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Matt Haimovitz The Bach Suites: A Moveable Feast â&#x20AC;&#x201C; OVERTURES to Bach Virtuoso Concert Series in partnership with the School of Music

October 7, 2016 7:30PM Libby Gardner Concert Hall

Please turn off all cell phones, pagers and other noisemakers. The taking of photographs, and audio or video recordings is strictly prohibited.

MATT HAIMOVITZ

Matt Haimovitz

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Music

Overture to Bach*........................................................... PHILIP GLASS Bach Suite I in G Major..........................JOHANN SEBASTIAN BACH Es War*...................................................................... DAVID SANFORD Bach Suite V in C minor.........................JOHANN SEBASTIAN BACH — Intermission — Lili’uokalani*....................................................... LUNA PEARL WOOLF for solo cello piccolo Bach Suite VI in D Major.......................JOHANN SEBASTIAN BACH

*Each of these new works is an Overtures to Bach commission Matt Haimovitz’ recordings can be found on Deutsche Grammophon, Oxingale Records and the PENTATONE Oxingale Series.

MATT HAIMOVITZ

Program Notes The Bach Suites: A Moveable Feast – OVERTURES to Bach Years ago, on a visit to the big Island of Hawaii, Luna Pearl Woolf and I attended an outdoor Passover Seder. Held on a large lanai, under an open sky, with the sound of waves marking the time, the Rabbi remarked at this ancient Jewish tradition being celebrated on a Polynesian island, so new its lava was still cooling in the sea. His sermon brought out similarities between the Hawaiian and Hebrew languages. The word Pele, Hawaiian god of the volcano, means “miracle” in Hebrew. Aloha is close to ahava or “love”; havera is Hebrew for friend, hoaloha in Hawaiian. Many more linguistic connections were made. The Chomskyan Theory of Universality was alive and well and I wondered at the flow of language and culture that could spread to the most remote locales, long before technology shrank our world. In his 6 Suites for Solo Cello, J.S. Bach synthesized numerous dance forms, popular and outdated, and vernacular styles from throughout Europe, from France, Italy, Spain, Germany, and beyond. Bach’s appetite for new forms of music was voracious. I like to think that if he had come across Hawaiian Chant, or Caribbean Salsa, or, for that matter, the jazz of Charles Mingus or John Coltrane, these influences would have made their way into the Suites. And the influence goes both ways. It would be difficult for Bach’s 6 Suites not to inform any composer writing music for solo cello today. With these Overtures to Bach, contemporary composers reach both forward and backward in time, to bring their own cultural and musical experience into a conversation with the master himself. Philip Glass will freely acknowledge how deeply inspired he is by Bach’s sense of polyphony on an essentially single-voiced instrument. In the Bach Prélude from Suite I in G, the composer clearly lays out three voices in the opening bars – a bass pedal, a stepwise moving middle line, and the three-note lower-neighbor figure in the top voice. In his Overture, Philip lets the triad unfold similarly, albeit in the darker key of E minor – suggested in the Bach a few bars after the opening G pedal. However, Philip introduces double-stops right after the linear triad, two voices entangled, breathing as one. To compose his overture, Philip took a break from reworking his opera Appomattox, writing the solo piece on the back of an opera score page. As he says, “it was like writing a letter.” David Sanford and I have collaborated on a number of occasions: his concerto for cello and 20-piece big band, Scherzo Grosso, our album Meeting of the Spirits with Uccello, treating the cello ensemble as jazz big band, and now the second of two pieces for solo cello. The first, 7th Avenue Kaddish, a response to 9/11, was recently re-released on the PENTATONE Oxingale Series album, Orbit. I had to unearth an inner Charles Mingus to tackle David’s Es War. A tour de force of pizzicato, the opening demands a two finger plucking technique more idiomatic to the jazz upright bass than to the cello. Later, Es War wrestles with Bach’s epic fugue,

