Program Notes - University of Chicago Presents

THE
UNIVERSITY
OF
CHICAGO
PRESENTS
49TH SEASON | 2014
Shulamit Ran
Artistic Director
Cliff Colnot
Conductor
Pacifica Quartet
eighth blackbird
Ensembles-in-Residence
04.26.14
Contempo-Jazz Double Bill:
10th Anniversary with Patricia Barber
A NOTE FROM CONTEMPO’S ARTISTIC DIRECTOR
Welcome to Contempo’s 49th season, just one season away from that magic mark of half a
century. While plans for our 50th anniversary season are already well under way, it has
been my goal as Artistic Director for the past dozen years to make every season festive
and special, packing some of my favorite new music, in dazzling, authoritative
performances, into each concert.
Certainly with the 10th anniversary of the Contempo Double-Bill gracing this season, we
have cause for a special celebration. I can think of no more appropriate a way to mark the
occasion than to bring back Patricia Barber, whose extraordinary artistry and unique musical
voice was a major inspiration for my having created the annual event now known as the
“double bill” ten years ago as an arena for placing jazz and other genres firmly under the
umbrella of “new music.” As with many of the major artists featured in these events,
Patricia was keen on familiarizing herself with the who and what of the first half of this
year’s concert. Her curiosity validates the idea that artists, as well as audiences, want to
extend themselves beyond the traditional divide.
One could well title this year’s Double-Bill Formidable Women. In addition to Barber, it
includes music by Marta Ptaszyńska, Franghiz Ali-Zadeh, and Elena Firsova, three
internationally recognized composers, each with a fiercely independent voice. The same is
also true of the five stellar composers whose music is being heard on the “Myth and
Awakening” season opener, including the Australian Brett Dean — his Old Kings in Exile
sextet was a co-commission of resident artists eighth blackbird — Chinese-American Lei
Liang for whose Yuan we have invited the Anubis saxophone quartet to perform, and our
very own Augusta Read Thomas, who composed both the music and text of her Twilight
Butterflies. Compelling music by John Orfe and Anna Weesner rounds off that program.
The “recital spot” on this season belongs once again to violinist Miranda Cuckson who
captivated our audiences with last season’s special celebration of music by Ralph Shapey.
This time she brings a varied program, including the music of some composers new to
Contempo such as Unsuk Chin and Georg Friedrich Haas. Happily, Cuckson has also
chosen to include a solo violin work by University of Chicago Ph.D. candidate Jae-Goo Lee,
thus highlighting a central part of Contempo’s mission and its function as a major curricular
component of the University of Chicago’s composition program. All this culminates in the
annual pair of Tomorrow’s Music Today concerts featuring new works by the University of
Chicago’s young composers, who come to us for advanced studies from the four corners
of the world — this year alone including Argentina, Brazil, Korea and Turkey.
I am thrilled that you chose to join us on this ever-continuing journey of discovery. Enjoy!
Shulamit Ran
Artistic Director
49TH SEASON 2014
CONTENTS
Letter from the Artistic Director
Shulamit Ran
Artistic Director
THE
UNIVERSITY
OF
CHICAGO
PRESENTS
p.2
Contempo History
p.4
April 26: 10th Annual Contempo – Jazz Double Bill p.6
History of Contempo – Jazz Double Bill p.20
Gifts p.24
Pacifica Quartet
Amy Iwano
Executive Director
James Hillis
Director of Production and Education
Barbara Jurgens
Marketing and Communications Consultant
Melissa Scott
Marketing and Production Assistant
Claire Snarski
Graphic Designer
Erin Funk-Dublan
Performance Hall Manager
Leah Ansel
Joseph Mocharnuk
Andrew Song
Concert Assistants
Ted Gordon
Program Annotator
The Saints
Volunteer Ushers
Contact
Phone: 773.702.8068
Box office: 773.702.ARTS (773.702.2787)
[email protected]
Visit us online
contempo.uchicago.edu
chicagopresents.uchicago.edu
eighth blackbird
About Contempo
Dedicated exclusively to the performance of new music, the University of Chicago’s
Contempo—formerly known as the Contemporary Chamber Players — is one of the most
successful new music groups in the nation. Now in its 49th season, Contempo has earned
an enviable reputation for outstanding performances of music by living composers.
Its distinguished list of world premieres by both established and emerging composers
includes works by Roger Sessions, Ralph Shapey, George Perle, Mario Davidovsky, John
Harbison, Pulitzer Prize-winning faculty member Shulamit Ran and MacArthur fellow and
former University of Chicago faculty member John Eaton.
Contempo was founded in the fall of 1964 by renowned composer and conductor Ralph
Shapey, who continued to direct the ensemble until his retirement in 1993. Shapey was
succeeded by Stephen Mosko, who held the position of Music Director from 1994 to 1998.
Seeking to more closely integrate its artistic vision with its educational mission, Contempo
underwent a major restructuring by the Department of Music in 1998. Over the next four
seasons, conductors Cliff Colnot, Barbara Schubert, and Carmen Helena Tellez served
consecutively as Resident Conductors, with the award-winning Pacifica Quartet and eighth
blackbird joining Contempo as Artists-in-Residence in 1998 and 2000.
In 2002 Shulamit Ran was appointed Contempo’s Artistic Director, and in 2004 — the
ensemble’s 40th season — the group forged a bold new artistic path that included new
downtown venues and audiences, a broadened notion of new music including jazz and
other genres, and a change of name. The Contempo of this era defines itself as a new
music collective — “collective” in the sense of emerging from the joint efforts of its
conductor, artistic director, core resident ensembles, guest performers, and composers.
Central among Contempo composers is an international cohort of doctoral candidates at
the University of Chicago, who have been a defining feature of the group since its
inception, together with more established composers whose music is performed
throughout the year. The active engagement of young composers, working with faculty
and performers during the drafting stages, participating in the rehearsal process, and
hearing their work realized by a world-class ensemble, greatly enhances the living art of
composition that Contempo works to promote.
­– Martha Feldman
4
CHICAGO PRESENTS | CONTEMPO 2014
“...contemporary music down to a science; talented, very
technically capable performers play... with authority and élan.”
– ChicagoClassicalMusic.com
the Philadelphia Orchestra under Gary
Bertini, the Israel Philharmonic under Zubin
Mehta and Gustavo Dudamel, the New York
Philharmonic, the American Composers
Orchestra, The Orchestra of St. Luke’s
under Yehudi Menuhin, the Baltimore
Symphony, the National Symphony (in
Washington D.C.), the Orchestre de la
Suisse Romande, the Jerusalem Orchestra,
the vocal ensemble Chanticleer, and various
others.
