THE UNIVERSITY OF CHICAGO PRESENTSchicagopresents.uchicago.edu/sites/chicagopresents.uchicago.edu... · Liang for whose Yuan we have invited the Anubis saxophone quartet to perform,

49TH SEASON | 2014

Shulamit Ran Artistic Director

Cliff Colnot

Conductor

Pacifica Quartet

eighth blackbird

Ensembles-in-Residence

04.26.14

Contempo-Jazz Double Bill: 10th Anniversary with Patricia Barber

THEUNIVERSITYOFCHICAGOPRESENTS

Welcome to Contempo’s 49th season, just one season away from that magic mark of half a

century. While plans for our 50th anniversary season are already well under way, it has

been my goal as Artistic Director for the past dozen years to make every season festive

and special, packing some of my favorite new music, in dazzling, authoritative

performances, into each concert.

Certainly with the 10th anniversary of the Contempo Double-Bill gracing this season, we

have cause for a special celebration. I can think of no more appropriate a way to mark the

occasion than to bring back Patricia Barber, whose extraordinary artistry and unique musical

voice was a major inspiration for my having created the annual event now known as the

“double bill” ten years ago as an arena for placing jazz and other genres firmly under the

umbrella of “new music.” As with many of the major artists featured in these events,

Patricia was keen on familiarizing herself with the who and what of the first half of this

year’s concert. Her curiosity validates the idea that artists, as well as audiences, want to

extend themselves beyond the traditional divide.

One could well title this year’s Double-Bill Formidable Women. In addition to Barber, it

includes music by Marta Ptaszynska, Franghiz Ali-Zadeh, and Elena Firsova, three

internationally recognized composers, each with a fiercely independent voice. The same is

also true of the five stellar composers whose music is being heard on the “Myth and

Awakening” season opener, including the Australian Brett Dean — his Old Kings in Exile

sextet was a co-commission of resident artists eighth blackbird — Chinese-American Lei

Liang for whose Yuan we have invited the Anubis saxophone quartet to perform, and our

very own Augusta Read Thomas, who composed both the music and text of her Twilight

Butterflies. Compelling music by John Orfe and Anna Weesner rounds off that program.

The “recital spot” on this season belongs once again to violinist Miranda Cuckson who

captivated our audiences with last season’s special celebration of music by Ralph Shapey.

This time she brings a varied program, including the music of some composers new to

Contempo such as Unsuk Chin and Georg Friedrich Haas. Happily, Cuckson has also

chosen to include a solo violin work by University of Chicago Ph.D. candidate Jae-Goo Lee,

thus highlighting a central part of Contempo’s mission and its function as a major curricular

component of the University of Chicago’s composition program. All this culminates in the

annual pair of Tomorrow’s Music Today concerts featuring new works by the University of

Chicago’s young composers, who come to us for advanced studies from the four corners

of the world — this year alone including Argentina, Brazil, Korea and Turkey.

I am thrilled that you chose to join us on this ever-continuing journey of discovery. Enjoy!

Shulamit Ran

Artistic Director

A NOTE FROM CONTEMPO’S ARTISTIC DIRECTOR

CONTENTS

Letter from the Artistic Director p.2

Contempo History p.4

April 26: 10th Annual Contempo – p.6 Jazz Double Bill

History of Contempo – Jazz Double Bill p.20

Gifts p.24

49TH SEASON 2014

Shulamit RanArtistic Director

Amy IwanoExecutive Director

James HillisDirector of Production and Education

Barbara JurgensMarketing and Communications Consultant

Melissa ScottMarketing and Production Assistant

Claire SnarskiGraphic Designer

Erin Funk-DublanPerformance Hall Manager

Leah Ansel Joseph MocharnukAndrew Song Concert Assistants

Ted Gordon Program Annotator

The Saints Volunteer Ushers

ContactPhone: 773.702.8068Box office: 773.702.ARTS (773.702.2787)[email protected]

Visit us onlinecontempo.uchicago.educhicagopresents.uchicago.edu

Pacifica Quartet

eighth blackbird

THEUNIVERSITYOFCHICAGOPRESENTS

CHICAGO PRESENTS | CONTEMPO 20144

About Contempo

Dedicated exclusively to the performance of new music, the University of Chicago’s

Contempo—formerly known as the Contemporary Chamber Players — is one of the most

successful new music groups in the nation. Now in its 49th season, Contempo has earned

an enviable reputation for outstanding performances of music by living composers.

Its distinguished list of world premieres by both established and emerging composers

includes works by Roger Sessions, Ralph Shapey, George Perle, Mario Davidovsky, John

Harbison, Pulitzer Prize-winning faculty member Shulamit Ran and MacArthur fellow and

former University of Chicago faculty member John Eaton.

Contempo was founded in the fall of 1964 by renowned composer and conductor Ralph

Shapey, who continued to direct the ensemble until his retirement in 1993. Shapey was

succeeded by Stephen Mosko, who held the position of Music Director from 1994 to 1998.

Seeking to more closely integrate its artistic vision with its educational mission, Contempo

underwent a major restructuring by the Department of Music in 1998. Over the next four

seasons, conductors Cliff Colnot, Barbara Schubert, and Carmen Helena Tellez served

consecutively as Resident Conductors, with the award-winning Pacifica Quartet and eighth

blackbird joining Contempo as Artists-in-Residence in 1998 and 2000.

In 2002 Shulamit Ran was appointed Contempo’s Artistic Director, and in 2004 — the

ensemble’s 40th season — the group forged a bold new artistic path that included new

downtown venues and audiences, a broadened notion of new music including jazz and

other genres, and a change of name. The Contempo of this era defines itself as a new

music collective — “collective” in the sense of emerging from the joint efforts of its

conductor, artistic director, core resident ensembles, guest performers, and composers.

Central among Contempo composers is an international cohort of doctoral candidates at

the University of Chicago, who have been a defining feature of the group since its

inception, together with more established composers whose music is performed

throughout the year. The active engagement of young composers, working with faculty

and performers during the drafting stages, participating in the rehearsal process, and

hearing their work realized by a world-class ensemble, greatly enhances the living art of

composition that Contempo works to promote.

– Martha Feldman

CHICAGO PRESENTS | CONTEMPO 2014 5

SHULAMIT RAN, Artistic Director

Shulamit Ran, the Andrew MacLeish

Distinguished Service Professor in the

Department of Music, joined the faculty of

the University of Chicago in 1973. She has

been awarded most major honors given to

composers in the U.S., including the

Pulitzer Prize, first prize in the Kennedy

Center-Friedheim Awards competition for

orchestral music, fellowships and

commissions from the Guggenheim

Foundation, the Koussevitzky Foundation at

the Library of Congress, the National

Endowment for the Arts, the Fromm Music

Foundation, Chamber Music America, and

many more. Ran was the Paul Fromm

Composer in Residence at the American

Academy in Rome, September-December

2011.