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Program Notes

the wail of the saxophone navigating its way through palindromes and atonal rows obscuring the emerging reference to a Bach Cantata. Bach, in Suite V, calls for the cello’s A-string to be tuned down to a G. David takes this scordatura tuning one step further, also asking for the low C-string to be brought down to a B. The effect allows the stormy waves of chords at the coda, with a low B pedal on the open string, to lead into the Bach Prélude with the force of a tsunami. When I asked Luna Pearl Woolf, my better half, to compose an overture, she was immersed in writing her opera, Better Gods, and reluctant to add more to her plate. Then she heard me playing the Prélude to Suite VI in D major on my new instrumental love, the cello piccolo, a 5-string cello that Bach likely intended for that suite. She agreed to the commission on the condition that the overture to Suite VI would fall to her. Initially inspired by the connections, both sonically and harmonically, to the Hawaiian chant featured in Better Gods, Luna went on to take full advantage of the virtuosic properties of the instrument, treating it operatically, in various registers from the low bass to the soprano stratosphere. Chant and drumming techniques are developed through the course of the piece, which memorializes the regal Queen Lili‘uokalani. Bach embraces the future in Suite VI, with no limit on the human imagination. Luna too explores the new possibilities afforded by the cello piccolo, yet always returning to the song of the human voice. In this series, I play both the Woolf and the Bach Suite VI Prélude on a beautiful baroque cello piccolo made by Georg Nicol. Köllmer, on generous loan from Rebecca Humphrey. For the remaining works, I play on my Matteo Goffriller cello made in 1710. For the cello piccolo and all the Bach, my bow is a baroque replica crafted by David Hawthorne of Cambridge, Massachusetts. For the remaining overtures, my modern bow is made by François Malo of Montréal, Quebec. I am beyond thrilled with each and every one of these new overture commissions. Each composer has engaged his or her suite with a depth and insight that makes me hear the Bach in a new light. Each work may also live on its own as a standalone piece, and I hope generations of cellists will enjoy the challenges and rewards that each presents. The works are thorny enough to say: “do not try this at home!” However, I truly hope just the opposite. It has been a fascinating experience to commission a wide slate of new works at the same time. With each piece, I was forced to develop new techniques; new approaches to the instrument which would allow me to realize the vision of each composer. My hope is that you, the listener, will enjoy traveling this musical bridge between the centuries as much as I have. It spans more than time, linking us to far-flung corners of our musical world and offering an entrée into six distinct and diverse compositional voices, each humbly making the overture to Bach. — Matt Haimovitz

Program Notes Overture an overture to J.S. Bach Suite I in G major, BWV 1007 “Of all the many blessings in this life. Music gives up its place only to love. Yet even love’s a melody.” Dedicated to my beloved wife Nadia Moretto, from David Sela The Overture for the Bach G major Cello Suite is meant to prepare the audience, not by anticipating Bach’s music, but through encouraging a frame of mind that will be open and calm – free from the stress and delights of one’s ordinary day. Composing the proper melody, harmony and rhythm for the Overture was not so complicated. My own training with Mme. Boulanger was heavily steeped in analysis and performing the great Master’s work and I was already familiar with what was needed. For me it was really as if I were saying to the audience: “For now put aside your ordinary thoughts – the struggles and joys of your daily life. The music will soon begin. And, in fact, the Master is already in the concert hall waiting for you. But, not to worry. You’re not too late either – for Bach and his music now reside in a Pure Eternity, free from any plans or expectations. Encounters with his music are meant only to inspire and enlighten ourselves – as if there never was an act of ‘special creation,’ but as if it has always been there. Even before the Beginning. A deep breath or two won’t hurt. But apart from that there’s nothing to do. Just let Bach’s music begin. It’s there for the listening.” – Philip Glass Es War an overture to J.S. Bach Suite V in C minor, BWV 1011 Musicologist Robert Walser writes, “Like Bach, but at the other end of the Enlightenment, heavy metal musicians explore images of horror and madness in order to comprehend and critique the world as they see it”. Echoing this reading on at least one level, Matt Haimovitz’s more recent interpretation of Bach’s Suite V in C minor, likely the darkest of the six, presents a response to contemporary violent conflict offering a reflection of that violence as well as a deploration. The idea of war – in a larger sense, between life and death – is literally stated in Bach’s Cantata No. 4 where the central movement begins with the chorus’s fugal “Es war ein wunderlicher Kreig”. That movement’s B-minor tonality, and its root, minor 3rd and major 7th opening collection are strong influences on the overture, Es War, and inspired its title.