SHULAMIT RAN, Artistic Director
Shulamit Ran, the Andrew MacLeish
Distinguished Service Professor in the
Department of Music, joined the faculty of
the University of Chicago in 1973. She has
been awarded most major honors given to
composers in the U.S., including the
Pulitzer Prize, first prize in the Kennedy
Center-Friedheim Awards competition for
orchestral music, fellowships and
commissions from the Guggenheim
Foundation, the Koussevitzky Foundation at
Between 1990 and 1997 she was
Composer-in-Residence with the Chicago
Symphony Orchestra, having been
appointed for that position by Maestro
Daniel Barenboim as part of the Meet-TheComposer Orchestra Residencies Program.
Between 1994 and 1997 she was also the
fifth Brena and Lee Freeman Sr. Composerin-Residence with the Lyric Opera of
Chicago, where her residency culminated in
the performance of her first opera,
“Between Two Worlds (The Dybbuk).”
the Library of Congress, the National
Ran is an elected member of the American
Endowment for the Arts, the Fromm Music
Academy of Arts and Letters and of the
Foundation, Chamber Music America, and
American Academy of Arts and Science.
many more. Ran was the Paul Fromm
The recipient of five honorary doctorates,
Composer in Residence at the American
her works are published by Theodore
Academy in Rome, September-December
Presser Company and by the Israeli Music
2011.
Institute and recorded on more than a
Her music has been played by leading
dozen different labels.
performing organizations including the
Chicago Symphony under both Daniel
Barenboim and Pierre Boulez, the Cleveland
Orchestra under Christoph Von Dohnanyi,
CHICAGO PRESENTS | CONTEMPO 2014
5
Reva and David Logan Center for the Arts, Performance Hall
04.26.14
SAT | 7:30 PM
10th Annual Contempo–Jazz Double Bill
Pacifica Quartet
Don Michael Randel Ensemble-in-Residence
Lisa Kaplan, piano
Nicholas Photinos, cello
Nicholas Reed, percussion
Patricia Barber, piano and vocals
Ari Hoenig, drums
Gilad Hekselman, guitar
Patrick Mulcahy, bass
FRANGHIZ ALI-ZADEH
Habil-Sayagy for cello and prepared piano
ELENA FIRSOVA String Quartet No. 11, “Purgatorium”
MARTA PTASZYNSKA
Space Model for percussion and prerecorded tape
INTERMISSION
Jazz set with Patricia Barber and the Ari Hoenig Trio
Please join the Contempo artists for a celebration in the lobby immediately following the concert.
Photography is prohibited.
6
CHICAGO PRESENTS | CONTEMPO 2014
PROGRAM NOTES
has lived in Germany and Azerbaijan.
In 1980 Ali-Zadeh received the prize of the
Azerbaijani Composers’ Union and in 1990
she was named “Meritorious Artist” of the
Azerbaijani Soviet Socialist Republic. In
November 2000 she received the honorary
title of “People’s Artist of the Republic of
Azerbaijan” and was named “UNESCO
Artist for Peace” in 2008.
Ali-Zadeh’s catalogue of works includes
solo, chamber, ensemble and orchestral
FRANGHIZ ALI-ZADEH
music. She introduced herself in the West
b.1947
for the first time with her Piano Sonata in
Habil-Sayagy for cello and prepared
piano
(1979)
Memory of Alban Berg in 1976 at the music
festival in Pesaro; after this, her music was
performed at festivals in Stockholm,
Warsaw, Berlin, London, Heidelberg,
Franghiz Ali-Zadeh was born on May 28,
Amsterdam, Frankfurt, Zürich, Cologne,
1947 in Baku, Azerbaijan. She attended the
Bonn, Hamburg, Duisburg and at the
Conservatory in Baku and passed the piano
Schleswig-Holstein Music Festival. There
examination in 1970 and the composition
followed numerous performances, portrait
examination in 1972, and was then an
concerts, radio and CD recordings in the
aspirant with Kara Karayev from 1973 until
USA, Switzerland, Great Britain, Germany,
1976. Her 1989 doctoral thesis was
Holland, Portugal, Denmark, France, Italy,
Orchestration in Works of Composers of
Australia, Spain, Israel, Estonia and Turkey.
Azerbaijan. She then taught there in the
Numerous works of Ali- Zadeh have served
specialist area of music history beginning in
as ballet music (in Helsinki, New York,
1976, and from 1990 was professor in the
Berlin, Singapore and London).
subjects of contemporary music and history
of orchestral styles. From 1993 to 1996 she
was the choral director at the Mersin
(Turkey) opera house, and then an instructor
in piano and music theory at the
Conservatory there for two years. Ali-Zadeh
worked in Baku again in 1998 and 1999.
She was in residence in Berlin in 1999/2000
as a DAAD stipend recipient and since then
Interpreters such as Mstislav Rostropovich,
Yo-Yo Ma, Evelyn Glennie, Ivan Monighetti,
David Geringas, Julius Berger, Wu Man,
Alexander Ivashkin, Alim Qasimov, Vladimir
Tonkha, Elsbeth Moser and many others
have committed themselves to her music.
Ensembles and orchestras throughout the
world play her music with enthusiasm.
CHICAGO PRESENTS | CONTEMPO 2014
7
PROGRAM NOTES
In a unique way, Ali-Zadeh succeeds in
in 1983, Habil-Sayagy was voted the best
blending the musical traditions of her
cello work of the past 10 years. The German
homeland with modern western
premiere was in 1986 at the Berlin Festival.
compositional techniques. In her music, rich
An article by Yuri Gabai on Franghiz
in contrasts, lightness is mirrored by
Ali-Zadeh in the Soviet magazine Music in
vehemence, a playful carefree quality with
the USSR (1990) states that at the
brooding thoughts, tender transparency
premiere, “the audience in the packed hall
with powerful colors, calm simplicity with
waited anxiously for the appearance of well-
turbulent virtuosity and meditation with
known cellist Ivan Monighetti to play works
ecstasy. Thus the composer reflects the
by Webern, Cage, and Gubaidulina. But to
religious and cultural inner-conflicts
the surprise of many, the highlight of the
between East and West and between
program was the piece Habil-Sayagy by
national tradition and West European
Franghiz Ali-Zadeh, brilliantly performed by
modernism. She concurrently realizes, in
Monighetti. […] From the opening bars, the
music, the personal tensions that have
music enchanted the listener. The logic of
resulted during the course of her life.
its development is unusual and pointed,
As a pianist, Ali-Zadeh has tirelessly
committed herself to performing works by
contemporary composers of the former
Soviet Union. Moreover, it is thanks to her
initiative that works of the Second Viennese
School and composers such as Olivier
Messiaen, John Cage and George Crumb
were first performed in Baku.
although the techniques of the so-called
avant-garde tradition were deployed in a
completely different direction. From the
non-existent (or merely existing) cello part,
a rare harmony developed up to its ecstatic
culmination; only two musicians were
involved, while it seemed to be many more
on stage. […] It is difficult to assess their
music and their performance separately.
