowgray presents his second DMA recital entitled musica mundana | musica humana | musica instrumentalis featuring the brand-new work, sic itur ad astra by Justin Murphy-Mancini for harpsichord and percussion, the North-American premiere of Richard Barrett’s Urlicht for vibraphone trio with auxiliary percussion, and the rarely performed Circles by Luciano Berio for voice, harp, and two percussionists. 

Derived from the threefold classifications of music outlined in Anicius Boethius’ De institutione musica, Dowgray's recital parses a fractured relationship between contemporary artistic trends and ancient theories of sonority. Cosmological perspectives and discoveries [mundana], experimentations in affect [humana], and considerations of the concert experience as a theater of over-abundant relationships [instrumentalis] are central to this program. By means of extended sonorities, techniques, gestures, and intent, Dowgray pursues expressive limits and celebrates the profoundly physical. 

Dowgray will be joined by UCSD faculty members Susan Narucki (voice) and Steven Schick (percussion), UCSD alumni Dustin Donahue and Ryan Nestor (percussion), current UCSD graduate student Justin Murphy-Mancini (harpsichord), and inimitable new music harpist Tasha Smith Godinez.

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Ken Anderson, San Diego's leading proponent of gospel, directs UCSD's gospel choir in a concert of African-American spirituals, blues, and traditional songs.

 

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Additional Description:
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PERFORMERS:

Sherry Zheng
Aura Gonzalez
Jennifer Colin, Joseph Garcia, Amir Moheimani, Jackie Guy, Savanna Dunaway, Christine Lee, Julianne Chen
Benjamin Mateyka
Julia Yu, Michael Cohn

PROGRAM:

Prelude No. 16 in G Minor - Johann Sebastian Bach
Sonata No. 1, Presto and Adagio - Johann Sebastian Bach
But Who May Abide the Day of His Coming; Et Misericordia - George Frideric Handel; Johann Sebastian Bach
Prelude Op. 28, No. 4, 7, 20 - Frederic Chopin
Elle a fruit, la tourterelle; Solovey - Jacques Offenbach; Alexander Alyabyev

INTERMISSION

PERFORMERS:
Leo Barba, Alonso de la Peña, Ariel Ortega
Reed Rouland, Kinuth Gelmo, Owen Cruise, Martin Chapman
David Knoll, Alonso de la Peña, Benjamin Mateyka, Leo Barba, Jackie Guy, Raymond Alvarado, Henry Helmuth, Shane Ramil, Mihn Vo, Joseph Garcia, Kevin Rex, Natalie Lydick, Martha Alma Hartt

PROGRAM:
Delirium - Leo Barba, Alonso de la Penña, Ariel Ortega
Uh Okay - Martin Chapman
Julienne - David Knoll

 

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Program information to be announced.

 

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The Undergraduate Vocal Masterclass, under the direction of Kirsten Ashley Wiest presents a concert of opera scenes and arias, featuring Gilbert and Sullivan's Pirates of Penzance. Pianist Dr. Kyle Adam Blair joins singers Adrian Chan, Joseph Garcia, Jennifer Colin, Martha Hartt, Julia Yu, Lizze Fisher, Cameron Haywood, Myasia Fox, Shane Ramil, Danlei Zhao, Sarah Ausman, Lauren Jue-Morrison, and Teagan Rutkowski for this event you won't want to miss! 

 

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Program information to be announced.

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Program information to be announced.

 

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Camera Lucida is a chamber music collaboration between four musicians with diverse backgrounds. Camera Lucida is a unique project matching masterpieces of the chamber music repertoire with a group of world-class instrumentalists who happen to call San Diego home.

 

Beethoven:
Variations for cello and piano in G major on a theme of Händel
Variations for cello and piano in F major on a theme of Mozart
Variations for cello and piano in E-flat major on a theme of Mozart
Mozart:
Sonata for violin and piano in E-flat major, K. 388
Hindemith:
Sonata for viola and piano, Opus 11 Nr. 4

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No late seating.

For additional program information, please visit Camera Lucida's website: sdcamlu.org

 

Subscription and single tickets available at the UC San Diego Box Office. Ticket information: (858) 534-TIXS (8497). Season tickets on sale: AUGUST 8th.  Single tickets on sale: SEPTEMBER 5th.

 

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Under the artistic directorship of UC San Diego professor and cellist Charles Curtis and anchored by regular featured performances by San Diego Symphony Concertmaster Jeff Thayer, Formosa Quartet violist and USC professor Che-Yen Chen, concert pianist Reiko Uchida, UC San Diego performance faculty and occasional guests, Camera Lucida has established a tradition of challenging, musically ambitious programs performed with the assurance of an established ensemble, with the added flexibility of changing instrumentation and guests from the international chamber music world.

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In collaboration with the Faculty Club, the restaurant will now serve light-fare to Camera Lucida ticket holders before the concert at Cecil’s bar-lounge.

Cecil’s has an expanded and exciting new menu, available 4:30-7:30, on November 5, December 3, January 28, April 1 and 29. You don’t need to be a Club member to enjoy!

Cecil’s menu: http://facultyclub.ucsd.edu/lounge-happy-hour/index.html

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Program to be announced.

 

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Program

Finlandia Op. 26 - Jean Sibelius

Faust Overture Op. 46 - Emilie Mayer

Pohjola's Daughter Op. 49 - Jean Sibelius

 

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Assistant Professor Natacha Diels’ MUS 272 will present a course concert.

 

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33A Introduction to Composition offers the students the chance for them to study how to compose for solo instruments. For many in this class, this is the first time to compose an original composition. The unusually large class shows the interests from the students, and we are grateful for all the performance faculty and graduate students who collaborate with the students during this quarter.

 

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Composers:

Emmitt T Carroll

Dylan Martinez Diaz

William Irving Fisher

Jacqueline Margaret Guy

Jillian Sofia Heller

Kaolyn Yin Hong

Evette Lagos

Adrian Jakob Barfoed Martinez

Kevin Efrain Martinez

James Robert Medwid

Daniel Mendoza

Ekaterina Vitalyevna Myshliaeva

Braden Charles Rigling

Diego G Rodriguez

Korey Merrick Ross

Khang Lam Tong

Arjan Hendricus Van Denzen

Marley Mikell Weiss

Katherine Anne Wilkes 

Kin Yau James Wong

Yehan Yuan

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Please dismiss the time above. The concert starts at 5 p.m.

 

Students of Kartik Seshadri in a performance of Indian Classical Music

 

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Chamber Singers will perform excerpts from "Messiah" by Handel along with a short set of seasonal pieces.

 

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 UC San Diego Wind Ensemble: Pantheon

Dodekatheon Sketches (2012), Evan Williams 

Mythology Suite (2016), Stacy Garrop

Dionysiaques (1913), Florent Schmitt

 

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Program information to be announced.

 

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After studying at the Lyon Conservatoire, Michèle Renoul integrated the Staatliche Hochschule für Musik in Freiburg where she obtained her undergraduate piano diploma and a teaching diploma. She completed her musical training with a masters in piano, Lied performance as well as orchestral and choral conducting. She also gained a virtuosity prize form the Geneva Conservatoire.

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Program:

Debussy:  Suite Bergamasque

Rameau: Les Sauvages

Fauré: Nocturne n°4

Debussy: Reflets dans l'eau

Chopin: Nocturne op.62 n°1

Debussy: L'Isle Joyeuse

 

Intermission

 

Dusapin: Haïku

Messiaen: Les Sons impalpables du rêve

Stravinsky: Chez Petroushka

Debussy: La Terrasse des audiences du clair de lune

Debussy: Ce qu'a vu le vent d'ouest

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Michèle Renoul has worked with Pierre Sancan, Jacques Rouvier, Vitali Margulis and Laurent Cabasso. She taught in the Lied class at the Hochschule in Freiburg between 1990 and 1992, and since 1994 she teaches piano at the Strasbourg Conservatoire.

Michèle Renoul performs regularly in France and abroad, notably in the festival at Evian. she has also recorded for Radio Canada and Radio Suisse Romande.

 

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The December concerts tease our sense of memory. We know Messiah very well, but few know that Mozart re-scored Handel’s Messiah for a much larger orchestra, making our performance an “often-heard rarity.”

 

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Co-concertmaster David Buckley is soloist in the Second Violin Concerto of Florence Price, a prolific African-American composer that made her long career in Chicago, where her music was championed by the Chicago Symphony in the 1930s. Our collective musical memory is intimately combined with African-American music. Let’s always remember that. And let’s remember that we are a nation of immigrants, as we celebrate with the stunning music of Chinese-American composer Qing Qing Wang in the 2018 Thomas Nee Commission.

FLORENCE PRICE  Violin Concerto No. 2
QING QUNG WANG Between Clouds and Streams NEE COMMISSION 
HANDEL (MOZART ARR.) Messiah

 

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The December concerts tease our sense of memory. We know Messiah very well, but few know that Mozart re-scored Handel’s Messiah for a much larger orchestra, making our performance an “often-heard rarity.”

 

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Additional Description:

Co-concertmaster David Buckley is soloist in the Second Violin Concerto of Florence Price, a prolific African-American composer that made her long career in Chicago, where her music was championed by the Chicago Symphony in the 1930s. Our collective musical memory is intimately combined with African-American music. Let’s always remember that. And let’s remember that we are a nation of immigrants, as we celebrate with the stunning music of Chinese-American composer Qing Qing Wang in the 2018 Thomas Nee Commission.

FLORENCE PRICE  Violin Concerto No. 2
QING QUNG WANG Between Clouds and Streams NEE COMMISSION 
HANDEL (MOZART ARR.) Messiah

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Program information to be announced.

 

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Pascal Dusapin, O Mensch! 

Jonathan Nussman, voice

Kyle Adam Blair, piano

 

 

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Jonathan Nussman is a baritone whose varied interests include opera, theater, and chamber music, with a special emphasis on music from the 20th and 21st centuries. His strong musicality and thoughtful interpretations have made him a unique performer and contributor to the music scene on both the East and West Coasts. As a performer, he explores multi-disciplinary intersections of contemporary vocal practice, theater, new technologies, performance art, visual art, movement and dance, improvisation, and more traditional operatic and concert repertoire. Originally from Charlotte, North Carolina, Jonathan began singing, acting, and composing at an early age. He attended the University of North Carolina at Chapel Hill, and then received a masters degree in music from The Boston Conservatory. He lived in Boston for eight years, working as a freelance singer in the New England area and maintaining an active private teaching studio. During this time Jonathan performed with approximately twenty Boston-area opera companies and musical organizations, and appeared at music festivals in New York, New Hampshire, Rhode Island, North Carolina and Italy. He also made several appearances with the innovative company Guerilla Opera, including a devilish production of Andy Vores’ No Exit, in which he was described by The Boston Globe as bringing a “stentorian voice and implacable demeanor to [the role of] the Valet.” In 2014 Jonathan moved to the West Coast, where he is currently a doctoral candidate (ABD) in contemporary vocal performance at the University of California, San Diego. Recent major performances include George Crumb’s Songs, Drone and Refrains of Death, György Kurtág’s Hölderlin-Gesänge, and Luciano Berio’s Sinfonia with the La Jolla Symphony. As a recitalist, Mr. Nussman’s repertoire includes major song cycles and chamber pieces by such composers as Barber, Butterworth, Fauré, John Harbison, Kurtág, Aperghis, Rorem, Honegger, Brahms, Ibert, Britten, Schubert, Schumann, Wolf, and Poulenc. On the operatic stage he has performed over forty roles, including thirteen world-premiere productions. Notable roles in his repertoire include Papageno (Die Zauberflöte), Guglielmo (Così fan tutte), Count Almaviva (Le Nozze di Figaro), Bluff (The Impresario), Colas (Bastien und Bastienne), Enrico (L’isola disabitata), Marcello (La Bohème), Angelotti (Tosca), Yamadori (Madama Butterfly), Don Inigo Gomez (L’Heure Espagnole), Melchior (Amahl and the Night Visitors), John Brooke (Little Women), Sid (Albert Herring) and Junius (The Rape of Lucretia).

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First-year graduate students studying composition and performance will present their winter jury concert at 7:30 p.m. on Thursday, January 17, 2019, in the Conrad Prebys Concert Hall.

The evening will feature six world premiere performances:  

Jacques Zafra - ðŸŽ­â™Ÿ ðŸŽ°ðŸŽ²   🗣💊💉🤞🏻 🎈🐻⚰️

Sang Song - Windswept

Nasim Khorassani - Unknown

Stephen de Filippo - Two Muzzles and a Table of Bric-à-brac

Nathaniel Haering - Spate

Zachary Konick -  As Light

Featured performers: David Aguila (trumpet), Teresa Diaz de Cossio (flutes), Juliana Gaona (oboe), Alexander Ishov (flutes), Michael Jones (percussion), Rebecca Lloyd-Jones (percussion), Berk Schneider (trombone), and Ilana Waniuk (violin).

 

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Program information to be announced.

 

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Distinguished by its virtuosic playing and impassioned interpretations, the Ariel Quartet has earned its glowing international reputation. Formed in Israel nearly 20 years ago, when its members were middle-school students, the quartet now serves as the Faculty Quartet-in-Residence at the University of Cincinnati’s College-Conservatory of Music.

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Widely considered to include some of Beethoven’s greatest compositions, this cycle consists of 16 quartets divided into three periods: early, when the composer was strongly influenced by Haydn and Mozart; middle, including three quartets that honored Russian Count Razumovsky; and late, a reflection of the final years of his life. This is the beginning of a four-year endeavor, with Ariel Quartet performing the complete Beethoven cycle, in honor of the composer’s 250th birthday in 2020.

BEETHOVEN Quartet in F Major, op.18, no. 1; Quartet in G Major, op. 18, no. 2; Quartet in F Minor, op. 95; Quartet in F Major, op. 135

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A century ago the musical world was in the thrall of the future—the cacophony of Stravinsky’s Rite, the sinuous and erotic lines of Debussy’s Jeux, the astringency of the maturing Schoenberg, the teeming symphonies of Mahler and their keening aura of melancholy. What was a veritable typhoon of new-ness then now seems to us more like the pale flashes of heat lightning, to evoke Robert Penn Warren’s poem. Steven Schick and Renga – an ensemble of friends and colleagues from UC San Diego, the San Diego Symphony and beyond – celebrates a time when the future was young with new arrangements of seminal works by Debussy and Schoenberg along with Schoenberg’s own famous arrangement of Gustav Mahler’s Das Lied von der Erde. 

This performance is the annual Reed Family Concert presented by the UC San Diego Department of Music. Distinguished Professor of Music Steven Schick is the Reed Family Presidential Endowed Chair.

 

Program:
Claude Debussy - Jeux (arranged, Cliff Colnot) 
Arnold Schoenberg - Phantasy for Violin (arranged, Tobin Chodos) 
Keir GoGwilt, violin 
Gustav Mahler - Das Lied von der Erde (arranged, Schoenberg) Jessica Aszodi and John Russell, soloists

 

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Heat Lightning Music from When the Future was Young 

Heat Lightning Prowls the mountain horizon like 

Memory. I follow the soundless flicker, 

As ridge after ridge, as outline of peak after peak 

Is momentarily defined in the 

Pale wash, the rose-flush, of distance. 

--Robert Penn 
Warren

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23RD ANNUAL LYTLE SCHOLARSHIP CONCERT

Jewish Music: from Bessarabia to Bowery to Broadway

Esa Einai (I Will Lift Up My Eyes)
arranged by Ben Steinberg
Sim Shalom (Grant Peace)
Bob Remstein, composer
Chasdei Hashem
Israel Alter, composer

Cantor Mark E. Childs, David Samuel Childs
Cecil Lytle, piano & Bertram Turetzky, contrabass

Liebeslied [Love’s Sorrow]
Liebestod [Love’s Joy]
Fritz Kreisler (1875-1962) composer

Transcribed for solo piano by Sergei Rachmaninoff (1873-1943)

Cecil Lytle, solo piano
Sonata for Clarinet & Piano (1942)
Leonard Bernstein (1918-1990), composer
Robert Zelickman, clarinet & Cecil Lytle, piano

Mischa, Jascha, Toscha, Sascha
Blah, Blah, Blah

George (1898-1937) & Ira (1896-1983) Gershwin

“Of Love and Lost”
Bertram Turetzky, contrabass
Second Avenue Klezmer Ensemble

This program is dedicated to the congregation of the Tree of Life Synagogue and the people of the Squirrel Hill neighborhood of Pittsburgh, Pennsylvania.

 

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THE LYTLE SCHOLARSHIP CONCERTS 

Each year since 1996, audiences have attended these annual scholarship concerts to experience a targeted musical program for a targeted purpose on a targeted date, the Sunday before Super Bowl Sunday. Every Lytle Scholarship Concert features a particular composer or idea in programming repertoire. 

The first year was a solo piano concert of music by the Hungarian composer/pianist, Franz Liszt. Soon there followed annual concerts dedicated to the music of Frederic Chopin, Franz Schubert, Ludwig van Beethoven, Miles Davis, Alexander Scriabin, Duke Ellington, and George Gershwin. Other concerts not specific to a particular composer have centered around an “idea” or genre such as music based on mystical musings of George Ivanovich Gurdjieff, Hymns, Tangos, Ragtime, Gospel tunes, Latin Jazz. Last year’s concert was unusual, featuring five great jazz pianists seated at five equally great concert grand pianos performing together in a circle. It is unlikely that you will ever hear or see a concert like that any time soon! We hope for the same today. 

