Wednesday, November 16, :30 p.m. Museum of Contemporary Art (MOCA) Cleveland

2 Wednesday, November 16, 2011 6:30 p.m. Museum of Contemporary Art (MOCA) Cleveland director assistant director Celebrating the 75 th Birthday of Steve Reich and the 103 rd Birthday of Elliott Carter STEVE REICH Violin Phase (1967) (b. 1936) Anthony Bracewell, Boson Mo, Dorothy Ro, Mason Yu, violins ELLIOTT CARTER Scrivo in Vento (1991) (b. 1908) Mark Huskey, flute REICH New York Counterpoint (1985) Elinor Rufeizen, clarinet REICH Different Trains (1988) I. America Before the war II. Europe During the war III. After the war Boson Mo and Miran Kim, violins Annalisa Boerner, viola James Jaffe, cello

3 This evening we celebrate the birthdays of two the world s leading composers: Steve Reich (who turned 75 last month) and Elliott Carter (who turns an astonishing 103 in December and is still actively composing). I hope that you will join us at CIM as we honor David Del Tredici s 75th birthday in February, as well as celebrating the music of Steven Stucky on March 25. I also extend a special invitation to you to join us on March 31 as we conclude our concert series at MOCA's downtown location with a performance of Morton Feldman's epic For Philip Guston. I would like to express special thanks this evening to Mark Huskey for stepping in at the last minute to replace Bill DeLelles, who was scheduled to perform today but is unfortunately injured. * * * - Keith Fitch Violin Phase is one of Reich s earliest phase works. In this work, four violinists (or solo violin and pre-recorded tape) share the exact same musical material, initially in unison. As the piece progresses, each individual player moves slightly ahead and/or behind the others, in effect creating a series of composite layers or voices. Violin Phase, along with its predecessor, Piano Phase, was premiered in a series of concerts given in New York art galleries in 1967. - Keith Fitch Scrivo in vento, for flute alone, dedicated to the wonderful flautist and friend, Robert Aitken, takes its title from a poem of Petrarch who lived in and around Avignon from 1326 to 1353. It uses the flute to present contrasting musical ideas and registers to suggest the paradoxical nature of the poem. It was first performed on 20 July 1991 (coincidentally on Petrarch s 678th birthday) at the Ville Rencontres de la Chartreuse of the Centre Acanthes devoted to my music at the Festival of Avignon, France, by Robert Aitken. - Elliott Carter New York Counterpoint was commissioned by The Fromm Music Foundation for clarinetist Richard Stolzman. It was composed during the summer of 1985. The duration is about 11 minutes. The piece is a continuation of the ideas found in Vermont Counterpoint (1982), where a soloist plays against a prerecorded tape of him- or herself. In New York Counterpoint, the soloist prerecords ten clarinet and bass clarinet parts and then plays a final 11th part live against the tape. The compositional procedures include several that occur in my earlier music. The opening pulses ultimately come from the opening of Music for 18 Musicians (1976). The use of interlocking repeated melodic patterns played by multiples of the same instrument can be found in my

4 earliest works, Piano Phase (for two pianos or two marimbas) and Violin Phase (for four violins) both from 1967. In the nature of the patterns, their combination harmonically, and in the faster rate of change, the piece reflects my recent works, particularly Sextet (1985). New York Counterpoint is in three movements: fast, slow, fast, played without pause. The change of tempo is abrupt and in the simple relation of 1:2. The piece is in the meter 3/2 = 6/4 (=12/8). As is often the case when I write in this meter, there is an ambiguity between whether one hears measures of 3 groups of 4 eight notes, or 4 groups of 3 eight notes. In the last movement of New York Counterpoint, the bass clarinets function to accent first one and then the other of these possibilities while the upper clarinets essentially do not change. The effect, by change of accent, is to vary the perception of that which in fact is not changing. - Steve Reich Different Trains, for string quartet and pre-recorded performance tape, began a new way of composing that has its roots in my early tape pieces It s Gonna Rain (1965) and Come Out (1966). The basic idea is that carefully chosen speech recordings generate the musical materials for musical instruments. The idea for the piece comes from my childhood. When I was one year old my parents separated. My mother moved to Los Angeles and my father stayed in New York. Since they arranged divided custody, I travelled back and forth by train frequently between New York and Los Angeles from 1939 to 1942 accompanied by my governess. While the trips were exciting and romantic at the time I now look back and think that, if I had been in Europe during this period, as a Jew I would have had to ride very different trains. With this in mind I wanted to make a piece that would accurately reflect the whole situation. In order to prepare the tape I did the following: 1. Record my governess Virginia, then in her seventies, reminiscing about our train trips together. 2. Record a retired Pullman porter, Lawrence Davis, then in his eighties, who used to ride lines between New York and Los Angeles, reminiscing about his life. 3. Collect recordings of Holocaust survivors Rachella, Paul and Rachel, all about my age and then living in America speaking of their experiences. 4. Collect recorded American and European train sounds of the 30s and 40s. In order to combine the taped speech with the string instruments I selected small speech samples that are more or less clearly pitched and then notated them as accurately as possible in musical notation. The strings then literally imitate that speech melody. The speech samples as well as the train sounds were transferred to tape with the use of sampling keyboards and a computer. Three separate string quartets are also added to the pre-recorded tape and the final live quartet part is added in performance.