Her music has been played by leading

performing organizations including the

Chicago Symphony under both Daniel

Barenboim and Pierre Boulez, the Cleveland

Orchestra under Christoph Von Dohnanyi,

the Philadelphia Orchestra under Gary

Bertini, the Israel Philharmonic under Zubin

Mehta and Gustavo Dudamel, the New York

Philharmonic, the American Composers

Orchestra, The Orchestra of St. Luke’s

under Yehudi Menuhin, the Baltimore

Symphony, the National Symphony (in

Washington D.C.), the Orchestre de la

Suisse Romande, the Jerusalem Orchestra,

the vocal ensemble Chanticleer, and various

others.

Between 1990 and 1997 she was

Composer-in-Residence with the Chicago

Symphony Orchestra, having been

appointed for that position by Maestro

Daniel Barenboim as part of the Meet-The-

Composer Orchestra Residencies Program.

Between 1994 and 1997 she was also the

fifth Brena and Lee Freeman Sr. Composer-

in-Residence with the Lyric Opera of

Chicago, where her residency culminated in

the performance of her first opera,

“Between Two Worlds (The Dybbuk).”

Ran is an elected member of the American

Academy of Arts and Letters and of the

American Academy of Arts and Science.

The recipient of five honorary doctorates,

her works are published by Theodore

Presser Company and by the Israeli Music

Institute and recorded on more than a

dozen different labels.

“...contemporary music down to a science; talented, very

technically capable performers play... with authority and élan.” – ChicagoClassicalMusic.com


Reva and David Logan Center for the Arts, Performance Hall

04.26.14 SAT | 7:30 PM

10th Annual Contempo–Jazz Double Bill

Pacifica Quartet Don Michael Randel Ensemble-in-Residence

Lisa Kaplan, piano Nicholas Photinos, cello Nicholas Reed, percussion

Patricia Barber, piano and vocals Ari Hoenig, drums Gilad Hekselman, guitar Patrick Mulcahy, bass

FRANGHIZ ALI-ZADEH Habil-Sayagy for cello and prepared piano

ELENA FIRSOVA String Quartet No. 11, “Purgatorium”

MARTA PTASZYNSKA Space Model for percussion and prerecorded tape

INTERMISSION

Jazz set with Patricia Barber and the Ari Hoenig Trio

Please join the Contempo artists for a celebration in the lobby immediately following the concert.

Photography is prohibited.


FRANGHIZ ALI-ZADEH

b.1947

Habil-Sayagy for cello and prepared

piano

(1979)

Franghiz Ali-Zadeh was born on May 28,

1947 in Baku, Azerbaijan. She attended the

Conservatory in Baku and passed the piano

examination in 1970 and the composition

examination in 1972, and was then an

aspirant with Kara Karayev from 1973 until

1976. Her 1989 doctoral thesis was

Orchestration in Works of Composers of

Azerbaijan. She then taught there in the

specialist area of music history beginning in

1976, and from 1990 was professor in the

subjects of contemporary music and history

of orchestral styles. From 1993 to 1996 she

was the choral director at the Mersin

(Turkey) opera house, and then an instructor

in piano and music theory at the

Conservatory there for two years. Ali-Zadeh

worked in Baku again in 1998 and 1999.

She was in residence in Berlin in 1999/2000

as a DAAD stipend recipient and since then

has lived in Germany and Azerbaijan.

In 1980 Ali-Zadeh received the prize of the

Azerbaijani Composers’ Union and in 1990

she was named “Meritorious Artist” of the

Azerbaijani Soviet Socialist Republic. In

November 2000 she received the honorary

title of “People’s Artist of the Republic of

Azerbaijan” and was named “UNESCO

Artist for Peace” in 2008.

Ali-Zadeh’s catalogue of works includes

solo, chamber, ensemble and orchestral

music. She introduced herself in the West

for the first time with her Piano Sonata in

Memory of Alban Berg in 1976 at the music

festival in Pesaro; after this, her music was

performed at festivals in Stockholm,

Warsaw, Berlin, London, Heidelberg,

Amsterdam, Frankfurt, Zürich, Cologne,

Bonn, Hamburg, Duisburg and at the

Schleswig-Holstein Music Festival. There

followed numerous performances, portrait

concerts, radio and CD recordings in the

USA, Switzerland, Great Britain, Germany,

Holland, Portugal, Denmark, France, Italy,

Australia, Spain, Israel, Estonia and Turkey.

Numerous works of Ali- Zadeh have served

as ballet music (in Helsinki, New York,

Berlin, Singapore and London).

Interpreters such as Mstislav Rostropovich,

Yo-Yo Ma, Evelyn Glennie, Ivan Monighetti,

David Geringas, Julius Berger, Wu Man,

Alexander Ivashkin, Alim Qasimov, Vladimir

Tonkha, Elsbeth Moser and many others

have committed themselves to her music.

Ensembles and orchestras throughout the

world play her music with enthusiasm.

PROGRAM NOTES


In a unique way, Ali-Zadeh succeeds in

blending the musical traditions of her

homeland with modern western

compositional techniques. In her music, rich

in contrasts, lightness is mirrored by

vehemence, a playful carefree quality with

brooding thoughts, tender transparency

with powerful colors, calm simplicity with

turbulent virtuosity and meditation with

ecstasy. Thus the composer reflects the

religious and cultural inner-conflicts

between East and West and between

national tradition and West European

modernism. She concurrently realizes, in

music, the personal tensions that have

resulted during the course of her life.

As a pianist, Ali-Zadeh has tirelessly

committed herself to performing works by

contemporary composers of the former

Soviet Union. Moreover, it is thanks to her

initiative that works of the Second Viennese

School and composers such as Olivier

Messiaen, John Cage and George Crumb

were first performed in Baku.

Note, Habil-Sayagy for cello and prepared

piano:

This work was commissioned in 1979 by

cellist Ivan Monighetti, and in December of

the same year it was premiered in

Leningrad’s Dimitri Shostakovitch concert

hall. The performers were Monighetti and

the composer herself. Since then, the work

has seen countless performances around

the world. At the “Warsaw Autumn” festival

in 1983, Habil-Sayagy was voted the best

cello work of the past 10 years. The German

premiere was in 1986 at the Berlin Festival.

