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Wednesday, November 16, 2011 6:30 p.m.

Museum of Contemporary Art (MOCA) Cleveland

director

assistant director

Celebrating the 75th Birthday of Steve Reich

and the 103rd Birthday of Elliott Carter

STEVE REICH Violin Phase (1967)

(b. 1936)

Anthony Bracewell, Boson Mo, Dorothy Ro, Mason Yu, violins

ELLIOTT CARTER Scrivo in Vento (1991)

(b. 1908)

Mark Huskey, flute

REICH New York Counterpoint (1985)

Elinor Rufeizen, clarinet

REICH Different Trains (1988)

I. America – Before the war

II. Europe – During the war

III. After the war

Boson Mo and Miran Kim, violins

Annalisa Boerner, viola

James Jaffe, cello

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This evening we celebrate the birthdays of two the world‗s leading

composers: Steve Reich (who turned 75 last month) and Elliott Carter (who

turns an astonishing 103 in December and is still actively composing). I hope

that you will join us at CIM as we honor David Del Tredici‗s 75th birthday in

February, as well as celebrating the music of Steven Stucky on March 25. I also

extend a special invitation to you to join us on March 31 as we conclude our

concert series at MOCA's downtown location with a performance of Morton

Feldman's epic For Philip Guston. I would like to express special thanks this

evening to Mark Huskey for stepping in at the last minute to replace Bill

DeLelles, who was scheduled to perform today but is unfortunately injured.

- Keith Fitch

* * *

Violin Phase is one of Reich‘s earliest ―phase‖ works. In this work, four violinists

(or solo violin and pre-recorded tape) share the exact same musical material,

initially in unison. As the piece progresses, each individual player moves slightly

ahead and/or behind the others, in effect creating a series of composite layers or

voices. Violin Phase, along with its predecessor, Piano Phase, was premiered in a

series of concerts given in New York art galleries in 1967.

- Keith Fitch

Scrivo in vento, for flute alone, dedicated to the wonderful flautist and friend,

Robert Aitken, takes its title from a poem of Petrarch who lived in and

around Avignon from 1326 to 1353. It uses the flute to present contrasting

musical ideas and registers to suggest the paradoxical nature of the poem.

It was first performed on 20 July 1991 (coincidentally on Petrarch‘s 678th

birthday) at the Ville Rencontres de la Chartreuse of the Centre Acanthes

devoted to my music at the Festival of Avignon, France, by Robert Aitken.

- Elliott Carter

New York Counterpoint was commissioned by The Fromm Music Foundation

for clarinetist Richard Stolzman. It was composed during the summer of 1985.

The duration is about 11 minutes. The piece is a continuation of the ideas

found in Vermont Counterpoint (1982), where a soloist plays against a pre-

recorded tape of him- or herself. In New York Counterpoint, the soloist pre-

records ten clarinet and bass clarinet parts and then plays a final 11th part live

against the tape. The compositional procedures include several that occur in

my earlier music. The opening pulses ultimately come from the opening of

Music for 18 Musicians (1976). The use of interlocking repeated melodic

patterns played by multiples of the same instrument can be found in my

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earliest works, Piano Phase (for two pianos or two marimbas) and Violin Phase

(for four violins) both from 1967. In the nature of the patterns, their

combination harmonically, and in the faster rate of change, the piece reflects

my recent works, particularly Sextet (1985). New York Counterpoint is in three

movements: fast, slow, fast, played without pause. The change of tempo is

abrupt and in the simple relation of 1:2. The piece is in the meter 3/2 = 6/4

(=12/8). As is often the case when I write in this meter, there is an ambiguity

between whether one hears measures of 3 groups of 4 eight notes, or 4

groups of 3 eight notes. In the last movement of New York Counterpoint, the

bass clarinets function to accent first one and then the other of these

possibilities while the upper clarinets essentially do not change. The effect, by

change of accent, is to vary the perception of that which in fact is not

changing.

- Steve Reich

Different Trains, for string quartet and pre-recorded performance tape, began

a new way of composing that has its roots in my early tape pieces It’s Gonna

Rain (1965) and Come Out (1966). The basic idea is that carefully chosen

speech recordings generate the musical materials for musical instruments.

