SUBLIMECONFLUENCE: THEMUSICOFLOUHARRISON  PresentedbyTheGeorgeWashingtonUniversityandPostǦClassicalEnsemble incollaborationwith departmentoflmprograms,NationalGalleryofArt TheEmbassyoftheRepublicofIndonesia   ““LouHarrison:AWorldofMusic,””February26,20114:00pm NationalGalleryofArt Washington,DC  LouHarrison:Gamelan,March4,20117:30pm TheEmbassyoftheRepublicofIndonesia Washington,DC  TheMusicofLouHarrisoninConcert,March5,20118:00pm TheGeorgeWashingtonUniversity,LisnerAuditorium Washington,DC   Supportfortheseeventshasbeenprovidedby NationalEndowmentfortheArts TheAaronCoplandFundforMusic

SUBLIMECONFLUENCE: THEMUSICOFLOUHARRISON 

LOUHARRISON:AWORLDOFMUSIC TheworldpremierescreeningofadocumentarylmbyEvaSoltes. FreeAdmission Saturday,February262011,4:00pm NationalGalleryofArt,EastBuildingAuditorium 4th&ConstitutionNW,Washington,DC WorldPremierescreeningof““LouHarrison:AWorldofMusic”” RemarksbyEvaSoltes,lmmaker 

LOUHARRISON:GAMELAN AnexplorationoftheinuenceofJavanesecultureonthemusicandlifeofLou Harrison––andtheinuenceofWesterncultureonIndonesia. FreeAdmission Friday,March42011,7:30pm EmbassyoftheRepublicofIndonesia 2020MassachusettsAvenueNW,Washington,DC OpeningRemarksbyHisExcellencyDr.DinoPattiDjalal, AmbassadoroftheRepublicofIndonesiatotheUnitedStatesofAmerica  PerformancebytheIndonesianEmbassyGamelan FestivalkeynoteaddressbyBillAlves,composer ResponsebySumarsamwithAngelGilǦOrdóñez,EvaSoltes, KarenAhlquistandJosephHorowitz,host PostǦEventReception 

THEMUSICOFLOUHARRISONINCONCERT AconcertpresentationoftraditionalIndonesiangamelanmusicandcomposer LouHarrison’’ssignatureworksforpiano,ensemble,voiceandgamelan. Saturday,March52011,8:00pm GeorgeWashingtonUniversity,LisnerAuditorium 73021stStreetNW,Washington,DC TheWesleyanUniversityGamelanEnsemble LisaMoore,pianoBenPasternack,pianoChrisGekker,trumpet TheGeorgeWashingtonUniversityChamberSingers PostǦClassicalEnsembledirectedbyAngelGilǦOrdóñez  WithcommentarybyBillAlvesandclipsfromthe documentarylm““LouHarrison:AWorldofMusic””byEvaSoltes

ANAMERICANORIGINAL ByJosephHorowitz ArtisticDirector,PostǦClassicalEnsemble  NoonecouldmeetLouHarrisonandnotrememberhisSantaClausbeard andthetwinklethatwentwithit.Lesstangible,butequallyobvious,wasa kindofselfǦassurancenegatingselfǦimportance.Heembodiedcreativity withoutego. Thisembodimentowedsomethingtothecircumstancesofaneventfullife. BorninPortland,Oregon,in1917,hewasaproductoftheWestCoast:facing Asia.HeandhisfamilymainlylivedinnorthernCalifornia.Asayoungadult, hespentayearatUCLAstudyingwithArnoldSchoenbergandteaching dance,thenin1943movedtoManhattan,thenoiseandbustleofwhich disagreedwithhim.HeeventuallyreturnedtoCalifornia:tosettleinrural Aptos,nearSantaCruz.Shortlybeforehisdeathin2003hecompletedahouse ofhisowndesignatJoshuaTree,nearPalmSprings––justashehad previouslydesignedandbuiltanarrayofhomeǦmademusicalinstruments withhislifepartner,BillColvig. Ongoingexplorationsofotherculturesembroiderthissketch.Asachild Harrisonstudiedpiano,violin,anddance––andalso,atSanFrancisco’’s MissionDolores,Gregorianchant.InSanFrancisco’’sChinatown,heimbibed Chineseopera(towhichhegrewfarmoreaccustomedthantoMozartor Verdi)andpurchasedhugegongstosupplementinstrumentshehimself createdoutofdiscardedbrakedrumsandspringsfoundinjunkyards.The 1939SanFranciscoGoldenGateExpositionintroducedhimtoIndonesian gamelan:alifeǦlongpassion.HeacquiredasimilarexpertiseinKoreanand Chinesemusic.HisecumenicalbentalsoledhimtoEsperantoandtosign language:universallanguages. Hismusicisanoriginal,precise,andyetelusiveproductoftheseandotherfar Ǧungculturalexcursions.Easiesttodeneiswhatitisnot.Harrisonrejects thetensionǦandǦreleaseofthesymphonies,sonatas,andconcertosweusually hear.HedisavowstheintenseintrospectionofaBeethoven.Heshunsdisplay, whethercompositionalorinstrumental.Hefavorssteadystatesofbeingover peaksandvalleysofsubjectiveexperience. Hemayalsobeunderstoodasacomposerofparadoxes.Hisidiomislyricbut neverlush.Hecanbemonumentalbutisnotgrandiose.HisWestern forebearsareRenaissance,Medieval,andBaroque,notthefarmorefamous ClassicalandRomanticmasters.HisAmericanrootsarewonderfullyprotean. AmericanishisselfǦmade,learnǦbyǦdoing,tryǦeverythingapproach.Soishis polyglotrangeofaƥnities,unchannelledbyanylinearnarrativeof advancement. Acomposerfaraheadofhistime,Harrisonespoused““worldmusic””before therewasanameforit.

