New Music in the Kaplan Penthouse

NEW MUSIC IN THE KAPLAN PENTHOUSE Thursday Evening, January 31, 2013 at 7:30 Stanley H. Kaplan Penthouse 3,182nd Concert

SOYEON KATE LEE, piano ROMIE DE GUISE-LANGLOIS, clarinet DAEDALUS QUARTET

MIN-YOUNG KIM, violin

MATILDA KAUL, violin

JESSICA THOMPSON, viola

THOMAS KRAINES, cello BRUCE ADOLPHE, host

www.ChamberMusicSociety.org

The Chamber Music Society of Lincoln Center 70 Lincoln Center Plaza, 10th Floor New York, NY 10023 212-875-5788 www.chambermusicsociety.org

This concert is made possible, in part, by the Francis Goelet Charitable Lead Trusts, the Samuel I. Newhouse Foundation, and The Aaron Copland Fund for Music.

NEW MUSIC IN THE KAPLAN PENTHOUSE Thursday Evening, January 31, 2013 at 7:30 SOYEON KATE LEE, piano ROMIE DE GUISE-LANGLOIS, clarinet DAEDALUS QUARTET

MIN-YOUNG KIM, violin

MATILDA KAUL, violin

JESSICA THOMPSON, viola

THOMAS KRAINES, cello BRUCE ADOLPHE, host

JOAN TOWER White Water for String Quartet (b. 1938) (New York Premiere) (2011) KIM, KAUL, THOMPSON, KRAINES

JAMES MACMILLAN Tuireadh for Clarinet and String Quartet (b. 1959) (1991) DE GUISE-LANGLOIS, KIM, KAUL, THOMPSON, KRAINES

—INTERMISSION— THOMAS ADÈS Quintet for Piano, Two Violins, Viola, (b. 1971) and Cello (2000) LEE, KIM, KAUL, THOMPSON, KRAINES

Join us after the concert for a discussion with composer Joan Tower and the artists, led by Bruce Adolphe.

Please turn off cell phones, pagers, and other electronic devices.

This evening’s performance is being streamed live at www.ChamberMusicSociety.org/WatchLive, and is being recorded for future broadcast.

Photographing, sound recording, or videotaping this performance is prohibited.

notes on the

PROGRAM

White Water for String Quartet Joan TOWER Born September 6, 1938 in New Rochelle, New York.

Composed in 2011.

Premiered on April 14, 2012 at Chamber Music Monterey Bay in Carmel, California by the Daedalus String Quartet.

Tonight is the New York premiere of this piece.

Duration: 18 minutes During a career spanning more than 50 years, Joan Tower has made lasting contributions to musical life in the United States as composer, performer, conductor, and educator. Her works have been commissioned by major ensembles, soloists, and orchestras, including the Emerson, Tokyo, and Muir quartets; soloists Evelyn Glennie, Carol Wincenc, David Shifrin, and John Browning; and the orchestras of Chicago, New York, St. Louis, Pittsburgh, and Washington DC. She was the first composer chosen for a Ford Made in America consortium commission of 65 orchestras. Leonard Slatkin and the Nashville Symphony recorded Made in America in 2008 (along with Tambor and Concerto for Orchestra).

The album collected three Grammy awards: Best Classical Contemporary Composition, Best Classical Album, and Best Orchestral Performance. In 1990 she became the first woman to win the prestigious Grawemeyer Award for Silver Ladders, a piece she wrote for the St. Louis Symphony. Other residencies with orchestras include a residency with the Orchestra of St. Luke’s (1997-2007) and

the Pittsburgh Symphony (2010-2011).

Tower studied piano and composition at Bennington College and Columbia University. Her earliest works were serial in concept, but her music soon developed the lyricism, rhythmic drive, and colorful orchestration that characterize her subsequent works. She co-founded the Da Capo Chamber Players in 1969 as pianist — its accolades included the 1973 Naumburg Chamber Music Award — but also wrote several well-received pieces for the ensemble. She is currently Asher Edelman Professor of Music at Bard College, where she has taught since 1972.