5 Different Trains is in three movements (played without pause), although that term is stretched here since tempos change frequently in each movement. They are: 1. America- Before the war 2. Europe During the war 3. After the war The piece thus presents both a documentary and a musical reality and begins a new musical direction. It is a direction that I expect will lead to a new kind of documentary music video theatre in the not too distant future. - Steve Reich Steve Reich has been called...america's greatest living composer (The Village VOICE),...the most original musical thinker of our time (The New Yorker) and...among the great composers of the century (New York Times). From his early taped speech pieces It's Gonna Rain (1965) and Come Out (1966) to his and video artist Beryl Korot's digital video opera Three Tales (2002), Reich's path has embraced not only aspects of Western Classical music, but the structures, harmonies, and rhythms of non-western and American vernacular music, particularly jazz. There's just a handful of living composers who can legitimately claim to have altered the direction of musical history and Steve Reich is one of them, states The Guardian (UK). Born in New York and raised there and in California, Reich graduated with honors in philosophy from Cornell University in 1957. For the next two years, he studied composition with Hall Overton, and from 1958 to 1961 he studied at The Juilliard School of Music with William Bergsma and Vincent Persichetti. Reich received his M.A. in Music from Mills College in 1963, where he worked with Luciano Berio and Darius Milhaud. During the summer of 1970, with the help of a grant from the Institute for International Education, Reich studied drumming at the Institute for African Studies at the University of Ghana in Accra. In 1973 and 1974 he studied Balinese Gamelan Semar Pegulingan and Gamelan Gambang at the American Society for Eastern Arts in Seattle and Berkeley, California. From 1976 to 1977 he studied the traditional forms of cantillation (chanting) of the Hebrew Scriptures in New York and Jerusalem. In 1966, Reich founded his own ensemble of three musicians, which rapidly grew to 18 members or more. Since 1971, Steve Reich and Musicians have frequently toured the world, and have the distinction of performing to sold-out houses at venues as diverse as Carnegie Hall and the Bottom Line Cabaret.