Both had a strong, magical effect on the
Note, Habil-Sayagy for cello and prepared
piano:
This work was commissioned in 1979 by
cellist Ivan Monighetti, and in December of
the same year it was premiered in
Leningrad’s Dimitri Shostakovitch concert
hall. The performers were Monighetti and
the composer herself. Since then, the work
has seen countless performances around
the world. At the “Warsaw Autumn” festival
8
CHICAGO PRESENTS | CONTEMPO 2014
audience, leaving them holding their breath,
listening.”
Habil-Sayagy is a one-movement
composition, inspired by the famous
Azerbaijani performer of the kamancheh
(spiked fiddle), Habil Aliyev. The piece
unfolds in several stages in the
development of the Azerbaijani Mugham
tradition, with its seemingly freeimprovisational form having its origins in the
Mugham sequence of narrative sections.
The melodic model, which underlies many
in Leningrad and grew up in Moscow. Her
parts of the composition, is based on
parents were both physicists, her father
Chahargah, the fifth mode in the Mugham
Oleg Firsov, moreover, an important atomic
system, which is associated with passion,
physicist.
excitement, and inherent emotional
content. The cello and piano mimic the
timbres of Azerbaijani instruments; the cello
takes the part of the kamancheh while the
piano takes on the role of the long-necked
tar or the short-necked oud by plucking the
strings with a plectrum. The pianist also
takes on the role of the daf, a frame drum,
by stroking the strings with rubber mallets,
or naqareh, a clay drum, by tapping the lid
of the piano.
­– Ulrike Patow
She received her first instruction in
composition at the age of 16. She studied
at the Moscow Conservatory from 1970
until 1975. Starting in 1975 she received
private instruction from Edison Denissov,
who had published the first Russian article
about the twelve-tone technique and made
her familiar with contemporary music. In
addition, she had lessons with Philip
Hershkovitz, a pupil of Anton Webern and
Alban Berg. Her works were performed
with great success in the western world
beginning in 1979. During the same year,
she and her husband, the composer Dmitri
Smirnov, were attacked by the Composers’
Union as “not worthy of the Soviet Union.”
During the course of perestroika, Elena
Firsova first received permission to travel
abroad. There was no lasting change in
Russian musical life, however, since the
influence of the functionaries of the
Composers’ Union remained strong. She
founded the association ASM together with
Edison Denissov and Dmitri Smirnov, which
performed contemporary music with its
own ensemble at home and abroad. In
1990 Elena Firsova moved to England with
ELENA FIRSOVA
b.1950
her family.
Elena Firsova has so far composed well
String Quartet No. 11, “Purgatorium”
over 100 works, including operas, cantatas,
(2008)
concertos, orchestral works but also much
Elena Firsova was born on March 21, 1950
chamber music. She received a commission
for a composition for Expo 2000. Her
CHICAGO PRESENTS | CONTEMPO 2014
9
PROGRAM NOTES
Achmatova Requiem received its world
waters of the river Lethe. Later, there is the
premiere at the Berlin Konzerthaus am
song of Leah and Matilda gathering flowers,
Gendarmenmarkt in September 2003.
Dante’s double-image. The piece ends with
About the String Quartet No. 11, the
composer writes:
Quartet No. 11, “Purgatorium,” was written
birdsong ringing out of Paradise, not yet
attained.
­– Elena Firsova
as a part of family project, La Divina
Commedia, commissioned by London’s
Dante string quartet. My husband,
composer Dmitri Smirnov, wrote “Inferno;”
I wrote “Purgatorium;” and our daughter,
Alissa Firsova, wrote “Paradiso.” The
premiere of this project was in Liverpool in
November 2008. In 2009, there were more
performances in London and in Cambridge.
All three quartets can be, and have been,
performed separately.
I wrote “Purgatorium” more as “after
reading Dante” than as a precise
interpretation of this section of the Divine
Comedy. The one-movement composition
MARTA PTASZYNSKA
develops as a line, moving from the bottom
b.1943
to the top, or from the darkness of Hell to
the light of Paradise, with a rondo-like
layout that reflects different levels of the
ascending circles. At the same time, it
10
Space Model for percussion and
prerecorded tape
(1971-2, revised 1992)
contains the episodes that have direct
Marta Ptaszynska has been a Professor of
connections to Dante’s images, though not
Music and the Humanities at the University
always in the same order. For example, it
of Chicago since 1998. In 2005 she was
begins with a musical image of the seaside,
named the Helen B. & Frank L. Sulzberger
an almost motionless ocean. Dante’s
Professor of Music and the Humanities.
journey through Purgatory begins with the
She is an internationally known composer,
theme of Beatrice, to whom he wends his
and her music has been performed around
way. There is an episode of their meeting
the world at many international festivals,
when she rebukes Dante for his sinful life,
including ISCM World Music Days, the
and in the climax she pulls him through the
Warsaw Autumn International Festivals, the
CHICAGO PRESENTS | CONTEMPO 2014
Salzburg Festival, the Schleswig-Holstein
piano (2008), and Street Music for
Music Festival, the Huddersfield
percussion orchestra of 70 players (2008),
Contemporary Music Festival, the Prix
as well as other popular compositions for
Futura in Berlin, and many others. She has
solo percussion (Siderals, Graffito, Spider
received commissions from major
Walk, Space Model, Letter to the Sun).
orchestras and opera houses including the
Ptaszynska has been honored with many
Chicago Symphony Orchestra, the
prizes and awards, including the 2011
Cincinnati Symphony, the Cleveland
Lifetime Achievement Award by the Union
Chamber Orchestra, the Polish Chamber
of Polish Composers, the 2010 Simon
Orchestra, the Sinfonia Varsovia, the
Guggenheim Award, the Special Award
National Symphony Orchestra, and the
given by the Minister of Culture of Poland
National Opera in Poland. Her first opera
for Outstanding Production for her opera on
Oscar of Alva in 6 scenes (1971-72, rev.
Chopin premiered by the Grand Opera
1986; libretto after Lord G. Byron) received
Theatre in Lodz, the 2006 Benjamin H.
the Award of the Polish Television
Danks Award of the American Academy of
Broadcasting Co. and was presented in
Arts and Letters, The Fromm Music
1989 at the Television Opera Festival in
Foundation Award, First Prize at the
Salzburg, Austria. Her opera for children
International Rostrum of Composers in
Mister Marimba (libretto: Agnieszka
Paris, several awards from the Percussive
Osiecka) has enjoyed phenomenal success
Arts Society, multiple ASCAP Awards, and
with 114 performances over eight seasons
in 1995 the “Officer Cross of Merit” of the
at the National Opera in Warsaw, which in
Republic of Poland.