The idea for the piece comes from my childhood. When I was one year old

my parents separated. My mother moved to Los Angeles and my father stayed

in New York. Since they arranged divided custody, I travelled back and forth

by train frequently between New York and Los Angeles from 1939 to 1942

accompanied by my governess. While the trips were exciting and romantic at

the time I now look back and think that, if I had been in Europe during this

period, as a Jew I would have had to ride very different trains. With this in

mind I wanted to make a piece that would accurately reflect the whole

situation. In order to prepare the tape I did the following:

1. Record my governess Virginia, then in her seventies, reminiscing about

our train trips together.

2. Record a retired Pullman porter, Lawrence Davis, then in his eighties,

who used to ride lines between New York and Los Angeles, reminiscing

about his life.

3. Collect recordings of Holocaust survivors Rachella, Paul and Rachel, all

about my age and then living in America – speaking of their experiences.

4. Collect recorded American and European train sounds of the ‗30s and ‗40s.

In order to combine the taped speech with the string instruments I selected

small speech samples that are more or less clearly pitched and then notated

them as accurately as possible in musical notation. The strings then literally

imitate that speech melody. The speech samples as well as the train sounds

were transferred to tape with the use of sampling keyboards and a computer.

Three separate string quartets are also added to the pre-recorded tape and

the final live quartet part is added in performance.

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Different Trains is in three movements (played without pause), although that

term is stretched here since tempos change frequently in each movement.

They are:

1. America- Before the war

2. Europe – During the war

3. After the war

The piece thus presents both a documentary and a musical reality and begins

a new musical direction. It is a direction that I expect will lead to a new kind

of documentary music video theatre in the not too distant future.

- Steve Reich

Steve Reich has been called ―...America's greatest living composer‖ (The

Village VOICE), ―...the most original musical thinker of our time‖ (The New

Yorker) and ―...among the great composers of the century‖ (New York Times).

From his early taped speech pieces It's Gonna Rain (1965) and Come Out

(1966) to his and video artist Beryl Korot's digital video opera Three Tales

(2002), Reich's path has embraced not only aspects of Western Classical

music, but the structures, harmonies, and rhythms of non-Western and

American vernacular music, particularly jazz. ―There's just a handful of living

composers who can legitimately claim to have altered the direction of musical

history and Steve Reich is one of them,‖ states The Guardian (UK)

.

Born in New York and raised there and in California, Reich graduated with

honors in philosophy from Cornell University in 1957. For the next two

years, he studied composition with Hall Overton, and from 1958 to 1961 he

studied at The Juilliard School of Music with William Bergsma and Vincent

Persichetti. Reich received his M.A. in Music from Mills College in 1963,

where he worked with Luciano Berio and Darius Milhaud.

During the summer of 1970, with the help of a grant from the Institute for

International Education, Reich studied drumming at the Institute for African

Studies at the University of Ghana in Accra. In 1973 and 1974 he studied

Balinese Gamelan Semar Pegulingan and Gamelan Gambang at the American

Society for Eastern Arts in Seattle and Berkeley, California. From 1976 to

1977 he studied the traditional forms of cantillation (chanting) of the Hebrew

Scriptures in New York and Jerusalem.

In 1966, Reich founded his own ensemble of three musicians, which rapidly grew

to 18 members or more. Since 1971, Steve Reich and Musicians have frequently

toured the world, and have the distinction of performing to sold-out houses at

venues as diverse as Carnegie Hall and the Bottom Line Cabaret.

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His music has been influential to composers and mainstream musicians all

over the world. He is a leading pioneer of Minimalism, having in his youth

broken away from the "establishment" that was serialism. His music is known

for steady pulse, repetition, and a fascination with canons; it combines

rigorous structures with propulsive rhythms and seductive instrumental color.

It also embraces harmonies of non-Western and American vernacular music

(especially jazz).

Steve Reich‘s music has been performed by major orchestras and ensembles

around the world, including the London, San Francisco, and Boston

Symphonies, all led by Michael Tilson Thomas; the New York Philharmonic

conducted by Zubin Mehta; The Ensemble Modern conducted by Bradley

Lubman; The Ensemble Intercontemporain conducted by David Robertson;

the London Sinfonietta conducted by Markus Stenz and Martyn Brabbins; the

Theater of Voices conducted by Paul Hillier; the Schoenberg Ensemble

conducted by Reinbert de Leeuw; the Brooklyn Philharmonic Orchestra

conducted by Robert Spano; the Saint Louis Symphony conducted by Leonard

Slatkin; the Los Angeles Philharmonic conducted by Neal Stulberg; and the

BBC Symphony conducted by Peter Eötvös.