NottheleastpropheticepisodeinHarrison’’screativeodysseywashisearly rejectionofcerebraltwentiethcenturymusicalfashions.Duringhisstudies withSchoenberghebeganwritingnonǦtonalmusic,inwhichprescribed ““series””of12notesgovernmelodyandharmony.InNewYorkCity––ahotbed ofserialism––hecontinuedtoexploreserialstylesinsuchworksashisopera Rapunzel. Theagoniesofserialmusic––unmooredtoatonalcenter,unsweetenedby consonantintervals––producedmanyapersonalcreativeagony.Leonard Bernstein’’sNortonlectures,atHarvardin1973,wereanunusuallypublic disclosureofonecomposer’’sdiscomfortwithprevailingpedigrees.An incurableromantic,BernsteindabbledunhappilywithnonǦtonalprocedures. Others,conrmedserialists,recantedǦǦGeorgeRochbergandDavidDel Tredicibeingtwooftherstinuentiallytodoso,inthe1960s. Harrison’’sdefectionfromserialismcamemuchearlier.A1947nervous breakdown,inManhattan,wasbothmetaphorandreality.Intensepersonal traumaseemedtoliberateHarrisontopursuehisownunfashionablevision ofthings.ReturningtotheWestCoast,hedroppedoutofthecompositional communityingoodstandingofwhichhehadbeenpart. InthecompanyofCharlesIves,HenryCowell,andJohnCage,withallof whomhehadproductiveprofessionalrelationships,Harrisonguresasan American““maverick””––acategorybothhelpfulandvague.Infact,awork suchashisbig1985PianoConcerto,whichwehearSaturdaynight,doesnot muchresemblethemusicofanyoneelse.Itiscertainlymusicunthinkable fromIves,Cowell,orCage.Its12Ǧminuterstmovementisasonataformwith allthetrimmings:twodistinctthemes,adevelopmentsection,a recapitulationreturningtotheoriginalkey.Butthesustainedmajestyofthis movementisafunctionofitssteadycourse,undeectedbytheverychanges ofpaceandstressthatsonataformnormallyinvites.AnditscraftsmanshipǦǦ itseleganceofdesignandrenementofmeansǦǦsigniesnotahomeǦmade renegadecreation,butaripeproductoflearnedandassiduouscompositional application. ThereisreallynooneelselikeLouHarrison.Thathedoesn’’tfelicitouslyt anymusicalmapisbothaproofofhisoriginalityandapenaltyhepays.One maywonderifthereisamoreformidableAmericanpianoconcertothanhis–– andmarvel,aswell,thatitissoseldomperformed.Theabsorptionof gamelanelementsinthismusicissocompletethatthestyle,global inuencesnotwithstanding,isallofapiece;thenishedproductcannotbe called““eclectic.””Surelytoday––inourpostmoderntwentyǦrstcentury––we arereadytoacceptthiscomposer’’scapacitytoembraceafuller,morevaried musicallandscape,andtodosowithoutresortingtothegimmickrythat cheapensandinvalidatessomanycontemporarymusicalhybrids. ǦJosephHorowitz

LOUHARRISON:AWORLDOFMUSIC WorldpremierescreeningofadocumentarylmbyEvaSoltes. FreeAdmission  Saturday,February262011,4:00pm NationalGalleryofArt,EastBuildingAuditorium 4th&ConstitutionNW,Washington,DC  Program WorldPremierescreeningof““LouHarrison:AWorldofMusic”” RemarksbyEvaSoltes,lmmaker   

EVASOLTESREMEMBERSLOU Hewassuchaninspirational,largerǦthanǦlifegure,yetalsoveryaccessible bothasapersonandasanartist.Igotsomuchoutofbeingwithhimand hearinghismusicandunderstandinghisphilosophyoflife.WhenIrstmet LouIwasadancerandmusicproducer.Overaperiodofaboutthirtyyears wedevelopedaprofessionalrelationshipandafriendship.Iwasmystied thatsomeoneasimportantasLou––suchatreasuredculturaliconǦǦwasn’’t goingtobeproperlypreservedinimagesandwords.Hewassoentertaining withamindbogglingcacheofknowledge,hebecameoneoftheartiststhat inspiredmetobecomealmmaker.MorethantwentyyearsagoIstarted casuallydocumentingLouduringprojectsthatwedidtogether.Thesetapes becamearchivalandarethebasisofthelmthatIhavesinceundertaken. LouHarrisonhadanamazingmagnetismabouthim.Itdrewinotherartists. Hislifebloodwastheactofcreatingandenergizingotherstodothesame. HenryCowellgaveLouthephilosophythatreallysethimonhiscourseasa composer.Numberonewas:don’’tdependonotherstoinviteyoutocompose music.Developagroupoffriendswithwhomyoucaninteractcreatively. Keepanopenmindastosourcesofsoundandexperimentfreelyinorderto expandyourvocabulary.ItwasCowellwhoinspiredLouandJohnCageto explorejunkyards,knowingthatdiscardeditemssuchasautomobilebrake drumswerethemostbeautifulbellsonecouldnd. IseeLouasashswimmingupstreamhiswholelifeǦǦbutwithsuchforceof willandforceofcharacter,suchunderstandingofwhohewasandwhathe likedthathetriedtomaketheworldconformtohimratherthanbecoming whattheworldwantedhimtobe.Andheencouragedotherpeopletodothe same.AsLouoftensaid,““Keepitgoing.”” 