An article by Yuri Gabai on Franghiz

Ali-Zadeh in the Soviet magazine Music in

the USSR (1990) states that at the

premiere, “the audience in the packed hall

waited anxiously for the appearance of well-

known cellist Ivan Monighetti to play works

by Webern, Cage, and Gubaidulina. But to

the surprise of many, the highlight of the

program was the piece Habil-Sayagy by

Franghiz Ali-Zadeh, brilliantly performed by

Monighetti. […] From the opening bars, the

music enchanted the listener. The logic of

its development is unusual and pointed,

although the techniques of the so-called

avant-garde tradition were deployed in a

completely different direction. From the

non-existent (or merely existing) cello part,

a rare harmony developed up to its ecstatic

culmination; only two musicians were

involved, while it seemed to be many more

on stage. […] It is difficult to assess their

music and their performance separately.

Both had a strong, magical effect on the

audience, leaving them holding their breath,

listening.”

Habil-Sayagy is a one-movement

composition, inspired by the famous

Azerbaijani performer of the kamancheh

(spiked fiddle), Habil Aliyev. The piece

unfolds in several stages in the

development of the Azerbaijani Mugham

tradition, with its seemingly free-

improvisational form having its origins in the

Mugham sequence of narrative sections.

PROGRAM NOTES


The melodic model, which underlies many

parts of the composition, is based on

Chahargah, the fifth mode in the Mugham

system, which is associated with passion,

excitement, and inherent emotional

content. The cello and piano mimic the

timbres of Azerbaijani instruments; the cello

takes the part of the kamancheh while the

piano takes on the role of the long-necked

tar or the short-necked oud by plucking the

strings with a plectrum. The pianist also

takes on the role of the daf, a frame drum,

by stroking the strings with rubber mallets,

or naqareh, a clay drum, by tapping the lid

of the piano.

– Ulrike Patow

ELENA FIRSOVA

b.1950

String Quartet No. 11, “Purgatorium”

(2008)

Elena Firsova was born on March 21, 1950

in Leningrad and grew up in Moscow. Her

parents were both physicists, her father

Oleg Firsov, moreover, an important atomic

physicist.

She received her first instruction in

composition at the age of 16. She studied

at the Moscow Conservatory from 1970

until 1975. Starting in 1975 she received

private instruction from Edison Denissov,

who had published the first Russian article

about the twelve-tone technique and made

her familiar with contemporary music. In

addition, she had lessons with Philip

Hershkovitz, a pupil of Anton Webern and

Alban Berg. Her works were performed

with great success in the western world

beginning in 1979. During the same year,

she and her husband, the composer Dmitri

Smirnov, were attacked by the Composers’

Union as “not worthy of the Soviet Union.”

During the course of perestroika, Elena

Firsova first received permission to travel

abroad. There was no lasting change in

Russian musical life, however, since the

influence of the functionaries of the

Composers’ Union remained strong. She

founded the association ASM together with

Edison Denissov and Dmitri Smirnov, which

performed contemporary music with its

own ensemble at home and abroad. In

1990 Elena Firsova moved to England with

her family.

Elena Firsova has so far composed well

over 100 works, including operas, cantatas,

concertos, orchestral works but also much

chamber music. She received a commission

for a composition for Expo 2000. Her


Achmatova Requiem received its world

premiere at the Berlin Konzerthaus am

Gendarmenmarkt in September 2003.

About the String Quartet No. 11, the

composer writes:

Quartet No. 11, “Purgatorium,” was written

as a part of family project, La Divina

Commedia, commissioned by London’s

Dante string quartet. My husband,

composer Dmitri Smirnov, wrote “Inferno;”

I wrote “Purgatorium;” and our daughter,

Alissa Firsova, wrote “Paradiso.” The

premiere of this project was in Liverpool in

November 2008. In 2009, there were more

performances in London and in Cambridge.

All three quartets can be, and have been,

performed separately.

I wrote “Purgatorium” more as “after

reading Dante” than as a precise

interpretation of this section of the Divine

Comedy. The one-movement composition

develops as a line, moving from the bottom

to the top, or from the darkness of Hell to

the light of Paradise, with a rondo-like

layout that reflects different levels of the

ascending circles. At the same time, it

contains the episodes that have direct

connections to Dante’s images, though not

always in the same order. For example, it

begins with a musical image of the seaside,

an almost motionless ocean. Dante’s

journey through Purgatory begins with the

theme of Beatrice, to whom he wends his

way. There is an episode of their meeting

when she rebukes Dante for his sinful life,

and in the climax she pulls him through the

waters of the river Lethe. Later, there is the

song of Leah and Matilda gathering flowers,

Dante’s double-image. The piece ends with

birdsong ringing out of Paradise, not yet

attained.

– Elena Firsova

MARTA PTASZYNSKA

b.1943

Space Model for percussion and

prerecorded tape

(1971-2, revised 1992)

Marta Ptaszynska has been a Professor of

Music and the Humanities at the University

of Chicago since 1998. In 2005 she was

named the Helen B. & Frank L. Sulzberger

Professor of Music and the Humanities.

She is an internationally known composer,

and her music has been performed around

the world at many international festivals,

including ISCM World Music Days, the

Warsaw Autumn International Festivals, the

PROGRAM NOTES


Salzburg Festival, the Schleswig-Holstein

Music Festival, the Huddersfield

Contemporary Music Festival, the Prix

Futura in Berlin, and many others. She has

received commissions from major

orchestras and opera houses including the

Chicago Symphony Orchestra, the

Cincinnati Symphony, the Cleveland

Chamber Orchestra, the Polish Chamber

Orchestra, the Sinfonia Varsovia, the

National Symphony Orchestra, and the

National Opera in Poland. Her first opera

Oscar of Alva in 6 scenes (1971-72, rev.

1986; libretto after Lord G. Byron) received

the Award of the Polish Television

Broadcasting Co. and was presented in

1989 at the Television Opera Festival in

Salzburg, Austria. Her opera for children

Mister Marimba (libretto: Agnieszka

Osiecka) has enjoyed phenomenal success

with 114 performances over eight seasons

at the National Opera in Warsaw, which in

2008 premiered her second opera Magic

Doremik (2006-2007; libretto after Gianni

Rodari). Her newest opera “The Lovers

from the Valldemosa’s Cloister” was

commissioned for the Chopin Bicentennial

and will be premiered in December 2010 by

the Grand Opera Theatre in Lodz, Poland.

