MULTICULTURAL MASTERS - The Conference of the BirdS SATURDAY, NOV. 23, 8PM | BU TSAI center, BOSTON - Boston Musica Viva
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MULTICULTURAL
RICHARD PITTMAN
MUSIC DIRECTOR MASTERS
SATURDAY, NOV. 23, 8PM | BU TSAI center, BOSTON
The Conference of the BirdS Shirish Korde
WORLD PREMIERE
& MUSIC BY Chou wen-chung, henry brant, AND Bernard Hoffer
Remembering Chou Wen-chung Composer Chou Wen-chung was a remarkable human being. In addition to his high intelligence and his being a great composer, he was the most altruistic person in my acquaintance. During his entire life, Wen-chung was almost always was sacrificing his own career and creative inspirations to help others. He was not only Edgard Varèse’s student, assistant, and executor of Varese’s musical estate, but he also served as President of the American Composers Alliance, President of CRI (Composers Recordings Inc.), and was for many years Acting Dean of the School of Fine Arts at Columbia University. Most importantly, through his US-China Arts Exchange at Columbia University, he spent decades traveling back and forth to China to exchange musicians and composers between the US and China, including financing a Cultural Institute in Hunan Province to preserve and study the many ethnic traditions in that region. Wen-chung also wrote extensively, and gave lectures in China, Taiwan, and Korea to encourage a respect of their own culture and traditions while confronting the musical and cultural influence of the West. He thought on an international scale and helped with significant actions that had an international impact. Wen-chung and I became friends in 1959 after I performed some of his music in Washington, DC. He was a person who cared very much for his fellow human beings, and did something about it. He was a great composer, and the modest number of his works incorporate both Chinese philosophies and traditions and Western musical traditions in an original way. His late music is largely inspired by Chinese calligraphy, giving it a unique character and sound. I had already programmed Wen-chung’s Twight Colors, which was commissioned for BMV some years ago by the Koussevitzky Foundation, on our tonight's concert. We will now present this work in memoriam, and use this concert to celebrate Wen-chung’s remarkable life and spirit.
2019-2020
Our 51st Season
RICHARD PITTMAN of New Music!
MUSIC DIRECTOR
In memoriam Chou Wen-chung
Composer, Teacher & Cultural Ambassador
July 28, 1923—October 25, 2019
MULTICULTURAL MASTERS
Saturday, November 23, 2019, 8pm
Tsai Performance Center at Boston University, Boston MA
Chou Wen-chung Twilight Colors (2007)
Commissioned by the Koussevitzky Foundation for BMV and dedicated
to the fond memory of Olga Koussevitzky. Premiered May 4, 2007.
I. A Thread of Light (Contrapunctus Variabilis V)
II. Colors of Dawn (Contrapunctus Variabilis VI)
III. In the Mist (Contrapunctus Variabilis VII)
IV. Mountain Peaks Rising (Contrapunctus Variabilis VIII)
V. Coda. Their Silhouettes Neither Parallel nor Contrary
(Contrapunctus Variabilis IX)
Shirish Korde The Conference of the Birds (2019) world premiere
Commissioned by Boston Musica Viva. Presented in five parts.
Illustrations by Peter Sis. Dedicated to the memory of Lore Pittman.
Lucy Fitz Gibbon, soprano
INTERMISSION
Bernard Hoffer A Celebration: 50 Years of Boston Musica Viva (2019)
Written in honor of BMV. Premiered March 10, 2019.
Henry Brant All Souls Carnival (1949)
I. Overture
II. Questions
III. Intermittent Explosions
IV. Outside and Inside
V. Wheels
VI. Finale
Shirish Korde The Conference of the Birds reprise
Please join us for a reception in the lobby after the concert.
Boston Musica Viva is
Richard Pittman, conductor; Ann Bobo, flute; Peggy Pearson, oboe;
William Kirkley, clarinet; Jonathan Hess, percussion; Geoffrey Burleson, piano;
Katherine Matasy, accordion; Danielle Maddon, violin; Samuel Kelder, viola;
Jan Müller-Szeraws, cello; Lucy Fitz Gibbon, soprano.
Video or audio recording of this program is strictly prohibited. As a courtesy to our musicians and your fellow patrons,
please turn off all cell phones and other electronic devices during the performance.ABOUT THE PROGRAM represent an international mix of
accomplished composers, including
Chou Wen-chung the acclaimed Tan Dun, Zhou Long,
Chen Yi, and Bright Sheng. His
Chou Wen-chung
vision for the music of the future,
was born in Yantai,
however, extended far beyond
China, in 1923 to
the preservation of any particular
a family steeped
heritage. He foresaw a flourishing of
in the wenren
creative output, benefitting from a
tradition. He came
“confluence” of many cultures, but
to the United States
grounded in an understanding of the
in 1946. Chou was
history and traditions of each.
introduced to Edgard Varèse by
Colin McPhee in 1949, and became
Chou passed away on Oct. 25, 2019,
Varèse’s student and assistant
at the age of 96.
during the years when Varèse
was composing his last works. His
decades-long task of editing and Twilight Colors
correcting Varèse’s scores began Twilight Colors is a double trio for
under Varèse’s supervision, but woodwinds and strings, specifically
was mostly undertaken after his for flute, oboe and clarinet in one
death. Chou also completed two of trio; and violin, viola and cello in the
Varèse’s unfinished scores. other. The woodwind trio is by itself
a double trio with some movements
Chou taught composition to an written for alto flute, English horn
increasingly international student and bass clarinet played by the
body at Columbia University from same performers as a separate
1964 to 1991, and developed the entity. Therefore the movements
composition program into an of the work consist of a string trio
internationally renowned institution. with combinations of one of the
To undertake crucially needed two woodwind trios, which offers
cultural projects throughout East changing color combinations from
and Southeast Asia, where he has movement to movement.