Now in its twenty-first year, Preuss School is a public college prep charter school (grades 6-12, 852 students) on the UCSD campus serving promising youngsters from low income, first-generation families. This award-winning secondary school has served as a model for excellence in urban education for other universities and the nation. Since graduating its first seniors in 2004, 1,600 Preuss School graduates have been accepted with full scholarships into the leading colleges and universities in the country. The proceeds from the annual Lytle Scholarship Concerts provides scholarships to Preuss grads attending UC San Diego. 

Your support of these scholarship concerts is deeply appreciated by the many highly motivated and deserving youngsters who have benefitted from your generosity. They are our ultimate inspiration, and we hope you agree when, after Intermission, Mr. Scott Barton, Preuss School Principal, presents just a few of the highly motivated students attending Preuss School UCSD. Their success is our success! 

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Exploring Collaboration: Anthony Burr, Roger Reynolds, Jacob Sundstrom

This evening, in the Conrad Prebys Music Center’s Experimental Theater, will feature an informal conversation between clarinetist Burr, computer musician, Sundstrom, and composer Reynolds. Each will describe their role in a two-year collaboration resulting in Toward Another World; LAMENT. It’s three movements: Innocence, Awakening, and Resolve, trace the emotional arc traveled by Iphigenia, daughter of Agamemnon and Clytemnestra, as she grasps her fate. The relationship between Aeschylus’s text, extended techniques for the solo instrument, and the management of three algorithmic strategies for modifying and responding to the live musician’s performance will be discussed and illustrated before a culminating performance of the completed work. A Q and A with the audience closes the program.

 

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Grad Forums provide an outlet for Music Department graduate students to present individual and collaborative works on their own terms.

Program information to be announced.

 

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Descending from the great Russian musical tradition, the Hermitage Piano Trio is distinguished by its exuberant musicality, interpretative range, and sumptuous sound. In the same way that St. Petersburg’s venerable Hermitage State Museum represents the very essence and history of Russia while also using its collection to embrace and promote cultures from around the world, the trio embodies the majesty of their Russian lineage.

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A rarity in the chamber music world, this elite trio comprises three musicians who are noted soloists in their own right. Together they have performed to tremendous acclaim for audiences on major chamber music series in Los Angeles, New York, Boston, Philadelphia, Washington, D.C., Tucson, Portland (OR), San Miguel de Allende (Mexico), and New Orleans. They make their San Diego debut at ArtPower, presenting a program of Russian masterpieces. Program Pyotr Ilyich Tchaikovsky: Piano Trio in A Minor, op. 50; Sergey Rachmaninoff: Trio élégiaque in D Minor, op. 9

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Developed by the pioneering artist Butch Morris, Conduction can be described as a duet for conductor and ensemble. In honor of his trailblazing Black February series in 2005, The Loft is celebrating this unparalleled approach to music making by presenting three dynamic nights of Conduction each Monday of February. Assistant Professor Stephanie Richards will be performing the series with her Winter 201 Class.

 

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Winter Palimpsest ensemble featuring the works of Eva-Maria Houben, Catherine Lamb, Anthony Vine, and Pauline Oliveros.

Eva-Maria Houben: John Muir Trails 1 (in the fullness of time) (2008)
Catherine Lamb: line/shadow (2011)
Anthony Vine: Primaries and Secondaries (2019)  *world premiere
Pauline Oliveros: Tuning Meditation (1971)

The Palimpsest Ensemble:
Rachel Allen - Trumpet, Erik Carlson - Violin, Madison Greenstone - Clarinet, Matthew Kline - Double Bass, Rebecca Lloyd-Jones - Percussion, Michael Matsuno - Flutes, Alexandria Smith - Trumpet, Juliana Gaona Villamizar - Oboe, Ilana Waniuk - Violin

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Eva-Maria Houben (b. 1955) studied Music Education at Folkwang-Musikhochschule Essen and the organ with Gisbert Schneider. Following her exams she taught both German and Music Education at Secondary School. She received her doctorate and postdoctoral lecturing qualification in musicology and was called for lectures at Gerhard-Mercator-Universität Duisburg and Robert-Schumann-Hochschule Düsseldorf. Since 1993 Professor Houben has been lecturing at Dortmund University`s “Institut für Musik und Musikwissenschaft”, with both music theory and contemporary music as her focus. Up to now many books were published, concerning contemporary music, contemporary composers and traditional music, listened to with ‘new ears’. Eva-Maria Houben has been performing works for the organ for more than 30 years. As she is related to the “wandelweiser-group” of composers, her compositions are published by “edition wandelweiser”, Haan. Her list of compositions up to now includes works for the organ, piano, clarinet, trombone, violoncello and other solo instruments, works for voice and piano, for wind and chamber ensembles, for orchestra and for voice and orchestra, works for choir (www.wandelweiser.de). She publishes on subjects of contemporary music (Steiner, Stuttgart; PFAU, Saarbrücken; Edition Howeg, Zürich; bis-label, Oldenburg; Edition Wandelweiser, Haan; transcript, Bielefeld).

 

Catherine Lamb (b. 1982, Olympia, Wa, U.S.), is a composer exploring the interaction of elemental tonal material and the variations in presence between shades and beings in a room. She has been studying and composing music since a young age. In 2003 she turned away from the conservatory in an attempt to understand the structures and intonations within Hindustani Classical Music, later finding Mani Kaul in 2006 who was directly connected to Zia Mohiuddin Dagar and whose philosophical approach to sound became important to her. She studied (experimental) composition at the California Institute of the Arts (2004-2006) under James Tenney and Michael Pisaro, who were both integral influences. It was there also that she began her work into the area of Just Intonation, which became a clear way to investigate the interaction of tones and ever-fluctuating shades, where these interactions in and of them-selves became structural elements in her work. Since then she has written various ensemble pieces (at times with liminal electronic portions) and continues to go further into elemental territories, through various kinds of research, collaboration, and practice (herself as a violist). She received her MFA from the Milton Avery School of Fine Arts at Bard College in 2012 and is currently residing in Berlin, Germany.

Anthony Vine (b. 1988) is a composer and guitarist currently living in San Diego, California. His work is characterized by a pluralistic approach to tuning and harmony, exploring the intersections between spectral techniques, just-intonation, and other temperaments. These tones are cast in immersive forms, and projected by acoustic instruments and simple wave forms. The music attempts to engage a reflexive mode of listening, wherein one takes notice of their own perceptual faculties, and begins to perceive themselves listening. 

He has collaborated with a number of ensembles and musicians, including Alarm Will Sound, Bearthoven, Bozzini Quartet, Ensemble Modelo62, Ensemble SurPlus, Minnesota Orchestra, Trio SurPlus, Will Lang, Yarn/Wire, and his exceptional colleagues at UCSD. These works have been presented at Copland House, Gaudeamus Muziekweek, Musiikin Aika, Schloss Solitude, and Ultima Festival. His music has been recorded and released on Cantaloupe Music and Galtta Media. 

In 2016, he was awarded the Gaudeamus Prize. The jury noted, "Anthony Vine creates a solid, mature, beautifully crafted fragile sound world. He knows how to blur the identity of the different sources of sounds including the use of electronics in a very singular way." Other awards and honors include the 2018 John J. Cali String Quartet Composition Award, 2015 Jerome Fund Commissioning Award, 2015 Salvatore Martirano Memorial Composition Award (2nd place), and NPR/Q2 Radio Top Composers under 40 (2011). Vine is currently pursuing a Ph.D. in music composition at the University of California, San Diego. 

Pauline Oliveros is a senior figure in contemporary American music.  Her career spans fifty years of boundary dissolving music making.  In the '50s she was part of a circle of iconoclastic composers, artists, poets gathered together in San Francisco. Recently awarded the John Cage award for 2012 from the Foundation of Contemporary Arts, Oliveros is Distinguished Research Professor of Music at Rensselaer Polytechnic Institute, Troy, NY, and Darius Milhaud Artist-in-Residence at Mills College.  Oliveros has been as interested in finding new sounds as in finding new uses for old ones --her primary instrument is the accordion, an unexpected visitor perhaps to musical cutting edge, but one which she approaches in much the same way that a Zen musician might approach the Japanese shakuhachi.  Pauline Oliveros' life as a composer, performer and humanitarian is about opening her own and others' sensibilities to the universe and facets of sounds.  Since the 1960's she has influenced American music profoundly through her work with improvisation, meditation, electronic music, myth and ritual.  Pauline Oliveros is the founder of "Deep Listening,"  which comes from her childhood fascination with sounds and from her works in concert music with composition, improvisation and electro-acoustics.  Pauline Oliveros describes Deep Listening as a way of listening in every possible way to everything possible to hear no matter what you are doing.  Such intense listening includes the sounds of daily life, of nature, of one's own thoughts as well as musical sounds. Deep Listening is my life practice," she explains, simply.  Oliveros is founder of Deep Listening Institute, formerly Pauline Oliveros Foundation, now the Center For Deep Listening at Rensselaer.

 

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Katinka Kleijn–champion of new music and a member of the Chicago Symphony–is soloist in Philip Glass’ graceful Second Cello Concerto, drawn from his score to the film Noqoyqatsi. The concert concludes with one of Anton Bruckner’s most compact and attractive symphonies, dedicated to Wagner and full of Bruckner’s glorious writing for brass. Emerging composer LJ White adds to the fun with a new work commissioned by the La Jolla Symphony & Chorus.

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LJ WHITE New Commission
PHILIP GLASS Cello Concerto No. 2
ANTON BRUCKNER Symphony No. 3

 

 

 

 

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Katinka Kleijn–champion of new music and a member of the Chicago Symphony–is soloist in Philip Glass’ graceful Second Cello Concerto, drawn from his score to the film Noqoyqatsi. The concert concludes with one of Anton Bruckner’s most compact and attractive symphonies, dedicated to Wagner and full of Bruckner’s glorious writing for brass. Emerging composer LJ White adds to the fun with a new work commissioned by the La Jolla Symphony & Chorus.

Click the image for program information.

 

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LJ WHITE New Commission
PHILIP GLASS Cello Concerto No. 2
ANTON BRUCKNER Symphony No. 3

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Michiko Ogawa DMA #3: Music for Film

THE STIGMA FOG SAINT Wards Off Extinction by Angela Jennings
Music by James Rushford & Michiko Ogawa

Hand Catching Flour by Lyndsay Bloom
Music by Carolyn Chen 
Performed by Michiko Ogawa 
 

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Developed by the pioneering artist Butch Morris, Conduction can be described as a duet for conductor and ensemble. In honor of his trailblazing Black February series in 2005, The Loft is celebrating this unparalleled approach to music making by presenting three dynamic nights of Conduction each Monday of February. Assistant Professor Stephanie Richards will be performing the series with her Winter 201 Class.

 

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Pianist Aleck Karis performs with cellist Michael Nicholas

BACH: Gamba Sonata in G, BWV1027
BEETHOVEN: Sonata, opus 102 no 1 
BRAHMS: Sonata for cello and piano in F majors, opus 99

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ABOUT THE ARTISTS

ALECK KARIS, PIANO
Aleck Karis has performed recitals, chamber music, and concertos across the Americas, Europe and in China. As the pianist of the new music ensemble Speculum Musicae he has participated in over a hundred premieres and performed at major American and European festivals. His appearances with orchestra have ranged from concertos by Mozart, Beethoven and Chopin to those of Stravinsky, Messiaen and Carter. His five solo discs on Bridge Records include Aleck Karis performs Schumann, Carter, Chopin; Aleck Karis: Mozart Recital; Stravinsky: Music for Piano 1911-1942; John Cage: Sonatas and Interludes; and Karis Plays Webern, Wolpe & Feldman. His two discs on Romeo Records are Piano Music of Philip Glass and Late Piano Music of Frederic Chopin. Last month, Bridge released his most recent disc, Feldman's haunting last work Piano, Violin, Viola, Cello. Karis has studied with William Daghlian, Artur Balsam and Beveridge Webster. He is a Distinguished Professor of Music at the University of California, San Diego, and former Associate Dean of the Division of Arts and Humanities.

MICHAEL NICOLAS, CELLO
A “long-admired figure on the New York scene” (New Yorker), cellist Michael Nicolas enjoys a diverse career as chamber musician, soloist, recording artist, and improvisor. His eclectic tastes and adventurous spirit have led him to forge a musical path of uncommon breadth, where his activities range from performing the masterpieces of the past in the world's most prestigious concert halls, to free improvisation in a downtown New York experimental venue with giants of the genre, to working with contemporary composers of all styles, pushing the boundaries of musical expression and meaning.

The ensembles Michael plays in illustrate his commitment to diversity. He is the cellist of the intrepid and genre-defying string quartet Brooklyn Rider, which has drawn praise from classical, world music, and rock critics alike. As a member of the acclaimed International Contemporary Ensemble (ICE), he has worked with countless composers from around the world, premiering and recording dozens of new works. Another group, Third Sound, which Michael helped found, made its debut with an historic residency at the 2015 Havana Contemporary Music Festival, in Cuba.

As a soloist, Michael performs recitals and concertos across the globe. His album Transitions, available on the Sono Luminus label, was named Q2 Music Album of the Week at WQXR upon release, and it has since garnered critical acclaim across North America. His chamber music playing can also be found on the Naxos, Tzadik, and Universal Korea labels.

Of mixed French-Canadian and Taiwanese heritage, Michael was born in Canada, and currently resides in New York City. He is a graduate of the Juilliard School.

michaelnicolascellist.com

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Soirée for Music Lovers: A tradition continues

Pietro Locatelli (1695-1764) Trio Sonata in G Major, Op. 5, No.1 
Théodore Dubois (1837-1924) Terzettino (1905) for flute, viola and harp
Franz Schubert (1797-1828) Four songs from Schwanengesang, D.957 (1828) 
Gabriel Fauré (1845-1924)   Piano Quartet No. 1 in C minor, Op. 15 (1876-79) 

Performers:
Kyle Adam Blair (harpsichord and piano), Alexander Ishov (flute), Cecilia Kim (cello), Leslie Leytham (mezzo-soprano), Michael Matsuno (flute), Brendan Nguyen (piano), Päivikki Nykter (violin and viola), Tasha Smith Godinez (harp), Annabelle Terbetski (viola)
 

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In 1987, renowned virtuoso violinist János Négyesy established a series of Chamber Music concerts called the “Soirée for Music Lovers.” These programs were intended to be a musical counterpoint to the experimental music that characterized the music department at the University of California, where Professor Négyesy was a long-time faculty member. The quarterly concerts, featuring chamber music from the 18th, 19th and 20th centuries, grew to be a popular and elegant part of the musical life of San Diego. The tradition continues this year on Wednesday, February 14th, at the Conrad Prebys Concert Hall on UCSD campus. Päivikki Nykter, the late Professor Négyesy’s wife, musical partner and a featured performer in every previous Soirée, has taken up the mantle in presenting a program worthy of the Négyesy legacy.

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Charles Curtis
performs
Éliane Radigue: Naldjorlak for solo cello (2005)
Alvin Lucier:  Slices for cello and pre-recorded orchestra (2007-2012-2019)

Two long works for cello, made for, and with, Charles Curtis. Each to be played in its own room, and with its own cello.

Concert Hall, 7 p.m.: Radigue
In Naldjorlak, the cello is tuned to its own native resonance, the so-called "wolf tone." The performance sets forth a detailed and exhaustive investigation into the instrument's hidden resonances, following the body of the cello as both geography and musical form at once. In Salomé Voegelin's words (from The Political Possibility of Sound), Naldjorlak "performs the entanglement of composer, cello, cellist, bow and breath... the playing of the instrument activates a composition between the different resonating bodies of the space, the performer, the cello and the audience, working on an impossible yet aimed for unison."

For Radigue (born January 1932), legendary for her work with feedback, the ARP 2500 synthesizer and analog tape, Naldjorlak was the very first work for an acoustic instrument and a live performer. This collaboration led to a florescence of new works for soloists and ensembles, all created collaboratively without written score. In this collaborative model, the piece is considered non-transferable; it is not intended to be performed by anyone other than the individual for whom it was made.

Experimental Theater, 8:15 p.m.: Lucier
The range of the cello is presented as a 53-note chromatic cluster sustained by the traditional instruments of the European symphony orchestra. The soloist articulates a melodic sequence of the cluster, and with each successive note from the soloist, the corresponding orchestral instrument falls silent. In a new ordering, the reverse takes place: with each new melodic step, the orchestral instrument enters again, once again building up the arrayed cluster. This process of erasure and re-inscription is followed seven times in all.  

Lucier (born May 1931) originally conceived Slices as a piece for cello with live orchestra, as it was premiered in 2007 at Ostrava. The impracticabilities of performance led to a version with pre-recorded instruments (recorded by Tom Erbe), looped and mounted in a supercollider patch (originally written by Scott Worthington); this was first performed at the Berlin MaerzMusik in 2012. Jacob Sundstrom has now re-written the patch to accommodate as many individual channels for the orchestral instruments as possible. This performance will be the first presentation of Slices with 32 loudspeakers.

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Distinguished Lecture Series guest, Dr. Gary Tomlinson, John Hay Whitney Professor of Music and Humanities at Yale University, presents "What Evolutionary Musicology Is, and What It Isn’t"

Click on image on the left for Dr. Tomlinson's Abstract and Biography.

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ABSTRACT:

How humans came to be musical creatures is an age-old question, one that has been linked to modern evolutionary thinking since its inauguration in Darwin’s writings. Nevertheless, research into the evolutionary history of human musical capacities has burgeoned in the last two decades, enough to justify speaking of a subdiscipline of “evolutionary musicology.” What defines this field of study? What is its place in studies of human evolution? What can it hope to accomplish? What is its relation to conventional musicologies, to new trends such as posthumanism, and to central tenets of the humanities in general? Finally—of particular importance at this moment of burgeoning interest—what are the pitfalls evolutionary musicology must avoid, pitfalls all-too-evident in such initiatives as evolutionary psychology and “literary Darwinism”?

