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SFJAZZ CENTERFRIDAY, SATURDAY & SUNDAY

JUNE 26, 27 & 28, 2015

KRONOS QUARTETDavid Harrington, violin

John Sherba, violin

Hank Dutt, viola

Sunny Yang, cello

KRONOS PRESENTS

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David Harrington, the founder of Kronos, made this comment during one of our conversations in the hallway at Mills College in Oakland, California. It was 1979 and this was the phrase that “shoved the Riley/Kronos boat in the water.” We have more or less sailed through the decades together searching for quartets in my music. Happily the quartets he was “hearing” have generously manifested at regular intervals over the years, many of them landing in this festival. Each of our projects together was launched by conversations with both David and I “riffing” on ideas. I always came away from these planning sessions feeling exhilarated, and these energies would soon get my pen moving toward a melody or a rhythmic pattern – or, in the case of Salome Dances for Peace, a five-quartet cycle. David has this gift, a unique catalytic effect on so many collaborators. Because of this gift, we have this astounding body of work created for Kronos over the past four decades. My own contributions to their repertoire began with G Song and Sunrise of the Planetary Dream Collector in 1980, shortly after meeting the quartet. This was my re-entry into the world of putting those little black dots down on paper; making little blueprints to launch our mutual adventure together. For years I had put my performing and compositional energies into late-night and all-night concerts, playing electric organs modified to tunings in just intonation. Long durational forms that evolved like journeys with subtle doorways between events became a dominant passion. My performances, even though I had not yet formally studied Indian classical music, took on the spirit of that ancient music. Then good fortune brought the perfect teacher into my life, Pandit Pran Nath. I immersed myself in his teachings and the tradition while continuing to perform my own work. During that time I made several trips to India to study. He generously took me on as a disciple and opened up many hidden doors to the mastery of North Indian classical music. He taught me to sing. With the voice as an instrument, I was opened up to the most deeply intimate of musical experiences and gained many insights into the nature of sound. The Ragas became soul food for my solo organ concerts and guided my playing in a way that led to exciting spiritual and technical pathways. The long sustained moods that are the foundation of Raga exposition were propelled in my keyboard performance and allowed me access to unique waves of pattern formation and melodic evolution. At David’s suggestion, I took up the challenge to “write down” my ideas. I needed to transition to music in written time; not the real time I was used to as an improvising piano player or singer. Improvisation is all about being in the moment and

making split decisions consciously or unconsciously. Decisions that are tuned by the driving momentum of the imagination and its thoughts and feelings as it makes its way in real time. When one is “constructing,” there is time to observe the flow of time more slowly and to consider many options and to make decisions based on the myriad “forks in the road” that might present themselves. One can also become fascinated by the visual geometries that appear on the page that might suggest ideas not solely arrived at by the ears’ guidance. The first music I wrote for Kronos and our first rehearsals of these pieces was a new experience for all of us. I was thrilled to have young collaborators eager to dig in and mine

possibilities out of these pages, whose indications contained no dynamics or phrasings or other diacritical markings. Magically we had hit on a great way of working together and the end result was something none of us could have accomplished in another way. The quartet examined the music I was writing under a microscope and found nuances deep in the layers that always surprised and delighted me. Kronos immediately picked up on the purity of the intonation I wanted. When I brought to our rehearsals the study of precisely tuned musical intervals gained in my training with Pandit Pran Nath as well as those from my apprenticeship with La Monte Young’s Theater of Eternal Music, Kronos took the time to internalize these new sounds. A good example of

their tenacity was the week we spent together in Snowbird, Utah, working on only long tones comprising the intervallic relationships of the “Rosary tuning” designed for the Crow’s Rosary quintet. I have learned many things working with Kronos. In the countless hours I have sat listening to them rehearse I have witnessed a kind of musical archeology. The musicians holding each note; turning it around as if in the palm of the hand and viewing it from different angles; brushing it off; cleaning and polishing until musical passages gleam with a greater intensity and life force. It is this burning desire for a perfect musical understanding, be it grungy or sublime, that electrifies the quartet’s playing. I speak from long experience when I say that they really understand the music they play. They internalize it. They claim it for their own with love and passion. So to Kronos, I put my hands together in a deep bow of gratitude. This music lives through your artistry. And another grateful bow to the wonderful Janet Cowperthwaite who has guided every single one of the Kronos/Riley projects with consummate skill. And isn’t it true that music can never be whole unless the full devotion of all those involved in its processes return it freely as an offering back to its mysterious origins?

—TERRY RILEY

“I hear quartets in your music.”

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at SFJAZZ CenterFriday, Saturday & SundayJune 26, 27 & 28, 2015

KRONOS QUARTET

David Harrington, violin

John Sherba, violin

Hank Dutt, viola

Sunny Yang, cello

Brian H. Scott, Lighting Designer

Scott Fraser, Sound Designer

Brian Mohr, Audio Engineer

KRONOS PRESENTS is a new initiative showcasing Kronos’ commissioned

works, artistic projects and far ranging musical collaborations through an annual

festival, education and community activities and other events. KRONOS PRESENTS is a program of the Kronos Performing Arts Association.

KRONOS PRESENTS: Terry Riley Festival is made possible by generous

support from Grants for the Arts/San Francisco Hotel Tax Fund, the Clarence E.

Heller Charitable Foundation, and the Board of Directors of the Kronos Performing

Arts Association. Additional support provided by The William and Flora Hewlett

Foundation and the Bernard Osher Foundation.

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I first met Terry Riley

when he stopped by our rehearsal at Mills College in the spring of 1978. We were working on Ken Benshoof’s Traveling Music, the first piece ever written for Kronos. After a very warm and friendly greeting, Terry asked me who the composer was, saying he really liked that music. It turned out Terry and Ken had attended San Francisco State in the 1950s and had been in the same composition class. Terry had not heard a note of Ken’s music since then. So began our conversation about music and life. Immediately I felt that Terry Riley had to write for Kronos: our world of music would be more beautifully interesting and complete if this man with the immensely friendly face, generous words and kind bearing, the composer of In C and A Rainbow in Curved Air, would add some of these qualities to the work of Kronos. Terry probably had no idea how insistent and tenacious I would be now armed with his phone number. He also probably had no idea that when meeting him I kept being reminded of Joseph Haydn, the Viennese composer who first began writing string quartets around 1750. I’d read about Haydn when I was young, about his geniality, the way his string quartets were a center of his creativity. I grew up playing his music and at a certain point as a teenager realized that my true instrument was not the violin but the string quartet. Feeling this strong connection to the “founder” of the string quartet form when first meeting Terry Riley, I truly had no choice but to try to bend events in the direction of there being a relationship between Terry and Kronos. Since then things have always seemed most right to me when Terry is writing a new piece for us. When I step back and think of the fantastic music Terry has written for Kronos, the amazing rehearsals we’ve had together, how he has expanded our knowledge of musical things and poured his sensibilities, questions and revelations into our work, I am immensely grateful for all we have shared. I remember the instant when Kronos’ sound changed into something I’d never heard before. We were playing The Wheel and all of a sudden we all believed in a sound Terry was encouraging us to discover that was vibrato-less and at the same time infinitely expressive. I recall our work sessions on his joyous interlocking group rhythms and how he patiently and always has tried to help us find the calm center of the beat. This is a lifetime sort of task. There is no other composer who has added so many new musical words to our vocabulary, words from so many corners of the musical world. Terry introduced Kronos to Pandit Pran Nath, Zakir Hussain, Bruce Connor, La Monte Young, Anna Halprin, Hamza El Din, Jon Hassell, Gil Evans and to his beautiful family: Ann, Colleen, Shahn and Gyan. I have never once heard him say an unkind word about another musician. In a crazed world laced with violence and destruction he has consistently been a force for peace. Through his gentle leadership a path forward has emerged. Terry sets the standard for what it means to be a musician in our time. He is a true pioneering iconic Californian who continually transforms himself as his muse dictates. How wonderful it is to be alive on this planet at the same time as Terry Riley.