been visiting since 1966, Chou
established the Center for United This piece is inspired by the
States-China Arts Exchange in 1978 exceptional colors of the changing
at Columbia University, which has sky over the Hudson River Valley,
since conducted many sustained which attracted American painters
projects in diverse cultural fields. who initiated a school of true
landscape painting not dominated
Chou’s unique canon of work, a by the human figure. The texture
contemporary expression of the of the twilight sky, with its rich
principles of traditional Chinese monochromatic hues, tranquility
aesthetics, has had a momentous devoid of sharp contrasts and
impact on the development of streaks of parallel yet non-parallel
modern music in Asia and in post- lights, undergoes a subtle and
colonial cultures. He exhorted continual change. This process of
young composers to study their transformation in nature is reflected
own cultural heritage and warned: in the multi-linear texture, timbre,
“If you don’t know where you harmony, and rhythm of the music,
came from, how do you know and becomes apparent only after
where you are going?” His students the composition was well underway.In conceiving the piece, I was Phoolan Devi commissioned by the
influenced by the Chinese brush Siemens Foundation, and Chitra
painters of the early 17th century commissioned by Boston Celebrity
who adopted fundamental brush Series and the Fromm Foundation
stroke techniques from Chinese at Harvard—received their world
calligraphy to develop a landscape premieres in Boston by Boston
painting technique based on subtle Musica Viva under the direction of
brushstrokes and their sophisticated Richard Pittman in 2010 and 2005
organization. The result was an respectively. An earlier opera—
extremely terse and abstract Rasa (1997)—commissioned by the
expression of the subject portrayed, National Endowment of the Arts
and conceivably anticipated much was featured at the Sonic Boom
of the abstract and the expressionist Festival in New York in 1999 with
development in Western painting of the Da Capo Chamber Players, and
the 20th century, which presumably also at a festival of contemporary
evolved out of a different aesthetic music in Fort Worth/Dallas, Texas.
orientation. His violin concertos, Svara Yantra,
commissioned by the Polish-
Twilight Colors is a series of American violinist Joanna Kurcowicz
vignettes in four movements, each and the National Radio Orchestra
with a descriptive phrase: “in the of Poland, and Cranes Dancing,
darkness, a thread of light,” “through have been performed by several
the clouds, colors of dawn,” “trees orchestras including the Boston
and rocks in the mist,” and “over the Philharmonic and the Minnesota,
horizon, mountain peaks rising;” and Chicago, Richmond, New Zealand,
a coda, “their silhouettes neither and Polish National Symphony
parallel nor contrary.” orchestras. In addition to the BMV
and the Da Capo Players, Korde
Twilight Colors was commissioned has collaborated with Ensemble
by the Koussevitzky Foundation for Modern, Third Angle New Music,
Boston Musica Viva, and dedicated Brooklyn Rider String Quartet, the
to the fond memory of Olga Parker Quartet, and the Berlin Trio,
Koussevitzky. —Chou Wen-chung as well as internationally renowned
soloists Jan Müller-Szeraws, the
Shirish Korde multi-instrumentalist and vocalist
Shirish Korde's Wu Tong, the Balinese singer/dancer
compositions seek Desak Suarti Lakshmi, the UK-based
ways of unifying guitarist Simon Thacker, and the
diverse musical tabla virtuosos Sandeep Das and
and theatrical Amit Kavrhekar among others.
languages—
drawing inspiration His many honors include grants
especially from from the National Endowment of the
Asian musical and theatrical Arts (3), The Fromm Foundation at
traditions—into unique and Harvard University (2), The Siemens
compelling musical works. He has Foundation (2), The Massachusetts
composed five large-scale operas Cultural Council (6), The British and
and music theater works, as well Edinburgh Arts Councils as well as
as concertos and symphonic the Leif and Mellon Foundations.
music, chamber music, and works His works are recorded on the
for solo instrumentalists and Mode, Chandos, Bridge, Neuma, and
vocalists. His recent operas— Centaur labels.Korde is a composer of Indian mystics, gather and acknowledge
descent who spent his early the Great Simorgh as their king.
years in East Africa. He studied Simorgh is a mysterious bird who
Jazz at the Berklee College of dwells in Mount Kaf, a mythical
Music with Charlie Mariano and mountain that wraps around the
Herb Pomeroy, composition and world. The birds are led on their
music theory at New England great perilous journey by the
Conservatory with Robert Cogan, Hoopoe, a bird mentioned in the
Ernst Oster, and Donald Martino, and Quran as King Solomon's trusted
Ethnomusicology, especially Asian messenger. At the start of the
Music with Sharda Sahai (tabla), and journey, each bird presents an
Bonnie Wade at Brown University. elaborate excuse for not being able
Currently, he teaches at the College to make the journey, but the wise
of the Holy Cross in Worcester, Visit Hoopoe addresses each of their
his website at shirishkorde.com fears, complaints, and questions.
He then outlines the perils of the
The Conference of the Birds journey, describing the seven valleys
See following pages for program texts. they must cross in order to reach the
abode of the Simorgh:
An introduction from The
Conference of the Birds 1. The Valley of the Quest, where the
by Sholeh Wolpé: Wayfarer begins by casting aside all
dogma, belief and unbelief.
Farīd Ud-Dīn Attar's The Conference
of the Birds (Manteq al-Tayr) is 2. The Valley of Love, where reason
a medieval Sufi allegorical poem is abandoned for the sake of love.
about the human struggle both
physical and spiritual. Its focus 3. The Valley of Knowledge, where
is on the central idea of the Sufi worldly knowledge becomes utterly
movement: that the soul is in the useless.
prison of the human body and
awaits release. Once freed, it returns 4. The Valley of Detachment, where
to the source, which is the Creator the Wayfarer realizes that everything
or the "beloved." This reunion can is connected and attachments to
be experienced while we are still the world are given up. Here what is
bound by the body through looking assumed to be "reality" vanishes.
inward and through purification.
Seen from this perspective then, 5. The Valley of Unity, where the
The Conference of the Birds is an Wayfarer realizes that everything is
allegorical poem for the soul's connected and that the "Beloved"
journey to the Divine, with the is beyond everything, including
Simorgh (a mythical bird-deity of harmony, multiplicity, and eternity.
Persian literature), cast as the great
king of the birds of the world. The 6. The Valley of Wonderment, where,
birds look to the Hoopoe, King entranced by the beauty of the
Solomon’s favorite avian courier, Beloved, the Wayfarer becomes
to guide them on the Way to the perplexed and, steeped in awe, finds
Simorgh’s home on Mount Kaf. that she or he has never understood
anything.