6 His music has been influential to composers and mainstream musicians all over the world. He is a leading pioneer of Minimalism, having in his youth broken away from the "establishment" that was serialism. His music is known for steady pulse, repetition, and a fascination with canons; it combines rigorous structures with propulsive rhythms and seductive instrumental color. It also embraces harmonies of non-western and American vernacular music (especially jazz). Steve Reich s music has been performed by major orchestras and ensembles around the world, including the London, San Francisco, and Boston Symphonies, all led by Michael Tilson Thomas; the New York Philharmonic conducted by Zubin Mehta; The Ensemble Modern conducted by Bradley Lubman; The Ensemble Intercontemporain conducted by David Robertson; the London Sinfonietta conducted by Markus Stenz and Martyn Brabbins; the Theater of Voices conducted by Paul Hillier; the Schoenberg Ensemble conducted by Reinbert de Leeuw; the Brooklyn Philharmonic Orchestra conducted by Robert Spano; the Saint Louis Symphony conducted by Leonard Slatkin; the Los Angeles Philharmonic conducted by Neal Stulberg; and the BBC Symphony conducted by Peter Eötvös. In 1994, Steve Reich was elected to the American Academy of Arts and Letters, to the Bavarian Academy of Fine Arts in 1995, and, in 1999, awarded Commandeur de l'ordre des Arts et Lettres. The year 2000 brought five additional honors: the Schuman Prize from Columbia University, the Montgomery Fellowship from Dartmouth College, the Regent's Lectureship at the University of California at Berkeley, an honorary doctorate from the California Institute of the Arts. In 2007, Mr. Reich was awarded the Polar Music Prize by the Swedish Academy of Music. Different Trains and Music for 18 Musicians have each earned him GRAMMY awards, and his documentary video opera works The Cave and Three Tales, done in collaboration with video artist Beryl Korot have pushed the boundaries of the operatic medium. Over the years his music has significantly grown both in expanded harmonies and instrumentation, resulting in a Pulitzer Prize for his 2007 composition, Double Sextet. Reprinted by kind permission of Boosey & Hawkes. * * * Twice winner of the Pulitzer Prize, first composer to receive the United States National Medal of Arts, one of the few composers ever awarded Germany's Ernst Von Siemens Music Prize, and in 1988 made Commandeur dans l'ordre des Arts et des Lettres by the Government of France, Elliott Carter is internationally recognized as one of the leading American voices in classical music. He recently received the Prince Pierre Foundation Music

7 Award, bestowed by the Principality of Monaco, and was one of a handful of living composers elected to the Classical Music Hall of Fame. December 11, 2008 marked Carter s 100th birthday, bringing salutes from performing organizations around the globe. A number of recordings were issued including Carter: String Quartets Nos. 1 & 5 from Pacifica Quartet and Elliott Carter: A Nonesuch Retrospective. A four-disc set, the collection includes most of the recordings Nonesuch made of Carter s music between 1968 and 1985. The event launched major celebrations around the world, including dedicated festivals at the BBC Proms and at Tanglewood. First encouraged toward a musical career by his friend and mentor Charles Ives, Carter was recognized by the Pulitzer Prize Committee for the first time in 1960 for his groundbreaking compositions for the string quartet medium, and was soon thereafter hailed by Igor Stravinsky for his Double Concerto for harpsichord, piano and two chamber orchestras (1961) and Piano Concerto (1967), both of which Stravinsky dubbed masterpieces. But the creative burst began in earnest during the 1980s, with major orchestral essays such as Oboe Concerto (1986-87), Three Occasions (completed 1989) and his enormously successful Violin Concerto (1990). The composer's astonishing late-career creative burst has continued unabated. The first few weeks of 2004 brought a pair of acclaimed new scores: Micomicon for the Boston Symphony Orchestra, and the incisive Dialogues commissioned by the London Sinfonietta. In the United States, the Boston Symphony Orchestra brought Carter s Three Illusions for Orchestra to life in October 2005, a piece which the Boston Globe calls surprising, inevitable, and vividly orchestrated. Still extraordinarily prolific at over 100 years of age, recent works include the Flute Concerto (2008), premiered by Emmanuel Pahud, flute, and the International Chamber Music Ensemble, led by Daniel Barenboim; What are Years, a 2010 joint commission of the Aldeburgh and Tanglewood Festivals; Tintinabulation, premiered in 2008 by the New England Conservatory Percussion Ensemble at Jordan Hall in Boston; the Concertino for Bass Clarinet, premiered in Toronto in December 2010 by Virgil Blackwell and the New Music Concerts Ensemble, and most recently, Conversations (2010), premiered at the Aldeburgh Festival in 2011. Reprinted by kind permission of Boosey & Hawkes.