—DAVID HARRINGTON

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7:30 PM

Happy 80th Birthday Terry!WITH ZAKIR HUSSAIN, WU MAN AND OTHERS

MINER AUDITORIUM

Terry Riley / The Cusp of Magic (first movement) * with special guest Wu Man, pipa

Taal In TSolo by Zakir Hussain, tabla and tuned percussion

Terry Riley / One Earth, One People, One Love from Sun Rings *

Aleksander Kościów / Oberek for Terry Riley * World premiere

Pete Townshend (arr. Jacob Garchik) / Baba O’Riley + World premiere

Yoko Ono / To Match the Sky World premiere Birthday Performance Piece to Terry Riley

Terry Riley / Sunrise of the Planetary Dream Collector * with special guest Zakir Hussain

Performed without intermission

* WRIT TEN FOR KRONOS + ARR ANGED FOR KRONOS

FRIDAY, JUNE 26

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4:00 – 4:45 PM

Terry Riley and David Harrington in ConversationJOE HENDERSON LAB

Join Terry Riley and David Harrington as they discuss three and a half decades of work together, resulting in more than two dozen pieces for Kronos.

5:00 - 5:45 PM

ZOFO Plays Terry RileyJOE HENDERSON LAB

Terry Riley / Etude from the Old Country from Heaven Ladder, Book 5 commissioned by Sarah Cahill

Terry Riley (arr. Keisuke Nakagoshi) / Half Wolf Dances Mad in Moonlight *

Terry Riley (arr. Keisuke Nakagoshi) / G Song *

Terry Riley / Praying Mantis Rag World Premiere commissioned by ZOFO

ZOFOKeisuke Nakagoshi, piano

Eva-Maria Zimmermann, piano

* ORIGINAL VERSIONS WRIT TEN FOR KRONOS

SATURDAY, JUNE 27

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7:30 PM

Kronos, Terry & FriendsWITH SPECIAL GUEST TERRY RILEY

AND DREW CAMERON, THE LIVING EARTH SHOW, MICHAEL McCLURE, K ALA R AMNATH, GYAN RILEY AND VOLTI

MINER AUDITORIUM

Terry Riley / Salome Dances for Peace: III. The Gift (excerpts) *with special guest Drew Cameron

Terry Riley / Earth Whistlers from Sun Rings *with special guest Volti

Yuhi Aizawa Combatti, Shauna Fallihee, section leaders; Lauren Eigenbrode, Farah Kidwai, Sharmila G. Lash, Kate Offer, Diana Pray, Alexandra Sessler, Colby Smith, Christa Tumlinson

“Minutes” for Terry * World premiereJherek Bischoff / Vitality Caleb Burhans / Where the Wind Blows Joan Jeanrenaud / 1/86,400 of a mean solar day Maggi Payne / Shimmering Greg Saunier / Low Res Life Twinkle in Forced Perspective Aleksandra Vrebalov / Cosmic Love

Hamza El Din (realized by Tohru Ueda) / Escalay (Water Wheel) *

Terry Riley (Reimagined and reinterpreted by The Living Earth Show, Dan Becker, Danny Clay)

A Rainbow in Curved Air + World premiere with special guest The Living Earth Show Travis Andrews, guitar and Andy Meyerson, percussion

INTERMISSION

Terry Riley and Michael McClure / I Like Your Eyes, Liberty Performed by Terry Riley and Michael McClure

Terry Riley / Turning Performed by Terry Riley, keyboards, Gyan Riley, guitar and Kala Ramnath, violin

Terry Riley / Crazy World * West Coast premiere with special guests Terry Riley, voice and Gyan Riley, guitar

Gyan Riley / the first pancake * World premiere 1. Butter ’n’ Syrup 2. Funky Texture and the Floury Lumps 3. Full Stack of Injera: The Savory Shuffle with special guests Terry Riley, keyboards and Gyan Riley, guitar

* WRIT TEN FOR KRONOS + ARR ANGED FOR KRONOS

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7:00 PM

Salome Dances for PeaceMINER AUDITORIUM

Terry Riley / Salome Dances for Peace *

I. Anthem of the Great Spirit The Summons Peace Dance Fanfare in the Minimal Kingdom Ceremonial Night Race At the Ancient Aztec Corn Races Salome Meets Wild Talker More Ceremonial Races Oldtimers at the Races Half Wolf Dances Mad in Moonlight

II. Conquest of the War Demons Way of the Warrior Salome and Half Wolf Descend Through the Gates to the Underworld Breakthrough to the Realm of the War Demons Combat Dance Victory: Salome Re-enacts for Half Wolf Her Deeds of Valor Discovery of Peace The Underworld Arising

INTERMISSION

III. The Gift Echoes of Primordial Time Mongolian Winds

IV. The Ecstasy Processional Seduction of the Bear Father The Gathering At the Summit Recessional

V. Good Medicine Good Medicine Dance

Kronos dedicates this performance of Salome Dances for Peace to the memory of Judithe Bizot.

* WRIT TEN FOR KRONOS

SUNDAY, JUNE 28

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Program Notes for FRIDAY, JUNE 26Terry Riley (b. 1935)The Cusp of Magic: Movement I (2004)

The Cusp of Magic significantly fills the picture that my collaboration with Kronos has been portraying since 1980. My compositions for Kronos are the most important of my notated works, each one staking out a different mood and musical structure and setting up new challenges for both composer and performer. In this work, the different timbre and resonance of the Chinese pipa and the western string ensemble highlight the crossover regions of cultural reference, so that Western musical themes might be projected with an Eastern accent and vice-versa. My plan was to make these regions seamless so that the listener is carried between worlds without an awareness of how he/she ends up there. The work is in six movements: ‘The Cusp of Magic,’ ‘Buddha’s Bedroom,’ ‘The Nursery,’ ‘Royal Wedding,’ ‘Emily and Alice’ and ‘Prayer Circle.’ [The first movement will be performed tonight.] ‘The Cusp of Magic’ movement is based on a cycle of 108 beats (considered in India to be a sacred number and one on which prayer beads called malas are based). It is subdivided 9–7–6–5–4–3–2–3–4–5–6–6–5–4–3–2–3–4–5–6–7–9 with contrasting sections based on a cycle of 2 x (12 x 4 + 6) that also results in 108 beat cycle organization. With this complex rhythm, the first violin assumes the role of percussionist/timekeeper, creating the rhythmic pulse with a peyote rattle or shaker and bass drum. This also gives the piece the ritualistic atmosphere that its title implies. The Cusp of Magic is dedicated to Gary Goldschneider, whose book The Secret Language of Relationships provided the title of this piece. Goldschneider has given the imaginative name ‘the Cusp of Magic’ to the Zodiac position 27 degrees Gemini and 4 degrees Cancer taking place in the period June 19 – 24, which happens to include the day I was born.

—TERRY RILEY

Terry RileyOne Earth, One People, One Love from Sun Rings (2002)

In Sun Rings, the wonders of technology meet the expansive and compassionate imagination of composer Terry Riley, bringing the music of the spheres to life. The composition includes sounds harvested from our solar system—the crackling of solar winds, the whistling of deep-space lightning, and other cosmic events—which create auditory landscapes. This interplanetary musical story unfolds in a visual environment of imagery gathered by NASA spacecraft and prepared for the project by Kronos in collaboration with visual designer Willie Williams. On his approach to bringing together the music of Kronos and the sounds of outer space, Riley notes, “The ten ‘spacescapes’ that comprise Sun Rings…were written as separate musical atmospheres, with the intention to let the sounds of space influence the string quartet writing and then to let there be an interplay between live ‘string’ and recorded ‘space’ sound.”

The project was nearly derailed by the tragic events of September 11, 2001, after which all parties concerned questioned Sun Rings’ relevance in the wake of the terrorist attacks and impending war. But then, a new and vital link emerged: as the L.A. Times put it: “Riley heard poet and novelist Alice Walker on the radio talking about how she had made up a September 11 mantra—‘One Earth, One People, One Love.’ It occurred to him that contemplating outer space could be a way to put the problems on Earth into perspective.” Walker’s mantra not only gave Riley the inspiration to continue; it also provided a title and focal point for Sun Rings’ concluding movement, the excerpt performed by Kronos in the present program. (The fifth movement, ‘Earth Whistlers,’ will be performed on Saturday night.) As Riley describes his fully-realized, post-September 11 conception of Sun Rings: “This work is largely about humans as they reach out from Earth to gain an awareness of their solar system neighborhood…. Do the stars welcome us into their realms? I think so or we would not have made it this far. Do they wish us to come in Peace? I am sure of it. If only we will let the stars mirror back to us the big picture of the Universe and the tiny precious speck of it we inhabit that we call Earth, maybe we will be given the humility and insight to love and appreciate all life and living forms wherever our journeys take us.”