The story goes as follows: The
birds of the world, representing the7. The Valley of Poverty and From the composer:
Annihilation, where the self
disappears into the universe and the In composing the music for
Wayfarer becomes timeless, existing The Conference of the Birds, I
in both the past and the future. was deeply inspired by a recent
translation of The Conference of
When the birds hear the description the Birds by Sholeh Wolpé, and the
of these valleys, they bow their amazing illustrated version of The
heads in distress. The birds present Conference of the Birds by Peter Sis
their fears, excuses, longings, and — many of the illustrations from Sis's
attachments to the Hoopoe, who book will be projected during the
upbraids them to demolish their performance. Tonight's performance
egos and fall into an ecstatic, is a work-in-progress; in its entirety
irrational love with the Divine. The it wll become an evening-long piece.
Hoopoe illustrates each lesson with
a series of parables on this not- In the excerpt you will hear tonight,
quite-sane, often shocking love: the soprano plays multiple roles —
there are kings who fall in love that of a narrator, at other times
with male servants; there’s a Sufi of individual birds, as well as of
sheikh who apostatizes for love of a the Hoopoe. The instrumentalists
Christian girl; there are blood-tears, also take on different roles, and
and flayings, and every manner of the music provides an independent
holy fools ecstatically degrading narrative drawing on diverse
themselves. The Way, Attar wants musical resources from overtone
us to understand, is not confined and all-interval chords, birdsong-
by logic, worldly prudence, or even like melodies, scales and chord
religious orthodoxy. Every form of formations inspired by the songs
ego must be sacrificed, even the of the Cardinal, Nightingale and
conceit of rectitude. Robin — birds that congregate and
sing outside my home and studio
The Hoopoe’s lessons unnerve in Worcester regularly — as well as
the birds so violently, some die the transcriptions of field recordings
on the spot. The remaining birds of birdsongs, especially the Alpine
journey through countless ordeals. Chough, Raven, and the Blue-Rock
In the end, out of 100,000, only 30 Thrush, that were made by the great
pilgrims reach Mount Kaf. Purified 20th century French composer
and chastened by the journey, they Olivier Messiaen in the 1950s.
behold the Simorgh — only to see
their own reflection in the lake The Conference of the Birds marks
waters. Attar reveals his clever twist my ninth commission from Boston
of language: si morgh, in Persian, Musica Viva and Music Director
means “30 birds.” All the birds are Richard Pittman, and is dedicated
the Simorgh; Simorgh is them — "the to the memory of Lore Pittman,
searchers are what they seek.” whose generosity and spirit were
the hidden forces behind Boston
Musica Viva's fifty years of bringing
adventurous performances in Boston
and beyond. —Shirish KordeBernard Hoffer “complex, radical, experimental
Bernard Hoffer music, which had flourished
was born October somewhat in the 1920s, found itself
14, 1934, in Zurich, almost abruptly without performers
Switzerland, willing to present it.” Composers at
received early the time turned to popular idioms—
musical training jazz, film, ballet, and radio—to
at the Dalcroze appeal to the masses. As a result,
School in New York, Brant’s music is nothing short of
and attended Eastman School of polystylistic.
Music (BM, MM) in Rochester, NY.
Hoffer has written extensively for Brant believed that music reflected,
films, television, and commercials or at the very least challenged,
for which he has won several Emmy the complexities of life. To craft
nominations, including the music for complexity, Brant was known to
the MacNeil-Lehrer News Hour on draw inspiration from all styles,
PBS. He has scored the hit children’s ranging from antiphonal Renaissance
cartoon series Thundercats and music to the music of Berlioz, Ives,
Silverhawks, and orchestrated the and Copland, to popular jazz and
Emmy Award winning theme to film, and to Javanese Gamelan.
PBS’s The American Experience. In 1950, Brant began to write a
particular kind of spatial music, for
In addition to an array of recent which he would become best known,
works for orchestra and chamber in which the planned positioning
ensemble including many written of the performers throughout the
for young audiences, Hoffer often concert hall is an essential element
creates new arrangements of in the composing design. All of
American Songbook standards for Brant’s post-1950s works are spatial,
the Concord Orchestra’s annual requiring performers to be deployed
pops concerts. throughout the hall with prescribed
distances between performers and
A Celebration audience members.
Bernard Hoffer wrote A Celebration
Brant taught at Juilliard, Columbia
in honor of Boston Musica Viva's
University, and Bennington College.
recent 50th Anniversary Season.
Among his many awards, Brant has
been awarded two Guggenheim
Henry Brant Fellowships, a Pulitzer Prize in Music,
Henry Brant (1913- the American Music Center’s Letter
2008) was one of of Distinction, and election to the
the most original American Academy-Institute of Arts
composers of and Letters.
the 20th century.
Born in Montreal
All Souls Carnival
to American
Henry Brant’s All Souls Carnival
parents, grew up
(1949) is a chamber piece that
in the experimental, contemporary
predates his spatial music period.
tradition set forth by composers
The work features flute (doubling
such as Varèse and Schoenberg.
piccolo), violin, cello, accordion,
However, during the Great
and piano, and is approximately 16
Depression, Brant noted that
minutes long.According to Brant’s 1993 program providing commentary, satire,
and liner notes for All Souls Carnival and social reprieve. All Souls
and other works performed and Carnival combines whimsical
recorded for commercial release motifs, opposing harmonies, and
by Boston Musica Viva, composers contrasting ideas to create a
during the Great Depression had to satirical, insincere, and comedic
eschew the “radical experimental soundscape that fuses circus music,
music” that was being written in the street music, dance music, and
1920s, as public support for complex concert music. Complex hocketing
music waned in favor of simple and doubling create unique depth
music. Brant wrote that composers and dimension in his music. The
faced three choices: acoustical space that is crafted by
his orchestration alludes to his future
"(a) to stop composing altogether; spatial music.
(b) to compose and/or
orchestrate commercially; or Henry Brant’s self-titled album
(c) to compose in a simpler, featuring Boston Musica Viva’s
much less radical style." recording of his All Souls Carnival
and other works is available via
Brant, however, came up with a various online sellers and streaming
fourth choice: A style of music services. —Nicholas Tran
BMV SPECIAL EVENT—SAVE THE DATE!