She is the composer of well-known works

such as the Holocaust Memorial Cantata,

performed several times under the baton of

Lord Yehudi Menuhin, Concerto for

Marimba, Winter’s Tale, Sonnetsto

Orpheus, Moon Flowers, Mosaics for string

quartet (2002), Trois visions de l’arc-en-ciel

for clarinet, violin, viola, cello, percussion &

piano (2008), and Street Music for

percussion orchestra of 70 players (2008),

as well as other popular compositions for

solo percussion (Siderals, Graffito, Spider

Walk, Space Model, Letter to the Sun).

Ptaszynska has been honored with many

prizes and awards, including the 2011

Lifetime Achievement Award by the Union

of Polish Composers, the 2010 Simon

Guggenheim Award, the Special Award

given by the Minister of Culture of Poland

for Outstanding Production for her opera on

Chopin premiered by the Grand Opera

Theatre in Lodz, the 2006 Benjamin H.

Danks Award of the American Academy of

Arts and Letters, The Fromm Music

Foundation Award, First Prize at the

International Rostrum of Composers in

Paris, several awards from the Percussive

Arts Society, multiple ASCAP Awards, and

in 1995 the “Officer Cross of Merit” of the

Republic of Poland.

Prior to coming to the University of

Chicago, Ptaszynska taught composition at

Northwestern University, Indiana University

in Bloomington, the Cincinnati College-

Conservatory of Music, the University of

California at Berkeley and at Santa Barbara,

and Bennington College in Vermont.

Her music is published by PWM — Polish

Music Publications in Poland — and by

Theodore Presser in the U.S.A. Recordings

of her work are available on CD Accord-

Universal, Muza Polish Records, Chandos,

Olympia, Dux, Bayer Records, and Pro Viva

Sonoton labels.


About Space Model for one percussionist

and prerecorded tape (1971–2, rev. 1992),

the composer writes:

Space Model for one percussionist,

employing three groups of percussion

instruments and a prerecorded tape, is built

on the principle of two- and three-voice

canon. The piece consists of three

movements, each using different set of

instruments in three widely separated

location across the stage, or, most

preferably, across the concert hall. The form

resulting from the canon between live

performer and prerecorded tape yields a

fascinating constellation of sounds as the

work unfolds. Each movement is a multiple

percussion solo providing the player with a

musical challenge. Superimposing each

movement over the other provides the

player with a technical as well as a musical

concept not possible in any other format.

Some sections are free and performed over

the tape ad libitum while others require a

split-second timing with the tape. The

results of the composition are not fully

realized until one hears the tape with the

live material. This 12-minute work is like a

mathematical system for defining aural

space by the continuous rhythm of

percussion within the physical space on

stage.

The three percussion setups require 23

different standard percussion instruments.

Following is a list of instruments in each

movement:

Mov. 1: triangle, 4 Almglocken, guiro, 4

temple blocks, bongos, 4 tom toms,

tambourine, 2 suspended cymbals,

tam-tam (medium), and maracas;

Mov. 2: marimba, vibraphone, sizzle

cymbal, 2 timpani, and crash cymbal;

Mov. 3: glockenspiel, chimes, 4 wood

blocks, 3 tom toms, triangle, 2 suspended

cymbals, tam-tam (low), and glass chimes.

The older version of the work from 1971–72

was replaced by a revised version of 1992

and in this form is published by Theodore

Presser Co. in the US. The work is

dedicated to my former teacher Cloyd Duff,

a legendary timpanist of the Cleveland

Orchestra.

– Marta Ptaszynska

PROGRAM NOTES


PACIFICA QUARTET

Recognized for its virtuosity, exuberant

performance style, and often-daring

repertory choices, over the past two

decades the Pacifica Quartet has gained

international stature as one of the finest

chamber ensembles performing today. The

Pacifica tours extensively throughout the

United States, Europe, Asia, and Australia,

performing regularly in the world’s major

concert halls. Named the quartet-in-

residence at Indiana University’s Jacobs

School of Music in March 2012, the Pacifica

was also the quartet-in-residence at the

Metropolitan Museum of Art (2009–2012)

– a position that has otherwise been held

only by the Guarneri String Quartet – and

received the 2009 Grammy Award for Best

Chamber Music Performance.

Formed in 1994, the Pacifica Quartet quickly

won chamber music’s top competitions,

including the 1998 Naumburg Chamber

Music Award. In 2002 the ensemble was

honored with Chamber Music America’s

Cleveland Quartet Award and the

appointment to Lincoln Center’s CMS Two,

and in 2006 was awarded a prestigious

Avery Fisher Career Grant, becoming only

the second chamber ensemble so honored

in the Grant’s long history. Also in 2006 the

Quartet was featured on the cover of

Gramophone and heralded as one of “five

new quartets you should know about,” the

only American quartet to make the list. And

in 2009, the Quartet was named

“Ensemble of the Year” by Musical

America.

The Pacifica Quartet has carved a niche for

itself as the preeminent interpreter of string

quartet cycles, harnessing the group’s

singular focus and incredible stamina to

portray each composer’s evolution, often

over the course of just a few days. Having

given highly acclaimed performances of the

complete Carter cycle in San Francisco,

New York, Chicago, and Houston; the

Mendelssohn cycle in Napa, Australia, New

York, and Pittsburgh; and the Beethoven

cycle in New York, Denver, St. Paul,

Chicago, Napa, and Tokyo (in an

unprecedented presentation of five

concerts in three days at Suntory Hall), the

Quartet presented the monumental

Shostakovich cycle in Chicago and New

York during the 2010-2011 season and in

Montreal and at London’s Wigmore Hall in

the 2011-2012 season. The Quartet has

been widely praised for these cycles, with

critics calling the concerts “brilliant,”

“astonishing,” “gripping,” and

“breathtaking.”

ARTIST BIOGRAPHIES


An ardent advocate of contemporary music,

the Pacifica Quartet commissions and

performs many new works, including those

by Keeril Makan, in partnership with the

Celebrity Series of Boston and the Great

Lakes Chamber Music Festival, during the

2012-13 season, and Shulamit Ran, in

partnership with the Music Accord

consortium, London’s Wigmore Hall, and

Tokyo’s Suntory Hall, during the 2013-14

and 2014-15 seasons. In 2008 the Quartet

released its Grammy Award-winning

recording of Carter’s quartets Nos. 1 and 5

on the Naxos label; the 2009 release of

quartets Nos. 2, 3, and 4 completed the

two-CD set. Cedille Records recently

released the third of four volumes

comprising the entire Shostakovich cycle,

along with other contemporary Soviet

works, to rave reviews: “The playing is

nothing short of phenomenal.” (Daily

Telegraph, London) Upcoming projects

include recording Leo Ornstein’s rarely-

heard piano quintet with Marc-André

Hamelin, with an accompanying tour, and

the Brahms and Mozart clarinet quintets

with the Metropolitan Opera’s principal

clarinetist Anthony McGill.