White Water is the first of four commissions for Chamber Music Monterey Bay’s “Arc of Life” project.

The artist Bill Viola shared excerpts from his video installation “Going Forth by Day” — a depiction of life in all its stages — with the four commissioned composers to serve as their inspirational focal point.

Joan Tower writes: “When I saw [Bill] Viola’s work, I was quite fascinated with how he used water as an encompassing image which influenced everything I saw about the ‘person’ inside the water. My piece is not directly associated by what he specifically did but it does have a strong connection to the image of water as a powerful basic idea and action. The many glissandos hopefully create a ‘fluid’ environment that connects the various ideas and registers together, while ‘white water’ somehow implies more rapid ‘cascading’ types of action which occur throughout the piece.”



Tuireadh for Clarinet and String Quartet James MACMILLAN Born July 16, 1959 at Kilwinning, in North Ayrshire, Scotland.

Composed in 1991.

Premiered on June 25, 1991 at St. Magnus Cathedral in Kirkwall, Orkney, Scotland by clarinetist James Campbell and the Allegri String Quartet.

Duration: 22 minutes James MacMillan studied music at Edinburgh University and took Doctoral studies in composition at Durham University with John Casken. After working as a lecturer at Manchester University, he returned to Scotland and settled in Glasgow. The successful premiere of Tryst at the 1990 St. Magnus Festival led to his appointment as Affiliate Composer of the Scottish Chamber Orchestra. Between 1992 and 2002 he was Artistic Director of the Philharmonia Orchestra’s Music of Today series of contemporary music concerts. He is internationally active as a conductor, working as composer/conductor with the BBC Philharmonic between 2000 and 2009, and appointed Principal Guest Conductor of the Netherlands Radio Chamber Philharmonic in 2010.

2011 highlights included premieres of MacMillan’s Piano Concerto No. 3 for Jean-Yves Thibaudet and the Minnesota Orchestra and a new one-act opera, Clemency, commissioned by the ROH2, Scottish Opera, Boston Lyric Opera, and Britten Sinfonia. First performances in 2012 included festive settings of the Gloria (to mark the 50th anniversary of

the consecration of Coventry Cathedral) and of the Credo, which was premiered at the BBC Proms. The Koch Schwann disc of The Confession of Isobel Gowdie and Tryst won the 1993 Gramophone Contemporary Music Record of the Year Award, and the BMG recording of Veni, Veni, Emmanuel won the 1993 Classic CD Award for Contemporary Music. He was awarded a CBE in January 2004.

James MacMillan writes: “This work is dedicated to the victims of the Piper Alpha disaster and their families. On the evening of 6 July 1988, a fire broke out on the Piper Alpha off-shore oil and gas platform located in the North Sea. The fire was incontrollable and evacuation plans inadequate. As a result 167 men died and 62 had to be rescued from the sea.

“Tuireadh is Gaelic for a lament (or requiem) for the dead, and the piece was written as a musical complement to the memorial sculpture created by Sue Jane Taylor and unveiled in Aberdeen in 1991.

I was specifically inspired by a letter sent to me by the mother of one of the dead men in which she wrote movingly of her visit to the scene for a memorial service.

The ceremony became a rite of passage for those whose loved ones had not been found, and the mother described how a spontaneous keening sound rose gently from the mourners assembled on the boat. Tuireadh attempts to capture this outpouring of grief in music and makes allusions to the intervallic and ornamental archetypes of various lament-forms from Scottish traditional music.” 

Quintet for Piano, Two Violins, Viola, and Cello Thomas ADÈS Born March 1, 1971 in London.

Composed in 2000.

Premiered on October 29, 2001 at the Melbourne Festival by the Arditti Quartet and the composer as pianist.