2008 premiered her second opera Magic
Doremik (2006-2007; libretto after Gianni
Rodari). Her newest opera “The Lovers
from the Valldemosa’s Cloister” was
commissioned for the Chopin Bicentennial
and will be premiered in December 2010 by
the Grand Opera Theatre in Lodz, Poland.
She is the composer of well-known works
such as the Holocaust Memorial Cantata,
performed several times under the baton of
Lord Yehudi Menuhin, Concerto for
Marimba, Winter’s Tale, Sonnetsto
Orpheus, Moon Flowers, Mosaics for string
quartet (2002), Trois visions de l’arc-en-ciel
for clarinet, violin, viola, cello, percussion &
Prior to coming to the University of
Chicago, Ptaszynska taught composition at
Northwestern University, Indiana University
in Bloomington, the Cincinnati CollegeConservatory of Music, the University of
California at Berkeley and at Santa Barbara,
and Bennington College in Vermont.
Her music is published by PWM — Polish
Music Publications in Poland — and by
Theodore Presser in the U.S.A. Recordings
of her work are available on CD AccordUniversal, Muza Polish Records, Chandos,
Olympia, Dux, Bayer Records, and Pro Viva
Sonoton labels.
CHICAGO PRESENTS | CONTEMPO 2014
11
PROGRAM NOTES
About Space Model for one percussionist
Mov. 1: triangle, 4 Almglocken, guiro, 4
and prerecorded tape (1971–2, rev. 1992),
temple blocks, bongos, 4 tom toms,
the composer writes:
tambourine, 2 suspended cymbals,
Space Model for one percussionist,
employing three groups of percussion
Mov. 2: marimba, vibraphone, sizzle
instruments and a prerecorded tape, is built
cymbal, 2 timpani, and crash cymbal;
on the principle of two- and three-voice
canon. The piece consists of three
movements, each using different set of
instruments in three widely separated
Mov. 3: glockenspiel, chimes, 4 wood
blocks, 3 tom toms, triangle, 2 suspended
cymbals, tam-tam (low), and glass chimes.
location across the stage, or, most
The older version of the work from 1971–72
preferably, across the concert hall. The form
was replaced by a revised version of 1992
resulting from the canon between live
and in this form is published by Theodore
performer and prerecorded tape yields a
Presser Co. in the US. The work is
fascinating constellation of sounds as the
dedicated to my former teacher Cloyd Duff,
work unfolds. Each movement is a multiple
a legendary timpanist of the Cleveland
percussion solo providing the player with a
Orchestra.
musical challenge. Superimposing each
movement over the other provides the
player with a technical as well as a musical
concept not possible in any other format.
Some sections are free and performed over
the tape ad libitum while others require a
split-second timing with the tape. The
results of the composition are not fully
realized until one hears the tape with the
live material. This 12-minute work is like a
mathematical system for defining aural
space by the continuous rhythm of
percussion within the physical space on
stage.
The three percussion setups require 23
different standard percussion instruments.
Following is a list of instruments in each
movement:
12
tam-tam (medium), and maracas;
CHICAGO PRESENTS | CONTEMPO 2014
­– Marta Ptaszynska
ARTIST BIOGRAPHIES
appointment to Lincoln Center’s CMS Two,
and in 2006 was awarded a prestigious
Avery Fisher Career Grant, becoming only
the second chamber ensemble so honored
in the Grant’s long history. Also in 2006 the
Quartet was featured on the cover of
Gramophone and heralded as one of “five
new quartets you should know about,” the
only American quartet to make the list. And
in 2009, the Quartet was named
“Ensemble of the Year” by Musical
America.
PACIFICA QUARTET
The Pacifica Quartet has carved a niche for
Recognized for its virtuosity, exuberant
itself as the preeminent interpreter of string
performance style, and often-daring
quartet cycles, harnessing the group’s
repertory choices, over the past two
singular focus and incredible stamina to
decades the Pacifica Quartet has gained
portray each composer’s evolution, often
international stature as one of the finest
over the course of just a few days. Having
chamber ensembles performing today. The
given highly acclaimed performances of the
Pacifica tours extensively throughout the
complete Carter cycle in San Francisco,
United States, Europe, Asia, and Australia,
New York, Chicago, and Houston; the
performing regularly in the world’s major
Mendelssohn cycle in Napa, Australia, New
concert halls. Named the quartet-in-
York, and Pittsburgh; and the Beethoven
residence at Indiana University’s Jacobs
cycle in New York, Denver, St. Paul,
School of Music in March 2012, the Pacifica
Chicago, Napa, and Tokyo (in an
was also the quartet-in-residence at the
unprecedented presentation of five
Metropolitan Museum of Art (2009–2012)
concerts in three days at Suntory Hall), the
– a position that has otherwise been held
Quartet presented the monumental
only by the Guarneri String Quartet – and
Shostakovich cycle in Chicago and New
received the 2009 Grammy Award for Best
York during the 2010-2011 season and in
Chamber Music Performance.
Montreal and at London’s Wigmore Hall in
Formed in 1994, the Pacifica Quartet quickly
won chamber music’s top competitions,
including the 1998 Naumburg Chamber
Music Award. In 2002 the ensemble was
honored with Chamber Music America’s
the 2011-2012 season. The Quartet has
been widely praised for these cycles, with
critics calling the concerts “brilliant,”
“astonishing,” “gripping,” and
“breathtaking.”
Cleveland Quartet Award and the
CHICAGO PRESENTS | CONTEMPO 2014
13
ARTIST BIOGRAPHIES
An ardent advocate of contemporary music,
performing artist at the University of
the Pacifica Quartet commissions and
Chicago.
performs many new works, including those
by Keeril Makan, in partnership with the
Celebrity Series of Boston and the Great
The Pacifica Quartet is endorsed by
D’Addario and proudly uses their strings.
Lakes Chamber Music Festival, during the
For more information on the Quartet,
2012-13 season, and Shulamit Ran, in
please visit www.pacificaquartet.com.
partnership with the Music Accord
consortium, London’s Wigmore Hall, and
Tokyo’s Suntory Hall, during the 2013-14
The Pacifica Quartet is the Don Michael
and 2014-15 seasons. In 2008 the Quartet
Randel ensemble-in-residence at the
released its Grammy Award-winning
University of Chicago. The residency
recording of Carter’s quartets Nos. 1 and 5
program is made possible by a grant from
on the Naxos label; the 2009 release of
the Andrew W. Mellon Foundation in
quartets Nos. 2, 3, and 4 completed the
recognition of noted musicologist and
two-CD set. Cedille Records recently
UChicago President Emeritus Randel, to
released the third of four volumes
provide a permanent home for world-class
comprising the entire Shostakovich cycle,
musicians at the University. As the
along with other contemporary Soviet
inaugural Randel Ensemble-in-Residence,
works, to rave reviews: “The playing is
the Pacifica Quartet is involved in activities
nothing short of phenomenal.” (Daily
that allow for deep engagement between
Telegraph, London) Upcoming projects
these exceptional musicians and UChicago
include recording Leo Ornstein’s rarely-
faculty, students and staff.
heard piano quintet with Marc-André
Hamelin, with an accompanying tour, and
the Brahms and Mozart clarinet quintets
with the Metropolitan Opera’s principal
clarinetist Anthony McGill.