ǦEvaSoltes

LOUHARRISON:GAMELAN AnexplorationoftheinuenceofJavanesecultureonthemusicandlifeofLou Harrison––andtheinuenceofWesterncultureonIndonesia. FreeAdmission Friday,March42011,7:30pm EmbassyoftheRepublicofIndonesia 2020MassachusettsAvenueNW,Washington,DC  Program OpeningRemarksbyHisExcellencyDr.DinoPattiDjalal AmbassadoroftheRepublicofIndonesiatotheUnitedStatesofAmerica PerformancebytheIndonesianEmbassyGamelan FestivalkeynoteaddressbyBillAlves,composer ResponsebySumarsamwithAngelGilǦOrdóñez,EvaSoltes, KarenAhlquistandJosephHorowitz,host PostǦEventReception 

 BILLALVESONHARRISONANDGAMELAN LouHarrison’’smusicalpersonalityishighlyindebtedtogamelan––thefragrant Indonesiangenrewhosematchedinstrumentsincludehammeredkeyboards, gongs,utes,anddrums.Theintricatelycoordinatedgamelanparts,the lightningvirtuosityoftheimpassiveplayers,therhythmsandtimbresall contributetohypnoticauralandvisualimpressions.Therearedistinct JavaneseandBalinesegamelantraditions. LouacquiredaninterestinAsianartinchildhoodfromhismother.Allhis lifehelovedAsiannery.Andwhenhewassearchingforanewpathinthe wakeofhismentalbreakdownin1947,thatwasonethingthatcamebackto him.AroundthesametimeColinMcPheepublishedhisrstarticlesabout Balinesegamelanmusic,explaininghowthegurationworks. LourstvisitedAsia––JapanandKorea––in1961.Buthedidn’’tvisitIndonesia until1983. BythenhehadbegunlisteningtorecordingsofJavanesegamelanmusic.He wasintriguedbythetimbresofgamelanwithoutknowingawholelotabout howthemusicwasputtogether.Withhisbackgroundinpercussionandin instrumentǦbuilding,hebegancreatinghisowngamelan––thesoǦcalled ““Americangamelan,””withinstrumentsnotcloselyrelatedtoactualJavanese instruments.LouandBillColvigbuilttheirrstAmericangamelan,““Old Granddad,””afewinstrumentsatatime.Thentheydecidedtocompletethe wholesetforLou’’sSuiteforViolinandAmericanGamelan,andtheKoro Sutroforchoirandgamelan. (cont’’d)

SowhendidLouHarrisonlearnhowtoplayandcomposeforgamelan? Thiswasin1975.Thatsummer,anorganizationcalledtheCenterforWorld MusicbroughtaJavanesegamelantoBerkeleyforasummerinstitute.Lou himselfgaveacourseininstrumentǦbuildingattheinstitute.Itwastherethat Lourstlearnedthespecicsofcomposingforgamelan.HisteacherwasPak CokroǦǦoneoftheforemosttwentiethǦcenturygamelanmasters. ItwasPakCokrowhorstsuggestedtoLouthathewritesomethingfor gamelan.Lourecollectedthattheywereabouttoperformthelastconcertof thesummerinstitute,includingacompositionbyPakCokro,andLousaid,““I hopeyoucontinuetowrite.””PakCokroresponded,““Well,youshouldwritefor gamelan.””Louclaimedtohavebeenastonishedbythesuggestion.Therst resultsincludedBubaranRobertin1976.Louaddedthesolotrumpetpartlater in1981––theversionwe’’rehearing. AreLouHarrison’’sgamelancompositions““traditional””instyle,ordoWestern practicesinltrate? InLou’’searlygamelanpieces,heendeavoredtofollowmanyoftheconcepts ofJavanesecomposition.AJavanesemusicianwouldprobablynotbetaken abackbythegamelanparts.Later,insuchworksashisThrenodyforCarlos Chavez(1978),LoucreatedinnovationstoJavanesetraditionbasedonhisown experiencesandWesterntraining.Heencouragedhisstudentstocompose alsoforgamelan.Someofthemwrotehighly““experimental””gamelanpieces. Whatwastheresponse?WasLouaccusedofappropriatingnonǦWestern traditionsinadisrespectfulway? TheideaofaWesterncomposerdoingsomethinglikethisiscontroversial, especiallyamongWesternethnomusicologists.InevermetanIndonesianwho didn’’twelcomesuchinnovations.ButintheWestthere’’sanongoingdebate overwhetheraWesternercanreallyappropriatethemusicofaformercolony suchasIndonesiainanonǦpolitical,nonǦcolonialistway.Thereisa longstandingsuspicionofmusicthatadaptsexoticsonoritiessimplyto titillate.NotmanypeoplehavechallengedLouexplicitly––hehadalotof respectasanoctogenarianAmericanmaster.Butthesesensitivitiesexist. Ontheissueofculturalappropriation,theethnomusicologistMarcPerlmanhas proposedthat““musicalboundariescanbecrossed,butthevalueofcrossing themdependsonthedegreetowhichyourespectthem.”” That’’ssomethingIwouldcertainlyagreewith,andIthinkLouwouldhave alsoagreed.Lou’’sattitudewassomethingheinheritedfromHenryCowell–– thateverythingintheworldshouldbeconsideredalegitimateinuence.And Lou’’sideawasalsopartofhisuniversalisticorientation.Hisadvocacyof Esperantoisanotherexample.InhisbookTheMusicPrimer,Loupointsout thatdrawingmusicalbordersisanarticialprocess––thatreallymusic changesbydegreeasonecrossesgeographicalbordersaroundtheworld. 

Inclosing,couldyoutellussomethingaboutyourpersonalrelationshipwith LouHarrison? Ihadbecomeveryinterestedingamelanmusicandindiơerenttuning systemsbeforeIdiscoveredthatLouwasinvestigatingthesethings.Ibegan listeningtohismusicandwasenrapturedbywhateverIheard.Asagraduate studentattheUniversityofSouthernCaliforniain1987,Ihadtheearofmy teacher,whohappenedtobeinchargeofinvitingguestcomposers.So,Lou HarrisonwoundupdoingaoneǦweekresidency.Peopledidn’’tknowwhatwas instorewhentheysawhisramshacklecamperpullingontothecampus.Out steppedajollySantaClausmanwithhislooseǦttingpantsandredplaid annelshirtandbolotie.AndalongsideLouwasBillColvig,whoappearedto meindistinguishablefromGabyHays.Loubeganlecturingontuningsystems andonancientandmedievalmusic.Igottoknowhimprettywellthen. Ithinkhewastreatedwithagreatdealofrespect,butalsoagreatdealof skepticism.Thefacultywasn’’tquitesurewhattomakeofhim.Theyrespected hisassociationwithSchoenberg,Cage,andCowell,andtheywouldn’’targue withhimtohisface.ButIdon’’tthinkthatmanyonthefacultywere sympathetictothismusic. Sincethen,certainthingshavechangedalot.CertainlyLou’’smusicismuch betterknown.InthemidǦ1980’’s,the““NewRomanticism””andMinimalismand theinuenceofnonǦWesternmusicwereallstillprettynew,stillpretty controversial.Sointhatcontext,Louisalotmoreacceptedtoday,though withcertainexceptionsIthinkhe’’sstillnotreallyacceptedwithinthe academy.Notyet. Loujustkeptondoingthesamethingshe’’dalwaysbeendoing,andletthe worldcatchup. 