The members of the Pacifica Quartet live in

Bloomington, IN, where they serve as

quartet-in-residence and full-time faculty

members at the Jacobs School of Music.

Prior to their appointment, the Quartet was

on the faculty of the University of Illinois at

Champaign-Urbana from 2003 to 2012. The

Pacifica Quartet also serves as resident

performing artist at the University of

Chicago.

The Pacifica Quartet is endorsed by

D’Addario and proudly uses their strings.

For more information on the Quartet,

please visit www.pacificaquartet.com.

The Pacifica Quartet is the Don Michael

Randel ensemble-in-residence at the

University of Chicago. The residency

program is made possible by a grant from

the Andrew W. Mellon Foundation in

recognition of noted musicologist and

UChicago President Emeritus Randel, to

provide a permanent home for world-class

musicians at the University. As the

inaugural Randel Ensemble-in-Residence,

the Pacifica Quartet is involved in activities

that allow for deep engagement between

these exceptional musicians and UChicago

faculty, students and staff.

ARTIST BIOGRAPHIES


LISA KAPLAN, piano

Born in Motown, Lisa Kaplan is a pianist

specializing in the performance of new

work by living composers. Kaplan is also

the founding pianist of the three-time

Grammy Award-winning sextet eighth

blackbird. She has won numerous awards,

performed all over the country and has

premiered new pieces by hundreds of

composers, including Andy Akiho, Derek

Bermel, Jennifer Higdon, Amy Beth Kirsten,

David Lang, Nico Muhly, George Perle and

Steve Reich. Kaplan has had the great

pleasure to collaborate and make music

with an eclectic array of incredibly talented

people - Mario Batali, Jeremy Denk, Bryce

Dessner, Glenn Kotche, Gustavo

Santaolalla, Steve Schick, Robert Spano,

Dawn Upshaw and Michael Ward-

Bergeman to name a few. Recently she has

greatly enjoyed and appreciated the

opportunity to do some composing and

arranging for eighth blackbird. Kaplan is a

true foodie, gourmet cook, avid reader,

crossword and Scrabble addict, enjoys

baking ridiculously complicated pastry and

loves outdoor adventures. She has

summited Mt. Kilimanjaro, braved the

Australian outback, stared an enormous

elephant in the face in Tanzania’s Ngorogoro

Crater and survived close encounters with

grizzly bears in the Brooks Range of Alaska.

NICHOLAS PHOTINOS, cello

Nicholas Photinos, cellist, is a founding

member of the three-time Grammy Award-

winning new music ensemble eighth

blackbird. Formed in 1996, the ensemble

performs throughout the world, giving

50-60 concerts annually, and has been

featured on the 2013 Grammy Awards,

CBS’s Sunday Morning and in the New

York Times. In addition to its longstanding

and fruitful relationships as Ensemble in

Residence at the University of Richmond

and University of Chicago, in 2012 eighth

blackbird commenced a three-year, Mellon

Foundation-funded term as Ensemble in


Residence at the Curtis Institute of Music.

eighth blackbird›s 2013/14 season features

new works by The National’s Bryce Dessner

(the folk-inspired Murder Ballades), Amy

Beth Kirsten (the fully memorized and

staged production of Columbine’s Paradise

Theater) Steve Mackey (music from his

Grammy-winning Slide) and Australian

composer Brett Dean (the searing Old

Kings in Exile). The group brings this show

to Ohio, Missouri, Idaho, Oregon, North

Carolina, Pennsylvania, Michigan, New York

and California. Other highlights include

debuts with the Cincinnati Symphony

(where the ensemble is an Artist-in-

Residence) and New World Symphony;

residencies at UCLA, SUNY Purchase,

Baylor and Duke; a collaboration with

Oberlin College’s CME; and a debut on the

Lincoln Center’s Atrium series.

Nicholas has performed as a member of

the Cabrillo Festival Orchestra and Canton

and Columbus Symphony Orchestras,

and performed and recorded with artists

including Björk, Wilco, Autumn Defense,

violinist Zach Brock, bassist Matt Ulery and

singer Grazyna Auguscik. He teaches at

the Bang on a Can Summer Festival every

July in North Adams, MA. Nicholas is a

graduate of Northwestern University, the

Cincinnati College-Conservatory of Music

and the Oberlin Conservatory of Music. He

has recorded for the Cedille, Nonesuch, and

Naxos labels, among others.

NICHOLAS REED, percussion

Nicholas Reed studied percussion with

Kevin Hathway and Michael Skinner at the

Royal College of Music, London and at the

Hochschule für Musik, Freiburg, with

Bernhard Wulff and Pascal Pons. In 2005,

he studied with Michel Cerutti and Florent

Jodolet at the Conservatoire Supierieur

National de Musique et de Danse, Paris on

an ERASMUS Scholarship.

He is the recipient of a number of awards,

including the Royal College of Music Tagore

Gold Medal, Royal Philharmonic Society

Julius Isserlis Scholarship and the Sabian

Percussion Prize. His CD (Krzysztof Kaczka,

flute) won the Global Music Award. His solo

recital in the Purcell Room, London, was

chosen by the Daily Telegraph as the “most

promising debut concert of 2009.”

Nicholas has performed as a soloist and

chamber musician in festivals across

Europe and in Japan, North America,

Southeast Asia, and Mongolia, as well

being broadcast by SWR 2 (Germany) and

ARTIST BIOGRAPHIES


BBC Radio 3 (UK). He has worked with a

number of renowned artists and composers

including Helmut Lachenmann, Pierre

Boulez, Georges Aperghis, Oliver Knussen,

Nicolaus A. Huber, Marta Ptaszynska, Sir

Colin Davis and Sir Simon Rattle. He has

given masterclasses at leading Universities

in the Japan, the USA and the United

Kingdom.

Nicholas is the percussionist of Ensemble

Aventure, Freiburg.

PATRICIA BARBER

From her early days leading a jazz trio in

small Chicago nightclubs, Patricia Barber

has drawn extravagant accolades. The

praise came at first from local writers,

impressed by her unique arrangements and

coolly composed piano improvisations. As

she added vocals to her repertoire, the

praise poured in from national reviewers

intoxicated by her recordings. And when

(after years of international touring) she

began to focus on her own compositions,

kudos arrived from new fans, besotted by

her lapidary lyrics and her often indelible

imagery.