 

BIOGRAPHY: 

Gary Tomlinson, by training a musicologist, has in recent years focused his attention on the musical and cultural evolution of Homo sapiens, leading to two books: A Million Years of Music: The Emergence of Human Modernity (2015) and Culture and the Course of Human Evolution (2018). His innovative view of this evolution models deep processual patterns in the interactions of culture and biology in hominins and other species, joining biologists' “niche construction” theory to the systematic analysis of Paleolithic cultures and an extended semiotics indebted to Charles Sanders Peirce. Tomlinson’s other writings include books on opera and subjectivity, Claudio Monteverdi and late-Renaissance thought, the role of music in Renaissance occult philosophy, and the place of song in the first meetings of Europeans with indigenous peoples of the New World; his essays explore many aspects of critical and post-critical theory in their musical applications. Tomlinson is John Hay Whitney Professor of Music and Humanities at Yale University, where he directs the Whitney Humanities Center.

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Grad Forums provide an outlet for Music Department graduate students to present individual and collaborative works on their own terms.

• David Lang: String of Pearls  - James Beauton, marimba
• Luciano Berio: Sequenza I  - Teresa Díaz de Cossio, flute
• Thomas DeLio: Transparent Wave - Christopher Clarino, snare drum
• Nicholas Solem: Phasegnau 0 - Nicholas Solem, electronics
• A performance by SElectOR
• George Benjamin: Flight - Alexander Ishov, flute
• A performance by Keir GoGwilt and Kyle Motl

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KATHRYN SCHULMEISTER, BASS - DMA1

Giacinto Scelsi: Mantram
H. W. Henze: S. Biagio 9 Agosto ore 1207
Aaron Cassidy: The Wreck of Former Boundaries
Juan Campoverde: Amores  *world premiere, featuring James Beauton, percussion
Wilfrido Terrazas: pequeño vikingo  **US premiere
Mark Dresser/Ed Harkins, arr. Schulmeister: House of Mirrors, featuring Alexandria Smith, trumpet

 

Click on image on the left for Ms. Schulmeister's biography.

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KATHRYN SCHULMEISTER

Described as “…turning [the double bass] into a writhing white-hot crucible.”, Kathryn Schulmeister brings radiant energy and rigorous expression to her performance of musical repertoire ranging from classical to experimental. With a fearless curiosity for collaborative environments, Kathryn actively seeks opportunities to integrate improvisation, movement and theater into her musical performance. Kathryn’s charisma and boundless enthusiasm for pushing the boundaries of the artistic potential of her instrument have led her to thrive as an active performer in festivals and venues around the world.  

As one of the newest members of the renowned ELISION ensemble (Australia), Kathryn will perform in Taiwan, Cambridge (MA), Buffalo (NY), and Melbourne in 2019. Other current engagements include performances with Klangforum Wien, Ensemble Dal Niente (Chicago), and Fonema Consort (Chicago). In May 2019, Kathryn will perform original compositions with her duo project a&k at John Zorn’s famed venue for experimental music, The Stone (NYC). 

As a captivating soloist, Kathryn has brought exciting new works for the double bass to life in international festivals such as the Huddersfield Contemporary Music Festival (UK), the soundSCAPE festival (Italy), the Foro de Música Nueva (Mexico City), Festival Vertice (Mexico City), among others. In April 2018 Kathryn recorded composer Aaron Cassidy’s new work for solo double bass ‘The wreck of former boundaries’ which will be released in 2020. In March 2017, Kathryn performed a 6-city tour of Switzerland and Luxembourg with the Lucerne Festival Young Performance Ensemble, performing an experimental theater work incorporating dance, theater, and various styles of contemporary and classical music. Equally passionate and experienced as an orchestral musician, Kathryn served as a core member of the Hawaii Symphony Orchestra for three consecutive seasons from 2014-2017, and has performed with the Phoenix Symphony, the California Chamber Orchestra, Pacific Lyric Opera, the Maui Chamber Orchestra, and Hawaii Opera Theater. 

Kathryn is currently pursuing a Doctor of Musical Arts degree in Contemporary Music Performance from the University of California, San Diego, studying with internationally renowned bassist/improviser/composer Mark Dresser. She received her Bachelor of Music degree from the New England Conservatory of Music in Boston and completed her Master of Music degree at McGill University in Montréal. Her primary teachers have included Todd Seeber (Boston Symphony Orchestra) and Ali Yazdanfar (Orchestre Symphonique de Montréal). Since the start of her musical career, Kathryn has been recognized for her achievements on numerous occasions including winning a project grant from New Music USA and successfully receiving McGill’s Austrian Society Scholarship grant to pursue individual study of contemporary music in Vienna. 

 

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https://rebeccalloydjones.org/about/Cross-Wired is unique: in a week-long set of concerts and master classes, seven young percussionists from North America and Europe will be in residence at UC San Diego to study a new work for percussion solo by Pulitzer-Prize winning composer and University Professor, Roger Reynolds . The new work, for percussion with text by Samuel Beckett , will be coached by Cross-Wired host Steven Schick , along with Reynolds, Theatre and Dance faculty member Eva Barnes and two distinguished alumni of UC San Diego: Aiyun Huang (University of Toronto) and Ivan Manzanilla (University of Guanajuato).

1:00 p.m. Topic: Music for Voice & Percussion
Eva Barnes | Steven Schick | Roger Reynolds

2:00 p.m. Master Class: Here and There
Abigail Fisher | Louis Pino

5:00 p.m. Concert & Conversation
Georges Aperghis: Le Corps à Corps
Nicole Joshi

David Lang: String of Pearls
James Beauton

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Additional Description:

Cross-Wired Faculty
Eva Barnes | Aiyun Huang | Ivan Manzanilla | Roger Reynolds | Steven Schick

Cross-Wired Fellows
Jordan Curcuruto | Abigail Fisher | Nicole Joshi | Katelyn King
Carmen Maldonado | Daniel Matei | Louis Pino

red fish blue fish
James Beauton | Christopher Clarino | Fiona Digney
Michael Jones | Rebecca Lloyd-Jones

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Developed by the pioneering artist Butch Morris, Conduction can be described as a duet for conductor and ensemble. In honor of his trailblazing Black February series in 2005, The Loft is celebrating this unparalleled approach to music making by presenting three dynamic nights of Conduction each Monday of February. Assistant Professor Stephanie Richards will be performing the series with her Winter 201 Class.

 

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Cross-Wired is unique: in a week-long set of concerts and master classes, seven young percussionists from North America and Europe will be in residence at UC San Diego to study a new work for percussion solo by Pulitzer-Prize winning composer and University Professor, Roger Reynolds . The new work, for percussion with text by Samuel Beckett , will be coached by Cross-Wired host Steven Schick , along with Reynolds, Theatre and Dance faculty member Eva Barnes and two distinguished alumni of UC San Diego: Aiyun Huang (University of Toronto) and Ivan Manzanilla (University of Guanajuato).

1:00 p.m. Extending Techniques
Aiyun Huang | Ivan Manzanilla | Roger Reynolds | Steven Schick

2:00 p.m. Master Class: Here and There 
Jordan Curcuruto | Daniel Matei

5:00 p.m. Concert & Conversation
Philippe Manoury - Le Livre de Clavier (Vibraphone)
Daniel Matei

Liza Lim - Ming qi (Bright Vessel)
Rebecca Lloyd-Jones, percussion and Juliana Gaona Villamizar, oboe

Larry Polansky - Veditz
Christopher Clarino

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Additional Description:

Cross-Wired Faculty
Eva Barnes | Aiyun Huang | Ivan Manzanilla | Roger Reynolds | Steven Schick

Cross-Wired Fellows
Jordan Curcuruto | Abigail Fisher | Nicole Joshi | Katelyn King
Carmen Maldonado | Daniel Matei | Louis Pino

red fish blue fish
James Beauton | Christopher Clarino | Fiona Digney
Michael Jones | Rebecca Lloyd-Jones

 

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Cross-Wired is unique: in a week-long set of concerts and master classes, seven young percussionists from North America and Europe will be in residence at UC San Diego to study a new work for percussion solo by Pulitzer-Prize winning composer and University Professor, Roger Reynolds . The new work, for percussion with text by Samuel Beckett , will be coached by Cross-Wired host Steven Schick , along with Reynolds, Theatre and Dance faculty member Eva Barnes and two distinguished alumni of UC San Diego: Aiyun Huang (University of Toronto) and Ivan Manzanilla (University of Guanajuato).

1:00 p.m. Master Class: Here and There
Nicole Joshi | Katelyn King

7:00 p.m. Steven Schick Solo Concert
Conrad Prebys Concert Hall

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Additional Description:

Cross-Wired Faculty
Eva Barnes | Aiyun Huang | Ivan Manzanilla | Roger Reynolds | Steven Schick

Cross-Wired Fellows
Jordan Curcuruto | Abigail Fisher | Nicole Joshi | Katelyn King
Carmen Maldonado | Daniel Matei | Louis Pino

red fish blue fish
James Beauton | Christopher Clarino | Fiona Digney
Michael Jones | Rebecca Lloyd-Jones

 

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Steven Schick presents an evening of solo percussion pieces including Celeste Oram's 2018 work and the world premiere of Roger Reynolds' Here and There.

Celeste Oram:    __ • •   • __ __ •   • __ __ • •  ___ • • (2018)
Karlheinz Stockhausen:  Zyklus (1959)
Morton Feldman: The King of Denmark (1964)
Roger Reynolds: Here and There (2018) *world premiere

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Cross-Wired is unique: in a week-long set of concerts and master classes, seven young percussionists from North America and Europe will be in residence at UC San Diego to study a new work for percussion solo by Pulitzer-Prize winning composer and University Professor, Roger Reynolds . The new work, for percussion with text by Samuel Beckett , will be coached by Cross-Wired host Steven Schick , along with Reynolds, Theatre and Dance faculty member Eva Barnes and two distinguished alumni of UC San Diego: Aiyun Huang (University of Toronto) and Ivan Manzanilla (University of Guanajuato).

1:00 p.m. Master Class: Here and There

2:00 p.m. Topic: Delivering on Text
Eva Barnes | Steven Schick | Roger Reynolds

4:00 p.m. Master Class: Here and There

5:00 p.m. Concert & Conversation
Christopher Adler: Zaum Box (Excerpts)
Jordan Curcuruto

James Rolfe: The Connection 
Abigail Fisher

Dieter Schnebel: Der Springer
Katelyn King

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Additional Description:

Cross-Wired Faculty
Eva Barnes | Aiyun Huang | Ivan Manzanilla | Roger Reynolds | Steven Schick

Cross-Wired Fellows
Jordan Curcuruto | Abigail Fisher | Nicole Joshi | Katelyn King
Carmen Maldonado | Daniel Matei | Louis Pino

red fish blue fish
James Beauton | Christopher Clarino | Fiona Digney
Michael Jones | Rebecca Lloyd-Jones

 

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Cross-Wired is unique: in a week-long set of concerts and master classes, seven young percussionists from North America and Europe will be in residence at UC San Diego to study a new work for percussion solo by Pulitzer-Prize winning composer and University Professor, Roger Reynolds . The new work, for percussion with text by Samuel Beckett , will be coached by Cross-Wired host Steven Schick , along with Reynolds, Theatre and Dance faculty member Eva Barnes and two distinguished alumni of UC San Diego: Aiyun Huang (University of Toronto) and Ivan Manzanilla (University of Guanajuato).

1:00 p.m. Master Class: Here and There

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Additional Description:

Featuring Cross-Wired faculty
Eva Barnes | Aiyun Huang | Ivan Manzanilla | Roger Reynolds | Steven Schick

Cross-Wired Fellows
Jordan Curcuruto | Abigail Fisher | Nicole Joshi | Katelyn King
Carmen Maldonado | Daniel Matei | Louis Pino

red fish blue fish
James Beauton | Christopher Clarino | Fiona Digney
Michael Jones | Rebecca Lloyd-Jones

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Concert & Conversation
CROSS-WIRED ROUND-UP
including Roger Reynolds' Here and There 
performed by Steven Schick

Featuring Cross-Wired faculty
Eva Barnes | Aiyun Huang | Ivan Manzanilla | Roger Reynolds | Steven Schick

Cross-Wired Fellows
Jordan Curcuruto | Abigail Fisher | Nicole Joshi | Katelyn King
Carmen Maldonado | Daniel Matei | Louis Pino

red fish blue fish
James Beauton | Christopher Clarino | Fiona Digney
Michael Jones | Rebecca Lloyd-Jones

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An interdisciplinary performance featuring the work of students from UC San Diego’s Theater & Dance, Music and Visual Arts departments.

Alex Stephenson • Andrew Lynch • Ariadna Sáenz • Elisabet Curbelo • Felipe Rossi • Grace Grothaus • John Burnett • Joseph Hendel • Juliana Kleist-Méndez • Justin Beets • Kathryn Schulmeister• Kevin Allen Schwenkler • Kirstyn Hom • Lydia Winsor Brindamour • Marcos Duran • Paul Hauptmeier

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red fish blue fish
featuring: Aiyun Huang & Ivan Manzanilla   

Persephassa (1969) is the first of Xenakis' innovative and ambitious works for percussion ensemble. The title refers to the goddess Persephone, "the personification of telluric forces and of transmutations of life." The piece was commissioned for the first-ever Shiraz Festival (organized by the Empress of Iran), held at the historic desert site of Persepolis -- an awesome and altogether fitting setting for such a powerful work.

Sergio Luque   Dreaming about Tinguely’s Mechanical Structures
Nicole Lizee Hitchcock Etudes (2017)
Salvador Torre Pop Wuj I (2011)
David Bithell  Windward (2018)
Iannis Xenakis  Persephassa (1969)

red fish blue fish
James Beauton | Christopher Clarino | Fiona Digney | Michael Jones | Rebecca Lloyd-Jones | Steven Schick

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Additional Description:

Persephassa gains much of its effect from having the six percussionists distributed around the audience. The treatment of space as a musical parameter is one of the most important preoccupations of Xenakis' music, particularly in his works of the mid-to-late 1960s. The dramatic impact of utilizing the performance space in this manner is evident many passages throughout the piece in which accents or imitative rhythms are passed around the ensemble. Xenakis' spatial scheme is particularly successful in helping to clarify the counterpoint of the middle section, in which each player marks a series of pulsations, and then patterns, in his or her own tempo. This passage culminates in clouds of metallic sounds, played on a set of exotic instruments called simantras. Xenakis also throws in sirens, maracas, and pebbles, along with the usual arsenal of drums, wood blocks, cymbals, and gongs. The final section of Persephassa is quite extraordinary. In it, Xenakis winds up a rotating series of percussion rolls, spinning the accents around faster and faster, then adds another rotating pattern that moves in the opposite direction. By the end, there are six layered patterns swirling around at dizzying speed, breaking off into silence just when it seems impossible to keep listening without falling out of one's seat. The final gesture is a long, improvised outburst by all the players on all the instruments; the sound no doubt echoed throughout the ancient site of the premiere long after the final stroke.

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An interdisciplinary performance featuring the work of students from UC San Diego’s Theater & Dance, Music and Visual Arts departments.

Alex Stephenson • Andrew Lynch • Ariadna Sáenz • Elisabet Curbelo • Felipe Rossi • Grace Grothaus • John Burnett • Joseph Hendel • Juliana Kleist-Méndez • Justin Beets • Kathryn Schulmeister• Kevin Allen Schwenkler • Kirstyn Hom • Lydia Winsor Brindamour • Marcos Duran • Paul Hauptmeier

 

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Cellist Matt Haimovitz—an artist whose barrier-breaking performances have taken him around the world—joins forces with genius jazz composer-performer pianist Vijay Iyer in a program that truly defies definition.

Click the image for more information.

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This special event showcases Iyer’s own composition alongside the music of Zakir Hussain, John McLaughlin, J. S. Bach, Ravi Shankar, Billy Strayhorn, and others to create a program of unprecedented virtuosity and depth. Duets are the centerpiece, but also expect solo performances by each of these mesmerizing players.

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VIJAY IYER MASTER CLASS

Grammy-nominated composer-pianist VIJAY IYER (pronounced “VID-jay EYE-yer”) was described by Pitchfork as “one of the most interesting and vital young pianists in jazz today,” by the Los Angeles Weekly as “a boundless and deeply important young star,” and by Minnesota Public Radio as “an American treasure.” He has been voted DownBeat Magazine’s Artist of the Year three times – in 2016, 2015 and 2012 – and Artist of the Year in Jazz Times’ Critics’ Poll and Readers’ Poll for 2017. Iyer was named Downbeat’s 2014 Pianist of the Year, a 2013 MacArthur Fellow, and a 2012 Doris Duke Performing Artist. In 2014 he began a permanent appointment as the Franklin D. and Florence Rosenblatt Professor of the Arts in the Department of Music at Harvard University.

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JAMES BEAUTON, PERCUSSION

Based in Southern California, James Beauton is a percussionist who specializes in experimental music from the last century. Beauton performs regularly as a soloist in Los Angeles for the Music@MiMoDa and Brilliant Strings concerts series, performing works of composers Iannis Xenakis, John Cage, Philippe Manoury, Franco Donatoni, and Brian Ferneyhough. He has also performed in Monday Evening Concerts and the unSung Music Festival.