Duration: 20 minutes Born in London in 1971, Thomas Adès studied piano at the Guildhall School of Music & Drama, and music at King’s College, Cambridge. A prodigious composer, conductor, and pianist, he was described by the New York Times as one of today’s ‘most accomplished overall musicians.’ Adès’ first opera, Powder Her Face (1995), has been performed around the world, was televised in the UK, and is available on DVD and CD. Adès’ second opera, The Tempest, was commissioned by London’s Royal Opera House and was premiered under the baton of the composer to great critical acclaim in 2004. It was revived in 2007, again to a sold-out house, and has since had several performances elsewhere. In 2005 his Violin Concerto for Anthony Marwood was premiered at the Berliner Festspiele and the BBC Proms, with the Chamber Orchestra of Europe. He has a close association with Simon Rattle who performed Asyla (1997) at his final concert with the CBSO and his first as Music Director of the Berlin Philharmonic, and Tevot with the Berlin Philharmonic in 2007. More recently In Seven Days (for video, solo piano, and orchestra) was premiered in April 2008 at the South Bank Centre and in Los Angeles. His most recent

orchestral work, Polaris, was premiered at the Frank Gehry Hall, Miami in 2011 by the New World Symphony and Michael Tilson Thomas. His music has attracted numerous awards and prizes, including the prestigious Grawemeyer Award (2000) of which he is the youngest ever recipient.

Music writer Tom Service writes: “Thomas Adès’ single-movement Piano Quintet was commissioned by the Melbourne Festival for the Arditti Quartet, who gave the world premiere with Adès himself as pianist on October 29, 2001. The piece is cast in a relatively strict sonata form. For a composer whose music has transfigured tangos, distorted dance music, and warped waltzes, this engagement with the classical tradition seems surprisingly unmediated. Perhaps the most potent emblem of this classicism is that the work’s exposition is marked to be repeated, and even includes first- and second-time bars. And yet, as with so many of Adès’ pieces, everything is not as it seems. Although the structural outline may be familiar, the design and treatment of the thematic material, and the proportions of the whole 20-minute piece, are anything but conventional. The themes of the Quintet are recognisably tonal, and are closely related to one another in their melodic contours. But these simple building-blocks are the starting-points for rich and intricate processes of transformation. The long exposition is full of subtle metrical juxtapositions, with the piano and string quartet often playing in different timesignatures simultaneously. Yet this is not simply a pitting of various pulses against

one another. The piece superimposes conventional and unconventional time signatures, for example 3/5, 4/6, or 2/7 (divisions based on quintuplets, sextuplets, and septuplets, as opposed to crotchets and quavers). This is a dividing of time which creates a disorienting sense that the music is continually shifting in and out of temporal focus.

In this exposition, tempo is a relative, volatile force, rather than a fixed pulse.

Time is again the issue in the later stages of the quartet. However, instead of the localised flux and flow of the exposition, the recapitulation is concerned with a different, larger scale. After the extremes of the central development section, the recapitulation is a gigantic accelerando which speeds up to four times the original speed, and generates enormous,

seemingly unstoppable momentum. The effect is of a dramatic and temporal compression: it is as if the whole work were squeezed into this musical black hole. Recapitulation in the Quintet is a metaphor for transformation as well as return. The themes may be the same, but they become actors in a new, epic drama. So the sonata form of the Piano Quintet is neither a set of arbitrary structural props, nor a neo-classical framing device. Instead, the architecture of the piece grows out of the transformations of its material. And in re-staging the challenges of sonata form, the Piano Quintet does not just articulate a contemporary creative perspective: it represents a vivid reimagination of the musical past.â€? ď ś

meet tonight’s

ARTISTS

Praised by The New Yorker as “a fresh and vital young participant in what is a golden age of American string quartets,” the Daedalus Quartet has established itself as a leader among the new generation of string ensembles. In the 12 years of its existence the Daedalus Quartet has received plaudits from critics and listeners alike for the security, technical finish, interpretive unity, and sheer gusto of its performances. Since its founding the Daedalus Quartet has performed in many of the world’s leading musical venues; in the United States and Canada these include Carnegie Hall, Lincoln Center (Great Performers series), the Library of Congress, the Corcoran Gallery in Washington, DC, and Boston’s Gardner Museum, as well as on major series in Montreal, Toronto, Calgary, Winnipeg, and Vancouver.