—M AT THEW C AMPBELL

Aleksander Kościów (b. 1974)Oberek for Terry Riley (2015)

Aleksander Kościów was born in Opole, Poland, and graduated from the Fryderyk Chopin Academy of Music in Warsaw in composition in 1998. Since 2008 he has been a teaching employee at the Academy of Music’s Department of Composition, Conducting and Music Theory. In 2005 he received a Fulbright scholarship (2005). His pieces have been performed at music festivals, concerts and events throughout Europe, in Japan and South Korea, and in the U.S.

Oberek for Terry Riley was written for the Kronos Quartet as a musical gift to celebrate Terry Riley’s 80th birthday. Its inspiration comes from one of the most characteristic Polish dances, the oberek, known for its endless trance-like repetitiveness and vigorous circle-shaped motion—features which appear here as a tribute to Riley, who has made both repetitiveness and reduced material one of the most prominent and productive mechanisms in contemporary musical language. The need for pure joy is a human natural expression, taking shape in dance and music—a simple truth known by everyone—and this is what the piece hopes to serve for such a great occasion.

—ALEKSANDER KOŚCIÓW

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Pete Townshend (b. 1945)Baba O’Riley (1971)ARR ANGED BY JACOB GARCHIK

Pete Townshend, The Who’s guitarist and principal songwriter, was born into a musical family in Chiswick, West London. He graduated from Ealing Art College, where he broadened his mind on a diet of radical performance art and American blues music. As guitarist and composer for the influential band, he became the driving force behind one of the most powerful, inventive bodies of work in rock music. Townshend has run his own book publishing company and worked as an editor at the literary house of Faber & Faber, which in 1985 published Horse’s Neck, a collection of his short stories. He published his memoir Who I Am and is currently working on Floss, an ambitious new music project. Baba O’Riley (also known as Teenage Wasteland) was recorded by The Who for the 1971 album Who’s Next. The title is inspired by Meher Baba, the Indian spiritual master, and Terry Riley, whose A Rainbow in Curved Air was a great influence on Townshend.

Yoko Ono (b. 1933)To Match the Sky (2015)

To Match The SkyBirthday Performance Piece To Terry Riley

Make a sound with your instrument that would match the sound the sky is making at the time.

1) Sky with clouds floating 2) Raining 3) Snow falling4) Thunder and lightening

You may decide the duration.

yoko ono, june 2015

Yoko Ono is a multi-media artist who constantly challenges the traditional boundaries of sculpture, painting, theatre and music. Ono’s groundbreaking conceptual and performance pieces in the late 1950s and early 1960s, experimental films, solo music, and music done in association with John Cage and Ornette Coleman, among others; and then a remarkable collaboration with John Lennon from the time they met until his death, and international one-woman shows and retrospectives from the 1980s to the present day, illustrate her varied career. In this new millennium, Yoko’s creative influence and prolific artistic output continues to inspire new generations. Reflecting on her reputation for being outrageous, Yoko smiles and says, “I do have to rely on my own judgment, although to some people my judgment seems a little out of sync. I have my own rhythm and my own timing, and that’s simply how it is.” Yoko Ono is a Citizen of Nutopia.

Terry RileySunrise of the Planetary Dream Collector (1981)

This work first came about as a minor key extension of A Rainbow in Curved Air (1968) and some of the material appeared in a 1973 recording I made as a soundtrack for a film by the French filmmaker Joel Santoni called Les Yeux Fermes. The real ancestor to this string quartet version with this title wasn’t composed until 1975 and was premiered in a series of concerts I gave at RIAS in Berlin in 1976. The title occurred to me one morning over breakfast during a conversation with Delphine Santoni, Joel’s 7-year old daughter. In 1980, when asked by David Harrington of the Kronos Quartet to compose some music for their, at that time, very young group, I chose this work as a starting point. It had been over ten years since I had written any music on paper as I had occupied myself at that time with keyboard improvisation and the study of North Indian raga but I felt the atmosphere of this work would be very appropriate for strings. I was confident that the modular construction of the music would allow the quartet members freedom to use their performance skills to enhance its basic melodic and rhythmic framework, and to give it a shape that would reflect their insights regarding its musical content and feeling.

—TERRY RILEY

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Program Notes for SATURDAY, JUNE 27Terry RileyThe Gift from Salome Dances for Peace (1985–86)

See notes for Salome Dances for Peace (Sunday).

Terry RileyEarth Whistlers from Sun Rings (2002)

See notes for One Earth, One People, One Love (Friday).

“Minutes” for Terry Riley

Jherek Bischoff (b. 1979) Vitality (2015)

I met Terry Riley briefly in San Francisco, at a Kronos concert we were both involved in. The show was to celebrate Kronos’ 40th anniversary, and as I wrote my contribution with those decades in mind, the thought of working with such ferocity over that many years overwhelmed me. At the same show, Kronos performed Riley’s Another Secret eQuation, a piece with such beauty, care and magic—it was absolutely stunning. I’ve been a long-time admirer of all of Riley’s works, but when asked to write a piece to celebrate his 80th, it immediately brought me back to the moment. At 79, he attacked that piece with a beautiful abandon—it made it clear to me why he and Kronos share such a kinship. For my one-minute birthday gift, I decided to create something bubbling with kinetic energy, in honor of a virtue that runs strong in that beautiful man. Vitality.

—JHEREK BISCHOFF, W W W.JHEREKBISCHOFF.COM

Caleb Burhans (b. 1980) Where the Wind Blows (2015)

To simply say that Terry Riley is a minimalist composer does not do him justice. His work spans so many different genres that it made my job quite difficult. At the end of the day, Where the Wind Blows mainly focuses on the use of just intonation and repeated motivic cells.

—C ALEB BURHANS, W W W.C ALEBBURHANS.COM

Joan Jeanrenaud (b. 1956) 1/86,400 of a mean solar day (2015)

Terry Riley is that first ray of sunshine, a moon beam on a starry night, the sound of resonating chords like an organ in perfect intonation, an intense groove created by overlapping patterns—a raga giving you a connection within yourself, a connection with the universe.

—JOAN JEANRENAUD, W W W.JJCELLO.COM

Maggi Payne (b. 1945) Shimmering (2015)

Having used sonification of data from various detectors in space in my electronic music works since 1983, I was fascinated that Terry Riley and Kronos drew from sonifications in the exquisite Sun Rings. Shimmering is reminiscent of the phenomenon of whistlers, which are produced by lightning stroke impulses traveling along the earth’s magnetic field lines. Although whistlers have a downward frequency trajectory this work uses both upward and downward glissandi, poised against the background noise of the universe.

—M AGGI PAYNE, W W W.M AGGIPAYNE.COM

Greg Saunier Low Res Life Twinkle in Forced Perspective (2015)

Aleksandra Vrebalov (b. 1970) Cosmic Love (2015)

Whoever has met Terry knows that his is the kind of radiance that turns air into breathable particles of love. In one minute of Cosmic Love, 80 beats of a single G unfold both as a cube and a sphere. What starts as one pitch played by four instruments, leaps and expands over and beyond the range of the string quartet into a grid of its own charged variants and continues into eternity! Happy Birthday Terry, Cosmic Love!

—ALEKSANDRA VREBALOV, WWW.ALEKSANDRAVREBALOV.COM

Hamza El Din (1929–2006)Escalay (Water Wheel) (1989)REALIZED BY TOHRU UEDA

My country Nubia was flooded after the construction of the Aswan dam, and we lost it after a recorded history of 9,000 years, so I have a nostalgia for that place. Escalay is a representation of how to start the water wheel and let it run.Our music system is Afro-Arab—we are a bridge, musically and culturally between Africa and the Middle East. I wanted the Quartet to represent the sound of my instrument, the oud. The challenge was to make audible the overtones that only the musician can hear from a solo instrument—the ‘unheard’ voice. Amazingly, Kronos perform it as if they are from that place. Terry Riley introduced me to Kronos who asked me to write a piece for them. They liked the idea of the water wheel. Everyone who sits behind the oxen which help the water wheel go round will express himself according to his age. If it’s a child, he’ll sing a children’s song. If it’s a woman or a man, they’ll sing a love song. If it’s an older man, he’ll sing a religious song. I wrote this as the sound of the older man, so with Kronos it becomes a religious song.