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Program Notes Notably, Bach’s fifth suite also features the scordatura A-string tuned at G, which can be interpreted as an early forebear of metal’s often-used “Drop-D” tuning and similarly offers not only a somewhat more somber tone but also more resonant support for the cello’s lower two strings. Es War utilizes this tuning as well, but avoids the strong emphasis on C in which the suite will be immersed by also lowering the fourth string down to B. This further darkens the timbre of the instrument while, at the same time, laying the foundation for the overture’s slow but deliberate harmonic path leading to the suite’s opening C-minor announcement. – David Sanford Lili‘uokalani for solo cello piccolo an overture to J.S. Bach Suite VI in D major, BWV 1012 Dedicated to the memory and legacy of a man of great substance, heart and humor, Robert Commanday, by his friend, Gordon Getty. Lili‘uokalani was the last monarch of Hawaii, and that sovereign nation’s first queen. Worldly, educated, deeply Christian and beloved by her people, Lili‘u was forced to abdicate her throne and dissolve the monarchy by descendants of the same missionaries who brought literacy, western music and Christianity to the islands three generations earlier. Bach wrote his Suite VI for a five-string cello, resulting in flights far above the traditional range of the conventional cello. Yet the opening of the Prélude seems to belie that extended range by exploiting two strings played in unison, with the bow moving between them to create a texture built on timbre rather than melody. It is in this progression from decorated unison to lofty heights, punctuated with storms of cascading sixteenth notes that I feel a deep a connection to Lili‘u. As the basis of the music and culture of her history, Hawaiian chant is largely monotone, but modulated by extraordinary vocal techniques of timbral vibrato and glottal trill. Her education in Western thought and music brought her to the heights of knowledge and into the company of the world’s royalty. But none of that was enough to save her from the tidal shift of trade and economic progress that eventually brought down her government. Lili‘uokalani for solo cello piccolo paints a portrait of the queen at this heart-wrenching moment in her reign. Drawn from the cello piccolo’s five strings we hear elements of traditional Hawaiian chant, transformed into ever-expanding harmonies; intimations of pre-western musical implements and the plucked strings of the queen’s own guitar. We also hear lyrical moments that find their origin in Better Gods, a one-hour opera on the fall of the Hawaiian monarchy, commissioned by the Washington National Opera, which premiered shortly after this work was written. The solo voice of the cello piccolo, itself now all-but-obsolete, develops all these aspects farther than the human voice can go, and offers a glimpse of the strength and inner turmoil of this remarkable woman. – Luna Pearl Woolf