Abroad the ensemble has been heard in such famed locations as the Musikverein in Vienna, the Mozarteum in Salzburg, the Concertgebouw in Amsterdam, the Cité de la Musique in Paris, and in leading venues in Japan.

Among the works the ensemble has premiered are David Horne’s Flight from the Labyrinth, commissioned for the Quartet by the Caramoor Festival; Fred Lerdahl’s Third String Quartet, commissioned by Chamber Music America; and Lawrence Dillion’s String Quartet No. 4, commissioned by the Thomas S. Kenan Institute for the Arts.

The 2010-2011 season featured the premiere of Richard Wernick’s String Quartet No. 8, commissioned for the Daedalus Quartet by the Bay Shore Schools Arts Education Fund and the Islip Arts Council. The Quartet has also

collaborated with some of the world’s finest instrumentalists: these include pianists Marc-André Hamelin, Simone Dinnerstein, Awadagin Pratt, Joyce Yang, and Benjamin Hochman; clarinetists Paquito D’Rivera, David Shifrin, and Alexander Fiterstein; and violists Roger Tapping and Donald Weilerstein.

To date the Quartet has forged associations with some of America’s leading classical music and educational institutions: Carnegie Hall, through its European Concert Hall Organization (ECHO) Rising Stars program; and The Chamber Music Society of Lincoln Center, which appointed the Daedalus Quartet as the CMS Two quartet for 2005-2007. The Daedalus Quartet has been Columbia University’s Quartet-inResidence since 2005, and has served as Quartet-in-Residence at the University of Pennsylvania since 2006. In 2007, the Quartet was awarded Lincoln Center’s Martin E. Segal Award. The Quartet won Chamber Music America’s Guarneri String Quartet Award, which funded a three-year residency in Suffolk County, Long Island from 2007-2010.

The Daedalus Quartet’s debut recording, music of Stravinsky, Sibelius, and Ravel, was released by Bridge Records in 2006.

A Bridge recording of the Haydn’s complete “Sun” Quartets, Op. 20, was released on two CDs in July 2010. An album of chamber music by Lawrence Dillon (Fall 2010) and the complete string quartets of Fred Lerdahl (Fall 2011) followed, with a recording of quartets by George Perle planned for release in 2013.

The award-winning members of the Daedalus Quartet hold degrees from The Juilliard School, Curtis Institute, Cleveland Institute, and Harvard University.

Praised as “…extraordinary...” and “…a formidable clarinetist...” by the New York Times, Romie de GuiseLanglois has appeared as soloist with the Houston Symphony and the Burlington Chamber Orchestra, and at Music@Menlo and Banff Center for the Arts. She is a winner of the 2011 Astral Artists’ National Audition and was awarded first prize in the 2009 Houston Symphony Ima Hogg competition; she was additionally a first prize winner of Woolsey Hall Competition at Yale University, the McGill University Classical Concerto Competition, and the Canadian Music Competition. An avid chamber musician, she has toured with Musicians from Marlboro and has appeared at the Metropolitan Museum of Art, the Philadelphia Chamber Music Society, 92nd Street Y, the Kennedy Center, and Chamber Music Northwest, among many others. She has performed as principal clarinetist for the Orpheus Chamber Orchestra, the Orchestra of St. Luke’s, the New Haven Symphony, and Stamford Symphony Orchestra and she is a member of The Knights Chamber Orchestra. A native of Montreal, Ms. de Guise-Langlois earned degrees from McGill University and the Yale School of Music, where she studied under David Shifrin. She is currently adjunct professor of clarinet at Kean and Montclair universities and is a member of Chamber Music Society Two.