  









ǦBillAlves

THEMUSICOFLOUHARRISONINCONCERT AconcertpresentationoftraditionalIndonesiangamelanmusicandcomposer LouHarrison’’ssignatureworksforpiano,ensemble,voiceandgamelan. Saturday,March52011,8:00pm GeorgeWashingtonUniversity,LisnerAuditorium 73021stStreetNW,Washington,DC TheWesleyanUniversityGamelanEnsemble(dir.Sumarsam) TheGeorgeWashingtonUniversityChamberSingers(dir.GiseleBecker) PostǦClassicalEnsembledirectedbyAngelGilǦOrdóñez WithcommentarybyBillAlvesandclipsfromthe documentarylm““LouHarrison:AWorldofMusic””byEvaSoltes 

Program Traditional:Javanesegamelanmusic  Harrison:ConcertoforPiano&JavaneseGamelan,movementone(1986Ǧ87) LisaMoore,piano  Harrison:BubaranRobertforTrumpetandJavaneseGamelan(1976/1981) ChrisGekker,trumpet Intermission Harrison:PianoConcerto(1985) BenjaminPasternack,piano Allegro Stampede Largo Allegromoderato Harrison:FourStrictSongsforchorusandorchestra(1955) AndréLamarSmith,soloist    

   

HereisHoliness HereisNourishment HereisTenderness HereisSplendor

Discussionwiththeartists

FourStrictSongsforchorusandorchestra(1955) I HereisHoliness   Ofthebegonialeafwithinnumerablecrystallinecells.  

HereisHoliness  OftheMountains’’deer,andthescentedfawn.

  

HereisHoliness  Ofthebegonialeaf,anddeer,andthestarAldebaran,lighting  endlessness.

  

HereisHoliness  Ofbleachedagate,wetwithwave.

II HereisNourishment   OftheswampǦrootedcattail.  

HereisNourishment  OfthewaterǦreed,andtheredwing,singingenrapturedly.

 

HereisNourishment  Ofthemeteoriteliningthesky.

  

HereisNourishment  Ofthefallingstar,andthedampǦdarkened,crumblysoil.

III HereisTenderness   Oftheredwoodtree,whichisimmortal.  

HereisTenderness   Ofthefantailgoldshtrailingdoubletails.

  

HereisTenderness  Ofthetree,thesh,andthemoonGanymedeencirclingthird,the  largestplanet.

  

HereisTenderness  OfthetourmalineshowingFlamingolight.

IV HereisSplendor    OftheairplantSpanishmossaswayinsun.  

HereisSplendor  Oftheairplant,andtheCobraarchinghishead.

 

HereisSplendor  OfthegalaxyinAndromeda.

 

HereisSplendor  Ofthegalaxy,andtheturquoisecloudlessheaven.

NOTESONTHEPROGRAM byJosephHorowitz ArtisticDirector,PostǦClassicalEnsemble  LouHarrison’’smusicisoriginal,sometimesexotic,butneveresoteric, forbidding,orsevere.DrawingonanarrayofnonǦWesternandpreǦBaroque inuences,itconfoundsconventional““classicalmusic””expectations.Itasks thatwelistenwithopenearsandanopenmind.Nospecialpreparationis required––justawillingnessto““switchchannels.”” OurconcertbeginswithaJavanesegamelan––Indonesianmusicofglistening reposethat,asBillAlvesrecountselsewhereonthesepages,avorsmuchof Harrison’’smatureoutput. Harrison'sConcertoforPianowithJavaneseGamelanwaswrittenin1986 and1987aspartofaseriesofconcertosandconcertoǦlikepiecesmarrying Europeaninstrumentswiththegamelan.BillAlvescomments:““Harrisonhad justnishedhisPianoConcertowithamoreconventionalorchestrain1985, andthesimilarities,ratherthanthediơerences,arestriking.Inboth,Harrison givesfreereintotheRomanticsideofhismusicalpersonalityǦǦforexample, intheconcertowithgamelan,inthepiano'sdramaticopeningandinthe tender,poignantepiloguetotherstmovement.Harrisonwasamelodist aboveall,andthepianohereisoftenasingleǦlineinstrument,weavingitsway withinthetapestryofelaboratingmelodiesinthegamelan.Inthisway, perhapstheconcertoisnotsoRomantic,soadversarial(anoriginalmeaning of‘‘concerto’’).Instead,Harrisonenvisionstheroleofthepianistasfullling onerolewithinacommunityofsounds.”” BubaranRobert,comingnextonourprogram,isoneofthreepieces Harrisoncomposedin1981whenhisgamelanmaster,PakCokro,formally invitedhimtocomposefortraditionalgamelan;thesolotrumpetpartwas addedlater.Foryears,BubaranRobertservedasagraduationprocessionalat MillsCollege,whereHarrisononcetaught.ItisdedicatedtoRobertE.Brown, directoroftheAmericanSocietyforEasternArts,““forhismanypersonal favorsandinhomagetohisbeautifuldreamofatrueCenterforWorld Music.”” The30ǦminutePianoConcerto(1985)revealsthegrandeurandvarietyof Harrison’’smusicalvision.ForAngelGilǦOrdóñez,theconcerto’’sscherzoǦlike ““Stampede””connectstoSpanishamenco.Thehushedslowmovement connectstotheBrahmsDminorPianoConcerto.BillAlvescomments:““It’’s easytogetlostinLou’’seclecticism.He’’sreallyaRomanticatheart.Certain pieceslikethePianoConcertosuggestthisalot.””Infact,itishardtothinkof amorepersuasivelyexpansiveconcertobyanAmericancomposer.Thebig sonoritiesandlean,unclutteredtexturesconnectwiththe““prairie””modesofa CoplandorRoyHarris.However,thismusicismorepolyglot,more idiosyncratic,andmoreremotefromEuropeanmodelsandexperience.