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About the Artists Through his operas, his symphonies, his compositions for his own ensemble, and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg, Woody Allen to David Bowie, PHILIP GLASS has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times. Indeed, Glass is the first composer to win a wide, multi-generational audience in the opera house, the concert hall, the dance world, in film and in popular music -- simultaneously. DAVID SANFORD’s compositions have been performed by the Chamber Music Society of Lincoln Center, Speculum Musicae, the Meridian Arts Ensemble and orchestras led by Marin Alsop, Kent Nagano, and Gil Rose among many others. His honors include Radcliffe and Guggenheim fellowships, and the Rome Prize. He is the Elizabeth T. Kennan Professor of Music at Mount Holyoke College and the director of the contemporary big band the Pittsburgh Collective. The music of composer LUNA PEARL WOOLF has been praised for its “psychological nuances and emotional depth,” by the New York Times. Her dramatic and lyrical works have been commissioned by Carnegie Hall and the Washington National Opera, among others, collaborating with such artists as Joyce DiDonato, Frederica von Stade, Daniel Taylor, Lisa Delan, Christopher O’Riley, Academy Awardwinner Jeremy Irons and author Cornelia Funke. Woolf has been featured on NPR, BBC, CBC, and in the New York Times, Associated Press, Wall Street Journal, Boston Globe, Opera News, New Music Box, and L’Opéra among others. Renowned as a musical pioneer, cellist MATT HAIMOVITZ is praised by the New York Times as a “ferociously talented cellist who brings his megawatt sound and uncommon expressive gifts to a vast variety of styles” and by The New Yorker as “remarkable virtuoso” who “never turns in a predictable performance.” He has inspired classical music lovers and countless new listeners by bringing his artistry to concert halls and clubs, outdoor festivals and intimate coffee houses – any place where passionate music can be heard. He brings a fresh ear to familiar repertoire, champions new music, and initiates groundbreaking collaborations, as well as creating innovative recording projects. Besides his relentless touring schedule, he mentors an award-winning studio of young cellists at McGill University’s Schulich School of Music in Montreal. Haimovitz made his debut in 1984, at the age of 13, as soloist with Zubin Mehta and the Israel Philharmonic. At 17 he made his first recording with James Levine and the Chicago Symphony Orchestra, for Deutsche Grammophon. He has gone on to perform on the world’s most esteemed stages, with such orchestras and conductors as the Berlin Philharmonic with James Levine, the New York Philharmonic with Zubin Mehta, the English Chamber Orchestra with Daniel Barenboim, the Boston Symphony Orchestra with Leonard Slatkin, and the Orchestre symphonique de Montréal with Kent Nagano. Haimovitz made his Carnegie Hall debut when he substituted for his teacher, the legendary Leonard Rose, in Schubert’s String Quintet in C, alongside Isaac Stern, Shlomo Mintz, Pinchas Zukerman and Mstislav Rostropovich. The solo cello recital is a Haimovitz trademark, both inside and outside the concert hall. In 2000, he made waves with his Bach “Listening-Room” Tour, for which, to great acclaim, Haimovitz took Bach’s beloved cello suites out into the clubs across the U.S., Canada, and the U.K. Haimovitz’ 50-state Anthem tour in 2003 celebrated living Continued on next page