First prize winner of the 2010 Naumburg International Piano Competition, Korean-American pianist Soyeon Kate Lee has been hailed by the New York Times as an artist with “a huge, richly varied sound, a lively imagination and a firm sense of style.” She has performed as a soloist with numerous orchestras, including The Cleveland Orchestra and the London Symphony Orchestra, as well as the Orquesta Sinfónica Nacional in the Dominican Republic, Orquesta de Valencia, Louisiana Philharmonic Orchestra, Juilliard Orchestra, San Diego Symphony, and Naples Philharmonic.

In recent seasons, she has given recitals at New York’s Zankel, Alice Tully, and Merkin halls, Washington’s Kennedy Center, the Ravinia Festival, Madrid’s National Auditorium, and San Francisco’s Herbst Theatre. Her debut CD of Scarlatti sonatas for Naxos was released in 2007 to critical acclaim, followed by “Re!nvented” for E1 Music (Koch), which was featured in Gramophone magazine to rave reviews and awarded the 2009 Young Artist Award by the Classical Recording Foundation. A Naxos recording artist, she recently recorded a disc of Liszt opera transcriptions, and will record a double CD Scriabin album this season.

Ms. Lee is a winner of the Concert Artists Guild Competition and a laureate of the Cleveland and Santander International Piano Competitions. Her principal teachers have been Robert McDonald, Jerome Lowenthal, Ursula Oppens, and Richard Goode. Ms. Lee is a Steinway Artist and a member of Chamber Music Society Two.

Composer Bruce Adolphe has written music for many renowned musicians and ensembles, including Itzhak Perlman, Yo-Yo Ma, Sylvia McNair, the Brentano String Quartet, the Beaux Arts Trio, and Orpheus Chamber Orchestra. His opera Let Freedom Sing: The Story of Marian Anderson, with a libretto by Carolivia Herron, was premiered in 2009 by the Washington National Opera, which performed it again in March 2011. His Self Comes to Mind, written with neuroscientist Antonio Damasio, premiered at the American Museum of Natural History in 2009, featuring Yo-Yo Ma. Of Art and Onions: Homage to Bronzino, which he composed for the Fondazione Palazzo Strozzi and The Metropolitan Museum of Art, was premiered in 2010 at the Met Museum and received its European premiere at the Teatro Goldoni in Florence. His Reach Out, Raise Hope, Change Society for chorus and chamber ensemble—a work about civil rights and social justice commissioned for the 90th anniversary of the University of Michigan’s School of Social Work—premiered in November 2011. A new music festival in Colorado, Off the Hook, invited Bruce Adolphe to be composer-in-residence

for its inaugural season in 2012 and has invited him to return in that position for 2013. Mr. Adolphe’s Coyote Scatters the Stars (a musical tale of order and chaos) was featured on 12/12/12 at the opening ceremony of MoMath in New York, the only museum of mathematics in the US. In addition to composing, he holds several positions concurrently: founder and director of the Meet the Music! family concert series and resident lecturer at The Chamber Music Society of Lincoln Center; keyboard quiz-master on public radio’s weekly Piano Puzzler on Performance Today; and founder and creative director of The Learning Maestros. The author of three books on music, Mr. Adolphe has taught at Yale, The Juilliard School, and New York University, and was recently appointed composer-in-residence and adviser in music research at the Brain and Creativity Institute at USC. His book The Mind’s Ear: Exercises for Improving the Musical Imagination will be published in an expanded and revised second edition

by Oxford University Press in 2013.

This season, Mr. Adolphe celebrates 20 years at The Chamber Music Society of Lincoln Center.

SPRING 2013 NEW MUSIC CONCERTS join us for

GESUALDO REFLECTIONS Thursday, April 4, 7:30 PM

A special program juxtaposing selections of Carlo Gesualdo with contemporary responses in the ethereal setting of the Good Shepherd-Faith Presbyterian Church.

NEW MUSIC IN THE KAPLAN PENTHOUSE Thursday, April 18, 7:30 PM

Works by Brett Dean and Aaron Jay Kernis