THE MUSIC OF DUKE ELLINGTON
Saturday, June 20, 2020 | 8pm
Performing Arts Center at 51 Walden
Concord MA
Ticket info coming soon.
Visit BMV.org or call 617-354-6910 to inquire.
Join Music Director Richard Pittman and a
special BMV Big Band for an array of great
early works by legendary jazz composer
and bandleader Duke Ellington. Plus,
soprano Maureen McMullan joins in for
some new arrangements by BMV favorite
Bernard Hoffer. Save the date for this
night of hot music and cool refreshments
benefitting BMV’s ongoing mission of
commissioning and presenting new music!
MAUREEN McMULLANPROGRAM TEXTS for The Conference of the Birds Sung text is bolded, all other texts are projected When the poet Attar woke up one morning after an uneasy dream, he realized that he was a hoopoe bird… Part I in which all the birds of the world get together for a conference and are addressed by the hoopoe bird. Hoopoe: Birds! Look at the troubles happening in our world! Anarchy—discontent—upheaval! Desperate fights over territory, water, and food! Poisoned air! Air and water contaminated! Unhappiness! I fear we are lost. We must do something! I have seen the world. I know many secrets. Listen to me: I know of a king, a king who has all the answers. We must go, we must go and find him. There’s proof he exists. Look! Here’s a drawing of one of his feathers. It fell to the ground in China in the middle of the night. This king is real! He is as close to us as we are far from him. His name is Simorgh and he lives on the mountain of Kaf. Let us go and find him. Simorgh is hidden behind the veil of clouds. Birds: What veil? What clouds? Hoopoe: Your heart is behind the veil. Part II in which the birds realize that this will be a difficult journey and are reluctant to give up their comforts. Some birds have doubts and some birds have fears The journey scared the birds. They made excuses The duck said I’m happy in water, the source of everything. Hoopoe: There’s plenty of water where we’re going. The falcon said he already had a master! Hoopoe: You like following orders? Follow me!
The owl loves searching
for shiny treasure
among the ruins!
Hoopoe: Come with us and search new places.
And the parrot said I like it here.
I feel safe.
They bring me food
and water every day.
Hoopoe: And tell you what to think?
The Peacock said I am special,
not like anybody else.
Hoopoe: Come and show everyone your colors. Let’s go!
Stop these excuses! Follow me!
At last the birds take off.
Part III in which the birds fill all the corners of the world.
Hoopoe: Brave birds
glide, fly, let’s soar.
Love loves difficult things.
The endless deserts are crystals of sand.
The mountain ranges are a string of beads.
Hoopoe: Quiet and easy, birds—the wind is on our side. We have a long way
to go.
Birds: What if he’s not there?
How much farther do we have to go?
I wonder what this Simorgh looks like.
Is he going to feed us?—that’s what I want to know.
The seven planets are freckles…
The seven oceans are drops of rain…
Part IV in which the birds have to cross seven valleys.
The Valley of the Quest
The Valley of Love
The Valley of Understanding
The Valley of Detachment
The Valley of Unity
The Valley of Amazement
The Valley of Death
(Please turn page quietly)The Valley of the Quest P peaceful A auspicious T truthful I intense E enduring N numbing C calming E eternal Patience… Patience… Eternal… Intense… Auspicious… Eternal… The Hoopoe said, When you feel empty open up your heart let the wind sweep through your heart. Jettison your obsessions, your power, and everything you hold dear. The birds travel through the seven valleys: The Valley of the Quest The Valley of Love The Valley of Understanding The Valley of Detachment The Valley of Unity The Valley of Amazement The Valley of Death Hundreds of thousands of birds had set off on the journey and they filled all the corners of the world. But many didn’t make it. Some, distressed and discouraged, snuck away in fear. Others kept on going but were overcome. They lost direction, reason, died of thirst, hunger, from the heat of the sun, from the vastness of the oceans… They were ravaged by beasts and scared out of their minds by what they saw along the way. Finally, the remaining ragged birds came to the end of the seventh valley. Birds: Are we alive or dead? Where is that king with all the answers? We’ve come all this way. Let us see him! We made it through all those valleys!
Hoopoe: Valleys? They were only an illusion, birds, a dream. We’ve been through nothing. We are just now at the beginning of our journey. Some birds could not believe it. On the spot, they lost all hope. They dropped dead and fell from the sky. Some kept flying. Part V in which the mountain of Kaf appears in the distance. A band of thirty battered, beaten, beleaguered companions trying hard not to try and hardly able to fly… Flowers, not flowers Fog not fog it comes at midnight it goes at dawn Arriving like a spring dream leaving like the morning clouds. No way to hold it. (Zen poem, by anonymous) Birds: Mountain of Kaf! We are looking for Simorgh, our king. The curtains parted. The birds entered. And they saw Simorgh the king and Simorgh the king was them. At the end thirty birds, unified by their quest, reach their king at last. And they see that they are Simorgh the king… and that Simorgh the king is each of them… and all of them. Text from The Conference of the Birds by Farīd Ud-Dīn Attar. Adapted by the composer.
ABOUT THE ARTISTS Lucy Fitz Gibbon, soprano
Noted for her
Richard Pittman, music director “dazzling, virtuoso
singing” (Boston
Globe), Lucy
Fitz Gibbon
is a dynamic
musician whose
repertoire spans
the Renaissance to the present.
She believes that creating new
works and recreating those lost
Richard Pittman has led Boston in centuries past makes room for
Musica Viva to international the multiplicity and diversity of
distinction as one of the best new voices integral to classical music’s
music ensembles in the world, future. As such, Fitz Gibbon has
conducting the ensemble at the given US premieres of rediscovered
Edinburgh International Festival, works by Baroque composers
the Holland Festival, the Gulbenkian Francesco Sacrati, Barbara Strozzi,
Festival in Lisbon, the Bruckner and Agostino Agazzari, as well by
Festival in Linz, Settembre Musica 20th century composers including
in Turin, and at Tanglewood. Tadeusz Kassern, Roman Palester,
Pittman serves as Music Director and Jean Barraqué. She has also
of the Concord Orchestra and worked closely with numerous
the New England Philharmonic in others, premiering works by John
Massachusetts. He has frequently Harbison, Kate Soper, Sheila Silver,
conducted for the BBC, and David Hertzberg, Reena Esmail,
has conducted the Kirov Opera Roberto Sierra, Anna Lindemann,
Orchestra in St. Petersburg, the and Pauline Oliveros, among many
Royal Philharmonic in London, the others.