TheHarrisonPianoConcertowascomposedoncommissionforKeith Jarrett.Harrisonwroteinaprogramnote: Ihavelongfeltthatheplaysmymusicwithwonderful kineticandlyricsympathy,andIwasdelightedtotakethis opportunitytowriteforaninstrumentwhichIhavelong played(badly)buthavesubconsciouslyconsideredmoreofa generalworkǦhorsethananythingelse.Keithkindlyacceded tomyrequestthatwetunetheinstrumentintoagoodWellǦ TemperamentinsteadofthepresentlypopularEqualǦ Temperament....KeithJarrett’’swillingnesstoaskforthe speciallyǦtunedinstrumentisinitselfalonepatentofhis musicalinterestandintegrity,forapianomustbereǦtuned abouttwoweeksbeforeuseandthenconstantlychecked becausesoundǦboardshavememoriesandtheygroanand stretchtotrytorecovertheirformerpositions,eventhough thechangesmightbeveryslight. Theresultanttuning––““KirnbergerNo.2WellǦTemperament””ǦǦnecessitateda ““selectedorchestra””mainlycomprisinginstrumentsthatcaneasily accommodatespecialtunings:strings,threetrombones,andpercussion. Therearealsotwoharps,eachtunedtoadiơerentfacetoftheKirnberger system. Theconcertobeginswithafortissimoourishforecastingitsexceptional scope.Whatfollowsisanequallyexceptional12Ǧminutemovementinsonata form.Theoutwarddesignofthismovement,withitstwosubjects, developmentandrecapitulation––isconventional.Butinplaceofthe directionalharmoniesthatconventionallydriveandcalibratesuchforms, Harrisonreliesupongamelan––derivedtechniques.Thepianowriting,too,is highlyunusual––anddisclosestheinuenceofJarrett’’sowndistinctive keyboardstyle. Thesecondmovement““Stampede””isapatentedHarrisongenreofwhichthe composerwrites:““[It]isalargeandrambunctiousexpansionoftheEuropean area’’smedievaldanceformEstampie.Thetwowordsarecognateandreferto generalnoiseandbruhaǦhaandnot,asIhadoriginallythought,toanyform of‘‘stamping’’dance.””Theraucousaơectofthismovementisreinforcedby occasionaluseofanoctavebar,toproducedissonanttoneǦclusters.As Harrisonobserves,thethirdmovementoftheconcerto,aneightǦminute Largo,explorestherichconsonancesoftheKirnbergertuning:itisahymn.Of theconcerto’’sbriefnale,Harrisonwrites:““IhavewrittenJalasinasortof perpetuummobilestyle...Thislastmovementismeantasakindofquiet ‘‘laceǦwork.’’””(By““Jalas,””HarrisonreferstoatechniqueinNorthIndian classicalmusicinwhichtheplayerinterpolatesarepeateddrone.)The HarrisonPianoConcertoisatonceoriginal,melodious,andformidablygrand. (cont’’d)

Theagoniesofserialmusicproducedmanyapersonalcreativeagony.In Harrison’’scase,theagonycameearlyandtookacuteform.A1946nervous breakdowninNewYorkCitywasbothametaphorandreality.Returningto California,hedroppedoutofthecomposers’’communityhehadknownin NewYorkand,onthemend,struckastylebothsimpleandoriginal,and greatlyinectedbynonǦWesternmusic:ineơect,anantidotetoeverything hehaded.ThepresentStrictSongs(1955)bearsasuggestiverelationship tothissaga.Harrisonsaidthatthesecondmovement,““HereisNourishment,”” representedthe““heatofthesummerinthevalley””––meaningCalifornia’’sdry CentralValley,wherehemovedin1954tobenearhisfather.Forthatmatter, theentire20Ǧminuteworkevokesapurgativelandscape––arid,sunny,and divine. TheshortpoemsHarrisoncomposedforhisfoursongswereinspiredbythe NavajonatureǦpraisesongsknownasHozhonji,whichhecharacterizedas ““makeǦthingsǦrightǦandǦwellǦagain””songs.BillAlveshaswrittenthat Harrison’’sapproachappropriationofthisNativeAmericangenre““becamea commemorationof[his]journeythroughthedarknessofhis[NewYork] breakdown,‘‘makingthingsright’’throughhisrenewedappreciationfor natureandhisplaceinit.”” TheorchestrafortheStrictSongscomprisestwotrombones,harp, percussion,strings,andpiano.Therearetwoversionsofthechoralpart––one foreightbaritones,theother(whichwehear)formixedchorus.Thesongs are““strict””inseveralrespects.AsAlveshasexplained,eachmovement featuresadiơerentveǦtonescale““strictly””governedbyjustintonation:the pianoisspeciallytuned,andtheotherinstrumentsfollowsuit.(Movements threeandfourappropriategamelantunings––adistinctivefeatureof Harrison’’sstyle.)Thexed,fourǦlinestructureofthepoems,andthefour musicalstructures,arealso““strict.””Theneteơectisoneofpermanenceand sublimity. 