The members of the Pacifica Quartet live in
Bloomington, IN, where they serve as
quartet-in-residence and full-time faculty
members at the Jacobs School of Music.
Prior to their appointment, the Quartet was
on the faculty of the University of Illinois at
Champaign-Urbana from 2003 to 2012. The
Pacifica Quartet also serves as resident
14
CHICAGO PRESENTS | CONTEMPO 2014
baking ridiculously complicated pastry and
loves outdoor adventures. She has
summited Mt. Kilimanjaro, braved the
Australian outback, stared an enormous
elephant in the face in Tanzania’s Ngorogoro
Crater and survived close encounters with
grizzly bears in the Brooks Range of Alaska.
LISA KAPLAN, piano
Born in Motown, Lisa Kaplan is a pianist
specializing in the performance of new
work by living composers. Kaplan is also
the founding pianist of the three-time
Grammy Award-winning sextet eighth
blackbird. She has won numerous awards,
performed all over the country and has
premiered new pieces by hundreds of
composers, including Andy Akiho, Derek
Bermel, Jennifer Higdon, Amy Beth Kirsten,
NICHOLAS PHOTINOS, cello
David Lang, Nico Muhly, George Perle and
Nicholas Photinos, cellist, is a founding
Steve Reich. Kaplan has had the great
member of the three-time Grammy Award-
pleasure to collaborate and make music
winning new music ensemble eighth
with an eclectic array of incredibly talented
blackbird. Formed in 1996, the ensemble
people - Mario Batali, Jeremy Denk, Bryce
performs throughout the world, giving
Dessner, Glenn Kotche, Gustavo
50-60 concerts annually, and has been
Santaolalla, Steve Schick, Robert Spano,
featured on the 2013 Grammy Awards,
Dawn Upshaw and Michael Ward-
CBS’s Sunday Morning and in the New
Bergeman to name a few. Recently she has
York Times. In addition to its longstanding
greatly enjoyed and appreciated the
and fruitful relationships as Ensemble in
opportunity to do some composing and
Residence at the University of Richmond
arranging for eighth blackbird. Kaplan is a
and University of Chicago, in 2012 eighth
true foodie, gourmet cook, avid reader,
blackbird commenced a three-year, Mellon
crossword and Scrabble addict, enjoys
Foundation-funded term as Ensemble in
CHICAGO PRESENTS | CONTEMPO 2014
15
ARTIST BIOGRAPHIES
Residence at the Curtis Institute of Music.
eighth blackbird›s 2013/14 season features
new works by The National’s Bryce Dessner
(the folk-inspired Murder Ballades), Amy
Beth Kirsten (the fully memorized and
staged production of Columbine’s Paradise
Theater) Steve Mackey (music from his
Grammy-winning Slide) and Australian
composer Brett Dean (the searing Old
Kings in Exile). The group brings this show
to Ohio, Missouri, Idaho, Oregon, North
Carolina, Pennsylvania, Michigan, New York
NICHOLAS REED, percussion
and California. Other highlights include
Nicholas Reed studied percussion with
debuts with the Cincinnati Symphony
Kevin Hathway and Michael Skinner at the
(where the ensemble is an Artist-in-
Royal College of Music, London and at the
Residence) and New World Symphony;
Hochschule für Musik, Freiburg, with
residencies at UCLA, SUNY Purchase,
Bernhard Wulff and Pascal Pons. In 2005,
Baylor and Duke; a collaboration with
he studied with Michel Cerutti and Florent
Oberlin College’s CME; and a debut on the
Jodolet at the Conservatoire Supierieur
Lincoln Center’s Atrium series.
National de Musique et de Danse, Paris on
an ERASMUS Scholarship.
Nicholas has performed as a member of
the Cabrillo Festival Orchestra and Canton
and Columbus Symphony Orchestras,
and performed and recorded with artists
including Björk, Wilco, Autumn Defense,
violinist Zach Brock, bassist Matt Ulery and
singer Grazyna Auguscik. He teaches at
the Bang on a Can Summer Festival every
July in North Adams, MA. Nicholas is a
graduate of Northwestern University, the
He is the recipient of a number of awards,
including the Royal College of Music Tagore
Gold Medal, Royal Philharmonic Society
Julius Isserlis Scholarship and the Sabian
Percussion Prize. His CD (Krzysztof Kaczka,
flute) won the Global Music Award. His solo
recital in the Purcell Room, London, was
chosen by the Daily Telegraph as the “most
promising debut concert of 2009.”
Cincinnati College-Conservatory of Music
Nicholas has performed as a soloist and
and the Oberlin Conservatory of Music. He
chamber musician in festivals across
has recorded for the Cedille, Nonesuch, and
Europe and in Japan, North America,
Naxos labels, among others.
Southeast Asia, and Mongolia, as well
being broadcast by SWR 2 (Germany) and
16
CHICAGO PRESENTS | CONTEMPO 2014
BBC Radio 3 (UK). He has worked with a
kudos arrived from new fans, besotted by
number of renowned artists and composers
her lapidary lyrics and her often indelible
including Helmut Lachenmann, Pierre
imagery.
Boulez, Georges Aperghis, Oliver Knussen,
Nicolaus A. Huber, Marta Ptaszynska, Sir
Colin Davis and Sir Simon Rattle. He has
given masterclasses at leading Universities
in the Japan, the USA and the United
Kingdom.
Nicholas is the percussionist of Ensemble
Aventure, Freiburg.
Since Barber doesn’t consider herself a
poet — and since she didn’t want to be a
jazz pianist in the first place — you’d have
to say things turned out pretty well.
Barber wrote (in Poetry magazine, in 2005):
“I am a songwriter, which is not the same
thing as a poet. Poetry is a passion, my
ever-present guide and inspiration. Though I
indulge in very little of the lingua franca of
the art. . . . I cannot talk about poetry, but I
know poetry. Alone, with logic and
diligence, I have studied, but for me art can
be created neither by logic nor diligence.
Like music, poetry is created in the mouth,
in the ear, and in the air.”
That’s an especially nuanced explanation;
then again, the gleaming successes of
Barber’s art lie in the nuances, the nooks
and crannies, of conventional performance.