National Symphony in Washington
DC, the Seattle Symphony, the Fitz Gibbon’s 2019-2020 season
Frankfurt Radio Symphony, the highlights include performances
Hamburg Symphony, the London with the Aizuri and Doric Quartets;
Sinfonietta, the City of London the premiere of Anna Lindemann’s
Sinfonia, the Ulster Orchestra in multi-media theater work The
Belfast, the Concerto Soloists Colony; two tours with Musicians
of Philadelphia, the Ensemble From Marlboro performing works by
Modern in Frankfurt, and the RTÉ Brett Dean and Kate Soper in such
National Symphony of Ireland. venues as Carnegie Hall, the Kimmel
In 2015, Pittman received an Center, and the Isabella Gardner
honorary doctorate from the Boston Museum; Bach’s St. Matthew Passion
Conservatory in recognition of his with the Kalamazoo Symphony; and
pioneering leadership in new music. Canteloube’s Chants d’Auvergne
with the Eureka Symphony. She
also joins the Brooklyn Art Song
Society for a fourth consecutive
season, performs works by Webern
with clarinetists Charles Neidich and
Ayako Oshima, and celebrates the
Earl Kim centenary with Boston’sCallithumpian Consort, among Peggy Pearson, oboe
numerous other performances. Oboist Peggy
Pearson is a
A graduate of Yale University, winner of the Pope
Fitz Gibbon also holds an artist Foundation Award
diploma from The Glenn Gould for Outstanding
School of the Royal Conservatory Accomplishment
and a master’s degree from Bard in Music. She is
College-Conservatory’s Graduate Artistic Director
Vocal Arts Program. She has spent Emerita of, and oboist with, Winsor
summers at the Tanglewood Music Music and solo oboist with the
Center (2014-2015) and Marlboro Emmanuel Chamber Orchestra.
Music Festival (2016-2019). She is Pearson has toured internationally
currently Interim Director of the and recorded with the Orpheus
Vocal Program at Cornell University Chamber Orchestra, has appeared
and on the faculty of Bard College as principal oboe with the Boston
Conservatory’s Graduate Vocal Arts Symphony Orchestra, St. Paul
Program. For more information, see Chamber Orchestra, the Orchestra
www.lucyfitzgibbon.com. of St. Luke's, and the Boston
Philharmonic, and has performed
Ann Bobo, flute with the Chamber Music Society
Ann Bobo has of Lincoln Center and Music from
been one of the Marlboro. She was a fellow of the
busiest freelance Radcliffe Institute in contemporary
flutists in the music and as artistic director of
Boston area for Winsor Music, commissioned and
many years. She premiered over 30 works.
performs regularly
with the Boston Pearson has been on the faculties
Pops Esplanade Orchestra, Boston at SongFest, Tanglewood Music
Musica Viva, the Pro Arte Chamber Center, Boston Conservatory, the
Orchestra, and the Springfield College-Conservatory of Music
Symphony. Her work includes nearly (University of Cincinnati), Wellesley
all of the major organizations in the College, the Composers Conference,
New England area, most notably, the Boston Conservatory, and the Longy
Boston Symphony Orchestra, Boston School of Music. She is currently on
Lyric Opera, Boston Chamber Music the faculty at MIT and at the Bach
Society, Rhode Island Philharmonic, Institute.
Emmanuel Music, and Boston
Modern Orchestra Project. Bobo is William Kirkley, clarinet
an avid chamber musician and has Active as an
been included on the rosters of the orchestral
Rockport Chamber Music Festival, musician,
the Celebrity Series of Boston, recitalist, and
Winsor Music, Carolina Chamber chamber musician,
Music Festival, and the Radius clarinetist
Ensemble. Bobo is currently on William Kirkley's
faculty at the Boston Conservatory performances
at Berklee and the Rivers School have been called “emotional,
Conservatory. committed, and intensely exciting“
by The Boston Globe. He hasperformed to acclaim with the St. Olaf College and the Boston
Boston Symphony Orchestra, the Conservatory. He is a member of
Boston Pops Esplanade Orchestra, Beyond Artists, and is supporting
the Dallas Symphony, the Santa Friends of the Boundary Waters
Fe Opera, and throughout North with this performance.
America. Currently principal clarinet
of the Cape Ann Symphony and the Geoffrey Burleson, piano
Lexington Symphony, he is a faculty Equally active as a
mentor with the Gordon Symphony recitalist, concerto
and is on the music faculties at soloist, chamber
Gordon College and Salem State musician, and
College. Kirkley's principal teachers jazz performer,
were Robert Umiker, Robert Geoffrey Burleson,
Marcellus, and Anthony Gigliotti. He pianist, has
has recorded on the CRI, SEAMUS, performed to
New World, and Centaur labels. wide acclaim throughout Europe
and North America. The New York
Jonathan Hess, percussion Times has hailed Burleson’s solo
Praised for performances as “vibrant and
his “power compelling,” praising his “rhythmic
and finesse” brio, projection of rhapsodic
(Boston Classical qualities, appropriate sense of
Review) and spontaneity, and rich colorings.”
“exacting milieus” Current recording projects include
(Boston Globe), Camille Saint-Saëns: Complete
percussionist Piano Works, on six CDs, for the
Jonathan Hess performs throughout new Naxos Grand Piano label.
Greater Boston with the area’s The first five volumes have been
premier ensembles. He is the released to high acclaim from
principal timpanist for the Handel Gramophone, International Record
and Haydn Society, and regularly Review, Diapason (France) and
performs with Boston Modern elsewhere, and have garnered
Orchestra Project, A Far Cry, Boston International Piano Choice Awards
Baroque, Odyssey Opera, Aston from International Piano Magazine.