ǦJosephHorowitz



ABOUTTHEPARTICIPANTS PostǦClassicalEnsemble SinceitsformaldebutonMay1,2003,PostǦClassicalEnsemble,coǦfounded byJosephHorowitzandAngelGilǦOrdóñez,haspresentedmorethanfour dozenconcertsandhasbeengreetedasa““welcome,edgyadditiontothe musicallifeofWashington””byTheWashingtonPost.Itwasmostrecently describedbyAnneMidgetteofthePostas““wildlyambitious.””Itsremaining 2010Ǧ2011festivalisathreeǦday““StravinskyProject””(April8,9,10)including concertsandexhibitsattheStrathmoreCenter,andanallǦdaylmeventat theNationalGallery;thefeaturedparticipantsincludethepianistAlexander ToradzeandthelmǦmakerTonyPalmer.Arecent$200,000grantfromthe AndrewW.MellonFoundationsupportssuchfutureprogrammingas ““CelebratingIves””atStrathmore,anewproductionofFalla’’sElAmorBrujoat GeorgetownUniversitywithlinkedlmeventsattheNationalGallery, ““InterpretingShostakovich””atGeorgetownUniversityandtheNational Gallery,withaShostakovichlmfestivalattheNationalGalleryandthe RussianEmbassy,and““TheMexicanRevolution””atStrathmorewithlinked lmeventsattheNationalGallery. Reviewing““SongoftheEarth””(March2005),juxtaposingMahlerwith pertinentChinesetraditionalmusicandpoetry,TheWashingtonPostwrote: ““Horowitz...saidthatcrossingboundariesiswhatthisgroupisaboutand maybeakeytothefutureofclassicalmusic.Thisprogramshowedexactly whathemeant.””Reviewing““FallaandtheMusicofFaith””TheWashington Postwrote,““Classicalmusicmaybedyingaslowdeath,butnotifJoseph Horowitzhasanythingtosayaboutit……Horowitzhasbeendraggingclassical musicoutofitsHighCulturalsickbedandgivingitaseriesofhealthykicks. AndonTuesdaynighttheEnsembledidjustthat...anditwasbrilliant.”” InJune2005,inassociationwiththeAmericanFilmInstituteandNaxos Records,PǦCEpresentedtwoclassicAmericandocumentaries––““ThePlow thatBrokethePlains””and““TheRiver””ǦǦwhosescores,byVirgilThomson, wereperformedlive.ThesepresentationsgeneratedaNaxosDVD(released Jan.2007andcalled““revelatory””byPhilipKennicott,TheWashingtonPost) andaCD(Oct.2007).Itsubsequentlypresented““TheCity””insimilarfashion, withtheAaronCoplandscoreperformedlive;anotherNaxosDVD(thetopic ofanhourǦlongradiospecialproducedfornationaldistributionbyWFMT/ Chicago)resulted. PǦCEregularlycollaborateswiththeNationalGalleryofArt.ItsEducational PartnershipwithGeorgetownUniversity(acomplexsymbiosisincluding performancesandclassroomvisitsatGUandGUstudentsbussedtoPǦCE performances)isnationallyunique.Beginningin2008Ǧ2009,PǦCEbegan presentingitsprogramsinNewYorkCity(BAM,theGuggenheimMuseum, theMorganLibrary).Beginningin2009Ǧ2010,PǦCEbeganpresentingits programsinChicago(wheretheEnsembleenjoysacloserelationshipwith WFMT). website:www.postǦclassicalensemble.org

MembersofPostǦClassicalEnsemble Violin1  DavidSalness,Concertmaster ClaudiaChudacoơ ReikoNiiyaǦChow CristinaConstantinescu JenniferRickard JonathanRichards Violin2  SallyMcLain,Principal ErikaSato JenniferHimes AlexandraMikhlin LisaCridge Viola  ChrisShieh,Principal PaulSwantek GregRupert ChelseyGreen Cello  KerryvanLaanen,Principal MarionBaker SeanNeidlinger

Bass  MartaBradley,Principal BobKurz Trombone  BarryHearne,Principal ChrisClark DavidTaylor Percussion  DougWallace,Principal DannyVillanueva ChrisdeChiara JoannaDabrowska Harp  CarolineHudson,Principal RebeccaSmith Piano KathrynBrake Trumpet ChrisGekker OrchestraContractor  SueKelly

 AngelGilǦOrdóñez MusicDirector,PostǦClassicalEnsemble 

TheformerAssociateConductoroftheNationalSymphonyOrchestraof Spain,AngelGilǦOrdóñezhasconductedsymphonicmusic,operaandballet throughoutEurope,theUnitedStatesandLatinAmerica.IntheUnited States,hehasappearedwiththeAmericanComposersOrchestra,Opera Colorado,thePacicSymphony,theHartfordSymphony,theBrooklyn Philharmonic,theOrchestraofSt.Luke’’s,andtheNationalGalleryOrchestra inWashington.Abroad,hehasbeenheardwiththeMunichPhilharmonic, theSolistesdeBerne,attheSchleswigǦHolsteinMusicFestival,andatthe BellasArtesNationalTheatreinMexicoCity.Insummerof2000,hetoured themajormusicfestivalsofSpainwiththeValenciaSymphonyOrchestrain theSpanishpremiereofLeonardBernstein’’sMass.  BorninMadrid,heworkedcloselywithSergiuCelibidacheinGermanyfor oversixyears.HealsostudiedwithPierreBoulezandIannisXenakisin France.CurrentlytheMusicDirectorofPostǦClassicalEnsemblein Washington,D.C.,Mr.GilǦOrdóñezalsoholdsthepositionsofDirectorof OrchestralStudiesatWesleyanUniversityinConnecticutandMusicDirector

oftheWesleyanEnsembleoftheAmericas.Healsoservesasadvisorfor educationandprogrammingfor““Musica,esperanzadevida,””aprogramin Leon,Mexico,modeledonVenezuela’’s““ElSistema,””conductingitsyouth orchestratwoweeksperyear. AspecialistintheSpanishrepertoire,Mr.GilǦOrdóñezhasrecordedfourCDs devotedtoSpanishcomposers,inadditiontoPostǦClassicalEnsemble’’sVirgil ThomsonandCoplandCD/DVDsonNaxos.  In2006,theKingofSpainawardedMr.GilǦOrdóñezthecountry’’shighest civiliandecoration,theRoyalOrderofQueenIsabella,forhisworkin advancingSpanishculturearoundtheworld,inparticularforperformingand teachingSpanishmusicinitsculturalcontext.  JosephHorowitz ArtisticDirector,PostǦClassicalEnsemble 