In 1994, Steve Reich was elected to the American Academy of Arts and

Letters, to the Bavarian Academy of Fine Arts in 1995, and, in 1999, awarded

―Commandeur de l'ordre des Arts et Lettres.‖ The year 2000 brought five

additional honors: the Schuman Prize from Columbia University, the

Montgomery Fellowship from Dartmouth College, the Regent's Lectureship at

the University of California at Berkeley, an honorary doctorate from the

California Institute of the Arts. In 2007, Mr. Reich was awarded the Polar

Music Prize by the Swedish Academy of Music.

Different Trains and Music for 18 Musicians have each earned him GRAMMY

awards, and his ―documentary video opera‖ works—The Cave and Three Tales,

done in collaboration with video artist Beryl Korot—have pushed the

boundaries of the operatic medium. Over the years his music has significantly

grown both in expanded harmonies and instrumentation, resulting in a

Pulitzer Prize for his 2007 composition, Double Sextet.

Reprinted by kind permission of Boosey & Hawkes.

* * *

Twice winner of the Pulitzer Prize, first composer to receive the United

States National Medal of Arts, one of the few composers ever awarded

Germany's Ernst Von Siemens Music Prize, and in 1988 made ―Commandeur

dans l'Ordre des Arts et des Lettres‖ by the Government of France, Elliott

Carter is internationally recognized as one of the leading American voices in

classical music. He recently received the Prince Pierre Foundation Music

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Award, bestowed by the Principality of Monaco, and was one of a handful of

living composers elected to the Classical Music Hall of Fame.

December 11, 2008 marked Carter‘s 100th birthday, bringing salutes from

performing organizations around the globe. A number of recordings were

issued including Carter: String Quartets Nos. 1 & 5 from Pacifica Quartet and

Elliott Carter: A Nonesuch Retrospective. A four-disc set, the collection includes

most of the recordings Nonesuch made of Carter‘s music between 1968 and

1985. The event launched major celebrations around the world, including

dedicated festivals at the BBC Proms and at Tanglewood.

First encouraged toward a musical career by his friend and mentor Charles

Ives, Carter was recognized by the Pulitzer Prize Committee for the first time

in 1960 for his groundbreaking compositions for the string quartet medium,

and was soon thereafter hailed by Igor Stravinsky for his Double Concerto for

harpsichord, piano and two chamber orchestras (1961) and Piano Concerto

(1967), both of which Stravinsky dubbed ―masterpieces.‖

But the creative burst began in earnest during the 1980s, with major

orchestral essays such as Oboe Concerto (1986-87), Three Occasions

(completed 1989) and his enormously successful Violin Concerto (1990). The

composer's astonishing late-career creative burst has continued unabated.

The first few weeks of 2004 brought a pair of acclaimed new scores:

Micomicon for the Boston Symphony Orchestra, and the incisive Dialogues

commissioned by the London Sinfonietta. In the United States, the Boston

Symphony Orchestra brought Carter‘s Three Illusions for Orchestra to life in

October 2005, a piece which the Boston Globe calls ―surprising, inevitable, and

vividly orchestrated.‖

Still extraordinarily prolific at over 100 years of age, recent works include the

Flute Concerto (2008), premiered by Emmanuel Pahud, flute, and the

International Chamber Music Ensemble, led by Daniel Barenboim; What are

Years, a 2010 joint commission of the Aldeburgh and Tanglewood Festivals;

Tintinabulation, premiered in 2008 by the New England Conservatory

Percussion Ensemble at Jordan Hall in Boston; the Concertino for Bass Clarinet,

premiered in Toronto in December 2010 by Virgil Blackwell and the New

Music Concerts Ensemble, and most recently, Conversations (2010), premiered

at the Aldeburgh Festival in 2011.

Reprinted by kind permission of Boosey & Hawkes.

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Keith Fitch currently heads the composition department at the Cleveland