Magna, Grand Harmonie, and the Other noteworthy recordings by
Connecticut Early Music Festival. Burleson include Vincent Persichetti:
A founding member of both the Complete Piano Sonatas (New
Boston Percussion Group and the World Records), which received a
soprano-percussion duo BeatSong, BBC Music Choice award from the
Hess is a keen advocate for new BBC Music Magazine, and AKOKA
music and an active participant in (Pentatone), featuring Messiaen’s
expanding the percussion repertoire Quartet for the End of Time, as well
through inventive new commissions as companion works, for which
and collaborations. Burleson was nominated for a 2015
JUNO Award for Classical Album of
In addition to his versatility and the Year.
command as a performer, Hess is
also a dedicated and passionate Burleson’s concerto appearances
educator, currently teaching include the Buffalo Philharmonic,
percussion at the College of the New England Philharmonic, Boston
Holy Cross. Hess is a graduate of Musica Viva, and the HollandSymfonia in the Netherlands. He has Conservatory Preparatory School,
also appeared as featured soloist at and the Community Music Center of
the Bard Music Festival, Monadnock Boston (where she chairs the wind
Music Festival, Mänttä Music Festival department).
(Finland), Santander Festival (Spain)
and the Talloires International Danielle Maddon, violin
Festival (France). He is a core Violinist Danielle
member of the American Modern Maddon is well
Ensemble, Boston Musica Viva, the known to New
Tribeca New Music Festival, David England audiences
Sanford’s Pittsburgh Collective, and for her vibrant
Princeton University’s Richardson playing and
Chamber Players. Burleson is on broad experience
the piano faculty of Princeton as a soloist,
University and is Professor of Music concertmaster, recitalist, chamber
and Director of Piano Studies at and orchestral musician. Performing
Hunter College-City University of on both modern and period
New York. He is also on the piano instruments, Maddon has appeared
faculties of the CUNY Graduate in venues including Carnegie Hall,
Center, the International Keyboard Vatican City, and Tokyo's Suntory
Institute & Festival (New York), and Hall, in repertoire spanning four
the Interharmony International Music centuries. Critics have hailed her
Festival (Italy). playing as "magnificent," "stunning,"
"masterful," and "heartfelt." She
Katherine Matasy, accordion performs regularly with Boston
One of the area’s Baroque, Emmanuel Music, the
most versatile Boston Pops, Boston Musica Viva,
musicians, Cantata Singers, Boston Cecelia,
Katherine Aston Magna, and other ensembles.
Matasy has been
described by The As concertmaster and soloist for
Boston Globe as “a the New England Philharmonic
musician of depth under Richard Pittman, she has
and refinement” with “technique performed 16 violin concertos by
to burn” and her playing praised as modern masters including Berg,
“riveting,” “ravishing,” “brilliant,” and Harbison, Dutilleux, and Lutoslawski.
“a rare feat.” Most frequently heard Her performances include premieres
as a clarinetist and bass clarinetist of new violin concertos written for
in chamber music and orchestra her by composers Bernard Hoffer,
settings, she has performed with Andy Vores, and David Rakowski.
most of the region’s major musical In February 2020, Maddon will play
organizations. Highly regarded as the premiere of a second concerto
an interpreter of new music, she by Bernard Hoffer, Decapod, written
is a founding member of Dinosaur for her and the NEP. Upcoming
Annex and a frequent performer chamber music performances
with Boston’s many new-music include a program she created for
groups. After training at the New the Cape Ann Museum, "The Power
England Conservatory of Music (BM, of Pattern," with the NEP String
MM in clarinet), she now teaches at Quartet, and two fall concerts
Wellesley College, the New England with BMV.Samuel Kelder, viola Jan Müller-Szeraws, cello
Violist Samuel Cellist and Artist-
Kelder is an in-Residence at
unswerving the College of the
proponent of Holy Cross, Jan
chamber music, Müller-Szeraws's
orchestral projects, solo-engagements
multimedia have included
presentations, performances
and music education. Kelder’s with the New England Philharmonic,
multifaceted career spans the music Concord Orchestra, Boston
of the Baroque era to fresh ink of Landmarks Orchestra, Moscow
contemporary composer-performer Symphony Orchestra Orquesta
collaborations. Sinfónica de Concepción, Orquesta
Clásica de la Universidad de
Described as “dynamic and Santiago de Chile, and Orquesta
committed” by the Boston Globe, Sinfónica de Chile with repertoire
Kelder performs regularly as guest ranging from traditional concertos
artist with ensembles A Far Cry, to contemporary compositions
Boston Modern Orchestra Project, by Chou Wen Chung, Gunther
Guerilla Opera, Callithumpian Schuller, Bernard Hoffer, and
Consort, Sound Icon, and various John Harbison, premiering most
regional symphony orchestras. recently the concerto version
Kelder joined the Boston-based of Shirish Korde’s Lalit with the
string trio Sound Energy in 2018, an Richmond Symphony Orchestra.
ensemble dedicated to searching He is a member of contemporary
for ways to push the traditional music ensemble Boston Musica
violin-viola-cello combination to Viva and can be heard frequently
represent the bold and daring in solo and chamber music recitals
voices of 20th and 21st century across New England and abroad.
composers. Additionally, Kelder is Most recently he has been pairing
co-founder of viola duo Shizuka Bach’s Six Suites for Violoncello
with Hannah Rose Nicholas. Solo with works by Shirish Korde in
his project “Bach & Ragas.” A guest
Kelder holds a BM from the artist at many festivals, he has been
University of Houston, MM from guest professor at the Universidad
Mannes the New School for Music, Católica de Chile, as well as guest
and graduated May 2017 from principal cellist for the Bamberg
doctoral studies at Boston University Symphony Orchestra in Germany.
as teaching assistant to Michelle He also teaches at Phillips Academy
LaCourse. Kelder is an artist member in Andover and is currently director
of Music for Food, a musician-led of the performance program of the
initiative to fight hunger in our home Music Department at the College of
communities. the Holy Cross in Worcester, MA.About Boston Musica Viva
Music Director Richard Pittman
founded Boston Musica Viva in 1969
as the first professional ensemble
in Boston devoted to contemporary
music, and today it is the oldest new
music ensemble in the United States.