MATT HAIMOVITZ

About the Artists American composers and featured the cellist’s own arrangement of Jimi Hendrix’s “Star-Spangled Banner.” He was the first classical artist to play at New York’s infamous CBGB club, in a performance filmed by ABC News for Nightline UpClose. In 2015 he revisited the Bach cello suites with the release of The Cello Suites According to Anna Magdalena for the PENTATONE Oxingale series, inspired and informed by an authoritative manuscript by Anna Magdalena and performed on period instruments. This season, he takes his profound new interpretation even further with the release of Overtures to Bach, six new commissions that anticipate and reflect each of the cello suites. The new overtures by Philip Glass, Du Yun, Vijay Iyer, Roberto Sierra, David Sanford, and Luna Pearl Woolf, expand upon the multitude of spiritual, cross-cultural, and vernacular references found in the Bach, building a bridge from the master’s time to our own. The new recording will be released internationally on the PENTATONE Oxingale series in August and launched in Berlin, followed by performances in New York City, Montreal, and numerous other US cities this season. Other highlights this season include concerti with the Orchestre symphonique de Montréal, the Atlanta Symphony, and Tokyo’s New Japan Philharmonic. Matt will also lead the Deutsche Kammerphilharmonie at the Berlin Philharmonie, and perform a concerto by Isang Yun – marking the 100th anniversary of the birth of the Korean composer and political prisoner – with the Bruckner Orchestra with Dennis Russel Davies on tour in Austria. He will also perform several solo recitals at festivals in Germany. Haimovitz’ recording career encompasses more than 20 years of award-winning work on Deutsche Grammophon and his and composer/producer Luna Pearl Woolf’s own trailblazing independent label Oxingale Records, now in collaboration with PENTATONE. Two recent Oxingale albums have been nominated for Juno Awards and a third, Meeting of the Spirits, was nominated for a GRAMMY® for Best Classical Crossover Album and won a GRAMMY® for Best Producer of the Year (Classical). BEETHOVEN, Period, a traversal of the Beethoven Sonatas and Variations for Piano and Cello on period instruments with Christopher O’Riley was an Editor’s Choice pick, and one of the top-10 Beethoven albums of recent times, at Gramophone Magazine. 2015 also saw the release of ORBIT, an expansive 3-SACD compilation of Haimovitz’ solo cello work. Haimovitz’ recording of Philip Glass’s Cello Concerto No. 2, “Naqoyqatsi,” with the Cincinnati Symphony and Dennis Russell Davies, recorded live in Cincinnati, has received universal acclaim. A new solo cello album featuring the music of Philip Glass will be released in 2017 to coincide with the composer’s 80th birthday. In 2006, Haimovitz received the Concert Music Award from ASCAP for his advocacy of living composers and pioneering spirit, and in 2004, the American Music Center awarded Haimovitz the Trailblazer Award, for his far-reaching contributions to American music. Born in Israel, Haimovitz has also been honored with the Avery Fisher Career Grant (1986), the Grand Prix du Disque (1991), the Diapason d’Or (1991) and he is the first cellist ever to receive the prestigious Premio Internazionale “Accademia Musicale Chigiana” (1999). Haimovitz studied at the Collegiate School in New York and at the Juilliard School, in the final class of Leonard Rose, after which he continued his cello studies with Ronald Leonard and Yo-Yo Ma. In 1996, he received a B.A. magna cum laude with highest honors from Harvard University. Matt Haimovitz plays a Venetian cello, made in 1710 by Matteo Gofriller.

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ELEPHANT & PIGGIE’S “WE ARE IN A PLAY!”• NOVEMBER 5

Kingsbury Hall KENNEDY CENTER THEATER FOR YOUNG AUDIENCES ON TOUR Based on Mo Willems’ best-selling children’s books, “We Are in a Play!” is a brand-new vaudevillian romp, starring Elephant Gerald and Piggie. These two best friends sing and dance their way through pachydermal peril and swiney suspense.

RAGAMALA DANCE COMPANY • NOVEMBER 12

Kingsbury Hall Ragamala Dance Company creates dance landscapes that dwell in opposition to find the transcendence that lies in between. The evening will begin with a showcase of Salt Lake’s own talented Bharatanatyam dancers, including ChitraKaavya Dance and Nitya Nritya Dance Company, followed by Sacred Earth, Ragamala co-Artistic Directors Ranee and Aparna Ramaswamy’s singular vision of the beautiful, fragile relationship between nature and man.

INFORMED CONSENT • NOVEMBER 18

Moot Courtroom at the College of Law IN PARTNERSHIP WITH THE DEPARTMENT OF THEATRE AND THE CENTER FOR CLINICAL AND TRANSLATIONAL SCIENCE An electrifying new play by Deborah Zoe Laufer, “Informed Consent” is a powerful examination of medical ethics and the sometimes-murky lines between privacy and research. This staged reading featuring U of U Theatre faculty suggests that we question the lengths to which we might go to save a life. EX MACHINA - 24 FRAMES MOVIE NIGHT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . November 2 THE 7TH ANNUAL LOWER LIGHTS CHRISTMAS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . December 5-10 DOPE - 24 FRAMES MOVIE NIGHT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . December 7 TAYLOR MAC: “A 24-DECADE HISTORY OF POPULAR MUSIC” . . . . . . . . . . . . . . . . . . . . January 14 TAYLOR MAC AND BILL T JONES - GARDNER LECTURE IN THE HUMANITIES AND FINE ARTS .. January 17 TA-NEHISI COATES - DR. MARTIN LUTHER KING, JR KEYNOTE ADDRESS . . . . . . . . . . . . January 18 Tickets and information at utahpresents.org