When the veteran music writer Don
PATRICIA BARBER
Heckman (in the Los Angeles Times) called
Barber “one of the most utterly individual
From her early days leading a jazz trio in
jazz performers to arrive on the scene in
small Chicago nightclubs, Patricia Barber
years,” he wasn’t referring to the virtuosic
has drawn extravagant accolades. The
spectacle that comes all too easily to
praise came at first from local writers,
today’s jazz artists; he had homed in on the
impressed by her unique arrangements and
quiet audacity with which Barber has
coolly composed piano improvisations. As
redefined the role of the singer-songwriter
she added vocals to her repertoire, the
for 21st-century jazz.
praise poured in from national reviewers
intoxicated by her recordings. And when
(after years of international touring) she
began to focus on her own compositions,
Born in the Chicago suburbs, Barber came
by music naturally. Her father was Floyd
“Shim” Barber, a saxophonist who had
worked with Glenn Miller’s orchestra, and
CHICAGO PRESENTS | CONTEMPO 2014
17
ARTIST BIOGRAPHIES
the instrument beguiled young Patricia:
she released Café Blue, her debut for the
“When he played the saxophone around
small Premonition label; working with label
the house, I’d put my hand in the bell to feel
head and producer Michael Friedman,
the music.” She began playing classical
Barber garnered rave reviews from around
piano at the age of 6, but by the time she
the nation.
had graduated high school — in South
Sioux City, Iowa, where the family had
moved in the mid-60s, following her father’s
death — Barber had foresworn jazz entirely.
“It was hanging over my head the whole
time,” she recalled years later. “But I
thought that becoming a jazz musician was
such a stupid thing for a woman to do — for
a smart woman to do — that I tried to resist
it.”
Barber enrolled at the University of Iowa
with a double major in classical music and
psychology, while continuing to indulge the
voracious reading habit she had nurtured
since childhood. But the jazz echoes she
thought she’d banished only grew louder,
and by graduation, she had decided to
follow in her father’s path. She returned to
Chicago, and in 1984 she landed the gig
that put her (and the venue at which she
performed) on the national jazz map: five
nights a week at the intimate Gold Star
Sardine Bar, which held 60 people at the
most, but where the audience made up in
sophistication what it lacked in size.
steady engagement at Chicago’s legendary
Green Mill, and when not on tour, she
continues to perform there every Monday
night. And, ever the student, Barber
returned to academia in the mid-90s to earn
her master’s degree in jazz pedagogy from
Northwestern University. (She regularly
gives master classes in this country and
overseas.)
Barber’s first two albums for Premonition
made her an international star: despite the
label’s tiny size, Barber sold more than
120,000 of the album Modern Cool and
even more of the follow-up Nightclub,
attracting the attention of Blue Note
Records. In 1999 Blue Note started
distributing her discs as part of a unique
partnership – the first joint imprint in the
fabled label’s then-six-decade history. In
2002, Barber moved into an exclusive
contract with Blue Note, recording three
albums, including Mythologies, a genrecrashing song cycle based on the writings
of the ancient Roman poet Ovid; the project
Soon her reputation spread beyond
was supported by a Guggenheim
Chicago, spurred by enthusiastic response
Fellowship in composition (the first ever
to performances at the Chicago Jazz
awarded to a non-classical “songwriter”).
Festival (1988) and the North Sea Jazz
Festival in the Netherlands (1989),
culminating in her major label debut (A
Distortion Of Love) in 1992. Two years later,
18
At about the same time, Barber began a
CHICAGO PRESENTS | CONTEMPO 2014
Now with Smash, her January 22, 2013
debut on Concord Jazz, Barber proves that
her poetry continues to search ever deeper,
even as her music grows all the more
Hoenig was born into a family of classically
magical.
trained musicians. His father being a choral
conductor and mother a violinist, he was
exposed to classical and folk music at an
early age. He played both piano and violin
as a child, then rock and metal drums as a
teen before settling into jazz and improvised
music.
Ari has recorded written and produced 9
CDs as a leader. He has written and
published 3 educational books, 3
educational DVD’s and a songbook.
Currently, his group Ari Hoenig and Punk
Bop tours worldwide and performs weekly
at the legendary New York jazz club Smalls.
ARI HOENIG
Ari Hoenig (b. November 13, 1973,
Philadelphia, PA) is a jazz drummer,
composer and educator known for his
unusual and intense approach to drumming,
emphasizing complex rhythms in direct
harmony with other group members. Ari is
widely noted particularly for his drumming
not being relegated to just keeping tempo,
or being a side issue to the music he plays
in, but rather for elevating drumming as an
He is also the co-leader of Pilc, Moutin,
Hoenig, together with his long time musical
partners. Other artists Hoenig has
performed or recorded with include Shirley
Scott, Gerry Mulligan, Jean Michel Pilc,
Mike Stern, Kenny Werner, Joshua
Redman, Wayne Krantz, Herbie Hancock,
Kurt Rosenwinkel, Richard Bona, Dave
Liebman, Chris Potter, Toots Thielemans,
Dave Holland, Joe Lovano, Pat Metheny,
Pat Martino, Ivan Linz and Trey Anastasio.
indispensable part of the performance.
Hoenig is also known for his unique ability
to modify the pitch of a drum by using drum
sticks, mallets, and even parts of his body
(such as his hands and elbows.) Using this
technique, he can play any note in the
chromatic scale, virtually any melody, and
even improvise on a chord structure in the
same way as any other instrumentalist
would.