8 Keith Fitch currently heads the composition department at the Cleveland Institute of Music, where he holds the Vincent K. and Edith H. Smith Chair in Composition and also directs the CIM New Music Ensemble. Called gloriously luminous by The Philadelphia Inquirer, his music has been consistently noted for its eloquence, expressivity, dramatic sense of musical narrative, and unique sense of color and sonority. Reviewing a performance of his work Totem by Wolfgang Sawallisch and The Philadelphia Orchestra (chosen by Maestro Sawallisch to celebrate the orchestra s centennial), The Wall Street Journal praised the sheer concentration of his writing, and its power to express a complex, unseen presence shaping the course of musical events. His works have been performed throughout the United States, Europe, and Japan by such ensembles as The Philadelphia Orchestra, the American Composers Orchestra, the New York Youth Symphony, the Chamber Music Society of Lincoln Center, the Cleveland Chamber Symphony, the St. Luke s Chamber Ensemble, the Da Capo Chamber Players, and new music ensembles around the country. Additionally, his music has been heard at the Norfolk Chamber Music Festival, the June in Buffalo Festival, the Midwest Composers Symposium, the Atlantic Center for the Arts, Milwaukee PremiereFest, New York s Carnegie and Merkin Halls, and in university settings nationwide. Highlights of recent seasons include the premieres of This Rough Magicke (commission, St. Luke s Chamber Ensemble), Le tango maudit (duo-pianists Pavlina Dokovska and Vladimir Valjarevic, Sofia, Bulgaria), Summer and Shade: Three Dream-dances for Orchestra (Symphony Space, New York), Tho Night Be Falling (commissioned by the Fromm Music Foundation for the Colorado String Quartet), and Midnight Rounds, written to celebrate the fortieth anniversary of the Da Capo Chamber Players. His most recent work, Mean Fiddle Summer, composed for the acclaimed violinist Lina Bahn, was premiered on April 3, 2011 at The Cleveland Institute of Music. A native of Indiana, Keith Fitch (b. 1966) began composing at age eight and began formal musical training on the double bass at age eleven. While still in high school (age sixteen), he received his first professional orchestral performance. Subsequently, he attended the Indiana University School of Music, where he completed his Doctorate in 1995. At Indiana, he studied composition with Frederick Fox, Eugene O Brien, and Claude Baker, double bass with Bruce Bransby and Murray Grodner, and chamber music with Rostislav Dubinsky, founder of the Borodin Quartet. He also counts Donald Erb and Joan Tower among his compositional mentors. Among his many awards are the annual Dean s Prize for Composition at Indiana (six times), the Kate and Cole Porter Memorial Fellowship at Indiana, three ASCAP Young Composer Awards, the ASCAP-Raymond Hubbell Scholarship, three National Society of Arts and Letters awards, an Individual Artist Grant from the Indiana Arts Commission and the National Endowment for the Arts, and a Fromm

9 Foundation Commission. He has enjoyed multiple residencies at The MacDowell Colony and the Virginia Center for the Creative Arts, as well as at The Charles Ives Center for American Music and the Atlantic Center for the Arts, and he has twice served as Resident Composer and faculty at the Chamber Music Conference and Composers Forum of the East. Most recently, he served as guest composer at California Summer Music and at the MidAmerican Center for Contemporary Music at Bowling Green State University. Highly regarded as a teacher, chamber music coach, and conductor of new music, he has taught at Indiana University, Bard College, and for eleven years served on the faculty of the Mannes College of Music in New York, where he founded the new music ensemble, CIRCE. His students regularly win awards from such prestigious organizations as ASCAP, BMI, the American Academy of Arts and Letters, and the Fulbright Foundation, as well as attending leading summer festivals around the world. His music is published by Non Sequitur Music. * * * The music of Tim Mauthé has been featured in performances in North America and Europe. He was awarded the soundscape Composition Prize in 2009 and the Grand Prize at the 2008 Wintergreen Summer Music Festival Prix del Fosse Soloist Competition. Commissions he has received include incidental music for the Cleveland Shakespeare Festival's production of Antony and Cleopatra and the Virginia Tech Department of Theatre's production of Gao Xingjian's The Other Shore. A founding member of the North Ohio Music Exchange and the International Composers Collective, Mr. Mauthé is dedicated to creating opportunities in the Cleveland area and internationally for composers and performers of new music. He is currently a doctoral candidate in composition at the Cleveland Institute of Music, studying with Keith Fitch. Additionally, Mr. Mauthé teaches composition at CIM, Case Western Reserve University, and in the Preparatory Department at CIM as a student teacher of composition. Mr. Mauthé earned his MM in Composition from the Cleveland Institute of Music and his BA in composition and sound engineering from Virginia Tech.