More information: jamesbeauton.com

• Michael Gordon - XY
• David Lang - String of Pearls 
• Morton Feldman - King of Denmark
• G.N. Gianopoulos - Lullabies/Nocturnes *world premiere
• Karlheinz Stockhausen - Zyklus Nr. 9

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Additional Description:

Beauton is a member of the ensemble Tala Rasa, a percussion trio dedicated to the commissioning and performance of new music. Tala Rasa has premiered works by composers G.N. Gianopoulos, Andrea Mazzariello, Wally Gunn, Michael Laurello, and Thomas Childs. James has also performed with ensembles such as red fish blue fish, the Santa Monica Symphony, the Nova Ensemble, and has been featured as a soloist with the ensembles Renga, the Contemporary Chamber Players, and the Michigan State University Philharmonic and Symphony Orchestras.

Pursuing his passion for percussion pedagogy and music education, Beauton joined the teaching artist roster at the innovative Music Vault Academy in 2014. This dynamic and multifaceted music school, recording studio, and concert venue also hosts and produces the music series Concerts@theVault. As Artistic Director of this series, Beauton manages these events that provide live music to the community of South Orange County, often featuring artists from Los Angeles and San Diego.

Currently, James holds a faculty position at San Diego State University as a dance accompanist and works toward his Doctorate of Musical Arts at UC San Diego. He has earned degrees from SUNY Stony Brook (Master of Music) and Michigan State University (Bachelor of Music). James is a Vic Firth and Yamaha Performing Artist.

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Bassist Mark Dresser leads BASS ENSEMBLES presenting new and innovative pieces for double bass performance.  Featuring performances by bassists Matthew Kline, Kathryn Schulmeiester, Tommy Babin, Mark Dresser and Alexandria Smith on the trumpet.  

BASS ENSEMBLES will premiere new works by UC San Diego graduate composers Zachary Konick, Nakul Tiruviluamala, Alexandria Smith, and Jacques Zafra. 

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Performers: Leonardo Barba, Isabella Calabrese, Martin Chapman, Michael Cohn, Jennifer Colin, Owen Cruise, Alonso de la Pena, Joey di Liberto, Mason Davis, Savanna Dunaway, Lizze Fisher, Joseph Garcia, Gregor Grigorian, Remi Ha, Noah Hermansen, David Knoll, Siddhartha Krishnan, Matthew Leveque, Benjamin Mateyka, Junko Roberts, Eduardo Sanchez, Samuel Shing, Tino Tirado, Alice Williams, Julia Yu and Sherry Zheng

Program information to be announced.

 

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The Undergraduate Vocal Masterclass, instructed by Kirsten Ashley Wiest, presents a recital of art songs and arias, featuring German Lieder by Schubert, Schumann, and Brahms. Pianist Dr. Kyle Adam Blair joins singers Adrain Chan, Jennifer Colin, Joseph Garcia, Teagan Rutkowski, Julia Yu, Lizze Fisher, Daniel Zhao, Lauren Jue-Morrison, Cameron Haywood, Shane Ramil, and Myasia Fox.

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Under the direction of Kamau Kenyatta, the popular 95JC returns!  Featuring an ensemble performing a variety of diverse compositions, including pieces written and arranged by student musicians, instrumentation includes voice, violin, saxophones, rhythm section, and afro-latin percussion.

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Program:

Aesthetic Lady - Lars Gullin

On the Que Tee  - Freddie Hubbard

Mother I’m Here  - Darren Korb

The Pineapple Incident - Braden Rigling 

Eucalyptus - Gino  Calgaro 

Fly With the Wind - McCoy Tyner

After the Gig - Darryl  Reeves 

The Fall of Omar Little - Martin  Chapman 

Soon As I Get Home  - Charlie Small

Were Almost Lovers - Zeju  Zheng

Eclipse - Noah  Hermansen 

Godspeed - Frank Ocean

Chega de Saudade (No More Blues) - Antonio Carlos Jobim     

 

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The UC San Diego Chamber Orchestra, under the direction of Matthew Kline, presents their Winter performance in the Conrad Prebys Concert Hall. 

Alberto Ginastera - Harp Concerto 
Tasha Smith Godinez, soloist

Florence Price - Symphony No. 3 in C Minor 

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Ken Anderson, San Diego's leading proponent of gospel, directs UCSD's gospel choir in a concert of African-American spirituals, blues, and traditional songs.

 

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“Vivaldi Night” 
The annual UCSD Bach Ensemble Concert features works by Antonio Vivaldi (1678-1741) performed by selected undergraduate students from the Chamber Ensemble class. Special guest appearances by Pei-Chun Tsai (violinist of the San Diego Symphony), Ilana Waniuk (violin, UCSD Graduate Student) and Cory Lin (alumnus). Please come and enjoy our exciting performance!

All Vivaldi Program includes
- “Spring” and “Winter” from The Four Seasons
- Concerto for two violins in A minor 
- Concerto for two cellos in G minor

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Program information to be announced.

 

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Program information to be announced.

 

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Elsa’s Procession To The Cathedral (1850) - Richard Wagner 
from “Lohengrin” trans. Lucien Cailliet

Percussion Concerto (2009) - Jennifer Higdon
Rebecca Lloyd-Jones, percussion soloist

The Pines of Rome (1924) - Ottorino Respighi 
I. The Pines of the Villa Borghese trans. Guy M. Duker 
II. The Pines Near a Catacomb 
III. The Pines of the Janiculum 
IV. The Pines of the Appian Way

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Program information to be announced.

 

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After meeting Laurie San Martin, one this country’s most important ebullient composers, we’ll experience the lightness of a classical great—the seldom-heard 8th Symphony of Beethoven—and conclude with Leonard Bernstein’s extraordinary and poignant Symphony No. 3 (Kaddish), with chorus, soprano soloist and narrator. The Bernstein piece, named for the Jewish prayer for the dead, was dedicated to the late President John F. Kennedy and premiered in the days after of his assassination in 1963. It is a reflection simultaneously on the loss of a president and the loss of a generation of European Jews. It is powerful music, but also hopeful.

Click the image for program information.

 

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Additional Description:

LAURIE SAN MARTIN nights bright days
BEETHOVEN Symphony No. 8
BERSTEIN Symphony No. 3 (Kaddish)

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After meeting Laurie San Martin, one this country’s most important ebullient composers, we’ll experience the lightness of a classical great—the seldom-heard 8th Symphony of Beethoven—and conclude with Leonard Bernstein’s extraordinary and poignant Symphony No. 3 (Kaddish), with chorus, soprano soloist and narrator. The Bernstein piece, named for the Jewish prayer for the dead, was dedicated to the late President John F. Kennedy and premiered in the days after of his assassination in 1963. It is a reflection simultaneously on the loss of a president and the loss of a generation of European Jews. It is powerful music, but also hopeful.

Click the image for program information.

 

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Additional Description:

LAURIE SAN MARTIN nights bright days
BEETHOVEN Symphony No. 8
BERSTEIN Symphony No. 3 (Kaddish)

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Biomes: A Musical Life-Form Tour
An evening of works inspired by surrealism, dreams, and biology. 

Collaborators:
Kyle Motl, contrabass | Mari Kawamura, piano | Alexandria Smith, trumpet | Teresa Diaz de Cossio, bass flute | Ilana Waniuk, violin

Works:
Reductionism is a Dirty Word
Subsong
Hydra Nightingale
Jungles: Remix
Spelunking (*World Premiere)
Phobiaphages

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Mahler composed his only surviving work of chamber music in 1876, at the age of 15; it was premiered three days after his 16th birthday at the Vienna Conservatory, by Mahler and fellow students. Dvorak's "Bagatelles" for two violins, cello and harmonium appeared in the same year. Both works, by Bohemian-born artists precariously entangled in bourgeois German and Austrian culture, capture the seething melancholy and alienation of the outsider artist.

In a symmetrical program framed by these two late-Romantic rarities, we explore the transition from Romanticism into its intensified form, Expressionism. Berg's "Four Pieces" for clarinet and piano, Webern's two early slow movements for cello and piano, as well as his "Three Little PIeces" for the same combination, show the nineteenth century teetering on the brink of the twentieth. Of special interest is Berg's own arrangement of the last of his "Altenberg-Lieder" for an ensemble of violin, cello, piano and harmonium, arranged as a gift for Alma Mahler-Gropius and her musical friends in 1917. These ravishing, inwardly-directed musical psychograms crystallize in sound the sense of a culture slipping toward chaos, "das Gleitende," as Hoffmansthal called it, using the musical metaphor of the glissando, or the portamento:  the sliding, gliding, shifting uncertainty of the fin-de-siècle.

 

Gustav Mahler:  Piano Quartet Movement in a minor (1876)

Alban Berg:  Four Pieces for Clarinet and Piano, Opus 5 (1913)

Max Bruch:  Pieces for Viola, Clarinet and Piano, Opus 83 (1910)

Alban Berg:  Hier ist Friede from the Altenberg-Lieder, Opus 4 Nr. 5 (1913)

Anton Webern:  Two PIeces for Cello and Piano (1898)

Anton Webern:  Three Little Pieces for Cello and Piano, Opus 11 (1914)

Antonin Dvorak:  Bagatelles for 2 Violins, Cello and Harmonium (1876)

 

Click on image for program information.

No late seating.

For additional program information, please visit Camera Lucida's website: sdcamlu.org

Subscription and single tickets available at the UC San Diego Box Office. Ticket information: (858) 534-TIXS (8497). 

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Under the artistic directorship of UC San Diego professor and cellist Charles Curtis and anchored by regular featured performances by San Diego Symphony Concertmaster Jeff Thayer, Formosa Quartet violist and USC professor Che-Yen Chen, concert pianist Reiko Uchida, UC San Diego performance faculty and occasional guests, Camera Lucida has established a tradition of challenging, musically ambitious programs performed with the assurance of an established ensemble, with the added flexibility of changing instrumentation and guests from the international chamber music world.

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In collaboration with the Faculty Club, the restaurant will now serve light-fare to Camera Lucida ticket holders before the concert at Cecil’s bar-lounge.

Cecil’s has an expanded and exciting new menu, available 4:30-7:30, on November 5, December 3, January 28, April 1 and 29. You don’t need to be a Club member to enjoy!

Cecil’s menu: http://facultyclub.ucsd.edu/lounge-happy-hour/index.html

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Composer and UC San Diego alumnus Josh Levine visits UC San Diego April 1st-3rd. His residency will culminate with performances of four works. We are delighted to have you join us this coming Wednesday, April 3rd at 5:00 p.m. in the Experimental Theater at the Conrad Prebys Music Center.

 

Praeludium - Kyle Adam Blair, piano

Les yeux ouvert - Sean Dowgray, vibraphone

Sixty Cycles - T.J. Borden, cello

Four Places, Many More Times - Michael Jones, Rebecca Lloyd Jones, James Beauton, Sean Dowgray, percussion; Steven Schick, conductor

 

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Black Lives in the Operas of Anthony Davis

The stories in my operas are drawn from the history of African Americans from the tragic consequences of the slave trade to the emergence of Black Nationalism and galvanizing figures like Malcolm X. In my operas, one can find heroic figures like Malcolm or Cinque, the leader of the Mende rebellion, Yoruba deities like the Trickster God and the Goddess of the Waters, or tragic victims of the American justice system, or misguided leaders of marginalized radical groups like the Symbionese Liberation Army. My operas address the issues of race and the collision of culture.

My first opera, X: The Life and Times of Malcolm X with a libretto by Thulani Davis follows Malcolm X’s odyssey and transformation from Malcolm Little, to Malcolm X and finally to El Hajj Malik el Shabazz. The three act structure of the opera corresponds to a change of name. In Act I, Malcolm becomes Detroit Red, the street hustler, who finds himself at the end of the act confronting his demons in prison. In Act II, a visit with his brother Reginald, introduces Malcolm to Elijah Muhammad and the Nation of Islam. In Act I he becomes Malcolm X and begins his ministry. In Act III Malcolm breaks with Elijah and makes his pilgrimage to Mecca and embraces Sunni Islam. His story was told in the opera as the classic journey of the tragic hero whose metamorphosis reflects the evolution of African American politics and identity. The rhythmic structures in the opera compel the drama reflecting Malcolm’s violent world. The music also reveals the parallel musical evolution of Jazz from Swing and the Jump Blues of the late 1940’s to the modal innovations John Coltrane and Miles Davis in the 60’s.

My opera Tania about the kidnapping of Patricia Hearst also explores a political topic with heiress turned revolutionary. Whereas X at root is a tragedy, Tania with a libretto by Michael John LaChiusa is a dark comedy reflecting an undeveloped revolutionary ethos signaling the end of the earlier period of radicalism. Much of the opera happens in a “closet world” where Patty becomes the revolutionary Tania and then after the death of her comrades becomes Patty again. The music employs parody to comic effect and musical repetition as a means to explore brainwashing in cults and conversion therapy.

The opera Amistad with a libretto by Thulani Davis tells the story of the mutiny and trial of Mende captives aboard the slave ship Amistad. The opera reveals the story of the Amistad as not only the pyrrhic victory of Mende captives who were never slaves but also as a transformative moment in the formation of American culture. This is represented in the opera in the parallel story of the arrival of the Trickster God in America. It is no accident that the anxiety about slave rebellions with Nat Turner, Denmark Vesey and the Amistad helped account for the popularity of the minstrel show in “White” America beginning in the 1840’s. The opera explores this cultural phenomenon as the genesis of American culture, no longer European, forever entangled in race and representation. The Trickster’s arrival is balanced by the emergence of the Goddess of the Waters for whom the Middle Passage is a violation of body and spirit. The music of the opera ranges from an evocation of the sea to the playful improvisatory spirit of the Trickster, who plays with language and time.

The Central Park Five will premiere in June at Long Beach Opera. The opera with a libretto by Richard Wesley, examines the wrongful conviction of five teenaged boys in New York City for the rape and assault on the Central Park jogger. The case electrified New York City and the boys were vilified for their supposed actions. Donald Trump was particularly vocal in his accusations against the boys. He published letters in the New York newspapers calling for the death penalty beginning his ongoing campaign to promote racial division and acrimony. The opera explores the interrogation of the five teenagers that forced confessions and the racial anxiety in New York with the emergence of hip-hop and hip-hop culture.

I would like to thank Alan Johnson who has been a tireless advocate for my music and an indispensable proponent of new American opera. I would also like to thank the performers, Christine Jobson and Carl DuPont. I would also like to thank the institutions that have supported this project, the University of Miami, the University of California, San Diego, the University of Maryland and the University of North Carolina, Charlotte.

--Anthony Davis

 

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Johannes Brahms:  Sonata Op. 120 Nr. 2 in Eb Major for Clarinet and Piano, 1895
I. Allegro Amabile
II. Appassionato, Ma Non Troppo Allegro
III. Andante Con Moto - Allegro
featuring Mari Kawamura, piano

Helmut Lachenmann: Dal Niente (Interieur III), 1970
for a solo Clarinet-Player

Madison Greenstone: Corridors
for room-responsive mixer feedback

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Program:

 

Prelude and Fugue No. 11 in F Major, BWV 880 - J .S. Bach

 

Piano Sonata in E Flat Maj or No. 18, Op. 31 - Ludwig van Beethoven

I. Allegro

II. Scherzo- Allegro vivace

Ill. Menuetto- Moderato e grazioso

IV. Presto con fuoco

 

Estampes - Claude Debussy

I. Pagodes

II. La soiree dans Grenade

II. Jardins sous la plu ie

 

6 Encores - Luciano Berio

I. brin(1990)

II. leaf (1990)

Ill. wasserklavier(l965)

VI. feuerklavier (1989)

 

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BlueRail: A BINATIONAL IMPROVISATION RELAY AT UC San Diego - APRIL 7, 2-4pm (FREE)

San Diego, CA - March 19, 2019: BlueRail is a two-hour-long, multidisciplinary, international, site-specific and improvised performance, based on the relay format, with improvisers moving through the halls, patio, stairs and secret corners of the CPMC building. The event will take place on Sunday, April 7th, 2019, from 2 to 4pm, at the Conrad Prebys Music Center, UC San Diego. BlueRail is supported by the UC San Diego Department of Music’s Improvisers Initiative, a diverse faculty collective focused on improvisation in musical culture.

BlueRail invites improvisers to interact by moving between different ensembles positioned throughout the building chosen for the acoustical, interaction and social features. Like runners in a relay race, improvisers tag each other in and out of ensembles; the audiences move throughout the building to create their own concert experience as the ensembles grow and change. Improvisers will take over the place in two big “waves” of one hour each. The event features extraordinary artists from San Diego, and Baja California, including musicians, dancers, and visual artists.

Anthony Burr, Barbara Byers, Mónica Camacho, Lissa Corona, Teresa Díaz de Cossío, Pable Derodo, David DeFillipo, Francisco Eme, Juliana Goana, Sarah Hankins, Aftab Jassal, Haydeé Jiménez, Roshanak Kheshti, Peter Kuhn, Nick Lesley, Abraham Lizardo, Rebecca Lloyd-Jones, Sam Lopez, Edwin Montes, Kyle Motl, Stephanie Richards, Paul Roth, Esther Gámez Rubio, Juan David Rubio, Kevin Schwenkler, Nicole Shao, Mariliu Salinas, Peter Sloan, Alexandria Smith, José Solares, Frida de la Sota, Jasper Sussman, Armando de la Torre.

The event is free, open to the public, family friends and accessible. Food and drinks will be provided. The title BlueRail honors the dynamics of circulation that have shaped peoples' lives in the region. Like the trolleys that change direction at the border, BlueRail explores improvised ways of listening and sound that push and pull in many directions at once.

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An afternoon of improvisatory performance continues with a showcase of collaborative, interdisciplinary work in CPMC’s courtyard. 

A 2019 Springfest Event

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Hermetic Art Party—a multidisciplinary performance collective featuring Anthony Vine, Madison Greenstone, and Katy Gilmore—will present a four day art and brend party from April 8th - 11th. The party will take place in the confines of room 2146 in Warren Lecture Hall, and function as a reclusive hideaway running parallel to the the rest of Springfest.