—HAMZA EL DIN

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Terry RileyA Rainbow in Curved Air (1968/2015)REIM AGINED AND REINTERPRETED BY THE LIVING EARTH SHOW, DAN BECKER AND DANN Y CL AY

A Rainbow in Curved Air was originally released as the title track of Terry Riley’s influential 1968 album. Riley performed all of the instruments on the original recording. In tonight’s version, reimagined by The Living Earth Show, Dan Becker and Danny Clay, Kronos is joined by The Living Earth Show. Riley’s original liner notes read:

And then all wars ended Arms of every kind were outlawed and the masses gladly contributed them to giant foundries in which they were melted down and the metal poured

back into the earth The Pentagon was turned on its side and painted purple, yellow & green

All boundaries were dissolved The slaughter of animals was forbidden

The whole of lower Manhattan became a meadow in which unfortunates from the Bowery were allowed to live out their fantasies in the sunshine

and were cured People swam in the sparkling rivers under blue skies streaked only with

incense pouring from the new factories The energy from dismantled nuclear weapons provided free heat and light

World health was restored An abundance of organic vegetables, fruits and grains was growing wild

along the discarded highways National flags were sewn together into brightly colored circus tents under

which politicians were allowed to perform harmless theatrical games The concept of work was forgotten

Terry Riley and Michael McClure (b. 1932)I Like Your Eyes, LibertyI Like Your Eyes, Liberty is a line taken from a Michael McClure poem, and also a music segment from the Riley/McClure CD of the same name.

Terry RileyTurningTurning draws on ideas from a section of the string quartet Conquest of the War Demons as a basis for solo or group improvisation. It has been performed for years as a kind of signature closing piece for my improvising groups Khayal, The All Stars, and the Gyan/Terry Riley Duo.

—TERRY RILEY

Terry RileyCrazy World (2015)

Crazy World was first written as a partially improvised song for voice(s) and piano. This version for Kronos, Wu Man (on pipa) and Terry was arranged for the Big Ears 2015 festival where it was premiered. The lyric for Crazy World begins, “The wood in my tamboura speaks with a voice that is ancient and lustrous and holy... Yet they take that same wood and they make a big club...break the arms of the poor, break the backs of the weak, break the bones of the humble and lowly.” It was written at the start of the Iraq war...need more be said?

—TERRY RILEY

Gyan Riley (b. 1977)the first pancake (2015)

Dedicated to my wonderful mom on her 79th birthday (she also makes great pancakes!) The first pancake: even though you know it’s not going to turn out nearly as good as its younger brethren, there still has to be one. There’s just no way around it. I would have loved to just skip the first one and start writing my second string quartet, equipped with all the wisdom I’d gained from the experience of writing the first string quartet that I never wrote. But since that wasn’t exactly an option, everyone gets a taste of this one instead...I hope it turns out ok, Mom!

—GYAN RILEY

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Program Notes for SUNDAY, JUNE 29Terry RileySalome Dances for Peace (1985–86)

“The idea for Salome Dances for Peace came out of improvisation theme from The Harp of New Albion. I realized this was potentially a whole new piece. Around that time, David Harrington called me and asked me to write another string quartet. I thought that it should be a ballet about Salome using her alluring powers to actually create peace in the world. So Salome in this case becomes like a goddess who—drawn out of antiquity, having done evil kinds of deeds—reincarnates and is trained as a sorceress, as a shaman. And through her dancing, she is able to become both a warrior and an influence on the world leaders’ actions. What I do is to make many, many minute sketches of ideas and file them away, and at some point as I’m writing, one of those ideas will be the right one for the time. I trust the fact that anything that occurs to me is related to whatever occurred to me before. All of the kinds of music that appear in my string quartets are the kinds of music that I personally love, and I don’t necessarily keep them in separate cabinets. One of the challenges, in fact, is to bring things you love together to live harmoniously. It also creates an understanding of how the notes work. These styles all have their particular flavors and expressions but they can be united. Notes all work under certain universal laws, they observe laws just like everything else in the universe does. To me it’s all a unified field. It’s the general search we’re going through now in physics, trying to find a unified theory. I think for a musician that is also relevant and works towards evolving new, deeper and richer musical traditions. I’m always trying to find ways that I can, besides doing music, contribute to world peace, or maybe neighborhood peace or home peace. I told David that when we first started that I thought we ought to create a piece that can be played at the United Nations on special holidays. It would not be just a concert piece but a piece that could be played as a rite.”

—TERRY RILEY, FROM A CONVERSATION WITH MARK SWED

In Salome Dances for Peace, Terry Riley created a musical legend, which expresses both the desire to atone for the past and the hope to redeem the present. In Riley’s mythological tale, Salome, the alluring daughter of King Herod who demanded the head of John the Baptist, is brought back to life. In her new incarnation, she is to make amends for past deeds by turning her fierce and seductive spirit towards the subjugation of war and the inspiration of peace. The figure of Salome is introduced in the opening notes of the first quartet, Anthem of the Great Spirit. The serpentine melody, full of seductive curves and alluring twists, is based on the Hindustani raga Mishra Bhairavi. In Indian musical thought, each raga incorporates the spirit of a deity. In the divine Bhairavi, Riley found a spirit kindred to Salome’s. The multifaceted Bhairavi is at once a universal mother and a wrathful deliverer of death. Through the five quartets of Salome Dances for Peace, the title heroine will explore both facets of her nature. The first two quartets of Salome Dances for Peace form a complementary pair, a musical and thematic diptych. In Anthem of the Great Spirit, Salome sets out on a quest for the mentor who will reveal to her the full scope of her own soul. Inspired by the ideal of Peace, she comes to America in search of the original, Native American spirit of the land. At ceremonial races, she briefly encounters a number of people and tribes before finally finding the visionary Half Wolf. At the climax of the first quartet, ‘Half Wolf Dances Mad in Moonlight,’ the shaman transforms Salome into a warrior and prepares her for her struggle against the instigators of strife. The second quartet, ‘Conquest of the War Demons,’ depicts the pair on their journey to the underworld and the violent, fearful combat in which Salome subdues the monsters of aggression. At the heart of ‘Peace Dance,’ the second movement of the first quartet, sits a type of chorale frequently found in the composer’s work and improvisations, gently underscored with rich jazz harmonies. Salome’s central encounter with the tempting ‘Wild Talker’ brings a note of menace to the night scene, its eerie melodies representing the base urges Salome must abandon in pursuit of her higher mission. Anthem of the Great Spirit culminates with Half Wolf’s mad dance. Fragments of an angular, chromatic scale pile on top of one another in cubist disorder, sounding in different registers and at a variety of speeds, overlapping vertically and horizontally. The wild, scurrying dance is periodically punctuated by a short fanfare in brassy thirds, its bizarre syncopations perpetually catching listeners flat-footed. Eventually, a chanting melody (a transformation of a motive that appeared at the beginning of the ‘Peace Dance’) emerges, echoing throughout the quartet as the smoke of rising scales curls upwards into thin air. In the program for Salome Dances for Peace, Half Wolf’s moonlight rite brings about Salome’s metamorphosis. The shaman Half Wolf incarnates core tenets of Riley’s aesthetic philosophy. Though interested in the world’s religions, the composer himself seeks the divine through music. In performance, the musician becomes a conduit linking the listener to the numinous world. Ideally, the audience does