JosephHorowitzhaslongbeenapioneerinclassicalmusicprogramming, beginningwithhistenureasArtisticAdvisorfortheannualSchubertiadeat the92ndStreetY.AsExecutiveDirectoroftheBrooklynPhilharmonic Orchestra,residentorchestraoftheBrooklynAcademyofMusic,hereceived nationalattentionfor““TheRussianStravinsky,””““American Transcendentalists,””““Flamenco,””andotherfestivalsexploringthefolkrootsof concertworks.NowanartisticadvisortovariousAmericanorchestras,hehas createdmorethanthreedozeninterdisciplinarymusicfestivalssince1985–– includingtheannualAmericanComposersFestivalpresentedbythePacic SymphonyOrchestra.InFall2008,heinauguratedtheNewYork Philharmonic’’s““InsidetheMusic””series,writing,hosting,andproducinga programaboutTchaikovsky’’sPathetiqueSymphony;hissubsequentand pendingPhilharmonicproductionsexploreDvorak,Brahms,andStravinsky. HehassinceproducedNewYorkPhilharmonicprogrammingonDvorak, Brahms,andStravinsky. Called"ournation'sleadingscholarofthesymphonyorchestra"byCharles Olton,formerPresidentoftheAmericanSymphonyOrchestraLeague,Mr. HorowitzisalsotheawardǦwinningauthorofeightbooksmainlydealingwith theinstitutionalhistoryofclassicalmusicintheUnitedStates.Bothhis ClassicalMusicinAmerica:AHistory(2005)andArtistsinExile:How Refugeesfrom20thCenturyWarandRevolutionTransformedtheAmerican PerformingArts(2008)werenamedbestbooksoftheyearbyTheEconomist. AsProjectDirectorofanNEHNationalEducationProject,heistheauthorof abookforyoungreadersonDvorakinAmerica,linkedtoastateǦofǦtheǦart DVD. FortheNationalEndowmentfortheArts,Mr.HorowitzservesasArtistic Directorofanannualnationalinstituteformusiccritics,basedatColumbia University.AformerNewYorkTimesmusiccritic,Mr.Horowitzwrites regularlyfortheTimesLiterarySupplement(UK)andcontributesfrequently

toscholarlyjournals.HelectureswidelyintheUnitedStatesandabroad.His manyhonorsandawardsincludeaGuggenheimFellowship,twoNEH fellowships,andacommendationfromtheCzechParliamentforhismany festivalprojectsexploring““DvorakinAmerica.”” website:www.josephhorowitz.com blog:www.artsjournal.com/uq  KarenAhlquist AssociateProfessorofMusic,TheGeorgeWashingtonUniversity KarenAhlquististheauthorofDemocracyattheOpera:Music,Theater,and CultureinNewYorkCity,1815Ǧ1860(1997),namedaChoiceoutstanding academicbookfor1998.Hersecondbook,ChorusandCommunity(2006)is aneditedcollectionofessaysofchorusesandtheirmusic,alsopublishedby Illinois.   BillAlves BillAlvesisacomposerandvideoartistbasedinSouthernCalifornia.Heis engagedintheintersectionsofmusicalcultures,especiallygamelanmusicof Indonesia,wherehewasaFulbrightScholar.HisbookMusicofthePeoplesof theWorldisnowinitssecondeditionfromCengage/Schirmer.Hisrecordings includeaCDofcomputermusic,TheTerrainofPossibilities,andaCDof musicforgamelanandWesterninstruments,ImbalǦImbalan.Hisvideoswith musichavebeenscreenedatnumerousconcertsandlmfestivalsandare distributedbytheiotaCenter.HehasextensivelyexplorednonǦstandard tuningsinhisworkandiscoǦdirectorofMicroFest,theannualSouthern Californiafestivalofmicrotonalmusic.HeisprofessorofmusicatHarvey MuddCollegeoftheClaremontColleges,wherehedirectstheAmerican Gamelan.HeiscurrentlycoǦwritingabiographyofLouHarrisonwithBrett Campbell.  ChrisGekker AlongǦtimememberofPostǦClassicalEnsemble,ChrisGekkerisProfessorof TrumpetattheUniversityofMaryland.Mr.Gekkerhasbeenfeaturedas soloistatCarnegieHall,LincolnCenter,andthroughouttheUnitedStates, Europe,andAsia.HeisoneofthefeaturedartistsonDeutsche Grammophon’’s2005compilation““MastersoftheTrumpet.””  LisaMoore AustralianpianistLisaMoorewonthesilvermedalinthe1981Rockefeller CarnegieHallInternationalAmericanMusicCompetition.From1992to2008 shewasthefoundingpianistfortheBangOnACanAllǦStarsǦtheNewYorkǦ

basedelectroǦacousticsextetandwinnerofMusicalAmerica's2005Ensemble oftheYearAward.Asarecordingartistshehasvesolodiscswithmusic rangingfromLeosJanacektoFredericRzewski.HermostrecentCantaloupe solorecordingfeaturescommissionedmusiccomposedbyDonByron.She teachesattheYaleǦNorfolkFestivalNewMusicWorkshopandatWesleyan University.  BenjaminPasternack BenjaminPasternack,whohaspreviouslyperformedworksbyCoplandand JohnAdamsforPostǦClassicalEnsemble,hasappearedassoloistwithsuch orchestrasastheBostonSymphony,thePhiladelphiaOrchestra,theTonhalle OrchestraofZurich,theNewJapanPhilharmonic,andtheOrchestre NationaldeFrance.HehasbeenguestartistattheTanglewoodMusicCenter, theFestivalofTwoWorldsinSpoleto,Italy,theSeattleChamberMusic Festival,andtheMinnesotaOrchestraSommerfest. HisrecordingsincludetwohighlyacclaimedCoplandCDsonNaxos.Anative ofPhiladelphia,hewastheGrandPrizewinneroftheinauguralWorldMusic MastersPianoCompetitionheldinParisandNiceinJuly1989.Afterfourteen yearsonthepianofacultyofBostonUniversity,hejoinedthepianofacultyof thePeabodyConservatoryofMusicinSeptember1997.  EvaSoltes EvaSoltesǦǦlmmaker/musicproducer/dancerǦǦhasdevotedhercareerto bringingunderǦappreciatedartists,artforms,andculturesintothepublic eye.Herproductioncompany,Performance&MediaArts,creates documentariesandliveevents.Shehasproduced,directed,and/orwritten approximately1,000music,dance,theater,andmediaworksfornationaland internationalaudiences.ShewasAmericanproduceroftheBBCTV productionof"WestCoastStory:FrontiersofNewMusic,"coǦproducerand editoroftheawardǦwinning““CirclesandCycles,KathakDance,””producer/ director/editorof““OnConlonNancarrow.””AsadancerSoltesisaperformer andteacherofBharatanatyam,classicaldanceofsouthIndia.Sheperformed incollaborationwithLouHarrisonandGarySnyder.Shecurrentlylivesand worksinJoshuaTree,California,whereshehasstartedanartistresidency/ performanceprogramat"LouHarrisonHouse." website:www.harrisondocumentary.com