Each day will feature an installation in the afternoon, followed by a performance in the evening. The festival will feature artists and musicians from UCSD’s music, literature, and visual arts departments, as well as artists outside the university, including Erik Carlson, John Dombroski (Visual Arts), Daniel Meyer (Joshua Tree) and Ben Rempel (LA), Michael Matsuno, Celeste Oram, Zach Bushnell (Literature), and Hermetic Art Party.

A journal of prose, interviews, and poetry written and compiled by the participating artists will be available free of charge while supplies last.

Please note: This event is "ongoing" throughout the festival.  Visit the Event Link for specific information regarding the schedule of daily events.

A 2019 Springfest Event

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Experiments in Entropy features three diverse works which explore electronic, and electronically processed, sounds. The SElectOR ensemble performs electronic improvisations, featuring both synthesized and electroacoustic sounds. Anqi Liu’s work for modular synthesizer invites the listener to experience the spectral nuances and microcosmic spaces created by her live-patching of the instrument. Andres Gutiérrez’s work Auscultation explores the sonic qualities of different materials (such as metal and cardboard boxes) which are amplified and excited through contact microphones and speakers, and then projected spatially to create an immersive sonic experience.

A 2019 Springfest Event

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A philanthropist, idealist and humanist, Reza Deghati’s career began with studies in architecture. He has gone on to become a renowned photojournalist who, for the last three decades, has worked all over the world, most notably for National Geographic.

His assignments have taken him to over 100 countries as a witness to humanity’s conflicts and catastrophes, and has been celebrated internationally through media, a series of books, exhibitions and documentaries made for the National Geographic Channel.

Join the UC San Diego Division of Arts and Humanities as we welcome Reza to campus as a visiting artist under the Roghieh Chehre-Azad Distinguished Professorship. Reza will bring his unique voice and photography to students, faculty and the greater San Diego community, exploring “A Dream of Humanity.”

 

For more information go here.

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A concert that explores registral limits and compositions that navigate them. UC San Diego graduate flutists will perform piccolo music by Kaija Saariaho, Hilda Paredes and Mario Lavista, along with premieres of chamber music by Jessie Downs, Nick Deyoe and Wilfrido Terrazas.

A 2019 Springfest Event

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Hermetic Art Party—a multidisciplinary performance collective featuring Anthony Vine, Madison Greenstone, and Katy Gilmore—will present a four day art and brend party from April 8th - 11th. The party will take place in the confines of room 2146 in Warren Lecture Hall, and function as a reclusive hideaway running parallel to the the rest of Springfest.

Each day will feature an installation in the afternoon, followed by a performance in the evening. The festival will feature artists and musicians from UCSD’s music, literature, and visual arts departments, as well as artists outside the university, including Erik Carlson, John Dombroski (Visual Arts), Daniel Meyer (Joshua Tree) and Ben Rempel (LA), Michael Matsuno, Celeste Oram, Zach Bushnell (Literature), and Hermetic Art Party.

A journal of prose, interviews, and poetry written and compiled by the participating artists will be available free of charge while supplies last.

Please note: This event is "ongoing" throughout the festival.  Visit the Event Link for specific information regarding the schedule of daily events.

A 2019 Springfest Event

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Planning for this event is in development.  Performance information and times will be announced.  

A 2019 Springfest Event

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This concert features a selection of interdisciplinary pieces that engage with theatricality, surreality, and ritual. There will be three brand new works, including the premiere of Josh Charney's music/drama Phaedra for piano, voice and playback, UC San Diego alum Yvette Jackson's new piece for fixed media, and Tobin Chodos' realization of Richard Nixon's Piano Concerto #1. The program will also feature UC San Diego graduate and musicologist Heidi Von Gundun's Whistle Music: A Sonic Exorcism, a work that explores ritual music surrounding various culture's exorcism ceremonies. Lastly, an ensemble will honor a friend of the music department, Ryoko Amadee Goguen, with a performance of her composition Pelican Fish Button.

A 2019 Springfest Event

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XX presents its fourth concert featuring music created by women. Themes invoke multiple scales of time and space—from Celestial bodies light-years from Earth, to mysterious geological formations underground, to an aria for the queen of the crickets. On a human time-scale, experience a live acoustic soundscape of Tehran, Iran at 7am, and contemplate the flaws that may be integral to our identities. Video installations will be running at Conrad Prebys Music Center throughout the week.

A 2019 Springfest Event

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Hermetic Art Party—a multidisciplinary performance collective featuring Anthony Vine, Madison Greenstone, and Katy Gilmore—will present a four day art and brend party from April 8th - 11th. The party will take place in the confines of room 2146 in Warren Lecture Hall, and function as a reclusive hideaway running parallel to the the rest of Springfest.

Each day will feature an installation in the afternoon, followed by a performance in the evening. The festival will feature artists and musicians from UCSD’s music, literature, and visual arts departments, as well as artists outside the university, including Erik Carlson, John Dombroski (Visual Arts), Daniel Meyer (Joshua Tree) and Ben Rempel (LA), Michael Matsuno, Celeste Oram, Zach Bushnell (Literature), and Hermetic Art Party.

A journal of prose, interviews, and poetry written and compiled by the participating artists will be available free of charge while supplies last.

Please note: This event is "ongoing" throughout the festival.  Visit the Event Link for specific information regarding the schedule of daily events.

A 2019 Springfest Event

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Matt Kline will perform works for Double Bass by Catherine Lamb, Eva-Maria Houben and Pauline Oliveros.

A 2019 Springfest Event

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red fish blue fish presents: Uchronian worlds

The word uchronia refers to a hypothetical or fictional time-period of our world, in contrast to altogether fictional lands or worlds.

Uchronian worlds is an exploration of sonic landscapes where the listener is transported to new constructed worlds. Exploring the relationships between time, space and temporal sonorites, this program will feature works from composers such as Sarah Hennies, Fritz Hauser and Josh Levine. Also being presented are world premieres from Lydia Winsor Brindamour and Aristea Mellos.

A 2019 Springfest Event

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Ghost Music (2007-2008) is an evening-length work for solo percussion by Hudson Valley-based composer and Bard College faculty member Matt Sargent. Scored for a humble array of resonant metals, the piece creates an organic and breathing space through the use of recursive materials and unfolding processes: a “sanctuary in a suitcase.”

Audience members are encouraged to bring cushions, blankets, mats or whatever will make them comfortable, since the space will be cleared of chairs. (Please note that folding chairs will be available for those who need them.)

A 2019 Springfest Event

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Hermetic Art Party—a multidisciplinary performance collective featuring Anthony Vine, Madison Greenstone, and Katy Gilmore—will present a four day art and brend party from April 8th - 11th. The party will take place in the confines of room 2146 in Warren Lecture Hall, and function as a reclusive hideaway running parallel to the the rest of Springfest.

Each day will feature an installation in the afternoon, followed by a performance in the evening. The festival will feature artists and musicians from UCSD’s music, literature, and visual arts departments, as well as artists outside the university, including Erik Carlson, John Dombroski (Visual Arts), Daniel Meyer (Joshua Tree) and Ben Rempel (LA), Michael Matsuno, Celeste Oram, Zach Bushnell (Literature), and Hermetic Art Party.

A journal of prose, interviews, and poetry written and compiled by the participating artists will be available free of charge while supplies last.

Please note: This event is "ongoing" throughout the festival.  Visit the Event Link for specific information regarding the schedule of daily events.

A 2019 Springfest Event

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Songs, Texts, Canons: new works for solo voice and electronics

Baritone Jonathan Nussman presents a program of works for voice and computer, featuring the premiere of two new installments in his ongoing series, Canons for a Solo Singer. Also on the program is Nathan Hearing’s Medical Text p. 57 for voice and live electronics (2017). Collaborators include Alexandria Smith on flugelhorn, and a computer program written by John Burnett.

A 2019 Springfest Event

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Unbound from Space and Time: Spatial Compositions of Karlheinz Stockhausen

Spanning three decades of his oeuvre, an evening of spatial compositions by Karlheinz Stockhausen. The concepts of each of Stockhausen’s works were perpetually expanded upon, which created a cohesive universe within itself. The earliest of the works on the program, YLEM, sonically imagines the Big Bang with a large ensemble of mixed acoustic and electronic instruments. Time and space musically are connected in  Stockhausen’s world and in his seven day opera Licht, the thematic material transcends through time on cellular and celestial levels.
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The concert will begin in the Conrad Prebys Concert Hall before moving outdoors.

A 2019 Springfest Event

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Olivier Messiaen's Visions de l'Amen

Pianists Mari Kawamura and Sasha Burdin perform Visions de l’Amen, a majestic and mysterious work for two pianos that Messiaen wrote in 1943, shortly after having been released from a prisoner of war camp. The work was the first of his many collaborations with Yvonne Loriod, his future wife and his lifetime muse. They premiered the work that year in the Nazi-occupied Paris. This dramatic, almost 45 minute piece, seems influenced not only by Messiaen’s Catholic faith, but also his conflict with his growing forbidden passion toward Loriod, and longing for world peace.

A 2019 Springfest Event

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Tacos Varios at The Loft at UC San Diego

A 2019 Springfest Event

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On Friday, April 12th, parallel universes converge in the blackbox theater at UC San Diego's Department of Music. Digital ghosts banished from our reality return from the void, human-creature hybrids relate the grisly cost of adapting to climate change, an afrofuturistic spaceship takes flight, a musician meets his DJ doppelgänger, and more in this series of dark, humorous, and strange musical acts from the beyond.

A 2019 Springfest Event

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A philanthropist, idealist and humanist, Reza Deghati’s career began with studies in architecture. He has gone on to become a renowned photojournalist who, for the last three decades, has worked all over the world, most notably for National Geographic. His assignments have taken him to over 100 countries as a witness to humanity’s conflicts and catastrophes, and has been celebrated internationally through media, a series of books, exhibitions and documentaries made for the National Geographic Channel. Join the UC San Diego Division of Arts and Humanities as we welcome Reza to campus as a visiting artist under the Roghieh Chehre-Azad Distinguished Professorship. Reza will bring his unique voice and photography to students, faculty and the greater San Diego community, exploring “A Dream of Humanity.”

 

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Soprano Kirsten Ashley Wiest presents her final recital at UC San Diego, featuring four works written for her unique voice by composers Gérard Pape, James Erber, Joseph Bishara, and Jeffrey Holmes. 

Program:
Joseph Bishara – Black Sunday *world premiere
Gérard Pape – Being Beauteous
Kaija Saariaho – Luonnon kasvot and selections from Leino-laulut
James Erber – Phoenix
Jeffrey Holmes – Mara *world premiere

Performed with Kyle Adam Blair, piano

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Award-winning coloratura soprano Kirsten Ashley Wiest is firmly committed to the continuous evolution of classical vocal music. music. Her “bright, dazzling vocal technique” (San Diego Story) has captured the attention of composers worldwide, resulting in numerous world premiere performances including works by James Erber (UK), Veronika Krausas (CA/US), Rand Steiger (US), Tina Tallon (US), Jack Van Zandt (US), and Annie Hsieh (AU). among many others. Kirsten has sung as a soloist with the GRAMMY-winning Partch ensemble, La Jolla Symphony and Chorus, YMF Debut Orchestra, MiraCosta Symphony, HEAR NOW Festival of New Music, the Industry, kallisti chamber opera, Musica Vitale, wild Up new music collective, UCLA John Cage Symposium, UCSD's Palimpsest, CalArts New Century Players Ensemble, and Chapman University’s New Music Ensemble, and has performed at venues including Walt Disney Concert Hall, REDCAT, Copley Symphony Hall, Aratani Japan America Theater, Théâtre Le Palace, Autonomous University of Baja California, and the Moore Theater. She has given solo recitals on concert series' hosted by Harvey Mudd College, Chapman University, and Tuesdays @ MONK Space, was a featured soloist in the LA Philharmonic’s installation, Nimbus, and has recorded for several interactive operatic experiences and film scores. Kirsten has also performed with Bang on a Can All-Stars, Accordant Commons, San Diego Symphony percussion, red fish blue fish, San Diego Pro Arte Voices, the Metroplex Opera Company in Dallas, and the Texas 'Lone Star' Ambassadors of Music. Operatic roles include "La Princess" in Ravel's L'enfant et les sortileges (Perigueux, France), "Polly Peachum" in Weill's Threepenny Opera (San Diego CA), and "Mabel" in Gilbert and Sullivan's Pirates of Penzance (Fort Worth, TX). Collaborations-in-progress include works by Lei Liang (CN/US), Katharina Rosenberger (CH/US), Joseph Bishara (US), Gerard Pape (FR), and Jeffrey Holmes (US), premiering soon! A DMA candidate at UCSD under the guidance of GRAMMY award-winning soprano Susan Narucki, Kirsten holds an MFA from California Institute of the Arts and a BM cum laude from Chapman University’s Conservatory of Music.

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The California Electronic Music Exchange Concerts (CEMEC) form a series of events designed to strengthen the connections between the various California educational institutions that maintain computer and electronic music programs. These events are run and curated by the graduate students and faculty of each participating institution. 

The 2019 series of California Electronic Music Exchange Concerts will be held at the campuses of UC San Diego, UC Santa Barbara, Mills, CCRMA/Stanford, UC Santa Cruz, and CalArts.

A 2019 Springfest Event

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Songs from Patmos: Music for the End of the World

In a cave, on a rock, off the coast of second century Anatolia, John saw a vision of the end of days and penned his Apokalypsis. While this text sat for centuries on the fringes of the Christian canon, today many of its vivid images have entered the western popular consciousness through songs, visual art, and literature of various kinds. From the great pit of scorpion-tailed locusts, to the Beast and his pals running amok across the face of the Earth, Songs from Patmos, sets excerpts from Revelation as a series of chaotic vignettes, which explore the book’s dense layers of references, as well as its possible relevance to our modern world, and the human experience at large.

A 2019 Springfest Event

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Springfest joins forces with San Diego-based performing artists for an evening of music, dance, theater and socializing. Ongoing performances will occur throughout Space 4 Art’s live/work and gallery spaces, as well as on the property outdoors, while interdisciplinary, collaborative pieces are presented in the SandBox Venue next door.

A 2019 Springfest Event

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"..grander far the unseen soul"

Music by Nadia Boulanger, Ruth Crawford Seeger, Viktor Ullmann, Ingrid Stölzel, Christopher Cerrone, Nina C. Young, Aaron Helgeson and Charles Ives.

Are songs a distillation of life's experience, for those who compose them and those who perform them? In their latest recital program, longtime collaborative partners soprano Susan Narucki and pianist Donald Berman explore works of a distinct group of composers drawn from different generations and diverse personal histories, in songs with a wide range of musical expression from the folk-like and minimal to lush echoes of late Romanticism and multilayered textures of the modern.

Susan Narucki, soprano
Donald Berman, piano

Nadia Boulanger:   Au bord de la route (1922), Chanson  (1922), Cantique (1909), J'ai frappé  (1922)
Nadia Boulanger:   Vers la vie nouvelle (1918), for piano solo
Ruth Crawford Seeger:  From Five Songs (1929), Home thoughts, White Moon, Sunsets
Viktor Ullmann:  Three Hölderlin Lieder (1943), Sonnenuntergang, Der Frühling,  Abendphantasie
Ingrid Stölzel:  Grand is the Seen  (2014)
Christopher Cerrone:  That Night with the Green Sky (2013)
Nina C. Young:  Swan Song (2018)
Aaron Helgeson: Through glimpses of unknowing (2012), for piano solo
Charles Ives: From 114 Songs - Ann Street, At Sea, The Greatest Man, West London, Down East

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Nadia Boulanger  (1887-1979) was best known as one of the 20th century's most important and influential pedagogues and taught a number of celebrated composers and musicians.  She was also an active composer, though her works are infrequently performed; the songs and piano solo on the program date primarily from 1918-1922 and are notable for their concise, clear form and direct - in some cases - brutal, emotional expression.

Three of American composer Ruth Crawford Seeger's evocative settings of poems of Carl Sandburg, dating from 1929, are included as well.  Crawford Seeger's compositional language is rooted firmly in the modern, yet she creates a delicate, variegated sound world that lifts and envelops Sandburg's candid imagery.

The Three Hölderlin Songs (1943) of Viktor Ullmann were written during the composer's internment at Terezin. The poems speak to the possibility of transcendence through our relationship to the natural world; these little known masterworks of the song genre are luminous and achingly beautiful. 

The second half opens with music from a younger generation of composers: Ingrid Stölzel, Christopher Cerrone and Nina C. Young.  Stölzel's Grand is the Seen captures Whitman's resplendent text, with a deft use of instrumental color and sweeping vocal lines. Cerrone's The Night with the Green Sky builds an atmosphere of almost suffocating fragility through the simplest of means.  And in Swan Song, Nina C. Young  creates a fusion of word and sound in which time seems suspended.  Aaron Helgeson's piano solo, Through glimpses of unknowing explores the knife edge between sound and silence, with writing of delicacy and restraint.

The program concludes with songs by Charles Ives. Narucki and Berman have collaborated on music of Ives for decades, as their critically acclaimed recording The Light that is Felt: Songs of Charles Ives (New World) attests.  The songs presented on this program include vignettes of an America that is long past, with a notable exception: West London.  "ill, moody and tongue tied"  is the description that Matthew Arnold applies to the homeless woman with her child, who seek help from the few to whom they are visible. Ives' song, nearly one hundred years old, illuminates what still surrounds us.   

Are songs a distillation of life's experience, for those who compose them and those who perform them?  ..."grander far the unseen soul" is full of music of great audacity, if we consider the audacity it takes to be immersed in the intimate. 