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not passively absorb the music, but is actively transformed by it. The greatest praise Riley can bestow upon a musician is to call him or her a shaman, a spiritual leader who through his or her performance presides over ceremonies of celebration, redemption and transcendence. Salome’s transformation from repentant sinner to woman warrior, catalyzed by Half-Wolf’s sacred dance, embodies Riley’s highest aspiration for the musical experience. The second quartet of the cycle, Conquest of the War Demons, is in some sense a reincarnation of the first. It is a new beginning, but one which draws on the wealth of musical experience gained in “Anthem of the Great Spirit.” Musical ideas from the first quartet appear transfigured during the mysterious descent to the underworld and the ferocious combat with the hellish spirits. Where the pace of the first quartet was ruminative, even halting, Conquest of the War Demons is electrified by relentless, purposeful striving. As ‘Salome and Half Wolf Descend through the Gates of the Underworld,’ a recapitulation of the chorale from the ‘Peace Dance’ proceeds with ominous, steady step. Successive variations on the chorale theme quicken the pulse as danger nears. When combat is finally joined, the running figures heard in the previous quartet’s ceremonial races break out in pandemonium. The sinister ostinato associated with Wild Talker resurfaces, making the netherworld malice fully palpable. At the point of conquest, Salome’s theme in raga Bhairavi makes an imposing and triumphant return. ‘The Underworld Arising,’ an infernal counterpart to Half Wolf’s Mad Dance, symbolizes perhaps the war demons’ submission to Salome’s power. Yelping trumpet calls, bracing open fifths, and furious ostinatos suggest the unleashing of great powers. Yet through it all, Salome’s theme trips lightly across the surface of the music, taming the chaos that lurks beneath. A jig-like figure in 7/16, a transformation of the melodic chant which closed Anthem of the Great Spirit, brings the four instruments into concord and, eventually, into silence. The third quartet of Salome Dances for Peace, The Gift, is the quiet, inward core of the whole work. ‘Echoes of Primordial Sounds’ places Salome among the Himalayan peaks. The form of the movement resembles an alap – the slow, measured exposition of a Hindustani raga. Short, soulful phrases resound from one instrument to another. Repetitive loops fix them in meditative posture. A version of Salome’s theme reappears halfway through the movement, exhaled peacefully in rapt contemplation. The Gift enacts Salome’s own awakening to the cosmos.

In ‘Mongolian Winds,’ the second and final section of “The Gift,” sighing figures in the upper strings vent breezes flowing along vast, desolate plains. Or perhaps they echo horn calls from a distant, fabled monastery. In the sounding stillness, a pizzicato pattern of 11 beats steals in. The strings take turns offering up their own lyrical and effusive hymns. The final two quartets of the cycle, The Ecstasy and Good Medicine, form yet another musical and thematic diptych. In these two works, Salome herself assumes the role of the shaman. She fulfills her destiny, in Riley’s words, “To raise the consciousness of the earth, of the people.” Salome encounters The Bear Father and The Great White Father,

symbols for Mikhail Gorbachev and Ronald Reagan. She seduces the two men by turns, dancing with each of them in a series of intimate pas de deux. The quartet smolders with hushed, tender, yet unabashed carnality. The two Fathers are driven wild with desire for her. ‘At the Summit,’ a transformation befalls the two men. Salome invites them separately for an assignation at dawn. With the rising of the sun, the sounds of the lower chakras fade

away; The Bear Father and The Great White Father are to be led towards higher pleasures. A gently rocking dance in 15/16, all open fifths and shepherd piping, evokes the idyllic, pastoral never-never lands of Debussy or Ravel. As the music reaches its climax, the two men, at the height of their passion for Salome, transfer their affection from her to each other. As brothers, the two world leaders are consumed with deep and mutual love. The ‘Good Medicine Dance’ is the celebration of their epiphany. Salome gives the men this dance to be performed whenever conflicts arise, as a reminder of the invisible bonds that join all peoples. The sounds of the ‘Good Medicine Dance’ resolve all the tensions that had accrued over the course of the work. Intricate, interlocking figures shimmer in the white-note radiance of major scales. In the midst of this vibrant and joyous dance, a brief recollection of Salome’s theme pays tribute to the woman who instructed men about universal harmony.

— GREGORY DUBINSKY

Excerpted from a longer note included in the 5CD set One Earth, One People, One Love: Kronos Plays Terry Riley on Nonesuch Records.

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Artist BiosTerry RileyTerry Riley first came to prominence in 1964 when he subverted the world of tightly organized atonal composition then in fashion. With the groundbreaking In C—a work built upon steady pulse throughout; short, simple repeated melodic motives; and static harmonies—Riley achieved an elegant and non-nostalgic return to tonality. In demonstrating the hypnotic allure of complex musical patterns made of basic means, he produced the seminal work of Minimalism. Riley’s facility for complex pattern-making is the product of his virtuosity as a keyboard improviser. He quit formal composition following In C in order to concentrate on improvisation, and in the late 1960s and early ’70s he became known for weaving dazzlingly intricate skeins of music from improvisations on organ and synthesizer. At this time, Riley also devoted himself to studying North Indian vocal techniques under the legendary Pandit Pran Nath, and a new element entered his music: long-limbed melody. From his work in Indian music, moreover, he became interested in the subtle distinctions of tuning that would be hard to achieve with a traditional classical ensemble. Riley began notating music again in 1979 when both he and the Kronos Quartet were on the faculty at Mills College in Oakland. By collaborating with Kronos, he discovered that his various musical passions could be integrated, not as pastiche, but as different sides of similar musical impulses that still maintained something of the oral performing traditions of India and jazz. Riley’s first quartets were inspired by his keyboard improvisations, but his knowledge of string quartets became more sophisticated through his work with Kronos, combining rigorous compositional ideas with a more performance-oriented approach. This three-decade-long relationship has yielded 27 works for string quartet, including a concerto for string quartet, The Sands, which was the Salzburg Festival’s first-ever new music commission; Sun Rings, a multimedia piece for choir, visuals and space sounds, commissioned by NASA; and The Cusp of Magic, for string quartet and pipa. Kronos’ album Cadenza on the Night Plain, a collection of music by Riley, was selected by both Time and Newsweek as one of the 10 Best Classical Albums of the Year in 1988. The epic five-quartet cycle, Salome Dances for Peace, was selected as the #1 Classical Album of the Year by USA Today and was nominated for a Grammy in 1989.

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Kronos QuartetFor more than 40 years, the Kronos Quartet—David Harrington (violin), John Sherba (violin), Hank Dutt (viola), and Sunny Yang (cello)—has pursued a singular artistic vision, combining a spirit of fearless exploration with a commitment to continually re-imagining the string quartet experience. In the process, Kronos has become one of the most celebrated and influential groups of our time, performing thousands of concerts worldwide, releasing more than 50 recordings of extraordinary breadth and creativity, collaborating with many of the world’s most intriguing and accomplished composers and performers, and commissioning more than 850 works and arrangements for string quartet. In 2011, Kronos became the only recipients of both the Polar Music Prize and the Avery Fisher Prize, two of the most prestigious awards given to musicians. The group’s numerous awards also include a Grammy for Best Chamber Music Performance (2004) and “Musicians of the Year” (2003) from Musical America. Kronos’ adventurous approach dates back to the ensemble’s origins. In 1973, David Harrington was inspired to form Kronos after hearing George Crumb’s Black Angels, a highly unorthodox, Vietnam War–inspired work featuring bowed water glasses, spoken word passages, and electronic effects. Kronos then began building a compellingly diverse repertoire for string quartet, performing and recording works by 20th-century masters (Bartók, Webern, Schnittke), contemporary composers (Sophia Gubaidulina, Bryce Dessner, Aleksandra Vrebalov), jazz legends (Ornette Coleman, Maria Schneider, Thelonious Monk), rock artists (guitar legend Jimi Hendrix, Brazilian electronica artist Amon Tobin, and Icelandic indie-rock group Sigur Rós), and artists who truly defy genre (performance artist Laurie Anderson, composer/sound sculptor/inventor Trimpin, and singer-songwriter/poet Patti Smith). Integral to Kronos’ work is a series of long-running, in-depth collaborations with many of the world’s foremost composers. One of the quartet’s most frequent composer-collaborators is “Father of Minimalism” Terry Riley, whose work with Kronos includes Salome Dances for Peace (1985–86); Sun Rings (2002), a multimedia, NASA-commissioned ode to the earth and its people, featuring celestial sounds and images from space; and The Serquent Risadome, premiered during Kronos’ 40th Anniversary Celebration at Carnegie Hall in 2014. Kronos commissioned and recorded the three string quartets of Polish composer Henryk Górecki, with whom the group worked for more than 25 years. The quartet has also collaborated extensively with composers such as Philip Glass, recording a CD of his string quartets in 1995 and premiering String Quartet No. 6 in 2013, among other projects; Azerbaijan’s Franghiz Ali-Zadeh, whose works are featured on the full-length 2005 release Mugam Sayagi; Steve Reich, from Kronos’ performance of the Grammy-winning composition Different Trains (1989) to the September 11–themed WTC 9/11 (2011); and many more. In addition to composers, Kronos counts numerous performers from around the world among its collaborators, including the Chinese pipa virtuoso Wu Man; Azeri master