Institute of Music, where he holds the Vincent K. and Edith H. Smith Chair in

Composition and also directs the CIM New Music Ensemble. Called

―gloriously luminous‖ by The Philadelphia Inquirer, his music has been

consistently noted for its eloquence, expressivity, dramatic sense of musical

narrative, and unique sense of color and sonority. Reviewing a performance of

his work Totem by Wolfgang Sawallisch and The Philadelphia Orchestra

(chosen by Maestro Sawallisch to celebrate the orchestra‘s centennial), The

Wall Street Journal praised ―the sheer concentration of his writing, and its

power to express a complex, unseen presence shaping the course of musical

events.‖ His works have been performed throughout the United States,

Europe, and Japan by such ensembles as The Philadelphia Orchestra, the

American Composers Orchestra, the New York Youth Symphony, the

Chamber Music Society of Lincoln Center, the Cleveland Chamber Symphony,

the St. Luke‘s Chamber Ensemble, the Da Capo Chamber Players, and new

music ensembles around the country. Additionally, his music has been heard

at the Norfolk Chamber Music Festival, the June in Buffalo Festival, the

Midwest Composers‘ Symposium, the Atlantic Center for the Arts,

Milwaukee PremiereFest, New York‘s Carnegie and Merkin Halls, and in

university settings nationwide. Highlights of recent seasons include the

premieres of This Rough Magicke (commission, St. Luke‘s Chamber Ensemble),

Le tango maudit (duo-pianists Pavlina Dokovska and Vladimir Valjarevic, Sofia,

Bulgaria), Summer and Shade: Three Dream-dances for Orchestra (Symphony

Space, New York), ’Tho Night Be Falling (commissioned by the Fromm Music

Foundation for the Colorado String Quartet), and Midnight Rounds, written to

celebrate the fortieth anniversary of the Da Capo Chamber Players. His most

recent work, Mean Fiddle Summer, composed for the acclaimed violinist Lina

Bahn, was premiered on April 3, 2011 at The Cleveland Institute of Music.

A native of Indiana, Keith Fitch (b. 1966) began composing at age eight and

began formal musical training on the double bass at age eleven. While still in

high school (age sixteen), he received his first professional orchestral

performance. Subsequently, he attended the Indiana University School of

Music, where he completed his Doctorate in 1995. At Indiana, he studied

composition with Frederick Fox, Eugene O‘Brien, and Claude Baker, double

bass with Bruce Bransby and Murray Grodner, and chamber music with

Rostislav Dubinsky, founder of the Borodin Quartet. He also counts Donald

Erb and Joan Tower among his compositional mentors. Among his many

awards are the annual Dean‘s Prize for Composition at Indiana (six times), the

Kate and Cole Porter Memorial Fellowship at Indiana, three ASCAP Young

Composer Awards, the ASCAP-Raymond Hubbell Scholarship, three National

Society of Arts and Letters awards, an Individual Artist Grant from the Indiana

Arts Commission and the National Endowment for the Arts, and a Fromm

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Foundation Commission. He has enjoyed multiple residencies at The

MacDowell Colony and the Virginia Center for the Creative Arts, as well as at

The Charles Ives Center for American Music and the Atlantic Center for the

Arts, and he has twice served as Resident Composer and faculty at the Chamber

Music Conference and Composers‘ Forum of the East. Most recently, he served

as guest composer at California Summer Music and at the MidAmerican Center

for Contemporary Music at Bowling Green State University.

Highly regarded as a teacher, chamber music coach, and conductor of new music,

he has taught at Indiana University, Bard College, and for eleven years served on

the faculty of the Mannes College of Music in New York, where he founded the

new music ensemble, CIRCE. His students regularly win awards from such

prestigious organizations as ASCAP, BMI, the American Academy of Arts and

Letters, and the Fulbright Foundation, as well as attending leading summer festivals

around the world. His music is published by Non Sequitur Music.

* * *

The music of Tim Mauthé has been featured in performances in North

America and Europe. He was awarded the soundSCAPE Composition Prize

in 2009 and the Grand Prize at the 2008 Wintergreen Summer Music Festival

Prix del Fosse Soloist Competition. Commissions he has received include

incidental music for the Cleveland Shakespeare Festival's production of Antony

and Cleopatra and the Virginia Tech Department of Theatre's production of

Gao Xingjian's The Other Shore. A founding member of the North Ohio Music

Exchange and the International Composers Collective, Mr. Mauthé is

dedicated to creating opportunities in the Cleveland area and internationally

for composers and performers of new music. He is currently a doctoral

candidate in composition at the Cleveland Institute of Music, studying with

Keith Fitch. Additionally, Mr. Mauthé teaches composition at CIM, Case

Western Reserve University, and in the Preparatory Department at CIM as a

student teacher of composition. Mr. Mauthé earned his MM in Composition

from the Cleveland Institute of Music and his BA in composition and sound

engineering from Virginia Tech.

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Annalisa Boerner is a viola student of Lynne Ramsey, enrolled in the Master of

Music degree program.

Anthony Bracewell is a violin student of Paul Kantor, enrolled in the Bachelor

of Music degree program.