CHICAGO PRESENTS | CONTEMPO 2014
19
HISTORY OF CONTEMPO
2004 – 2014
10 Year Retrospective of Contempo – Jazz Double Bill
40th season
10.26.04, Chicago Historical Society
Contempo Double-Bill: Special 40th Anniversary Performance
Set I
George Crumb: Black Angels for amplified string quartet
Chen Yi: Qi for flute, cello, piano and percussion
Jonathan Harvey: Song Offerings for soprano and chamber ensemble
Set II
Brad Mehldau, jazz piano
41st season
01.07.06, Museum of Contemporary Art
Contempo Double-Bill with Patricia Barber
Set I
György Ligeti: String Quartet No. 1 (Métamorphoses nocturnes)
Yao Chen: Transience for chamber ensemble
Joan Tower (arr. Allen Otte): Petroushskates for sextet
Set II
Patricia Barber
42nd season
04.07.07, Museum of Contemporary Art
Contempo Double-Bill with the Dave Douglas Quintet
Set I
20
Toru Takemitsu: Rain Tree for percussion trio
George Crumb: Book of Madrigals 2 & 3
Josef Bardanashvili: Nekudot for string sextet (Chicago premiere)
CHICAGO PRESENTS | CONTEMPO 2014
Set II
Dave Douglas Quintet
43rd season
01.12.08, Museum of Contemporary Art
Contempo Double-Bill with the Grazyna Auguscik Sextet
Set I
Esa-Pekka Salonen: Floof for voice and instruments
Sofia Gubaidulina: De Profundis for solo accordion
Shih-Hui Chen: Fu II for pipa and five players
Set II
Grazyna Auguscik Sextet
44th season
04.04.09, Museum of Contemporary Art
Contempo Double-Bill with Leny Andrade
Set I
Donald Crockett: Whistling in the Dark (Chicago premiere)
Chinary Ung: Still Life After Death,
Nina Heebink, mezzo soprano
(Chicago premiere)
Lee Hyla: We Speak Etruscan
Set II
Leny Andrade vocalist, with Dario Eskenazi, piano, Kip Reed, bass,
and Helio Schiavo, drums
45th season
01.16.10, Harris Theater for Music & Dance
Contempo Double-Bill with the Chris Potter/Kenny Werner Duo
Set I
Shawn Brogan Allison: Towards the Flame
CHICAGO PRESENTS | CONTEMPO 2014
21
HISTORY OF CONTEMPO
Bernard Rands: “now again” – fragments from Sappho
Yu-Hui Chang: Binge Delirium for solo percussion
Kurt Weill: September Song Set II Chris Potter/Kenny Werner Duo
46th season
03.01.11, Harris Theater for Music & Dance
Contempo Double-Bill: European Connections
Set I
Paul Patterson: String Quartet, op. 58
Füsun Köksal: Deux Visions pour Sextuor
Agata Zubel: Cascando
Luciano Berio: Sequenza
Kaija Saariaho: Changing Light
Set II
Jason Marsalis Vibes Quartet
47th season
11.15.11, Harris Theater for Music & Dance
Contempo Double-Bill with HIROMI: THE TRIO PROJECT
Set I
Nancarrow, Rzewski, and Shapey: Three Tangos for Piano
Elena Firsova: String Quartet no. 4 (Amoroso) (US premiere)
Nico Muhly: How Soon (Chicago premiere)
Steven Stucky: Ad Parnassum (Chicago premiere)
Set II
22
Hiromi Uehara Trio
CHICAGO PRESENTS | CONTEMPO 2014
48th season
04.13.13, Logan Center
Contempo Double-Bill: ANTIGONA FURIOSA and PABLO ASLAN QUINTET
Set I
Jorge Liderman: Antígona Furiosa, opera (Chicago premiere)
Set II
Pablo Aslan Quintet
49th season
04.26.14, Logan Center
Contempo Double-Bill: 10th Anniversary with Patricia Barber
Set I
Franghiz Ali-Zadeh: Habil-Sayagy for cello and prepared piano
Elena Firsova: String Quartet No. 11, “Purgatorium”
Marta Ptaszynska: Space Model for solo percussion
Set II
Patricia Barber and Ari Hoenig Trio
THE UNIVERSITY OF CHICAGO
NEW MUSIC
ENSEMBLE
Sunday, May 4 | 3 PM
Fulton Recital Hall
1010 E. 59th Street, Hyde Park
Virtuosic solo works by Jay Alan Yim,
Professor of Composition at
Northwestern University, plus recent
compositions and world premieres
by UC graduate students. Members of
the Spektral Quartet and
Artist-in-Residence Amy Briggs perform.
FREE ADMISSION
music.uchicago.edu I 773.702.8069
CHICAGO PRESENTS | CONTEMPO 2014
23
WITH THANKS...
GIFTS
We would like to acknowledge the many friends of the University of Chicago Presents and
Contempo who graciously support our programs. To contribute to the UCP Annual Fund,
please call 773.702.8068 or visit https://alumniservices.uchicago.edu/Giving/ and select
University of Chicago Presents.
LEADERSHIP CIRCLE
Launched in the summer of 2010, The University of Chicago Presents Leadership Circle is
a volunteer body that supports the mission of UCP and its efforts, both programmatic and
financial. The Circle is comprised of civic, cultural, and academic leaders, all of whom are
committed to supporting the presentation of professional performances at the University
of Chicago.
If you are interested in becoming involved or learning more about the Leadership Circle,
please contact Amy Iwano at [email protected] or call 773.702.8068.
The University of Chicago Presents gratefully acknowledges the support of the Office of
the Provost and the Department of Music for its operations, the Office of the President
for its support of Contempo, and the Logan Center for the Arts for its partnership on Jazz
at the Logan and family and school programming.
$10,000 and above
Elsa Charlston +
Elizabeth F. Cheney Foundation
The Clinton Family Fund
National Endowment for the Arts
Nicholson Center for British Studies
$5,000 - $9,999
Anonymous
Aaron Copland Fund for Music +
Rondi E. Charleston &
Steven B. Ruchefsky +
Ann & Gordon Getty Foundation
Illinois Arts Council
University of Chicago Arts Council
$2,500 – $4,999
Amphion Fund +
Gary & Stacie Gutting
Italian Cultural Institute of Chicago
Alan & Donna Leff
Ruth O’Brien & Stuart A. Rice *
Elizabeth E. Sengupta,
in memory of Ganapati Sengupta *
Joan & Jim Shapiro
24
CHICAGO PRESENTS | CONTEMPO 2014
$1,000 – $2,499
Andrew Abbott & Susan Schlough
Consulate General of Argentina +
Consulate General of Israel
Hazel S. Fackler *
Richard & Mary L. Gray
Anne Marcus Hamada
Robert & Margot Haselkorn
Elizabeth & Howard Helsinger
Joseph & Rebecca Jarabak
Lynne & Ralph Schatz
Joan & Jim Shapiro
$500 – $999
R. Stephen & Carla Berry *
Phyllis Booth *
Adam M. Dubin
Sarah & Joel L. Handelman
Laurie Hudson & Gregg LaPore,
in memory of Austin Hudson-LaPore
Anne Kimball & Peter Stern
Alma & Ray Kuby
Diane W. Smith
Louise K. Smith
Edward & Edith Turkington *
Ruth E. Ultmann,
in memory of John E. Ultmann
Kathleen & Willem Weijer
$250 - $499
Helen & Charles Bidwell *
Spencer & Lesley Bloch
Fredric & Eleanor Coe *
Dorothy & David Crabb *
Mr. & Mrs. Isak V. Gerson
Bill & Blair Lawlor
Donald & Ruth Levine
Ernst Mond
Charles A. Moore
Bruce Oltman
Manfred Ruddat
John Schaal
David & Judith L. Sensibar
Hugo & Beth Sonnenschein
Norma W. Van der Meulen
Thomas & Molly Witten *
$100 – $249
Rena & David Appel *
Ted & Barbara Asner *
Bernice Liberman Auslander
Ellen Baird
Clara & Thomas Christensen
Lydia G. Cochrane
Sonia V. Csaszar
Teri Edelstein & Neil Harris
Octavia Fallwell *
Geoffrey Flick *
Carma D. Forgie
Henry & Priscilla Frisch *
Seymour Gilman
James Ginsburg & Patrice Michaels
Janina Golab
Natalie & Howard Goldberg
Mr. and Mrs. Samuel D. Golden *
Howard Goldfinger & Irene Ventsel
Mr. and Mrs. Michael D. Gordon
Jonathon Green & Joy Schochet
Jacqueline P. Kirley *
Robert Kozloff *
Melvin R. Loeb
Amy Mantrone
Jerry & Evelyn Marsh
Joanne Michalski & Michael Weeda
Shankar Nair
Peter J. Page
Dorothy Patton,
in memory of Mrs. Richard J. Thain
Claire Pensyl
Emery A. Percell
Harry A. Poffenbarger
Shauna L. Quill & Mark Maupin,
in honor of Ms. Amy K. Iwano
Smilja Jakovcic Rabinowitz
Virginia Saft
Harold & Deloris Sanders
Lynne F. Schatz
Dorothy Scheff
Arthur Schneider & Helen Sellin
Julius & Alice Solomon
Mr. and Mrs. Russell H. Tuttle
Theo & Lidwina Van Den Hout
Alexander Wayne
Howard White
$50 – $99
Nadja & John Aquino
Bradley Brickner & Cindy Shelhart
Gloria Lerner Carrig *
Elizabeth Check *
Edwin H. Conger
Lola Flamm
Sally A. Hastings, in memory of H. Reid Nolte
Douglas & Shirlee Hoffman
Lenore Melzer,
in memory of Arthur H. Melzer
Christiane & Earl Ronneberg
Mary Rundell
Carol H. Schneider
Esther Schwartz
Zelda Star
Judith E. Stein *
Edwin & Heather Taylor
Robert Wagner
Louella K. Ward
Howard Zar
In Kind
Piccolo Mondo, restaurant sponsor
Hyatt Place
We would also like to thank the many individuals who make annual contributions under $50.