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vocalist Alim Qasimov; legendary Bollywood “playback singer” Asha Bhosle, featured on Kronos’ 2005 Grammy-nominated CD You’ve Stolen My Heart: Songs from R.D. Burman’s Bollywood; Inuit throat singer Tanya Tagaq; indie rock band The National; Mexican rockers Café Tacvba; sound artist and instrument builder Walter Kitundu; and the Romanian gypsy band Taraf de Haïdouks. Kronos has performed live with the likes of Paul McCartney, Allen Ginsberg, Jarvis Cocker, Zakir Hussain, Modern Jazz Quartet, Noam Chomsky, Rokia Traoré, Tom Waits, Rhiannon Giddens, Howard Zinn, Betty Carter, and David Bowie, and has appeared on recordings by artists such as Nine Inch Nails, Dan Zanes, Glenn Kotche, Dave Matthews, Nelly Furtado, Joan Armatrading, and Don Walser. In dance, the famed choreographers Merce Cunningham, Paul Taylor, Twyla Tharp, Eiko & Koma, and Paul Lightfoot and Sol León (Nederlands Dans Theater) have created pieces with Kronos’ music. Kronos’ work has been featured prominently in film, including two recent Academy Award–nominated documentaries: the AIDS-themed How to Survive a Plague (2012) and Dirty Wars (2013), an exposé of covert warfare. Kronos also recorded full scores by Philip Glass (for Mishima and Dracula) and by Clint Mansell (Noah, The Fountain, and Requiem for a Dream) and has contributed music to 21 Grams, Heat, and other films. The quartet tours extensively each year, appearing in concert halls, clubs, and festivals including Carnegie Hall, Lincoln Center Out of Doors, Big Ears, BAM Next Wave Festival, the Barbican in London, WOMAD, UCLA’s Royce Hall, Amsterdam’s Concertgebouw, Shanghai Concert Hall, and the Sydney Opera House. Kronos is equally prolific and wide-ranging on recordings, including the Nonesuch releases Pieces of Africa (1992), a showcase of African-born composers that simultaneously topped Billboard’s Classical and World Music lists; Nuevo (2002), a Grammy- and Latin Grammy–nominated celebration of Mexican culture; and the 2004 Grammy-winner, Alban Berg’s Lyric Suite, featuring renowned soprano Dawn Upshaw. Among the group’s recent releases are Aheym: Kronos Quartet Plays Music by Bryce Dessner (Anti-, 2013) and two 2014 Nonesuch releases: Kronos Explorer Series, a five-CD retrospective boxed set; and the single-disc A Thousand Thoughts, featuring mostly unreleased recordings from throughout Kronos’ career.

2015 brought the release of Tundra Songs by Derek Charke as well as a boxed set of Terry Riley’s music written for and performed by Kronos. Music publishers Boosey & Hawkes and Kronos have released two editions of Kronos Collection sheet music: Volume 1 (2006) and the new Volume 2 (2014), featuring six Kronos-commissioned arrangements by composer Osvaldo Golijov. With a staff of 11 based in San Francisco, the non-profit Kronos Performing Arts Association (KPAA) manages all aspects of Kronos’ work, including the commissioning of new

works, concert tours and home-season performances, and educational program. KPAA’s Kronos: Under 30 Project, features a unique commissioning and residency program for composers under age 30. KRONOS PRESENTS is a new presenting program showcasing Kronos’ commissioned works, artistic projects, and musical collaborations through an annual festival, education and community activities, and other events in the Bay Area and beyond. In 2015 KPAA launched a new commissioning and education initiative – Fifty

for the Future: The Kronos Learning Repertoire. With Carnegie Hall as lead partner, KPAA is commissioning 50 new works – by 5 women and 5 men each year for five years – devoted to contemporary approaches to the quartet and designed expressly for the training of students and emerging professionals. The quartet will premiere each piece and create companion materials, including scores and parts, recordings, videos, performance notes, and composer interviews, to be distributed online for free. Through this model, Kronos’ Fifty for the Future will providing young musicians with both an indispensable library of learning and a blueprint for their own future collaborations with composers. Kronos, Carnegie Hall, and an adventurous list of project partners that includes presenters, academic institutions, foundations and individuals, have joined forces to support this exciting new initiative of unprecedented scope and potential impact.

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Guest PerformersDrew CameronDrew Cameron is a hand papermaker, printer and book artist based in San Francisco. He earned a degree in Forestry from the University of Vermont and served in the US Army from 2000–06. Cameron was the managing director of Green Door Studio Artist Collective in Burlington, VT from 2006–10, co-founded Combat Paper in 2007 and is a partner in the Peoples Republic of Paper, LLC. His current and ongoing work with Combat Paper and as a partner in the Shotwell Paper Mill in San Francisco is practicing and teaching the art and craft of hand papermaking.

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Zakir HussainZakir Hussain is widely celebrated as the the pre-eminent classical tabla virtuoso of our time. Hussain’s contribution to world music has included many historic and genre-defying collaborations, including Shakti, Remember Shakti, the Diga Rhythm Band, Planet Drum, Tabla Beat Science, Sangam, a trio with Bela Fleck and Edgar Meyer and, most recently, a project with Herbie Hancock. He has scored music for numerous feature films, major events and productions. A Grammy Award winner, he is the recipient of countless awards and honors, and is founder and president of Moment Records, an independent record label presenting rare live concert recordings of Indian classical music and world music. Zakir is currently a resident artistic director at SFJAZZ.

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The Living Earth ShowCalled “a vanguard effort of new chamber music” by the San Francisco Examiner, “transcendent” by the Charleston City Paper, and “a fully distorted perpetual motion of awesome” by I Care If You Listen, The Living Earth Show, a Bay Area new music initiative, exists as a megaphone and canvas for some of the world’s most progressive artists. Comprised of electric guitarist Travis Andrews and percussionist Andy Meyerson, the ensemble commissions, curates, organizes and promotes composers by challenging them to realize their most ambitious creative visions. Whether through live performance, audio and video recordings, or educational outreach, the ensemble crafts musical experiences that engage both its collaborators and its audience.

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Michael McClurePoet, playwright, essayist, songwriter and journalist Michael McClure gave his first poetry reading at the age of 22 at the Six Gallery event in San Francisco, where Allen Ginsberg first read Howl. Today McClure is more active than ever, writing and performing his poetry at festivals, and colleges and clubs across the country. McClure has published eight books of plays, four collections of essays and two novels, in addition to many books of poetry; has written twenty plays and musicals; and created two television documentaries. He has been the recipient of a Guggenheim Fellowship, an Obie Award, an NEA grant, the Alfred Jarry Award, and a Rockefeller grant. His CD I Like Your Eyes, Liberty is a collaboration with composer Terry Riley.

Kala RamnathGrammy-nominated violinist Kala Ramnath has been recognized as one of the fifty best instrumentalists in the world by Songlines Magazine, and has received many honors in her home country of India. A disciple of vocalist Pandit Jasraj, Ramnath has performed at all the major music festivals in India, as well as prestigious

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stages around the world, including the Sydney Opera House, London’s Queen Elizabeth Hall and New York’s Carnegie Hall. She has collaborated with world music legends Zakir Hussain, Kai Eckhart, Edgar Meyer, Bela Fleck, Abbos Kossimov, Ayrto Moriera and Giovanni Hidalgo, incorporating elements of Western classical, jazz, flamenco and traditional African music into her varied repertoire.

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Gyan Riley Gyan Riley won his first guitar in a raffle when he was 12 years old, and embarked on a life-long adventure in music, becoming the first full-scholarship graduate guitar student at the San Francisco Conservatory of Music. He has toured as a classical guitar soloist and in various ensembles, including performances with Zakir Hussain, Michael Manring, Mike Marshall, Dawn Upshaw, the San Francisco Symphony, and with his father, composer Terry Riley. Riley has been commissioned by the Carnegie Hall Corporation, American Composers Forum, and the New York Guitar Festival, and has released four solo CDs, most recently on the Tzadik label.