Through the years, BMV has become
one of the most highly respected
ensembles of its kind, with an
international reputation for innovation and excellence. Andrea Musso of the
Corriere di Torino praised “the superb versatility of the ensemble,” and Tim
Page of The New York Times wrote that BMV is “justly celebrated as one of
the finest new music ensembles in the United States.”
Boston Musica Viva is particularly proud to have been an early
champion of composers including Ellen Taaffe Zwilich, John Harbison,
Joseph Schwantner, and Steven Stucky, each of whom went on to win the
Pulitzer Prize. BMV has performed over 750 works by over 325 composers.
These include over 150 works written specifically for BMV, and over 240
world premieres. To learn more, visit BMV.org.
2O19/2O20
SEASON
Story Telling ANNUAL FAMILY CONCERT
SATURDAY, DECEMBER 7 3PM
Christopher Rouse The Infernal Machine
Benjamin Britten The Young Person’s Guide to the Orchestra
Joyce Kulhawik, narrator
Edward Elgar Cello Concerto in E minor Op. 85, Mvt. IV
Performed by Fionn O’Connor, cello
2019 YOUNG ARTIST’S COMPETITION WINNER
%HUQDUG+RHULittle Red Riding Hood
Joyce Kulhawik, narrator
Westborough High School Women’s Chorale,
Alyson Greer Espinosa, conductor
BOSTON UNIVERSITY’S TSAI PERFORMANCE CENTER
T I CK E T S O N SA LE N E PH I LH A R M O N I C .O R G19BMOP20
jordan hall at new england conservatory GIL ROSE,ARTISTIC DIRECTOR
Klezmer Madness SAT., NOV. 23, 2019 — 8pm
ORCHESTRAL SERIES
Matthew Rosenblum, Wlad Marhulets, Osvaldo Golijov, Avner Dorman,
with David Krakauer, clarinet
The Chronicle of Nine SAT., FEB. 1, 2020 — 7:30pm
Arnold Rosner’s opera starring soprano Megan Pachecano
Co-presentation with Odyssey Opera
Joseph Schwantner Portrait SAT., MAR. 28, 2020 – 8pm
Percussion Concerto No. 2 and Aftertones of Infinity, plus the winners
of the NEC Concerto and Composition Competitions
Music of the Spheres FRI., MAY 22, 2020 – 8pm
Yu-Hui Chang, Henri Lazarof, Holst, Colin Matthews
B O S T O N M O D E R N O R C H E S T R A P R O J E C T | 781.324.0396 | BMOP.orgSeason 22
19 20
slow dreams of eternity
Saturday, December 7, 2019, 8 PM “sparklingly imaginative
Sunday, December 8, 2019, 4 PM programming”
First Church in Boston - The Boston Globe
Gabriel Fauré La chanson d'Ève for soprano & piano, Op. 95
Helen Grime Luna for flute, oboe, clarinet, French horn, piano & percussion
Arthur Benjamin Le Tombeau de Ravel “Valses-caprices” for clarinet & piano (1949)
Theo Verbey Four Preludes to Infinity for oboe & string trio
Robert Schumann Piano Quartet in E-flat Major, Op. 47
www.chameleonarts.org • 617-427-8200
7KH&21&25'25&+(675$
.QEPBoston Musica Viva Contributors
Boston Musica Viva is grateful to the many donors who join us in creating and fostering new music
through their generous support. Those listed below made contributions or commitments to give in
the last twelve months. To make a tax-deductible gift to BMV call (617) 354-6910 or visit BMV.org.
Sustainers | $10,000 or more Patrons | $500-$999 Donors | $100-$249
Anonymous Anonymous Anonymous
Lore and Richard Pittman Marilyn Cugini Arnie Aaron
and Steve Smith and Francine Grossbart
Benefactors | $2,500-$9,999 Ridgely Duvall Jonathan Aibel
Anonymous John and Rose Mary Harbison and Julie Rohwein
Henry and Sue Bass Doris Held Ken Allen and Hugh Russell
Chamber Music America Korde & Associates Charles Anderson
The Aaron Copland Fund L. Laszlo Meszoly Linda C. Black
for Music In memory of Lore Pittman Jerry Blum
Ann and Gordon Getty Robert and Samantha Pape Frederick Choi
Foundation Elizabeth Goldring Piene and Andy Vores
The Jebediah Foundation Elizabeth Lee Clement
Robert and Mary Kemp Sponsors | $250-$499 Bruce Coppock
Marilyn Bone Kloss Anonymous Dorothy L. Crawford
In memory of Lore Pittman Grant and Betsy Anderson Bruce and Susan Creditor
John and Elizabeth Loder In memory of Lore Pittman Joanne D’Alcomo
In memory of Lore Pittman Emilio Bizzi and Stephen Elman
In honor of Richard Pittman Birgit and Charles Blyth Dorothy Derifield
Massachusetts Cultural Paul Charosh Henry and Ellen Eagan
Council Peter Child In memory of Lore Pittman
Spiralis Music Trust In memory of Lore Pittman Edith Epstein and Michael Tsuk
John Clark Colette F. Gramm
Guarantors | $1,000-$2,499 In memory of Lore Pittman Jeff Harman and Renee White
Nicholas Altenbernd Paul Ferris H. Daniel Hassenfeld
Amphion Foundation Janet Galligani Casey and Joan Blum
BMI Foundation John Haule John C. Heiss
George and Carol Burleson Nancy and David Hawkins Max Hobart
Catherine and Paul Linda and Guenter Hiort Walter M. Horn
Buttenwieser In memory of Lore Pittman Bruce Houston
Chou Wen-Chung In honor of Richard Pittman and Amy Molloy
In memory of Lore Pittman Elizabeth Irvin In memory of Lore Pittman
Nancy Cirillo Dina Kim Carol Knoedler
Richard and Deborah Cornell Shirish Korde In memory of Lore Pittman
Micheline de Bievre Lorraine Lyman William Kraft and Joan Huang
Charles and JoAnne Dickinson Nancy and Charlie McCarthy Kathryn and Ed Kravitz