Every gift we receive helps to strengthen our programs.
This list reflects contributions received for the period between March 1, 2013 and February 28, 2014.
We wish to acknowledge our donors accurately. If there is an error in your listing, please call us at
773.702.8068.
+ Donor to Contempo
* Denotes individuals who have sponsored a student.
To learn more about the Sponsor-a-Student program, call the UCPCHICAGO
main office.
PRESENTS
| CONTEMPO 2014
25
CONCERT POLICIES AND INFORMATION
Cancellation: All programs are subject to change or cancellation without notice. No
refunds will be given unless a performance is cancelled in its entirety, with no replacement
performance scheduled.
Noise: Please silence your cell phones and help us keep extraneous noise to a minimum.
Children: We welcome children six years and over to all Chicago Presents concerts. In
fact, we have added a “Youth Tickets” benefit to subscribers. Children aged 6–17 receive
free tickets when accompanying an adult subscriber. Up to 2 free tickets per paid adult
ticket are available. Please register your children with the Box Office when you purchase
your tickets (773. 702.ARTS).
Late Seating: Latecomers will be seated by the House Manager when the first appropriate
break in the program allows. Please refrain from entering the hall until a movement or
piece has concluded.
Cameras and Recorders: Photography and the use of recording devices is strictly
prohibited.
Food/Drink/Smoking: Food, beverages, and smoking are not permitted in the concert hall.
Coats: A coat check is available in the lower level of the Logan Center. UCP is not
responsible for lost or stolen items.
Restrooms: Restrooms are located in the lower level of the Logan Center. Please see the
ushers, House Manager or Chicago Presents staff for exact locations.
Lost and Found: Ushers check the hall following all concerts for any items left behind. If
you think you have lost something, please call The University of Chicago Presents office
during business hours at 773.702.8068.
Contempo and its artist residencies are generously supported by the Catherine L. Dobson Music
Fund, the Amy and David Fulton Fund, the Julie and Parker Hall Endowment for Jazz and
American Popular Music, the Claire Dux Swift Music Endowment Fund, the Lowell and Elita
Wadmond Endowment in Music, the Aaron Copland Fund for Music and the Amphion
Foundation. Contempo is grateful to the many individuals whose gifts support its concerts.
26
CHICAGO PRESENTS | CONTEMPO 2014
49TH SEASON | 2014
TUES / FEBRUARY 4 / 7:30 PM
eighth blackbird
Anubis Quartet
Anna Weesner: Lift High, Reckon—
Fly Low, Come Close
Brett Dean: Sextet (Old Kings in Exile)
Augusta Read Thomas: Twilight Butterfly
John Orfe: Leviathan for 2 clarinets and piano
Lei Liang: Yuan for saxophone quartet
SUN / MARCH 2 / 3:00 PM
Logan Center Performance Penthouse
Miranda Cuckson, violin
Ning Yu, piano
Sofia Gubaidulina: Dancer on a Tightrope
Georg Friedrich Haas: de terrae fine
Unsuk Chin: three selective etudes
Mario Davidovsky: Duo Capriccioso
Jae-Goo Lee: Nol-i(I) for solo violin
Iannis Xenakis: Dikhthas
SAT / APRIL 26 / 7:30 PM
Double Bill – 10th Anniversary
Pacifica Quartet
Lisa Kaplan, piano
Nicholas Photinos, cello
Nicholas Reed, percussion
Patricia Barber and the Ari Hoenig Trio
Franghiz Ali-Zadeh: Habil-Sayagy
for cello and prepared piano
Elena Firsova:
String Quartet No. 11, “Purgatorium”
Marta Ptaszyn’ska:
Space Model for solo percussion
Patricia Barber and the Ari Hoenig Trio
FRI / MAY 9 / 7:30 PM
FREE
Tomorrow’s Music Today I
Cliff Colnot, conductor
eighth blackbird
Pacifica Quartet
Program will include dissertation works by
Marcelle Pierson, Alican Camci, and Igor
Santos, UChicago doctoral candidates in
composition.
FRI / MAY 16 / 7:30 PM
Ganz Hall, Roosevelt University
430 S. Michigan Ave.
FREE
Tomorrow’s Music Today II
Cliff Colnot, conductor
eighth blackbird
Pacifica Quartet
Julia Bentley, mezzo-soprano
Ricardo Rivera, baritone
Chad Sloan, baritone
Program will include dissertation works by
Andrew McManus, Jae-Goo Lee, and Tomas
Gueglio, UChicago doctoral candidates in
composition.
All performances Logan Center unless noted
Performance Hall, Reva and David Logan
Center for the Arts | 915 East 60th Street
Tickets $25 / $5 students with ID unless noted
773.702.ARTS (2787)
ticketsweb.uchicago.edu
CHICAGO PRESENTS | CONTEMPO 2014
27
Contempo
5720 S. Woodlawn Ave
Chicago, IL 60637
773.702.8068
[email protected]
contempo.uchicago.edu
THE
UNIVERSITY
OF
CHICAGO
PRESENTS