Mark Huskey is a flute student of Joshua Smith, enrolled in the Bachelor of

Music degree program.

James Jaffe is a cello student of Stephen Geber, enrolled in the Master of

Music degree program.

Miran Kim is a violin student of Joel Smirnoff, enrolled in the Bachelor of

Music degree program.

Boson Mo is a violin student of Paul Kantor, enrolled in the Professional Study

program.

Dorothy Ro is a violin student of Paul Kantor, enrolled in the Master of Music

degree program.

Elinor Rufeizen is a clarinet student of Franklin Cohen, enrolled in the

Bachelor of Music program.

Mason Yu is a violin student of Paul Kantor, enrolled in the Bachelor of Music

degree program.

Since its founding in 1920, CIM has offered a world class education to

students from age 3 to 93 and provided concerts for the community. Located

in University Circle, Cleveland's cultural hub, CIM is easily accessible to all

music lovers – providing hundreds of concerts annually, most free of charge.

CIM‘s alumni perform with the world's most acclaimed musical organizations,

in major national and international orchestras and opera companies, as

soloists and in chamber ensembles, and hold prominent teaching positions

world-wide. CIM maintains a close relationship with The Cleveland

Orchestra, with 40 members of The Orchestra serving on its faculty; 39

alumni currently hold positions with The Orchestra.

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Founded in 1968, the Museum of

Contemporary Art Cleveland, a leading

force in the cultural life of Northeast Ohio, is

recognized nationally and internationally for its

vital and creative exhibitions and public

programs. MOCA‘s critically acclaimed

exhibitions have included The Teacher and the

Student: Charles Rosenthal and Ilya Kabakov (2004), Yoshitomo Nara (2004), All

Digital (2006), Diana Cooper (2008), Sam Taylor-Wood (2008), Hugging and

Wrestling: Contemporary Israeli Photography and Video (2009), and Marilyn Minter:

Orange Crush (2010). As it prepares to begin work on its new building, MOCA

looks forward to welcoming both established and new audiences to its

exciting new space in Cleveland‘s University Circle. The new MOCA will

provide the city of Cleveland with a signature building for contemporary art

and ideas.

ON FRONT / Installation view of Ursula von Rydingsvard:

Sculpture at the Museum of Contemporary Art Cleveland.

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Sunday, November 20 at 4pm

Mixon Hall

STUDENT COMPOSITION

RECITAL

KEITH FITCH, director

New works by CIM

student composers

Monday, February 6 at 4:30pm

Studio 113

SYMPOSIUM

DAVID DEL TREDICI,

guest composer

Del Tredici discusses his music and

approach to composition

Wednesday, February 8 at 7:30pm

Kulas Hall

Celebrating the 75th birthday

of David Del Tredici

CIM ORCHESTRA

STEVEN SMITH, guest conductor

JUNG EUN OH, soprano

DEL TREDICI In Memory

of a Summer Day (Child Alice, Part I)

Sunday, March 4 at 4pm

Mixon Hall

STUDENT COMPOSITION

RECITAL

KEITH FITCH, director

New works by CIM

student composers

Saturday, March 24 at 1:30pm

Studio 113

SYMPOSIUM

STEVEN STUCKY, guest composer

Stucky discusses his music

and approach to composition

Sunday, March 25 at 4pm

Mixon Hall

CIM NEW MUSIC ENSEMBLE

KEITH FITCH, director

STEVEN STUCKY, guest composer

Music by Steven Stucky and Donald Erb.

Saturday, March 31 at 7 pm

Museum of Contemporary Art,

Cleveland (MOCA)

8501 Carnegie Avenue, Cleveland

CIM@MOCA: Harmonic Hues

CIM NEW MUSIC ENSEMBLE

KEITH FITCH, director

CIM closes MOCA's downtown

location with a performance of

Morton Feldman's epic

For Philip Guston.

Explore the galleries and experience

the monumental wooden sculptures

of Ursula von Rydingsvard while CIM

musicians perform this ravishing, late

work by one of the 20th century's

most eclectic composers.

Reservations required. Call

216.421.8671 ext 70

Wednesday, April 18 at 4pm

Mixon Hall

ELECTRONIC MUSIC STUDIO

RECITAL

Students of Steven Mark Kohn

Sunday, April 22 at 4pm

Mixon Hall

STUDENT COMPOSITION

RECITAL

KEITH FITCH, director

New works by CIM

student composers