TheGeorgeWashingtonUniversityChamberChoir ThemembersoftheChamberChoirparticipateintheGeorgeWashington Universitychoralprogram,whichhasbeencentraltotheMusic Department'sactivitiesthroughoutits50Ǧyearhistory.Pasttourshave includedSouthAmerica,Romania,Croatia,Slovenia,ItalyandSouthAfrica. OtheroơǦcampusperformanceshaveincludedWashingtonNational Cathedral,StrathmoreConcertHall,SchlesingerPerformingArtsCenter, PrincetonChapelandTheKennedyCenterConcertHall.  GiseleBaker DirectorofChoralActivities,TheGeorgeWashingtonUniversity GiseleBeckerismusicdirectoroftheCantateChamberSingers,withwhom shehasconductedworksrangingfromtheMonteverdiVesperstonewand commissionedmusic.Shehasservedasmusicdirectororchorusmasterat ArlingtonPresbyterianChurch,theWashingtonBachConsort,Cathedral ChoralSociety,andtheWashingtonChorus.Prof.Beckerhasprepared chorusesforLeonardSlatkin,MstislavRostropovich,RobertShaw,and NicholasMcGeegan;taughtconductingatCatholicUniversity;andsungasa memberoftheNationalGalleryVocalArtsEnsemble.  AndreLamarSmith AndreLamarSmithisasenioratTheGeorgeWashingtonUniversity pursuingadoublemajorinpsychologyandmusicwithaconcentrationin vocalperformance.  MembersoftheGeorgeWashingtonUniversityChamberChoir Soprano ShimmyEdwards CatherineHeywood SaraMoga EmilyOlmsted AnneMariePaolini JeenieYoon  Alto KaylaCalkin JennaGilbert SaraKidibu BeataSafari GraceSrinivasian RachelWeinstein TongZhou

Tenor SamBernstein JohnGearhart DanielKaufman AlexThomas  Bass AndrewAdams RussellDinolfo JordanFrank MichaelNoel AndréLamarSmith* JohnVagas *SoloistinMovementII

TheWesleyanUniversityGamelanEnsemble TheWesleyanUniversityGamelanEnsembleisprimarilycomprisedofWesǦ leyanUniversityundergraduateandgraduatestudents,butalsoincludes alumniandfriends.ThegroupisdirectedbyI.M.HarjitoandSumarsam.  I.M.Harjito Director,WesleyanUniversityGamelanEnsemble 

I.M.HarjitoisagraduateoftheIndonesianNationalAcademyofMusicin Surakarta,CentralJava.HehastaughtthereaswellasatanumberofAmeriǦ canuniversities,includingtheUniversityofCaliforniaatSanDiegoand BrownUniversity.Oneofthemostrespectedmusiciansofthe““youngergenǦ eration””inCentralJava,hehasbeenanArtistǦinǦResidenceatWesleyanUniǦ versitysince1983.  Sumarsam Director,WesleyanUniversityGamelanEnsemble 

SumarsamisanAdjunctProfessorofMusicatWesleyanUniversity,teaching performance,history,andtheoryofIndonesianmusic.HeholdsanM.A.in worldmusicfromWesleyanUniversityandaPh.D.fromCornell.Hisbook Gamelan:CulturalInteractionandMusicalDevelopmentinCentralJavawas publishedbytheUniversityofChicagoPressin1995.Asagamelanscholar, musician,andakeenamateurdhalang(puppeteer)ofwayangkulit(shadow puppettheater),heperforms,conductsworkshops,andlecturesthroughout theworld.  MembersoftheWesleyanUniversityGamelanEnsemble JosephGetter DenniHarjito MahoIshiguro EllenJueck UripSriMaeny JonathanMyers Muryanto(guestmusician) AlecMcLane   

AaronPaige NataliePlaza LauriePower EvenSchnoll PoǦweiWeng DustinWiebe MinYang PramudyaYudhiakto.

POSTǦCLASSICALENSEMBLE BoardofDirectors AngelGilǦOrdóñez  RobinA.Berrington  ChrisDenby    JohnE.Farina   J.EricLarsen     StaơandVolunteers AngelGilǦOrdóñez  JosephHorowitz   JeơreyA.Parks   MaryMarron   SusanKelly    AaronHurst    JacquesMaes   CoryRyanFrank   MariaSanchezǦCarlo HeideWeaver   SteveZakar   

Chair CorporationSecretary Director Director Director

MusicDirector ArtisticDirector ManagingDirector OƥceManager PersonnelManager ProductionManager Webmaster LightingDesigner SpecialEvents DatabaseManager MediaConsultant

SPECIALTHANKSTO.. NationalEndowmentfortheArts AaronCoplandFundforMusic TheEmbassyoftheRepublicofIndonesia TheLisnerAuditorium NationalGalleryofArt TheGeorgeWashingtonUniversityDepartmentofMusic WesleyanUniversity KarenAhlquist BillAlves GiseleBaker CarlGraciandEricAnnis EvaSoltes I.M.Harjito MargaretParsons NurEviRahmawati BrianSilver Sumarsam

 

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