 

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摩 挲 (2018-2019)
a six-channel sound and two-channel projection installation designed in SuperCollider

摩 挲: a skin piece (2019)
a percussion trio
Performed by: Performed by: Rebecca Lloyd-Jones,  Michael Jones, & Matthew LeVeque 
Videography by: Nasim Biglari
 

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Cantata: St. John the Baptist in the Wilderness for baritone and soprano soloists, ensemble, and chorus.

 

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Symbolic Interaction with Creative Agents:
In this concert, great musicians will interact freely with different artificial systems in a spontaneous and jubilant way and try to build individually and collectively a flavor of this symbolic interaction.
 
Performers:
Wilfrido Terrazas (Flutes)
Rebecca Lloyd-Jones (percussion)
Robert Keller (Trumpet, Impro-Visor system)
Shlomo Dubnov (piano, pyOracle, VMO)
Gérard Assayag (OMax, SoMax, Dyci2)
 

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Gerard Assayag

IRCAM, Paris

Improvisation can be seen as a major driving force in human interactions, strategic in every aspect of communication and action. In its highest form, improvisation is a mixture of structured, planned, directed action, and of hardly predictable local decisions and deviations optimizing adaption to the context, expressing in a unique way the creative self, and stimulating the coordination and cooperation between agents. An invaluable observation deck for understanding, modeling and promoting co-creativity in a context of distributed intelligence, Improvisation is an indispensable ability that any cyber-human system should indeed cope with in an expert way. Improvisation is instantiated in its most refined form in music, where the strongest constraints govern the elaboration of highly complex multi-dimensional, multi-scale, multi-agent actions in a cooperative and timely fashion so as to achieve creative social and cultural cooperation.

Setting up powerful and realistic human-machine environments for improvisation necessitates to go beyond the mere software engineering of creative agents with audio-signal listening and generating capabilities, such as what has been mostly done until now. Gerard Assayag has coined the term symbolic interaction in order to account for a richer and more versatile musical dialog between machines and humans, spanning over several levels of information from acoustic signals to the higher symbolic integration scales that are familiar to trained musicians. In order to foster realistic and artistically interesting behaviours in creative software agents, and to communicate with these in a productive way, we bring into synergy a combination of technical means: machine listening — extracting high level features from the musician signals and turning them into significant symbolic units ; machine cognition — discovering and assimilating on the fly structural schemes and learning powerful representations ; style modelling— elaborating consistent model of style an activating generative processes ; symbolic music representation — linking to formalized representations underpinning organized musical thinking s;a. analysis and composition. All these means cooperate — or compete — in order to elaborate multi-dimensional and multi-scale memory models, underlying processes of discovery, understanding, adaptation, reactivity, decision, planning, generation and contributing to the emergence of creative musical agents acting individually or in social interaction with other agents.

Improvised creative interactions between humans and machines can thus be studied from different perspectives (social sciences, AI, signal processing, control theory, robotics) and modalities in order to highlight the conditions under which these interactions can emerge, their temporal adaptation dynamics, their logical strategies, and to exploit their creative potential. We have proposed the expression co-creativity between human and artificial agents in order to emphasize the fact that creativity in this case is an emerging phenomenon resulting from complex interactions and complex crossed feed-backs between actors, and cannot be reduced to one or the other agent’s production in isolation, whether the latter be human or artificial. 

This neutralizes the endless philosophical question of whether artificial entities can be qualified as “creative” or not, and shifts the research interest to the exploration of how to build the best possible technical tools in order to allow co-creative interaction to occur. 

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Bio

Gerard Assayag has headed the IRCAM research lab (STMS : Science and Technology of Music and Sound) for six years with more than a hundred people in his jurisdiction. He is currently head of the Ircam Music Representation Team, a research group he has created in 1992.

His research interests are centered on music representation issues, including domain specific programming languages, artificial intelligence, computational modeling of music structures, 

computer-assisted composition and performance. He has developed with his collaborators OpenMusic and OMax, two powerful music research environments which have gained international appraisal and are used in many places around the world for computer assisted composition, analysis and human-machien improvised interaction. Assayag’s current work covers creative dynamics of improvised interaction between (natural and artificial) creative agents using computational creativity models and reactive time architectures, and leads national and international collaborative projects aiming at delivering these new creative tools for musicians.

 

Gerard Assayag is founding member of AFIM (French Society for Computer Music) and SMCM (Society for Mathematics and Computation in Music) and he serves in the boards of Journal of Mathematics and Music (which he co-founded) and Journal of New Music Research. He is co-founder of the Sound and Music Computing conference which has become a major international computer music conference,and of the Improtech workshop and music festival series,held in Paris,New York, Philadelphia and Athens, dedicated to improvisation and thecnology, which gathers the world’s best improvisers working with intelligent systems. Gérard Assayag has published several books on musical machine intelligence, such as «Mathematic and Music » (Springer-Verlag 1999), «The OM Composer’s Book I, II & III» (Delatour 2008-2016), «New Computational Paradigms for Computer Music » (Delatour 2009), «Constraint Programming in Music » (Wiley 2012)and « Mathemusical Conversations » (World Scientific 2016).

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Steven Schick leads the Palimpsest Ensemble with Hans Abrahamsen's Schnee (2008) and a premiere work by PhD candidate in composition, Felipe Rossi. 

The Palimpest Ensemble includes: Christopher Clarino, percussion, Juliana Gaona-Villamizar, oboe & English horn, Madison Greenstone, clarinets, Alexander Ishov, flutes, Mari Kawamura, piano, Ilana Waniuk, violin, and Ashley Zhang, piano. 

Conducted by Steven Schick

Click on the image for additional program information. 

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Hans Abrahamsen - Schnee (2008)
10 Canons for 9 instruments: 

Canon 1a. Ruhig aber beweglich (three strings and piano) 
Canon 1b. Fast immer zart und stille (tutti) 
Canon 2a. Lustig spielend, aber nicht zu lustig, immer ein bisschen melancholish (three woodwinds and piano) 

Intermezzo 1. (three strings, three woodwinds) 

Canon 2b. Lustig spielend, aber nicht zu lustig, immer ein bisschen melancholish (tutti) 
Canon 3a. Sehr langsam, schleppend und mit Trübsinn (im Tempo des "Tai Chi") (three strings, three woodwinds) 
Canon 3b. Sehr langsam, schleppend und mit Trübsinn (im Tempo des "Tai Chi") (two pianos and percussion) 

Intermezzo 2. (three strings) 

Canon 4a (minore) (Hommage à WAM). Stürmich, unruhig und nervös (tutti) 
Canon 4b (maggiore). Sehr stürmich, unruhig und nervös (tutti) 

Intermezzo 3. (cello, piccolo, clarinetto) 

Canon 5a (rectus). Einfach und kindlich (violin, viola, two pianos, piccolo, clarinetto) 
Canon 5b (inversus). Einf

https://www.yellowbarn.org/page/hans-abrahamsen-schnee

Hans Abrahamsen describes visualizing “pictures of music…basically, music is already there” within a given concept or narrative. This might explain his fascination with children’s fairytales (with their oft-pictorial language), such as Hans Christian Andersen’s classic “The Snow Queen”, which was Schnee’s partial inspiration. The score provides detailed guidelines to the musicians in the service of wintery images such as “like an icy whisper, but with a pulsation,” or “tender and still,” as well as fantastic, unspoken exclamations to accompany rhythmic motives such as “children hope there will be snow!” and “this is winternacht!”

During an eight-year-long period of self-described writer’s block in the 1990s, long before the beginning of Schnee’s realization in 2006, Abrahamsen spent time arranging the work of others. In his note to accompany the piece, he describes this experience:

“In the beginning of the 90s, I arranged some of J.S. Bach’s canons for ensemble – in total seven single standing works from his entire life span. I became totally absorbed into this music and arranged them with the intention of the music being repeated many, many times, as a kind of minimal music. Obviously, I didn’t know which durations Bach had in mind, but by listening to his canons in this way, a profound new moving world of circular time was opened to me. Depending on the perspective on these canons, the music and its time can stand still or move either backwards or forwards. In my own work, an ongoing idea has persisted, of at some point writing a work consisting of a number of canonical movements that would explore this universe of time.

In Schnee, a few simple and fundamental musical questions are explored. What is a Vorsatz [antecedent phrase]? And what is a Nachsatz [consequent phrase]? Can a phrase be answering? Or questioning? 

The guideline or rule for the canons is very simple: We start out with an answering Vorsatz, followed by a questioning Nachsatz. Throughout the time of the piece, these two are intertwined more and more, as more and more dicht geführt [tightly composed] canons, until, at the end, they are interchanged. Now the question and then the answer. The two canons are identical like a painting in two versions, but with different colors. And where the first one does not include the space, the second one does, as well as containing more canonical traces.”

—Hans Abrahamsen

Hans Abrahamsen studied theory at the Royal Danish Academy of Music, where Pelle Gudmundsen-Holmgreen was one of his mentors. Spurred by the example of his teacher, Abrahamsen’s music initially channeled the ideas of the New Simplicity movement, which was conceived as a reaction to the complex serialism championed as the pinnacle of modernism by the Darmstadt School in central Europe. His style evolved over the course of the ’70s and ’80s, spurred first by a fascination with minimalists Terry Riley and Steve Reich and, later, under the tutelage of Györgi Ligeti. The composer describes his own body of work “as one long music,” connected musically and thematically, by which token themes based on the intersection of winter and fantasy can be found in several of his compositions in addition to Schnee. These examples range from his recently Grawemeyer Award-winning, orchestral song cycle let me tell you (2013), which sets a snowy passage from Shakespeare’s Hamlet, to far earlier Winternacht (1978) and Märchenbilder[Fairytale Pictures] (1984). Abrahamsen is currently working on an opera based on Hans Christian Andersen’s “The Snow Queen”.

—Josh Davidoff

 

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Undergraduate sopranos Lizze Fisher and Julia Yu will be joined by pianist Dr. Kyle Adam Blair for a recital showcasing a handful of beautiful solo and duet soprano repertoire. Duet pieces include works by Gioacchino Rossini, Andrew Lloyd Webber, and Léo Delibes. Join us on Friday, April 26th, at 7:00 p.m. in the Conrad Prebys Recital Hall and journey through some major classical arias and art songs.

 

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The award-winning St. Lawrence String Quartet (SLSQ) has spent nearly three decades at the top of the chamber music world. Based at Stanford University, the ensemble is renowned for the intensity of its performances, its breadth of repertoire, and its commitment to concert experiences that are at once intellectually exciting and emotionally alive. A frequent visitor to ArtPower, SLSQ is this time joined by acclaimed pianist and composer Stephen Prutsman. Described as one of the most innovative musicians of his time, Prutsman was a medalist at both the Tchaikovsky International Piano Competition and the Queen Elisabeth International Music Competition.

• Robert Schumann: Quintet in E-flat Major, op. 44; 
• Joseph Haydn: String Quartet in F Minor, op. 55 no. 2 “The Razor”
• Stephen Prutsman: Color Preludes for Piano and Strings

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“World renowned sitar virtuoso Pandit Kartik Seshadri  presents an enchanting evening of Ragas and Talas in the Maihar tradition of Indian Classical Music. He will be accompanied by Pandit Arup Chattopadhyay on the tabla. ”

Click the image for more information.

 

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Indian classical music known as Raga Sangeeth, is an improvised art form based on the concepts of Raga and Tala. The historical origins of this spiritual musical tradition date back to the sacred Hindu scriptures known as Veda(s), which were the early precursors to the system of music that developed gradually. Raga(s) are the tonal idiom for improvisation and these precise melodic forms while essentially modal in structure, acquire their distinct musical
identities from a complex range of factors: the Indian tonal system of perceiving the octave as 22 microtonal divisions (Sruti); the subtle nuances, inflections, and ornamentations associated with each Raga; and the particular emphasis of certain notes (Vadi, Samavadi) within the specific ascending and descending (Arohana and Avarohana) movement of each
Raga. While all Raga(s) are specific to the time of the day (morning, evening or night) some Raga(s) are performed only during certain seasons, festivals or special occasions. The melodic and rhythmic aspect of our tradition is completely consistent with our aesthetic and philosophical idea that each Raga expresses a single dominant mood (Rasa). The nine
Rasa(s) associated with our music are: Shringara (sensuous or erotic), Hasya (humorous), Karuna (pathos), Rudra (anger), Veera ( heroic), Bhayanaka (fearful), Vibhatsa (disgust), Adbhuta (wonderment) and Shanta (tranquility).

The second aspect of improvisation in Indian classical music pertains to the concept of rhythm known as Tala. A Tala is conceptualized in cycles of beats ranging anywhere from a three beat cycle to a 108 beat cycle. There are other complex cycles in fractional beats such as 41⁄2, 61⁄2, 111⁄2 to mention a few, that make for complicated improvisations. An accomplished musician of Indian classical music has to develop complete mastery and facility over both Raga and Tala to acquire the total freedom of improvisation within the complex constraints that Raga and Tala impose on the performer. Indian classical music is predominantly steeped in melody and rhythm as opposed to the ideas of contrast manifested in harmony, counterpoint and modulation which shape traditions such as European art music or Jazz. The challenge of our music lies in the musician’s ability to shape and develop an entire musical edifice of a Raga and to express its fullest depth and excitement. This is acquired through many years of Talim (training) with a master musician (Guru).

A typical performance of instrumental Indian classical music begins with Alap, Jor and Jhala rendered on the solo instrument such as Sitar, Sarod, etc. While the Alap is a slow, spiritual, non- metric rendition of the Raga, the following sections Jor and Jhala are somewhat free and bound to a more defined pulse. The Gat (theme) follows the previous sections and it is in this section that the concept of Tala is introduced and the accompanying percussion instrument (such as Tabla or Pakhawaj) joins the main instrument.

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Camera Lucida is a chamber music collaboration between four musicians with diverse backgrounds. Camera Lucida is a unique project matching masterpieces of the chamber music repertoire with a group of world-class instrumentalists who happen to call San Diego home.

Mozart - Piano Quartet in E-flat major, K. 493
Beethoven - String Quartet in G major, Opus 18 No. 2
Mozart - Quintet for clarinet and strings in A major, K. 581

Click on image for program information.

 

No late seating.

For additional program information, please visit Camera Lucida's website: sdcamlu.org

Subscription and single tickets available at the UC San Diego Box Office. Ticket information: (858) 534-TIXS (8497). 

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Under the artistic directorship of UC San Diego professor and cellist Charles Curtis and anchored by regular featured performances by San Diego Symphony Concertmaster Jeff Thayer, Formosa Quartet violist and USC professor Che-Yen Chen, concert pianist Reiko Uchida, UC San Diego performance faculty and occasional guests, Camera Lucida has established a tradition of challenging, musically ambitious programs performed with the assurance of an established ensemble, with the added flexibility of changing instrumentation and guests from the international chamber music world.

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In collaboration with the Faculty Club, the restaurant will now serve light-fare to Camera Lucida ticket holders before the concert at Cecil’s bar-lounge.

Cecil’s has an expanded and exciting new menu, available 4:30-7:30, on November 5, December 3, January 28, April 1 and 29. You don’t need to be a Club member to enjoy!

Cecil’s menu: http://facultyclub.ucsd.edu/lounge-happy-hour/index.html

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~Unit BWV Series: Take 2~
J. S. Bach – The Musical Offering (BWV 1079)

Composed near the end of his life, The Musical Offering is a collection of 2 ricercars, 10 canons, fugues, and trio sonata, by J.S. Bach, all based on a musical theme given by Frederick II of Prussia. It is one of the composer’s most complex, abstract and beautiful works. We will present the complete set of this masterpiece.

Guest artists from the San Diego Symphony: Rose Lombardo (flute), Nicole Sauder (violin), Zou Yu (violin) and Chia-Ling Chien (cello)

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The Race of Sound: The Acousmatic Question as Voice-Making 

Nina Sun Eidsheim

University of California, Los Angeles

The foundational question raised in listening to a human voice is: Who is this? Who is speaking? This is an acousmatic question that asks what type of essence is sounding. In this presentation, I assert that we ask the acousmatic question because it is not actually possible to know voice, vocal identity, and meaning as such; we can only know them in their multidimensional processes, practices, and multiplicities. My goal with this talk is to provide tools that help denaturalize the acousmatic listening process and the voices it names. For example, how timbre performed by one person is understood as essence (e.g., a so-called white timbre performed by someone understood as white) while the same timbre performed by another person is understood as an imitation (e.g., a so-called white timbre performed by someone understood as African American). This framework helps explain how singing, while generally mistaken for essence, is always made up of entrainment, style, and technique—concepts I will discuss in detail. Thus, drawing from musicology, ethnomusicology, African American-, race-, sound- and voice studies, I provide a framework that can help us critically examine how race is “measured” through sound, and how the authenticity of race and racial subjectivities is often located in vocal timbre. More broadly, I hope this work can contribute to a knowledge of the ways in which comprehending voice remains central to understanding human experience.

Nina Eidsheim (Professor of Musicology; Director of Graduate Studies; Dean's Associate for Faculty and Graduate Student Development; UCLA Herb Alpert School of Music), Sensing Sound: Singing and Listening as Vibrational Practice (Duke UP, 2015) and The Race of Sound: Listening, Timbre, and Vocality in African American Music (Duke UP, 2019); co-editing Oxford Handbook of Voice Studies (forthcoming, June 2019); Co-editor (with Josh Kun and Ronald Radano) of the Refiguring American Music book series for Duke University Press; recipient of the Mellon Foundation Fellowship, Cornell University Society of the Humanities Fellowship, the UC President’s Faculty Research Fellowship and the ACLS Charles A. Ryskamp Fellowship. She received her bachelor of music from the Agder Conservatory (Norway); MFA in vocal performance from the California Institute of the Arts; and Ph.D. in Musicology from the University of California, San Diego.