10 Annalisa Boerner is a viola student of Lynne Ramsey, enrolled in the Master of Music degree program. Anthony Bracewell is a violin student of Paul Kantor, enrolled in the Bachelor of Music degree program. Mark Huskey is a flute student of Joshua Smith, enrolled in the Bachelor of Music degree program. James Jaffe is a cello student of Stephen Geber, enrolled in the Master of Music degree program. Miran Kim is a violin student of Joel Smirnoff, enrolled in the Bachelor of Music degree program. Boson Mo is a violin student of Paul Kantor, enrolled in the Professional Study program. Dorothy Ro is a violin student of Paul Kantor, enrolled in the Master of Music degree program. Elinor Rufeizen is a clarinet student of Franklin Cohen, enrolled in the Bachelor of Music program. Mason Yu is a violin student of Paul Kantor, enrolled in the Bachelor of Music degree program. Since its founding in 1920, CIM has offered a world class education to students from age 3 to 93 and provided concerts for the community. Located in University Circle, Cleveland's cultural hub, CIM is easily accessible to all music lovers providing hundreds of concerts annually, most free of charge. CIM s alumni perform with the world's most acclaimed musical organizations, in major national and international orchestras and opera companies, as soloists and in chamber ensembles, and hold prominent teaching positions world-wide. CIM maintains a close relationship with The Cleveland Orchestra, with 40 members of The Orchestra serving on its faculty; 39 alumni currently hold positions with The Orchestra.

11 Founded in 1968, the Museum of Contemporary Art Cleveland, a leading force in the cultural life of Northeast Ohio, is recognized nationally and internationally for its vital and creative exhibitions and public programs. MOCA s critically acclaimed exhibitions have included The Teacher and the Student: Charles Rosenthal and Ilya Kabakov (2004), Yoshitomo Nara (2004), All Digital (2006), Diana Cooper (2008), Sam Taylor-Wood (2008), Hugging and Wrestling: Contemporary Israeli Photography and Video (2009), and Marilyn Minter: Orange Crush (2010). As it prepares to begin work on its new building, MOCA looks forward to welcoming both established and new audiences to its exciting new space in Cleveland s University Circle. The new MOCA will provide the city of Cleveland with a signature building for contemporary art and ideas. ON FRONT / Installation view of Ursula von Rydingsvard: Sculpture at the Museum of Contemporary Art Cleveland.

12 Sunday, November 20 at 4pm Mixon Hall STUDENT COMPOSITION RECITAL KEITH FITCH, director New works by CIM student composers Monday, February 6 at 4:30pm Studio 113 SYMPOSIUM DAVID DEL TREDICI, guest composer Del Tredici discusses his music and approach to composition Wednesday, February 8 at 7:30pm Kulas Hall Celebrating the 75 th birthday of David Del Tredici CIM ORCHESTRA STEVEN SMITH, guest conductor JUNG EUN OH, soprano DEL TREDICI In Memory of a Summer Day (Child Alice, Part I) Sunday, March 4 at 4pm Mixon Hall STUDENT COMPOSITION RECITAL KEITH FITCH, director New works by CIM student composers Saturday, March 24 at 1:30pm Studio 113 SYMPOSIUM STEVEN STUCKY, guest composer Stucky discusses his music and approach to composition Sunday, March 25 at 4pm Mixon Hall CIM NEW MUSIC ENSEMBLE KEITH FITCH, director STEVEN STUCKY, guest composer Music by Steven Stucky and Donald Erb. Saturday, March 31 at 7 pm Museum of Contemporary Art, Cleveland (MOCA) 8501 Carnegie Avenue, Cleveland CIM@MOCA: Harmonic Hues CIM NEW MUSIC ENSEMBLE KEITH FITCH, director CIM closes MOCA's downtown location with a performance of Morton Feldman's epic For Philip Guston. Explore the galleries and experience the monumental wooden sculptures of Ursula von Rydingsvard while CIM musicians perform this ravishing, late work by one of the 20th century's most eclectic composers. Reservations required. Call 216.421.8671 ext 70 Wednesday, April 18 at 4pm Mixon Hall ELECTRONIC MUSIC STUDIO RECITAL Students of Steven Mark Kohn Sunday, April 22 at 4pm Mixon Hall STUDENT COMPOSITION RECITAL KEITH FITCH, director New works by CIM student composers