Since Barber doesn’t consider herself a

poet — and since she didn’t want to be a

jazz pianist in the first place — you’d have

to say things turned out pretty well.

Barber wrote (in Poetry magazine, in 2005):

“I am a songwriter, which is not the same

thing as a poet. Poetry is a passion, my

ever-present guide and inspiration. Though I

indulge in very little of the lingua franca of

the art. . . . I cannot talk about poetry, but I

know poetry. Alone, with logic and

diligence, I have studied, but for me art can

be created neither by logic nor diligence.

Like music, poetry is created in the mouth,

in the ear, and in the air.”

That’s an especially nuanced explanation;

then again, the gleaming successes of

Barber’s art lie in the nuances, the nooks

and crannies, of conventional performance.

When the veteran music writer Don

Heckman (in the Los Angeles Times) called

Barber “one of the most utterly individual

jazz performers to arrive on the scene in

years,” he wasn’t referring to the virtuosic

spectacle that comes all too easily to

today’s jazz artists; he had homed in on the

quiet audacity with which Barber has

redefined the role of the singer-songwriter

for 21st-century jazz.

Born in the Chicago suburbs, Barber came

by music naturally. Her father was Floyd

“Shim” Barber, a saxophonist who had

worked with Glenn Miller’s orchestra, and


the instrument beguiled young Patricia:

“When he played the saxophone around

the house, I’d put my hand in the bell to feel

the music.” She began playing classical

piano at the age of 6, but by the time she

had graduated high school — in South

Sioux City, Iowa, where the family had

moved in the mid-60s, following her father’s

death — Barber had foresworn jazz entirely.

“It was hanging over my head the whole

time,” she recalled years later. “But I

thought that becoming a jazz musician was

such a stupid thing for a woman to do — for

a smart woman to do — that I tried to resist

it.”

Barber enrolled at the University of Iowa

with a double major in classical music and

psychology, while continuing to indulge the

voracious reading habit she had nurtured

since childhood. But the jazz echoes she

thought she’d banished only grew louder,

and by graduation, she had decided to

follow in her father’s path. She returned to

Chicago, and in 1984 she landed the gig

that put her (and the venue at which she

performed) on the national jazz map: five

nights a week at the intimate Gold Star

Sardine Bar, which held 60 people at the

most, but where the audience made up in

sophistication what it lacked in size.

Soon her reputation spread beyond

Chicago, spurred by enthusiastic response

to performances at the Chicago Jazz

Festival (1988) and the North Sea Jazz

Festival in the Netherlands (1989),

culminating in her major label debut (A

Distortion Of Love) in 1992. Two years later,

she released Café Blue, her debut for the

small Premonition label; working with label

head and producer Michael Friedman,

Barber garnered rave reviews from around

the nation.

At about the same time, Barber began a

steady engagement at Chicago’s legendary

Green Mill, and when not on tour, she

continues to perform there every Monday

night. And, ever the student, Barber

returned to academia in the mid-90s to earn

her master’s degree in jazz pedagogy from

Northwestern University. (She regularly

gives master classes in this country and

overseas.)

Barber’s first two albums for Premonition

made her an international star: despite the

label’s tiny size, Barber sold more than

120,000 of the album Modern Cool and

even more of the follow-up Nightclub,

attracting the attention of Blue Note

Records. In 1999 Blue Note started

distributing her discs as part of a unique

partnership – the first joint imprint in the

fabled label’s then-six-decade history. In

2002, Barber moved into an exclusive

contract with Blue Note, recording three

albums, including Mythologies, a genre-

crashing song cycle based on the writings

of the ancient Roman poet Ovid; the project

was supported by a Guggenheim

Fellowship in composition (the first ever

awarded to a non-classical “songwriter”).

Now with Smash, her January 22, 2013

debut on Concord Jazz, Barber proves that

her poetry continues to search ever deeper,

ARTIST BIOGRAPHIES


even as her music grows all the more

magical.

ARI HOENIG

Ari Hoenig (b. November 13, 1973,

Philadelphia, PA) is a jazz drummer,

composer and educator known for his

unusual and intense approach to drumming,

emphasizing complex rhythms in direct

harmony with other group members. Ari is

widely noted particularly for his drumming

not being relegated to just keeping tempo,

or being a side issue to the music he plays

in, but rather for elevating drumming as an

indispensable part of the performance.

Hoenig is also known for his unique ability

to modify the pitch of a drum by using drum

sticks, mallets, and even parts of his body

(such as his hands and elbows.) Using this

technique, he can play any note in the

chromatic scale, virtually any melody, and

even improvise on a chord structure in the

same way as any other instrumentalist

would.

Hoenig was born into a family of classically

trained musicians. His father being a choral

conductor and mother a violinist, he was

exposed to classical and folk music at an

early age. He played both piano and violin

as a child, then rock and metal drums as a

teen before settling into jazz and improvised

music.

Ari has recorded written and produced 9

CDs as a leader. He has written and

published 3 educational books, 3

educational DVD’s and a songbook.

Currently, his group Ari Hoenig and Punk

Bop tours worldwide and performs weekly

at the legendary New York jazz club Smalls.

He is also the co-leader of Pilc, Moutin,

Hoenig, together with his long time musical

partners. Other artists Hoenig has

performed or recorded with include Shirley

Scott, Gerry Mulligan, Jean Michel Pilc,

Mike Stern, Kenny Werner, Joshua

Redman, Wayne Krantz, Herbie Hancock,

Kurt Rosenwinkel, Richard Bona, Dave

Liebman, Chris Potter, Toots Thielemans,

Dave Holland, Joe Lovano, Pat Metheny,

Pat Martino, Ivan Linz and Trey Anastasio.