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VoltiVolti, a professional vocal ensemble under the direction of founder and Artistic Director Robert Geary, is dedicated to the discovery, creation, and performance of new vocal music. The ensemble’s mission is to foster and showcase contemporary

American music and composers, and to introduce contemporary vocal music from around the world to local audiences. The group has commissioned nearly 100 new works, by emerging as well as established composers. A six-time winner of the prestigious ASCAP Award for Adventurous Programming of Contemporary Music, Volti boasts a 36-year track record of some of the most imaginative and innovative repertoire yet composed.

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Wu ManRecognized as the world’s premier pipa virtuoso and a leading ambassador of Chinese music, Grammy Award-nominated musician Wu Man has carved out a career as a soloist, educator and composer celebrated for giving her instrument a new role in both traditional and contemporary music. Brought up in the Pudong School of pipa playing, Wu Man is now recognized as an outstanding exponent of the traditional repertoire, as well as a leading interpreter of contemporary pipa music by today’s most prominent composers. Wu was named Musical America’s 2013 Instrumentalist of the Year, the first time the award had been bestowed on a player of a non-Western instrument.

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ZOFOSince joining forces as the duo ZOFO in 2009, internationally acclaimed solo pianists Eva-Maria Zimmermann and Keisuke Nakagoshi have electrified audiences from Carnegie Hall to Tokyo with their artistry and outside-the-box thematic programming for piano-four-hands. The Grammy-nominated, prize-winning Steinway Artist Ensemble focuses on 20th and 21st century repertoire, commissioning new works from noted composers each year. ZOFO, which is shorthand for 20-finger orchestra (ZO=20 and FO=finger orchestra), has received two Grammy nominations for the ensemble’s debut album Mind Meld, was awarded first place in the 2010 Bradshaw & Buono International Piano Competition, and was named a finalist in the 2011 Osaka International Chamber Music Competition.

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CONTRIBUTORSThe Kronos Performing Arts Association is grateful for the generous support of individuals, foundations, government agencies and others that make our work possible. This list reflects gifts received or pledged between July 1, 2014 and our publication date of June 10, 2015.

Founders $50,000 and aboveBloomberg PhilanthropiesPeggy Dorfman and The Ralph I. Dorfman Family FundGrants for the Arts/San Francisco Hotel Tax FundThe William & Flora Hewlett FoundationAndrea Abernethy Lunsford

Visionaries $25,000-$49,999AnonymousClarence E. Heller Charitable FoundationNational Endowment for the Arts/Art Works

Producers Circle $10,000-$24,999The Aaron Copland Fund for MusicThe Barbro Osher Pro Suecia FoundationMarjorie RandolphCurtis Smith and Susan ThrelkeldTides FoundationUSArtists International/Mid-Atlantic Arts FoundationAlice Wingwall and Donlyn Lyndon

Composers Circle $5,000-$9,999Jim BengstonHelen GilbartRobert GordonSumiko Ito and Don AllisonDavid and Evelyne LennetteThe Bernard Osher FoundationDavid RumseyState Street Foundation Matching Gift ProgramPriscilla Stoyanof and David RocheThendara Foundation

Artists Circle $2,500-$4,999The Amphion FoundationGretchen Brosius

Stephen Cassidy and Rebecca PowlanKen Foster and Nayan ShahJeanne Giordano and Bob FrascaZvart and Rouben PotoukianElenka StoyanofCarol Yaple and Richard Klasa

Patrons $1,000-$2,499Wally and Karen ChappellJeremy Cowperthwaite and Elba WatkinsHank Dutt and Greg DubinskyChristine and Tom O’ConnorThe Maxine and Stuart Frankel FoundationJames Hormel and Michael NguyenJoan JeanrenaudLeslie KandellVladimir KasnarGates McFadden and Robert StrausJim MelchertKathleen Heitz and George MyersJim Newman and Jane IvoryDavid and Camilla OlsonVladimir PavlovicAnna Ranieri and Stephen BoydSara Sackner and Andrew BeharDayna Sumiyoshi and Greg Smedsrud

Sponsors $500-$999Anonymous (3)Janet Cowperthwaite and Paul KilduffBrooke Gladstone and Fred KaplanMary Edna HarrellDavid and Regan HarringtonIXIABeryl Korot and Steve ReichLinda Lichter and Nick MarckJohn Lipsky and Zsuzsanna KaraszKatherine MichielsMichael MilliganKären and Tom NagyLory and Carol RatnerJonathan F. P. and Diana RoseTim Savinar and Patty UntermanJudith Sherman and Curtis J. MacomberLeland and Gloria SmithAlta TingleBill Viola and Kira Perov

Affiliates $150-$499Anonymous Donald AlbrechtCaroline AliotoJacquelynn Baas and Rob ElderMona Baroudi and Patrick WhitgroveDouglas BayerJenny Bilfield and Joel FriedmanLinda BrumbachJennifer BurkeMatthew Campbell and Laura HargerTed and Constance CaptanianYvette ChalomHarriet Chessman and Bryan WolfValentina CugnascaStuart EpsteinRoland Feller Violin MakersAdam L. FreyMargrette and Joseph GlynnTodd Gordon and Susan FederJoan GelfandKay Sprinkel GraceMarilyn Green and Drew McCalleyEdward G. and Debra HeimerdingerJon JacksonJoan and James JordanMichael KimberBrian Kleis and James LockPaula LittleTeresa LynnJim McQuadeMorgan Stanley Matching Gift ProgramNVIDIA Employee Giving Program Donald PattersonHenk PelSteve and Suzan PlathJohn and Mizue SherbaAlexandra Quinn and Mark SpolyarAnn and Terry RileyLaird Rodet and Sharon ShepherdDr. Scott C. and Alice SoOliver and Jennifer SommerKarl SterneTing and Randy VogelAlice WatersBarbara WhippermanChester WoodWu Man and Peng WangSunny Yang and Frédéric RosseletDiane Zagerman and Don GolderFumiko Zeigler

Friends Up to $149Anonymous (48)Michael Alexander and Victoria KirschRobert Allen and Pat McinteerAmazon SmilesAlbert ArustamovSusan AverbachSusan BackmanStella and Harout BaronianPatricia Bashaw and Eugene SegreDarlene Basmajian and Bob MatanoElisabeth BeairdNurhan BecidyanDmitrij BeloussowBenevity Community Impact FundAnna Skwarcan BidakowskaJeannette BoudreauTeddy BoysGregg ButenskyGeorge CarterLucinda Carver and Karen KramerJohn ChoderaMichael CowperthwaiteXimena DiazMason and Jennifer DilleDavid DrexlerLisa Ede and Greg PfarrBetsy and Kenyon EricksonDominica EriksenRuth Fink-WinterJimmy FrazierWendy GarlingJohn and Mary GillGaida GiovanileMartha GishMichael and Hansine GoranMeri GrigoryanDonald and Marie GurnettEric V. HachikianNarineh HacopianRosanne Haggerty and Lloyd SedererAnna HarmandarianKen HermanLaura HigdonJohn HillyerArmineh HovanesianAra HowraniMegan IhnenKim and Dennis IsaacChristina JohnsonPaul Johnson and Joan SteeleTatevik Khoja-EynatyanJohn KilgoreWilliam S. Kirkham

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Lynn LandorLeslie MainerMimi MalayanRene MandelHarmik MansourianLaura McDonnellKenneth McKlinskiRaymond MeyerKate MorrisonJennifer MoserJames MurrayArmine NazarianDavid NewtonLaurie OlinderToni Howell PentecouteauRichard PetersVaghinak PetrosyanSusan PrattMary RisleySheila RizzoLaurel Rogers and Jeff SaltzmanAsima FX Saad Maura and Raymond J McConnieYoshiro SaimiJeffrey SeemanBrooke ShipleyKen ShorleyGail SilvaTanniel SimonianAllegra SnyderJoseph StancoMaki SugimotoYuri SyuganovSteven TakasugiMorgan TaylorLydia TitcombOla TorstenssonAnush TserunyanSusan TuohyLeaha Maria VillarrealKirsten VolnessAleksandra VrebalovSusan WattersonJohn WattsRichard WinchellTerri WongGeert Van WonterghemMehrdad Ziari

We strive for accuracy in our listings and acknowledgments. Please notify us of any errors by contacting Mason Dille, Development Associate: mason@kronosarts.com or 415.731.3533.

