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Sunday, April 28, 2013 - 7:30pm
Music Center Recital Hall (UCSC)

with Javad Butah, tabla

Funded by the Kamil and Talat Hasan Endowed Chair for Classical Indian Music and by the Ali Akbar Khan Endowment for Classical Indian Music.

 

Descended from the illustrious family of great musicians, Aashish Khan is considered one of India’s greatest living sarode players. In addition his virtuosity as a traditional sarodist, Aashish Khan is known as a pioneer in world music.


$12 general

$10 seniors

$8 students w/ID and youth

 

Tickets at santacruztickets.com and in-person or by phone

UCSC Ticket Office (831-459-2159) or SC Civic Auditorium box office (831-420-5260).

 

Doors open 30 minutes before curtain.

parking $4

 

 

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Wednesday, May 1, 2013 - 7:30pm
Music Center Recital Hall (UCSC)

 

featuring 

Rory Cowal (piano)

Bill Kalinkos (clarinet)

Sheila Willey (soprano)

Zachary Ragent (violin)

William Winant and the UCSC Percussion Ensemble

Polly Malan and the UCSC Resident String Ensemble

 

German-American composer Johanna Magdalena Beyer (b. Leipzig, 1888; d. New York, 1944) was part of a modernist movement in American composition during the 1930s. Particularly influenced by the radical and prolific Henry Cowell, Beyer's work explores special sonic effects, clusters, sliding tones, dissonant counterpoint, unusual instrument combinations, and the possibilities of the percussion ensemble. The concert is curated by Professor Amy Beal, who is currently writing a book on Beyer for the University of Illinois' American Composers series. 

 

Free and open to the public.

Doors open at 7:00pm.

 

parking $4

 

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Friday, April 26, 2013 - 7:30pm
Music Center Recital Hall (UCSC)

The acclaimed New York quartet premieres works by Fernanda Aoki Navarro (Brazil), Paul Nauert (Santa Cruz), and Ma’ayan Tsadka (Israel).

 

Tickets:

$12 general

$10 seniors (62+)

$8 students w/ID

at santacruztickets.com and in-person or by phone

UCSC Ticket Office (831-459-2159) or SC Civic Auditorium box office (831-420-5260).

 

Doors open at 7:00 pm

parking $4

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Saturday, April 27, 2013 - 7:30pm

Music Center Recital Hall (UCSC)

 

World premiere of "Four poems by Charles Bukowski" by the first annual George Hitchcock Award winner, Ittai Rosenbaum; music of Johanna Beyer and Pauline Oliveros; Santa Cruz composers David Hernandez, David Evan Jones, and Evan Merz.

 

free admission

 

Doors open at 7:00 pm

parking $4

 

 

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Friday, April 26, 2013 - 2:00pm
Music Center Rm 131 (UCSC)

 

Volinist/composer presents a program of solo improvisations and exploratory compositions.

 

Malcolm Goldstein, as composer/violinist, has been active in the presentation of new music and dance since the early 1960's in New York City, as co-founder of the Tone Roads Ensemble and as participant in the Judson Dance Theater, the New York Festival of the Avant Garde and the Experimental Intermedia Foundation. His "soundings" improvisations have received international acclaim for extending the range of tonal/sound-texture possibilities of the violin and revealing new dimensions of expressivity. His work has been presented internationally, and released on record labels such as Experimental Intermedia (XI), da capo, Wergo, Nonsequitur/ ¿What Next?, 0.0.Discs, Eremite, Folkways, In situ, and others. He has written extensively on improvisation and is the author of the book “Sounding the Full Circle: concerning music improvisation and other related matters.”

 

free

limited seating

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Wednesday, April 17, 2013 - 7:30pm
Music Center Recital Hall (UCSC)

A mix of recorded and live electronic music, celebrating the career of the esteemed Santa Cruz composer, technologist, and multi-media artist.

 

free admission

 

Doors open at 7:00 pm

parking $4

 

April in Santa Cruz 2013 is proud to feature distinguished technologist and composer Peter Elsea in a portrait concert (4/17), presenting a range of his electronic, electro-acoustic, interactive, and multi-media compositions.

Elsea learned the craft of electroacoustic composition as a graduate student at The University of Iowa, where he studied with Peter Todd Lewis, Richard Hervig and Lowell Cross. He earned the Master of Arts in Education (with an emphasis in teaching music technology) in 1974. After receiving his master's degree, he joined the staff of the Iowa Center for New Music as technician and instructor in the electronic music studio. During 6 years in that position, he was able to hone his electronics design skills building equipment for the studios and Cross's laser projection system. He also had the opportunity to work closely with many visiting composers such as Robert Ashley, Salvatore Martirano and Morton Subotnick.