 

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Jasper Sussman is a music researcher, voice artist, collaborative composer, and educator pursuing her Ph.D. in Integrative Studies at the University of California San Diego where she studies the in- and exclusionary aspects of vocal performance and practice. Her first dissertation recital features 20th and 21st-century music with vocal styles ranging from Italian verismo to American Appalachian. Her fondly selected program delightfully showcases the diversity of the human instrument.

Featuring: Christopher Clarino, percussion, Mari Kawamura, piano, Kathryn Schulmeister, double bass

PROGRAM
Georges Aperghis (b. 1945) | Pub 1 (2002), Pub 2 (2002)

Tansy Davies (b. 1973)
         Troubairitz: 1. What I Write Now, 2. Secret Wishes, 3. Since I Refused,
         4. Beloved Friend, 5. Now He Is Gone, 6. Winter, 7. I Walk Alone (2010)
               featuring Christopher Clarino, percussion

Francis Poulenc (1899-1963) | Violon: Fiançailles Pour Rire (1939)

Gustav Mahler (1860-1911) | Ich bin der Welt abhanden gekommen (1901)

Giacomo Puccini (1858-1924) | Un bel di, vedremo (1904)
               featuring Mari Kawamura, piano

Shawn Jaeger (b. 1985) | In Old Virginny (2007)
               featuring Kathryn Schulmeister, double bass

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Looking to the Future

Steven Schick, conductor

Julia Wolfe Fuel (with film by Bill Morrison)
Camille Saint-Saëns Piano Concerto No. 2
Jean Sibelius Symphony No. 5

Soloist: Anne Liu, piano, 2017 Young Artists Winner (pictured)

Steven Schick leads a sharply varied program. Pulitzer Prize-winner Julia Wolfe has taken particular pleasure in writing music with film, and we hear her Fuel, with a film by Bill Morrison. Young Artist Winner Anne Liu performs Saint-Saens’ witty Second Piano Concerto, which has been described as “beginning with Bach and ending with Offenbach.” The concert concludes with Sibelius’ mighty Fifth Symphony, which drives to its triumphant conclusion on six shattering chords for full orchestra.

 

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Looking to the Future
Steven Schick, conductor

Julia Wolfe Fuel (with film by Bill Morrison)
Camille Saint-Saëns Piano Concerto No. 2
Jean Sibelius Symphony No. 5

Soloist: Anne Liu, piano, 2017 Young Artists Winner (pictured)

Steven Schick leads a sharply varied program. Pulitzer Prize-winner Julia Wolfe has taken particular pleasure in writing music with film, and we hear her Fuel, with a film by Bill Morrison. Young Artist Winner Anne Liu performs Saint-Saens’ witty Second Piano Concerto, which has been described as “beginning with Bach and ending with Offenbach.” The concert concludes with Sibelius’ mighty Fifth Symphony, which drives to its triumphant conclusion on six shattering chords for full orchestra.

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Flutist Michael Matsuno presents his final DMA recital, entitled: “Twelve Partials” 

Premieres by: Lydia Winsor Brindamour and Anthony Vine 

Works by: Matthew Chamberlain, Ben Johnston, Brian Ferneyhough 

With: Kyle Adam Blair, piano and Ilana Waniuk, violin 

Click on Michael's image for his biography and additional information

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ABOUT MICHAEL:
Michael Matsuno is a flutist and educator based in San Diego. His creative practice aims to extend the timbral range of the instrument through new techniques applied in both scored music and new collaborations. He has worked closely with composers like Jürg Frey, Roger Reynolds, Rand Steiger, Matthew Chamberlain, Annie Hui-Hsin Hsieh, Katharina Rosenberger, and Brian Griffeath-Loeb. Michael performs frequently with the UCSD Palimpsest and Renga ensembles, and has guest performed on the June in Buffalo festival, San Diego’s SoundON Festival and LA’s Monday Evening Concerts, WasteLAnd, and Jacaranda New Music.

More about Michael: http://www.michaelmatsuno.com/

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Seeking Antonia

A constructed opera on a hidden life.

Antonia Bembo (1640-1720) was a singer and composer whose remarkable life and work has been largely overlooked.  Born in Venice, her early talent as a singer brought her to the attention of the French aristocracy during her physician father's search for a position at court.  After her tragic marriage to a Venetian nobleman left her in ruin, she fled to Paris with a group of virtuoso musicians, to seek the patronage of Louis XIV.  She was offered protection in a Parisian cloister, and during her decades in residence there, produced a unique body of work for solo and multiple voices that was a direct reflection of music of the high Italian Baroque and  incorporated elements of the new galante style that was emerging in France. 

Despite the fact that Antonia Bembo regularly had her music played at court, and collaborated with some of the most distinguished artists of the day, including the poet Elisabeth Sophie Chéron, none of her works were published during her lifetime.  

Seeking Antonia is an hour-long performance that weaves together texts from family letters, inscriptions from musical manuscripts, and concert works for voice from  Bembo's compositions, including her Produzione Armoniche, and a piece for vocal quartet from one of her mature masterworks, The Seven Penitential Psalms. 

kallisti singers Kirsten Ashley Wiest, Hillary Jean Young, Jonathan Nussman, all candidates for the DMA at UC San Diego will be joined by four talented UCSD undergraduate vocalists:  Elizabeth Fisher, Julia Yu, Joseph Garcia, and Adrian Chan. 

kallisti artistic director,  Professor Susan Narucki, conceives and directs the project with  Kyle Adam Blair serving as music director. 

Join us for an exploration of vocal music of rare beauty and the celebration of a singular, remarkable life. 

 

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kallisti has also been featured with the La Jolla Symphony (Berio:Symphony)  and on the Green Umbrella Series at the Los Angeles Philhamonic (Reich: Music for 18), both with conductor Steven Schick and in the San Diego Symphony's 2018 It's About Time Festival at Copley Symphony Hall.  In addition, kallisti has toured to Stanford University in a unique collaboration of three world premiere operas:  The Voice Machine (2016)

kallisti chamber operas bring rarely heard masterworks and world premieres to the San Diego community.  kallisti  presented the San Diego premiere of Viktor Ullman's 1943 chamber opera Der Kaiser von Atlantis (2012) in a critically acclaimed production that has been viewed over 4000 times worldwide on Vimeo

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Seeking Antonia

A constructed opera on a hidden life.

Antonia Bembo (1640-1720) was a singer and composer whose remarkable life and work has been largely overlooked.  Born in Venice, her early talent as a singer brought her to the attention of the French aristocracy during her physician father's search for a position at court.  After her tragic marriage to a Venetian nobleman left her in ruin, she fled to Paris with a group of virtuoso musicians, to seek the patronage of Louis XIV.  She was offered protection in a Parisian cloister, and during her decades in residence there, produced a unique body of work for solo and multiple voices that was a direct reflection of music of the high Italian Baroque and  incorporated elements of the new galante style that was emerging in France. 

Despite the fact that Antonia Bembo regularly had her music played at court, and collaborated with some of the most distinguished artists of the day, including the poet Elisabeth Sophie Chéron, none of her works were published during her lifetime.  

Seeking Antonia is an hour-long performance that weaves together texts from family letters, inscriptions from musical manuscripts, and concert works for voice from  Bembo's compositions, including her Produzione Armoniche, and a piece for vocal quartet from one of her mature masterworks, The Seven Penitential Psalms. 

kallisti singers Kirsten Ashley Wiest, Hillary Jean Young, Jonathan Nussman, all candidates for the DMA at UC San Diego will be joined by four talented UCSD undergraduate vocalists:  Elizabeth Fisher, Julia Yu, Joseph Garcia, and Adrian Chan. 

kallisti artistic director,  Professor Susan Narucki, conceives and directs the project with  Kyle Adam Blair serving as music director. 

Join us for an exploration of vocal music of rare beauty and the celebration of a singular, remarkable life. 

 

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Additional Description:

kallisti has also been featured with the La Jolla Symphony (Berio:Symphony)  and on the Green Umbrella Series at the Los Angeles Philhamonic (Reich: Music for 18), both with conductor Steven Schick and in the San Diego Symphony's 2018 It's About Time Festival at Copley Symphony Hall.  In addition, kallisti has toured to Stanford University in a unique collaboration of three world premiere operas:  The Voice Machine (2016)

kallisti chamber operas bring rarely heard masterworks and world premieres to the San Diego community.  kallisti  presented the San Diego premiere of Viktor Ullman's 1943 chamber opera Der Kaiser von Atlantis (2012) in a critically acclaimed production that has been viewed over 4000 times worldwide on Vimeo.

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(pãpl?'musjee z) (singular: pamplemousse) 1. n. an oblate spheroid 2. v. the act of dissecting and conceiving acoustic blueprints 3. adj. juicy and sweet and tender and tart 4. v. aggregating sonic possibilities into shapes of resonance, clusters of glitch, skitters of hyper action, and masses of absurdity 5. q. whodipousse?

" The absurd dances with the sublime, and playfulness collides with rigor. " ~Peter Margasak, Chicago Reader

Composer/performer collective Ensemble Pamplemousse was founded in 2003 to provide a focal point for like-minded creators with a thirst for sonic exploration. The ensemble is a close-knit group of divergent artistic personalities, emergent from training in disparate musical fields. Their collective love for the exquisite in all sonic realms leads the ensemble to persistently discover new vistas of sound at the frayed edges of dissective instrumental performance technique. Compositions aggregate each member's unique virtuosic talents into extraordinary magical moments. In the flexible moments of performance, the ensemble weaves together shapes of resonance, clusters of glitch, skitters of hyper action, and masses of absurdity into impeccable structures of unified beauty.

PLEASE NOTE:  TIME CHANGE - This performance will begin at 5:30 p.m.

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Seeking Antonia

A constructed opera on a hidden life.

Antonia Bembo (1640-1720) was a singer and composer whose remarkable life and work has been largely overlooked.  Born in Venice, her early talent as a singer brought her to the attention of the French aristocracy during her physician father's search for a position at court.  After her tragic marriage to a Venetian nobleman left her in ruin, she fled to Paris with a group of virtuoso musicians, to seek the patronage of Louis XIV.  She was offered protection in a Parisian cloister, and during her decades in residence there, produced a unique body of work for solo and multiple voices that was a direct reflection of music of the high Italian Baroque and  incorporated elements of the new galante style that was emerging in France. 

Despite the fact that Antonia Bembo regularly had her music played at court, and collaborated with some of the most distinguished artists of the day, including the poet Elisabeth Sophie Chéron, none of her works were published during her lifetime.  

Seeking Antonia is an hour-long performance that weaves together texts from family letters, inscriptions from musical manuscripts, and concert works for voice from  Bembo's compositions, including her Produzione Armoniche, and a piece for vocal quartet from one of her mature masterworks, The Seven Penitential Psalms. 

kallisti singers Kirsten Ashley Wiest, Hillary Jean Young, Jonathan Nussman, all candidates for the DMA at UC San Diego will be joined by four talented UCSD undergraduate vocalists:  Elizabeth Fisher, Julia Yu, Joseph Garcia, and Adrian Chan. 

kallisti artistic director,  Professor Susan Narucki, conceives and directs the project with  Kyle Adam Blair serving as music director. 

Join us for an exploration of vocal music of rare beauty and the celebration of a singular, remarkable life. 

 

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kallisti has also been featured with the La Jolla Symphony (Berio:Symphony)  and on the Green Umbrella Series at the Los Angeles Philhamonic (Reich: Music for 18), both with conductor Steven Schick and in the San Diego Symphony's 2018 It's About Time Festival at Copley Symphony Hall.  In addition, kallisti has toured to Stanford University in a unique collaboration of three world premiere operas:  The Voice Machine (2016)

kallisti chamber operas bring rarely heard masterworks and world premieres to the San Diego community.  kallisti  presented the San Diego premiere of Viktor Ullman's 1943 chamber opera Der Kaiser von Atlantis (2012) in a critically acclaimed production that has been viewed over 4000 times worldwide on Vimeo

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Underground composer Joe Garrison returns with Prayers & Mantras Suite in 9-movements, featuring bel canto soprano, 5 winds, piano, bass and live electronics.

Repertoire - Kamau Kenyatta Ensemble, Joe Garrison and Night People

Click the image for program information.

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Joe Garrison MM. University of Colorado, Boulder. BM. CSUF - has been an active part of the San Diego Art Scene since the 1960's. Coming up through the rock scene of the 60's, Garrison transitioned into the San Diego  Avant Garde Music community through contact with UCSD Music Dept, where he was heavily influenced by - Roger Reynolds, Thomas Nee, Kenneth Gaburo, Robert Erickson, Pauline Oliveros, Frank McCartey, Allen Strange. He continued studies in composition with Lloyd Rodgers and Donal Michalsky  at CSUF. Garrison continued to the University of Colorado and studied with Pulitzer Prize- winning composer, Richard Toensing and Cecil Effinger.

Garrison returned to the San Diego music scene as part of the Ruse Collective in the 1980's, when he formed his iconic workshop ensemble - Night People.  Joe Garrison and Night People has performed as an ongoing project since 2000, releasing several recordings with San Diego Jazz Luminaries - including - Daniel Jackson, Kamau Kenyatta, Lori Bell, Gilbert Castellanos, Derek Canon, Melonie Grinnell, Mackenzie Leighton.  Classical musicians have joined forces - from the local free lance community - Brian O'Donnell, Arian Warren, Jane Zwerneman, Robert Zelickman to name a few.

Garrison's music crosses all boundaries - spanning Jazz, Rock and Classical. He paraphrases John Cage, "All Music is Music, when you let it flow." Garrison has continued to blur the lines between classical and jazz music and brings musicians from all points of the spectrum together.

UCSD alumni, Chris Warren brings his unique vision of live electronics to this project.  In addition, he composes one of the nine movements.

Prayers & Mantras features:

Kirsten Ashley Wiest -  Soprano

Chris Warren - live electronics/composer movement #6

Lori Bell - flute

Ariana Warren - clarinet

Kamau Kenyatta - soprano saxophone

Jane Zwerneman - French horn

Brian O'Donnell - bass trombone

Melonie Grinnell - piano

Mackenzie Leighton - bass

Joe Garrison - composer/conductor

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Tiange Zhou - Movements I

Alex Stephenson - Soif

Kyle Johnson - Arrangements of Songs Which Have Titles Beginning with the Letter M

Joey Bourdeau - Drunken Hiccups

 

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Imposter Syndrome
Berk Schneider, trombone - Graduate Recital

Esquisse Retouchee, incipit II (2002) for solo trombone and kick drum Johannes Staud (1974-)
Spazio Immergente (2015) for trombone and soprano Beat Furrer (1954-) Barbara Byers, soprano
Fallacy (2019) for partially-amplified solo trombone Sang Song (1971-)
Facesplitter (2015) for solo trombone Nicholas Deyoe (1981-)
Three States (2019) for electro-acoustic ensemble Berk Schneider (1988-) SElectOr, electronics
Dos-a-Dos (1988) on trombone and flute Vinko Globokar (1934-) Alexander Ishov, flute

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Marc Hannaford, "Fugitive Theory in Chicago (and Beyond): Muhal Richard Abrams’s Engagement with the Writings of Joseph Schillinger.”

This paper traces connections and resonances between Muhal Richard Abrams, pianist, composer, and cofounder of the Association for the Advancement of Creative Musicians (AACM) and Russian composer, theorist, and polymath Joseph Schillinger.  I examine Abrams’s engagement with Schillinger’s composition treatise, The Schillinger System of Musical Composition from historical and conceptual viewpoints, and critical theorize it as an instance of what I call “fugitive music theory.”  This theorization suggests an under-examined genealogy of music theory involving black musicians and hence suggests a reappraisal of the discipline to include this work.

Marc Hannaford is a music graduate student at Columbia University.

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One Fish Two Fish, directed by James Beauton, is made up of undergraduate percussion players who are enrolled in either MUS 32 (private lessons) or MUS 95L (Wind Ensemble). They are presenting a concert of classic and original works. 

Catfish - Mark Applebaum
Suite for Percussion - Johanna Beyer
Side by Side - Michio Kitazume, Adrian Martinez, soloist
Ostinato Pianissimo - Henry Cowell
Rebonds - Iannis Xenakis, Matthew Leveque, soloist
Drum Mashup - Wilcoxon, Harr, Barba, Chapman
Double Music - Lou Harrison/John Cage
 

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May 22 features an intimate duo with intrepid pianist Joshua White and trumpeter and UC San Diego faculty Steph Richards, featuring new compositions by Richards.  

This concert marks the beginning of a new cycle of works Richards is writing specifically for White's unique and extraordinary navigation of notated and improvised music. Steph Richards has been called "boldly inventive" by the New York Times saying that "Steph Richards composes in ways that standard notation could never document." While her trumpet “skillset explodes every category,” (WBGO/Nate Chinen), Richards has worked with pioneering artists ranging from Henry Threadgill, Anthony Braxton and John Zorn to David Byrne, St. Vincent and Yoko Ono. Richards is driven by a curiosity how listeners interact with music and what sensory variables are open to experimentation. Her compositions have premiered on stages at Carnegie Hall, the Blue-note and Lincoln Center to include works for carousel, underwater ensemble, film, dance and most recently, scents. Her debut record "Fullmoon" (Relative Pitch Records) was voted on multiple “Best of 2018” year end lists and in early 2019 she released her latest record “Take The Neon Lights” earning high praise from NPR, stating that "Richards is one to watch". Richards co-produces the annual FONT Music Festival in NYC, and, beginning last year, began producing a San Diego-based FONT Music Festival in partnership with Dan Atkinson and UCSD Extension. Richards is on faculty at UC San Diego and is a Yamaha artist.