INSTITUTIONAL PARTNERSThis adventurous group of presenters, academic institutions and other arts organizations partner with Kronos to engage in performances and educational programs, and Kronos works with each to extend the reach of their own educational programs within their communities.

Aga Khan Music Initiative (Geneva, Switzerland)

Cal Performances/University of California (Berkeley, California)

Carnegie Hall (New York, New York)

Cornish College of the Arts (Seattle, Washington)

Harris Theater for Music and Dance (Chicago, Illinois)

Holland Festival (Amsterdam, Netherlands)

Kaufman Music Center’s Face The Music (New York, New York)

Serious/Barbican (United Kingdom)

Washington Performing Arts (Washington, DC)

KRONOS’ FIFTY FOR THE FUTUREKronos Quartet/Kronos Performing Arts Association is pleased to announce an exciting new commissioning initiative – Fifty for the Future: The Kronos Learning Repertoire. Beginning in the 2015/16 season, Fifty for the Future will commission 50 new works – 10 per year for five years – devoted to contemporary approaches to the quartet and designed expressly for the training of students and emerging professionals. The works will be created by an eclectic group of composers – 25 men and 25 women. Kronos will premiere each piece and create companion digital materials, including scores, recordings, and performance notes, which will be distributed online for free. Fifty for the Future will present string quartet music as a living art form. Kronos, Carnegie Hall, and an adventurous list of project partners will join forces to support this exciting new commissioning, performance, education, and legacy project of unprecedented scope and potential impact.

For more information, please visit: KRONOSQUARTET.ORG/FIFT Y-FOR-THE-FUTURE

KRONOS PRESENTSKRONOS PRESENTS: Terry Riley Festival is made possible by generous support from Grants for the Arts/San Francisco Hotel Tax Fund, the Clarence E. Heller Charitable Foundation, and the Board of Directors of the Kronos Performing Arts Association. Additional support provided by The William and Flora Hewlett Foundation and The Bernard Osher Foundation.

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For more than forty years, San Francisco’s Grammy-winning Kronos Quartet has championed new music on stage, on disc and in the classroom, continually reimagining the string quartet experience and inspiring listeners and fellow musicians the world over. But Kronos is more than four people. Behind the quartet is the non-profit Kronos Performing Arts Association (KPAA), which has commissioned more than 850 new works from composers worldwide, managed dozens of Kronos recordings and thousands of concerts, and served countless young people and adults with singular education and community programs—from master classes for emerging quartets and composers to free concerts in schools and more.

And behind KPAA, in turn, is an invaluable family of supporters whose generous gifts have made possible this work of four decades. Please join us as Kronos enters its Fifth Decade—and share in the thrill of musical exploration and innovation—by making a tax-deductible donation to KPAA today at kronosquartet.org/donate. Thank you!

For the Kronos Quartet/Kronos Performing Arts Association:Janet Cowperthwaite, Managing DirectorLaird Rodet, Associate DirectorSidney Chen, Artistic AdministratorMason Dille, Development AssociateScott Fraser, Sound DesignerChristina Johnson, Communications and New Media ManagerNikolás McConnie-Saad, Office ManagerKären Nagy, Strategic Initiatives DirectorHannah Neff, Production AssociateLucinda Toy, Business Operations Manager

For KRONOS PRESENTS:Mona Baroudi, Public RelationsCath Brittan, Production CoordinatorLisa Mezzacappa, Marketing Coordinator

Kronos Quartet/ Kronos Performing Arts AssociationP. O. Box 225340 San Francisco, CA 94122-5340 USA

KRONOSQUARTET.ORG

FACEBOOK.COM/KRONOSQUARTET

INSTAGR AM.COM/KRONOS_ QUARTET

T WIT TER: @KRONOSQUARTET #KRONOS

The Kronos Quartet records for Nonesuch Records.

Kronos Performing Arts Association Board of DirectorsAndrea A. Lunsford, ChairSumiko Ito AllisonAnders AndersonJudithe BizotWallace ChappellJanet CowperthwaiteHank DuttKenneth FosterJeanne GiordanoRobert E. GordonDavid HarringtonDonlyn LyndonMichael L. MilliganGreg G. MinshallChristine O’ConnorMarjorie M. RandolphJohn SherbaCurtis SmithPriscilla StoyanofAlice WingwallCarol Yaple

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CREDITSTerry Riley’s The Cusp of Magic was written and commissioned for the Kronos Quartet and Wu Man as part of a national series of works from Meet the Composer Commissioning Music/USA, made possible by the National Endowment for the Arts, the Helen F. Whitaker Fund, and the Target Foundation. Major support was generously provided by the Wallace Alexander Gerbode Foundation, with additional funds from the Margaret E. Lyon Trust. Kronos and Wu Man’s recording is available on Nonesuch Records.

Salome Dances for Peace was commissioned for the Kronos Quartet by IRCAM and Betty Freeman. Kronos’ recording is available on Nonesuch Records.

Sun Rings was commissioned for the Kronos Quartet by the NASA Art Program, the National Endowment for the Arts, the Rockefeller Foundation’s Multi-Arts Production Fund, Hancher Auditorium/University of Iowa, Society for the Performing Arts, Eclectic Orange Festival/Philharmonic Society of Orange County, SFJAZZ, Barbican, London, U.K., and University of Texas Performing Arts Center, Austin (with the support of the Topfer Endowment for Performing Arts). Additional contributions from Stephen K. Cassidy, Margaret Lyon, Greg G. Minshall, and David A. and Evelyne T. Lennette made this work possible. Kronos’ recording of One Earth, One People, One Love is available on the Nonesuch CD Sunrise of the Planetary Dream Collector.

Sunrise of the Planetary Dream Collector was commissioned for the Kronos Quartet. Sheet music for Sunrise of the Planetary Dream Collector is available in Volume 1 of the Kronos Collection, a performing edition published by Boosey & Hawkes. Kronos’ recording is available on the Nonesuch CD Sunrise of the Planetary Dream Collector.

Hamza El Din’s Escalay was commissioned for the Kronos Quartet by Lincoln Center for the Performing Arts, and is included on the Quartet’s Nonesuch recording Pieces of Africa. Sheet music for Escalay is available in Volume 1 of the Kronos Collection, a performing edition published by Boosey & Hawkes.

Aleksander Kościów’s Oberek for Terry Riley and Jacob Garchik’s arrangement of Baba O’Riley were commissioned for the Kronos Quartet by the David Harrington Research and Development Fund.

“Minutes” for Terry Riley and the reinterpretation of Terry Riley’s A Rainbow in Curved Air by The Living Earth Show, Dan Becker and Danny Clay were commissioned for the Kronos Quartet by the David Harrington Research and Development Fund and the Kronos Performing Arts Association.

Gyan Riley’s the first pancake was commissioned for the Kronos Quartet, Terry Riley and Gyan Riley by the David Harrington Research and Development Fund and the Kronos Performing Arts Association on the occasion of Terry Riley’s 80th birthday.

IMAGE CREDITS

Cover image: “Sensation Quanta” by Andy GilmorePhotos: Chris Felver (Riley), Jay Blakesberg (Kronos), Richard McCaffrey (Riley’s 50th birthday celebration at Great American Music Hall, 1985), Luis Delgado (Kronos and Riley, Harrington and Riley), Betsy Kersher (Volti), Jon Orlando (Drew Cameron), David Port (Michael McClure). Kala Ramnath and ZOFO photos courtesy of the artists.

TERRY RILEY FESTIVAL GRAPHIC DESIGN

Dan D Shafer / dandy-co.com

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SFJAZZ CENTERFRIDAY, SATURDAY & SUNDAY

JUNE 26, 27 & 28, 2015

KRONOS QUARTETDavid Harrington, violin

John Sherba, violin

Hank Dutt, viola

Sunny Yang, cello

KRONOS PRESENTS

HAPPY BIRTHDAY TERRY!