Harriet Eckstein In memory of Lore Pittman Lynn Kremer and Iouri Alsov
In memory of Lore Pittman Marvin and Elsa Miller In memory of Lore Pittman
Kenneth Fain Francoise Moros Patricia Krol
In memory of Lore Pittman Jack Osgood Joyce Kulhawik
In honor of Richard Pittman David Rakowski and Andrew Cohen
Bernard Hoffer Rhoda Ross and Joseph In memory of Lore Pittman
John and Mary Ann Lape Solomon Fund of the John and Barbara Marden
Virginia Newes New Hampshire Louise Myers
William and Lia Poorvu Charitable Foundation Richard Ortner
In memory of Lore Pittman Michael and Karen Rotenberg Ronald C. Perera
Wayne Schweidenback Rosemarie and Robert Scully Diane Pettipaw
David and Marie Scudder Sarah Tenney In memory of Lore Pittman
Nathan D. Somogie Ellen Taaffe Zwilich Malcolm and Mona Roberts
Danielle Maddon Emily Culver Romney
and Geoffrey Steadman Victor Rosenbaum
In memory of Lore PittmanDonors | $100-$249 Friends | up to $99 Friends | up to $99
continued Anonymous continued
Ray and Paula Rosenstock Paulina Alexander Samuel Rechtoris
Kristen Rupert Peter L. Barkley Christina Roberts
and John Foote Margot and Jim Boyd In memory of Lore Pittman
Charles Schlueter Bridget Brazeau Robert H. Rubin
Heinz Schonmetzler, M.D. Anthony and Penny Burton Betsy Schramm
Freema Shapiro In memory of Lore Pittman In memory of Lore Pittman
Linda and David Sherman Dorothy L. Crawford Elliott Schwartz
Jennifer Snodgrass Daniel S. Godfrey Bruce Scott
and Peter Belknap Patrick Greene and Marcia Duncan
In honor of Richard Pittman John W Guppy, III Cynthia Segal
Ann Teixeria Lauren Hartnett John Sheehan
Loretta Tramontozzi Leslie M. Holmes Victoria Slingerland
Paul Tyler Walter Horn James Swanson
Charles Weiss Curtis Hughes Anne Victor
Murray Wheeler, Jr. Andrew Jackson Charles Warren
David A. Wood Samuel Keyser Donald Wheelock
Ruth Zachary Mary Ellen Lannon Christine Wood
Benjamin Zander Steven Lipsitt Jill Wu
Majie Zeller Shaari S. Mittel Yehudi Wyner
Marnie Moore
John Morrison In-kind Support
Eric Nathan Nick Adams
Lucy Nunn Chapel Bridge Park
Benjamin Park Johnson String Instrument
Robert Harding Pittman
Boston Musica Viva is funded in part by the Massachusetts Cultural Council,
a state agency.
The musicians of Boston Musica Viva are represented by the
Boston Musicians’ Association, Local 9-535, American Federation of Musicians.
Thanks to Chapel Bridge Park and Steven J. Rizzuto, for donating parking for our
Newton rehearsals. Learn more about Chapel Bridge Park at chapelbridgepark.com
Boston Musica Viva ensemble and core member photos by Robert Harding Pittman.
BOSTON MUSICA VIVA Honorary Board
320 Washington Street, Suite 200 T.J. Anderson
Boston MA 02135 Deborah Borda
617-354-6910 Dorothy Crawford
BMV.org Micheline de Bievre
Harriet Eckstein
Board of Directors Bernard Hoffer
Nicholas Altenbernd Secretary Renée Krimsier
Henry Bass William J. McCune, Jr.
Richard Cornell President Ellen Taaffe Zwilich
Michael Gandolfi
Marilyn Bone Kloss Administration
John Lape Robert Pape, executive director
L. Laszlo Meszoly rpape@bmv.org
Virginia Newes
Richard Pittman Nicholas Tran, marketing & operations intern
Wayne Schweidenback ntran@bmv.org
Nathan D. Somogie TreasurerJoin us again as our 51st Season of New Music continues
SONGS OF PRISONERS OF WAR
Saturday, January 18, 2020 | 8pm
Longy School of Music, 27 Garden Street, Cambridge MA
Join us for a world premiere by Estonian-American
composer Jonas Tarm, Fabio Vacchi's Canti di
Benjaminovo with mezzo-soprano Krista River, Joseph
Schwantner's Sleep Now, and the New England
premiere of 7 Dances by Rapido! national contest
KRISTA RIVER
winner Brian Nabors.
Krista River has “a shimmering voice...with the virtuosity
of a violinist and the expressivity of an actress.”
—The New York Times
“If there’s any more gorgeous contemporary music
than Joseph Schwantner’s I’ve yet to hear it …
for sheer beauty of sound it’s unsurpassed.”
—Mark Lehman, American Record Guide
JONAS TARM
OUR ANNUAL FAMILY CONCERT!
Sunday, March 8, 2020 | 3pm
Steve Aveson narrates Brian Robison's world premiere The Awkward
Chimpling with the Handel and Haydn Society Chorus of Sopranos & Altos,
and Bernard Hoffer's Paul Revere's Ride with the Northeast Youth Ballet!
STEVE AVESON
SPECIAL HOLIDAY SEASON OFFER! 50% off all tickets
to our Annual Family Concert, plus a free CD!
Order now at 617-354-6910 or BMV.org and use offer
code HOLIDAY for half-price tickets. Plus, receive a CD
featuring two more of our favorite Hoffer ballets, Ma
Goose and A Boston Cinderella, while supplies last.
BERG’S CHAMBER CONCERTO & KING HENRY VIII’S COURT
Saturday, April 4, 2020 | 8pm
Our season finale! Don't miss a much-anticipated world premiere by
Peter Child, an Alban Berg masterwork featuring BMV's own Gabriela Diaz
and Geoffrey Burleson, and past BMV commissions by John Huggler and
GABRIELA DIAZ & Ellen Taaffe Zwilich.
GEOFFREY BURLESON
“The city’s pioneering professional ensemble
dedicated to new music.” THE BOSTON GLOBE
Richard Pittman
Music Director 617-354-6910 | BMV.orgYou can also read