2004 – 2014 10 Year Retrospective of Contempo – Jazz Double Bill

40th season

10.26.04, Chicago Historical Society

Contempo Double-Bill: Special 40th Anniversary Performance

Set I

George Crumb: Black Angels for amplified string quartet

Chen Yi: Qi for flute, cello, piano and percussion

Jonathan Harvey: Song Offerings for soprano and chamber ensemble

Set II

Brad Mehldau, jazz piano

41st season

01.07.06, Museum of Contemporary Art

Contempo Double-Bill with Patricia Barber

Set I

György Ligeti: String Quartet No. 1 (Métamorphoses nocturnes)

Yao Chen: Transience for chamber ensemble

Joan Tower (arr. Allen Otte): Petroushskates for sextet

Set II

Patricia Barber

42nd season


Contempo Double-Bill with the Dave Douglas Quintet

Set I

Toru Takemitsu: Rain Tree for percussion trio

George Crumb: Book of Madrigals 2 & 3

Josef Bardanashvili: Nekudot for string sextet (Chicago premiere)

HISTORY OF CONTEMPO


Set II

Dave Douglas Quintet

43rd season


Contempo Double-Bill with the Grazyna Auguscik Sextet

Set I

Esa-Pekka Salonen: Floof for voice and instruments

Sofia Gubaidulina: De Profundis for solo accordion

Shih-Hui Chen: Fu II for pipa and five players

Set II

Grazyna Auguscik Sextet

44th season


Contempo Double-Bill with Leny Andrade

Set I

Donald Crockett: Whistling in the Dark (Chicago premiere)

Chinary Ung: Still Life After Death, Nina Heebink, mezzo soprano

(Chicago premiere)

Lee Hyla: We Speak Etruscan

Set II

Leny Andrade vocalist, with Dario Eskenazi, piano, Kip Reed, bass,

and Helio Schiavo, drums

45th season

01.16.10, Harris Theater for Music & Dance

Contempo Double-Bill with the Chris Potter/Kenny Werner Duo

Set I

Shawn Brogan Allison: Towards the Flame


Bernard Rands: “now again” – fragments from Sappho

Yu-Hui Chang: Binge Delirium for solo percussion

Kurt Weill: September Song

Set II

Chris Potter/Kenny Werner Duo

46th season


Contempo Double-Bill: European Connections

Set I

Paul Patterson: String Quartet, op. 58

Füsun Köksal: Deux Visions pour Sextuor

Agata Zubel: Cascando

Luciano Berio: Sequenza

Kaija Saariaho: Changing Light

Set II

Jason Marsalis Vibes Quartet

47th season


Contempo Double-Bill with HIROMI: THE TRIO PROJECT

Set I

Nancarrow, Rzewski, and Shapey: Three Tangos for Piano

Elena Firsova: String Quartet no. 4 (Amoroso) (US premiere)

Nico Muhly: How Soon (Chicago premiere)

Steven Stucky: Ad Parnassum (Chicago premiere)

Set II

Hiromi Uehara Trio

HISTORY OF CONTEMPO


48th season

04.13.13, Logan Center

Contempo Double-Bill: ANTIGONA FURIOSA and PABLO ASLAN QUINTET

Set I

Jorge Liderman: Antígona Furiosa, opera (Chicago premiere)

Set II

Pablo Aslan Quintet

49th season

04.26.14, Logan Center

Contempo Double-Bill: 10th Anniversary with Patricia Barber

Set I

Franghiz Ali-Zadeh: Habil-Sayagy for cello and prepared piano

Elena Firsova: String Quartet No. 11, “Purgatorium”

Marta Ptaszynska: Space Model for solo percussion

Set II

Patricia Barber and Ari Hoenig Trio

FREE ADMISSION

music.uchicago.edu I 773.702.8069

Sunday, May 4 | 3 PM Fulton Recital Hall

1010 E. 59th Street, Hyde Park

Virtuosic solo works by Jay Alan Yim,

Professor of Composition at

Northwestern University, plus recent

compositions and world premieres

by UC graduate students. Members of

the Spektral Quartet and

Artist-in-Residence Amy Briggs perform.

NEW MUSIC ENSEMBLE

THE UNIVERSITY OF CHICAGO


WITH THANKS...

$10,000 and aboveElsa Charlston + Elizabeth F. Cheney FoundationThe Clinton Family FundNational Endowment for the ArtsNicholson Center for British Studies

$5,000 - $9,999AnonymousAaron Copland Fund for Music + Rondi E. Charleston & Steven B. Ruchefsky + Ann & Gordon Getty FoundationIllinois Arts CouncilUniversity of Chicago Arts Council

$2,500 – $4,999Amphion Fund + Gary & Stacie GuttingItalian Cultural Institute of ChicagoAlan & Donna LeffRuth O’Brien & Stuart A. Rice *Elizabeth E. Sengupta, in memory of Ganapati Sengupta *Joan & Jim Shapiro

$1,000 – $2,499Andrew Abbott & Susan SchloughConsulate General of Argentina + Consulate General of IsraelHazel S. Fackler *Richard & Mary L. GrayAnne Marcus HamadaRobert & Margot HaselkornElizabeth & Howard HelsingerJoseph & Rebecca JarabakLynne & Ralph SchatzJoan & Jim Shapiro

$500 – $999 R. Stephen & Carla Berry *Phyllis Booth *Adam M. DubinSarah & Joel L. HandelmanLaurie Hudson & Gregg LaPore, in memory of Austin Hudson-LaPoreAnne Kimball & Peter SternAlma & Ray KubyDiane W. SmithLouise K. SmithEdward & Edith Turkington *Ruth E. Ultmann, in memory of John E. UltmannKathleen & Willem Weijer

GIFTS We would like to acknowledge the many friends of the University of Chicago Presents and Contempo who graciously support our programs. To contribute to the UCP Annual Fund, please call 773.702.8068 or visit https://alumniservices.uchicago.edu/Giving/ and select University of Chicago Presents.

LEADERSHIP CIRCLE

Launched in the summer of 2010, The University of Chicago Presents Leadership Circle is a volunteer body that supports the mission of UCP and its efforts, both programmatic and financial. The Circle is comprised of civic, cultural, and academic leaders, all of whom are committed to supporting the presentation of professional performances at the University of Chicago.

If you are interested in becoming involved or learning more about the Leadership Circle, please contact Amy Iwano at [email protected] or call 773.702.8068.

The University of Chicago Presents gratefully acknowledges the support of the Office of the Provost and the Department of Music for its operations, the Office of the President for its support of Contempo, and the Logan Center for the Arts for its partnership on Jazz at the Logan and family and school programming.