 

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Interregnum Music

This is a talk about messes—old messes, of the kind that aesthetic modernism was concerned with both making and cleaning up, and new messes, like the one many of us find ourselves in right now politically, culturally, socially, technologically. On the one hand, it might seem a misplaced urge to talk about the historical category of modernism in relation to the current day: the superego injunction to discuss “more urgent things” lifts us up but also beats us down now, not least academics interested in aesthetic theory, and it finds in modernism’s monadic hauteur and pretentious loneliness an easy target for de-prioritization (Think collectively! Work together! Be transparent! Not top-of-list qualities of the stereotypical modernist.) But something of the present pings sympathetically with elements constitutive of aesthetic modernist theory and practice. This is especially true when thinking about music, where modernism’s historical coordinates are fuzzier and extend further into the present.

I build my speculations here around a motley series of encounters all concerned with form and formalism: the myth of Apollo and Marsyas, an interview with Samuel Beckett, the reign of Trump, the work of Caroline Levine, and the Freudian-Lacanian theory of drive; strung throughout are para-encounters with a string quartet of Helmut Lachenmann. But my question is essentially a historical one: as so many categories of experience defining of historical modernism—categories long thought to have been left behind—reemerge as impending conditions, what should we do with this uncanniness, these “formal correspondences” between old and new, this hopeful and tragic sense of repetition? As the revolutionary horizon begins (for better and worse) to reappear, as technology once again regains its utopian and dystopian charisma, and as hegemonic social classes seem poised for dissolution or at least radical realignment—in such a moment, what does modernism still have to tell us? And what does its sound have yet to augur?

Please click on the image on the left for Seth Brodsky's biography.

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Seth Brodsky is Associate Professor of Music and the Humanities at the University of Chicago. He is the author of From 1989, or European Music and the Modernist Unconscious (California 2017, Lewis Lockwood Award 2018). His scholarly and critical work pursues a number of related lines of inquiry focusing on music of the 20th and 21st centuries, including the cultural place of “the composer”; the role of unconscious processes, particularly as figured in psychoanalytic discourse, in the making and experiencing of music; and repetition, in particular, thinking about aesthetic modernism less as a proverbial "search for the new" then as a larger project in resisting or "breaking" repetition, whether it be the repetition of forms, laws, and languages, of genres and styles, or of themes, patterns, motives, etc. He currently serves as interim director of the University of Chicago’s Gray Center for Arts and Inquiry, which seeks to cultivate experimental collaborations between artists and scholars from any and all backgrounds and fields, and is executive editor of its triannual journal Portable Gray.

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Vocal student Jennifer Colin, accompanied primarily by pianist Remi Ha, presents her senior recital. 

The program will include exerpts from Pierre Lunaire, German lieders, and French and Italian arias.

 

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Piano studio students under the instruction of Aleck Karis and Mari Kawamura present an end of year recital: 

Andante with Variations in F minor - Joseph Haydn (1732 - 1809)
Seth Lerer

Sonata Opus 2, no. 1 - Ludwig van Beethoven (1770 - 1827)
Menuetto - Allegretto - Prestissimo
Daniel Mendoza

Impromptu No. 4 in A-flat major, D 899 - Franz Schubert (1797 - 1828)
Chia-yu Chang

Ballade - Claude Debussy (1862 - 1918)
Junko Roberts

Asturias - Isaac Albéniz (1860 - 1909)
Etude-Tableaux Opus 39, no. 8 in D minor - Sergei Rachmaninoff (1873 - 1943)
Jad Barrer

Six Encores - Luciano Berio (1925 - 2003)
Erdenklavier - Luftklavier
Remi Ha

Snowdrift - Michael Finnissy (b. 1946)
Mari Kawamura
 

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Alex Stalarow, "Collecting and Manipulating International Sound Sources in Pierre Schaeffer’s Postwar Radiophonic Art"

This paper explores the myriad sound recordings that comprise Pierre Schaeffer’s Une Heure du monde, a six-part radio drama produced for the 1946 Paris Peace Conference. Acquired from near and far at institutions including the sound archives at the Musée de l’Homme and the sound databases of Radio Delhi, the recordings that enliven Une Heure du monde work to facilitate cultural exchange and reframe French identity within the structures of postwar cultural internationalism. Exploring these recordings—their collection, manipulation, and montage—locates the early manifestations of Schaeffer’s work within the context of a postwar international radio. Further, this paper reveals how some of the program’s dramatic, sonic, and process-based experiments shaped Schaeffer’s later projects, particularly those of global scope. 

Please click on the image on the left for Alex Stalarow's biography.

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Alexander Stalarow obtained his Ph.D. in musicology from the University of California, Davis in 2017 is currently a Professor of Music History and Literature at the San Francisco Conservatory. His work on Pierre Schaeffer’s early career in radiophonic art and its impact on the multidisciplinary figure’s musique concrète project has been supported by grants including a Chateaubriand Fellowship and an AMS 50 Dissertation Fellowship.

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Music 33C, Introduction to Composition III, presents their end of year concert. 

New and original work composed by: Emmitt Carroll, William Fisher, Jackie Guy, Kaolyn Hong, Adrian Martinez, James Medwid, Daniel Mendoza, Braden Rigling, Diego Rodriguez, and Korey Ross.

Instructed by Natacha Diels.

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The Undergraduate Majors and Minors present a MEGA concert as their final forum concert of the year.

Featuring performances by:  Leonardo Barba, Madison Carmichael, Chiayu Chang, Martin Chapman, Martin Chapman, Jennifer Colin, Owen Cruise, Mason Davis, Alonso de la Peña, Joseph Di Liberto, Savanna Dunaway, Nolan Fewell, Lizze Fisher, Joseph Garcia, Marc Girard, Gregor Grigorian, Jackie Guy, Remi Ha, Lindsey Jackson, Mari Kawamura, David Knoll, Siddhartha Krishnan, Xavy L. Johnson, Raphael Lam, Matthew Leveque, Benjamin Mateyka, Amir Moheimani, Caitlin Murphy, Arya Natarajan, Ariel Ortega, Kaiyang Qiu, Max Rossip, Eduardo Sanchez, Samuel Shing, Tino Tirado, Jackie Wang, Julia Yu, Yehan Yuan, Danlei Zhao, and Sherry Zheng

Concert begins at 5:30 p.m. and will feature a mid-concert reception.

Produced by Department of Music Student Ambassador: Sherry Zheng

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Fernanda Aoki Navarro presents her dissertation recital in support of her Ph.D. defense. 

Program:
Emptying the Body (violoncello: Tyler J. Borden)

Too Big for the Door (double bass: Matthew Kline)

Through 
1. Watching (flute: Alexander Ishov)
2. About Beauty (bass flute: Teresa Díaz de Cossio)

Impermanence (*UC San Diego premiere*)
1. Mestiça 
2. Uprooted 
3. Permanent Alien (and native friends) 

Featuring performances by:
Mari Kawamura (piano), Alexander Ishov and Teresa Díaz de Cossio (flutes), Madison Greenstone (clarinet), Ilana Waniuk (violin), Tyler J. Borden (violoncello), and Matthew Leveque (percussion)

PLEASE NOTE START TIME CHANGE TO 6:00 p.m.

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Fernanda Aoki Navarro is a musician born in Sao Paulo, Brazil, based in San Diego, California. She graduated in music composition at University of Sao Paulo, moved to the United States in 2011, where she did her Masters at UC Santa Cruz. She's a Ph.D. candidate at UC San Diego. She works with acoustic and electroacoustic music, performance art and sound installation. 

She doesn’t believe in the idea that a bio makes music more interesting. 

Fernanda doesn’t like to be reduced to a gender, doesn’t know how to dance samba, procrastinates to write program notes, doesn’t know how to react when someone makes a compliment or a critique, goes to the cinema every week, drinks coffee every day.

Participating artists include: Alexander Ishov, Teresa Diaz, Ilana Waniuk, Madison Greenstone, TJ Borden, Matthew Kline, and Mari Kawamura.

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Undergraduate student composers present their final compositions for the undergraduate composition course cycle.

New and original compositions by: Joshua Choi, Eduardo Jimenez, Hyun Kim, and Matthew Leveque.

Instructed by Distinguished Professor of Music and Conrad Prebys Presidential Chair: Rand Steiger.

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Hwilwæg  - Justin Murphy-Mancini presents his dissertation recital in support of his Ph.D. defense.

Hwilwæg (roughly "hweel-way") sets texts from the Anglo-Saxon Chronicle, imagining a large-scale musical environment which the texts might inhabit.

Featuring: Lauren Jones, Hillary Jean Young, Barbara Byers, voices; Anthony Burr, Madison Greenstone, clarinets; David Aguila, Rachel Allen, Alexandria Smith, trumpets; Mari Kawamura, Ashley Zhang, keyboards; Sean Dowgray, Dan King, percussion; Batya MacAdam-Somer, Ilana Waniuk, violins; Shayla James, viola; Heather Vorwerck, cello; and Matthew Kline, double bass

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A collaboration between the International Contemporary Ensemble, UC San Diego Music, and the Nokia Bell Labs Experiments in Art and Technology Ensemble in Residence Program.  Featuring open workshops between the International Contemporary Ensemble and UC San Diego composers and artists including: Roger Reynolds, Katharina Rosenberger, and Fernanda Aoki Navarro.

Monday, June 3rd - 6:00 p.m. to 8:00 p.m.
Hindsight: analysis of projects from the history of the partnering composers and Ensemble (all 6 BAW participants) Four presenters, 24 minutes each 24 minutes questions/discussion 

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Under the direction of Kamau Kenyatta, the popular 95JC returns!  Featuring an ensemble performing a variety of diverse compositions, including pieces written and arranged by student musicians, instrumentation includes voice, violin, saxophones, rhythm section and afro-latin percussion.

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A collaboration between the International Contemporary Ensemble, UC San Diego Music, and the Nokia Bell Labs Experiments in Art and Technology Ensemble in Residence Program. Featuring open workshops between the International Contemporary Ensemble and UC San Diego composers and artists including: Roger Reynolds, Katharina Rosenberger, and Fernanda Aoki Navarro.

Tuesday, June 4th - 4:00 p.m. to 5:30 p.m.
Projection Design Experimental Session lead by Ross Karre.

Tuesday, June 4th - 6:00 p.m. to 8:00 p.m.
Building a Work (lead by ICE) How the International Contemporary Ensemble has commissioned, developed, and realized large and small-scale projects by Ashley Fure (The Force of Things), Phyllis Chen/Nathan Davis (In Plain Air), and Tyshawn Sorey (Perle Noire). Each work involves complex relationships with technology, theater, site-specificity, and intersectional challenges between theater and music producing models. 

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The UC San Diego Chamber Orchestra under the baton of Matthew Kline, presents their season finale Spring concert, feature the world premiere of Lydia Winsor Brindamour's (of a day) begin, and Beethoven's Symphony No. 5 in C Minor. Post concert reception sponsored by the Symphonic Student Association.

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Directed by Ken Anderson, the choir combines hundreds of voices to fill the auditorium with the uplifting sound of African American spirituals, blues, traditional songs, and gospel.

PLEASE NOTE DATE CHANGE TO TUESDAY, JUNE 4th

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Students of Kartik Seshadri in a performance of Indian Classical Music.

 

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The Chamber Singers, under the direction of Celeste Oram (covering Spring term for Phillip Larson) and accompanied by Loie Flood, present their end of year performance.

Featuring performances by: 
Ryan Arroyo, Leonardo Barba, Jonathan Barnes, Sebastian Clark, Alyson Fruchey, Anna Gruszka, Lauren Jue-Morrison, David Knoll, Donald Liang, Vincenzo Liberatore, Halana MacAmay, Benjamin Mateyka, Miguel Munoz, Eric Ngo, Ariel Ortega, Taylor Ozbun, Tannistha Roychoudhury, Kasey Thach, Katherine Wilkes, Sara Zhang, Danlei Zhao, Samantha Zhou.

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PROGRAM:

Dos Corazones
arr. Blas Galindo (b. 1910, San Gabriel, Mexico; d. 1993, Mexico City)

‘En tanto que declinando el sol / No puede amor hacer mi dicha mayor’
scene from the opera La Púrpura de la Rosa
music by Tomás de Torrejón y Velasco (b. 1644, Villarrobledo, Spain; d. 1728, Lima, Peru)
text by Pedro Calderón de la Barca (b. 1600; d. 1681, Madrid, Spain)
soloists: Julia Yu, Rachel Dovsky, Jonathan Barnes, Jennifer Colin, Ryan Arroyo, Lauren Jue-Morrison, Sara Zhang, Benjamin Mateyka
with Vincenzo Liberatore, guitar; Leonardo Barba & Ariel Ortega, percussion; Peter Ko, cello

Salve Regina
music by Juan de Lienas (fl. 1617-1654, Mexico City/Havana)
soloists: Joseph Garcia, Danlei Zhao, David Knoll, Taylor Ozbun

Se equivoco la paloma
music by Carlos Guastavino (b. 1912; d. 2000, Santa Fe, Argentina)
text by Rafael Alberti (b. 1902; d. 1999, El Puerto de Santa María, Spain)

Thirteenth Blackbird (world premiere)
music by Adrian Martinez
text by Wallace Stevens (b. 1879, Reading, PA; d. 1955, Hartford, CT)

Timepiece
music by Anthony Ritchie (b. 1960, Christchurch, New Zealand)
text by Cilla McQueen (b. 1949, Birmingham, UK)

Rains on Me
music & text by Gelsey Bell (b. Sebastopol, CA)

sextet: Lauren Jue-Morrison, Julia Yu, Halana Macamay, Katherine Wilkes, Taylor Ozbun, Danlei Zhao

Wanting Memories
music & text by Ysaye M. Barnwell (b. 1946, New York City)

soloists: Halana Macamay, Katherine Wilkes, Taylor Ozbun, Danlei Zhao

Blessed Be Thine (world premiere)
music by Katherine Wilkes
text by M.S.H.

Childhood
music & text by Jenny McLeod (b. 1941, Wellington, New Zealand)

Sir Duke
music & text by Stevie Wonder (b. 1950, Saginaw, MI)
arr. Kirby Shaw

soloists: Donald Liang, Kasey Thach
with Martin Chapman, guitar; Tino Tirado, saxophone; Eduardo Sanchez, bass; Max Rossip, drums

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The UC San Diego Wind Ensemble presents their final concert of the 2018-19 concert season, entitled "Closed Circuit." This program features the percussion group, arx duo, as they join the ensemble for a west coast premiere and UCSDWE partial commission of Ted Hearne's In Thrall. 

Directed by James Beauton, DMA candidate in Contemporary Music Performance, percussion.

Please click on the image on the left for full prgram detail.

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Program:

Shoutout (2009) Roshanne Etezady

Shoonthree (1943) Henry Cowell

Ionisation (1931) Edgard Varèse
*featuring members of one fish two fish, red fish blue fish, and arx duo*

In Thrall (2019) Ted Hearne
*west coast premiere*
*arx duo, soloists*

Intermission

El Muro (2008) Ricardo Lorenz

Enigma Variations (1899) Edward Elgar arr. Slocum

FREE!

Learn more about the arx duo at www.arxduo.com

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MUS 206 - Free Improvisation, instructed by Wilfrido Terrazas, presents their end-of-term performance. 

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The undergraduate students from the Chamber Ensemble class, directed by Dr. Takae Ohnishi, will perform an evening of chamber music, featuring some favorite works by Handel, Haydn, Brahms, Arensky, Shostakovich, among others. Please come enjoy their performance and celebrate the students' hard work!

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We close our season with a reflection on the composer/soldiers of World War I, from Maurice Ravel to Ralph Vaughan-Williams to George Butterworth, whose life was tragically cut short in the war. Music from the same time by Charles Ives, and a favorite of Benjamin Britten, the Adagio for Strings rounds out a program that is both steeped in memory and full of messages for our own time.

MAURICE RAVEL La Valse
CHARLES IVES From Hanover Square North
SAMUEL BARBER Adagio for Strings
RALPH VAUGHAN WILLIAMS Dona Nobis Pacem
GEORGE BUTTERWORTH The Banks of Green Willow

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We close our season with a reflection on the composer/soldiers of World War I, from Maurice Ravel to Ralph Vaughan-Williams to George Butterworth, whose life was tragically cut short in the war. Music from the same time by Charles Ives, and a favorite of Benjamin Britten, the Adagio for Strings rounds out a program that is both steeped in memory and full of messages for our own time.

MAURICE RAVEL La Valse
CHARLES IVES From Hanover Square North
SAMUEL BARBER Adagio for Strings
RALPH VAUGHAN WILLIAMS Dona Nobis Pacem
GEORGE BUTTERWORTH The Banks of Green Willow

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The Undergraduate Vocal Masterclass, under the direction of Kirsten Ashley Wiest, presents their second annual Undergraduate Opera. With music direction by Dr. Kyle Adam Blair, lighting design by Jessica C. Flores, and costume design by Natalie Barshow, UC San Diego's undergraduate voice majors will thrill and delight in Thomas Pasatieri's "Signor Deluso" and scenes in English from Jacques Offenbach's "La Perichole".

Singers: Adrian Chan, Jennifer Colin, Elizabeth Fisher, Myasia Fox, Joseph Garcia, Lauren Jue-Morrison, Shane Ramil, Teagan Rutkowski, Julia Yu, and Danlei Zhao

Pianist and Music Director: Dr. Kyle Adam Blair

Stage Direction: Kirsten Ashley Wiest | Costume Design: Natalie Barshow | Lighting Design: Jessica C. Flores

FREE ADMISSION!
FREE CAKE TO FOLLOW!

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