$250 - $499Helen & Charles Bidwell *Spencer & Lesley BlochFredric & Eleanor Coe *Dorothy & David Crabb *Mr. & Mrs. Isak V. GersonBill & Blair LawlorDonald & Ruth LevineErnst MondCharles A. MooreBruce OltmanManfred RuddatJohn SchaalDavid & Judith L. SensibarHugo & Beth SonnenscheinNorma W. Van der MeulenThomas & Molly Witten *

$100 – $249Rena & David Appel *Ted & Barbara Asner *Bernice Liberman AuslanderEllen BairdClara & Thomas ChristensenLydia G. CochraneSonia V. CsaszarTeri Edelstein & Neil HarrisOctavia Fallwell *Geoffrey Flick *Carma D. ForgieHenry & Priscilla Frisch *Seymour GilmanJames Ginsburg & Patrice MichaelsJanina GolabNatalie & Howard GoldbergMr. and Mrs. Samuel D. Golden *Howard Goldfinger & Irene VentselMr. and Mrs. Michael D. GordonJonathon Green & Joy SchochetJacqueline P. Kirley *Robert Kozloff *Melvin R. LoebAmy MantroneJerry & Evelyn MarshJoanne Michalski & Michael WeedaShankar Nair

Peter J. PageDorothy Patton, in memory of Mrs. Richard J. ThainClaire PensylEmery A. PercellHarry A. PoffenbargerShauna L. Quill & Mark Maupin, in honor of Ms. Amy K. IwanoSmilja Jakovcic RabinowitzVirginia SaftHarold & Deloris SandersLynne F. SchatzDorothy ScheffArthur Schneider & Helen SellinJulius & Alice SolomonMr. and Mrs. Russell H. TuttleTheo & Lidwina Van Den HoutAlexander WayneHoward White

$50 – $99Nadja & John AquinoBradley Brickner & Cindy ShelhartGloria Lerner Carrig *Elizabeth Check *Edwin H. CongerLola FlammSally A. Hastings, in memory of H. Reid NolteDouglas & Shirlee HoffmanLenore Melzer, in memory of Arthur H. MelzerChristiane & Earl RonnebergMary RundellCarol H. SchneiderEsther SchwartzZelda StarJudith E. Stein *Edwin & Heather TaylorRobert WagnerLouella K. WardHoward Zar

In KindPiccolo Mondo, restaurant sponsor Hyatt Place

We would also like to thank the many individuals who make annual contributions under $50. Every gift we receive helps to strengthen our programs.

This list reflects contributions received for the period between March 1, 2013 and February 28, 2014. We wish to acknowledge our donors accurately. If there is an error in your listing, please call us at 773.702.8068.

+ Donor to Contempo * Denotes individuals who have sponsored a student. To learn more about the Sponsor-a-Student program, call the UCP main office.


Contempo and its artist residencies are generously supported by the Catherine L. Dobson Music Fund, the Amy and David Fulton Fund, the Julie and Parker Hall Endowment for Jazz and American Popular Music, the Claire Dux Swift Music Endowment Fund, the Lowell and Elita Wadmond Endowment in Music, the Aaron Copland Fund for Music and the Amphion Foundation. Contempo is grateful to the many individuals whose gifts support its concerts.

Cancellation: All programs are subject to change or cancellation without notice. No

refunds will be given unless a performance is cancelled in its entirety, with no replacement

performance scheduled.

Noise: Please silence your cell phones and help us keep extraneous noise to a minimum.

Children: We welcome children six years and over to all Chicago Presents concerts. In

fact, we have added a “Youth Tickets” benefit to subscribers. Children aged 6–17 receive

free tickets when accompanying an adult subscriber. Up to 2 free tickets per paid adult

ticket are available. Please register your children with the Box Office when you purchase

your tickets (773. 702.ARTS).

Late Seating: Latecomers will be seated by the House Manager when the first appropriate

break in the program allows. Please refrain from entering the hall until a movement or

piece has concluded.

Cameras and Recorders: Photography and the use of recording devices is strictly

prohibited.

Food/Drink/Smoking: Food, beverages, and smoking are not permitted in the concert hall.

Coats: A coat check is available in the lower level of the Logan Center. UCP is not

responsible for lost or stolen items.

Restrooms: Restrooms are located in the lower level of the Logan Center. Please see the

ushers, House Manager or Chicago Presents staff for exact locations.

Lost and Found: Ushers check the hall following all concerts for any items left behind. If

you think you have lost something, please call The University of Chicago Presents office

during business hours at 773.702.8068.

CONCERT POLICIES AND INFORMATION


TUES / FEBRUARY 4 / 7:30 PM eighth blackbird Anubis Quartet

Anna Weesner: Lift High, Reckon— Fly Low, Come CloseBrett Dean: Sextet (Old Kings in Exile)Augusta Read Thomas: Twilight ButterflyJohn Orfe: Leviathan for 2 clarinets and pianoLei Liang: Yuan for saxophone quartet

SUN / MARCH 2 / 3:00 PM

Logan Center Performance Penthouse

Miranda Cuckson, violin Ning Yu, piano

Sofia Gubaidulina: Dancer on a TightropeGeorg Friedrich Haas: de terrae fineUnsuk Chin: three selective etudesMario Davidovsky: Duo Capriccioso Jae-Goo Lee: Nol-i(I) for solo violinIannis Xenakis: Dikhthas

SAT / APRIL 26 / 7:30 PM

Double Bill – 10th Anniversary

Pacifica QuartetLisa Kaplan, pianoNicholas Photinos, celloNicholas Reed, percussionPatricia Barber and the Ari Hoenig Trio

Franghiz Ali-Zadeh: Habil-Sayagy for cello and prepared pianoElena Firsova: String Quartet No. 11, “Purgatorium”Marta Ptaszyn’ska: Space Model for solo percussionPatricia Barber and the Ari Hoenig Trio

FRI / MAY 9 / 7:30 PM

FREE

Tomorrow’s Music Today ICliff Colnot, conductor eighth blackbird Pacifica Quartet

Program will include dissertation works by Marcelle Pierson, Alican Camci, and Igor Santos, UChicago doctoral candidates in composition.

FRI / MAY 16 / 7:30 PM Ganz Hall, Roosevelt University 430 S. Michigan Ave.FREE

Tomorrow’s Music Today IICliff Colnot, conductoreighth blackbird Pacifica QuartetJulia Bentley, mezzo-soprano Ricardo Rivera, baritone Chad Sloan, baritone

Program will include dissertation works by Andrew McManus, Jae-Goo Lee, and Tomas Gueglio, UChicago doctoral candidates in composition.

All performances Logan Center unless noted

Performance Hall, Reva and David Logan Center for the Arts | 915 East 60th Street

Tickets $25 / $5 students with ID unless noted 773.702.ARTS (2787) ticketsweb.uchicago.edu

49TH SEASON | 2014

Contempo

5720 S. Woodlawn Ave

Chicago, IL 60637

773.702.8068

[email protected]

contempo.uchicago.edu

THEUNIVERSITY

OFCHICAGOPRESENTS

Documents

THE UNIVERSITY OF CHICAGO PRESENTSchicagopresents.uchicago.edu/sites/chicagopresents.uchicago.edu... · Liang for whose Yuan we have invited the Anubis saxophone quartet to perform,