 

Elsea joined UCSC in 1980, recruited by Gordon Mumma to become the studio engineer and instructor in the rapidly growing Electronic Music Program. When Mumma retired in 1994, Elsea became program director. Over the years he has developed the curriculum into a minor in electronic music and the program has gained an international reputation for breadth and rigor. Alumni of the program have gone on to establish academic and commercial studios, win Oscars and Clios, and become headliners in pop acts. Elsea has also built up the electronic music facilities from a single cluttered room to a six studio state of the art complex which is among the finest in American academia, and certainly the best facility dedicated to undergraduate teaching. He has also been instrumental in the development of the Digital Arts and New Media MFA program, and is currently one of the core instructors.

 

Elsea has continued to develop new systems for electronic music, turning from hardware to software in the 90s and recently back to hardware. (Some of these will be demonstrated tonight.) His best known package is the L-objects, an extension to MaxMSP, a software composition and performance platform that is in use worldwide. Elsea is also known internationally for his written tutorials on MaxMSP and other topics. These tutorials have been freely distributed on the world wide web since 1994. His textbook "The Art and Technique of Electroacoustic Composition" is in press with AR Editions and should be released later this year.

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Friday, April 19, 2013 - 7:30pm
Music Center Recital Hall (UCSC)

A bold new interpretation of Schoenberg's revolutionary 1912 work Pierrot Lunaire, and new dramatic works by Santa Cruz composers Tobin Chodos and Alexis Olsen, from San Francisco's distinctive multidisciplinary ensemble.

 

free admission

Doors open at 7:00 pm

parking $4

 

 

NONSEMBLE 6 is:

Amy Foote, soprano

Justin Lee, flute

Anna-Christina Phillips, clarinet and bass clarinet

Kevin Rogers, violin

Anne Suda, cello

Ian Scarfe, piano

 

 

Nonsemble 6 is an innovative San Francisco-based sextet known for interpreting contemporary and 20th-century music with an uncommon attention to theatrical craft. Singer Amy Foote, flutist Justin Lee, multi-clarinetist Anna-Christina Phillips, violinist Kevin Rogers, pianist Ian Scarfe, and cellist Anne Suda have performed in numerous Bay Area venues over the last few years, including on the Noe Valley Chamber Music series, at the San Francisco Conservatory of Music, at the Switchboard Music Festival, and the California Academy of Sciences (with composer Mason Bates) in addition to performances at the Kennedy Center in Washington, DC; at Willamette University in Salem, Oregon; as artists-in-residence at the Astoria (Oregon) Music Festival; at An die Musik in Baltimore; and on tour to perform and lecture at Western Illinois University and Monmouth, Augustana and Knox Colleges.

In the first half of the 2012-2013 season, N6 focused on returning to their roots in Schoenberg’s expressionist cabaret work Pierrot lunaire. N6 was originally formed to learn this work, and became well-known for their early multimedia performances of Pierrot which included commissioned artwork by Los Angeles artist Mara Elana and projected subtitles. In October 2012, on the centenary of Pierrot’s debut, N6 collaborated with Brian Staufenbiel (of UC Santa Cruz and Ensemble Parallel) to stage a completely memorized performance incorporating costuming, makeup, stage movement, and video projections on the San Francisco Conservatory’s Alumni series. N6 will repeat this performance at Salle Pianos, a gallery-style venue in San Francisco, UC Santa Cruz, and Stanford University in April 2013.

In the 2011-2012 season, N6 made their debut at the Noe Valley Chamber Music Series, and collaborated frequently with the math-punk ensemble Grains and the drums-guitar duo The Living Earth Show in scored and improvisational music, including a performance on the fifth-anniversary Switchboard Music Festival. Nonsemble 6 is a fiscally sponsored affiliate of the San Francisco
Friends of Chamber Music, a not-for-profit organization dedicated to the service of chamber music in California.

 

About the works

Tobin Chodos' three-part work Contrasti is inspired by the commedia dell’arte tradition of semi-improvised comic theater. Commedia dell’arte actors employ a fixed number of character archetypes and improvise around familiar plot formulae.  Creativity in this tradition thus takes place within clearly defined templates.  Rather than attempting to depict these templates in music, Contrasti mimics the stark contrasts that this theatrical tradition produces as a strategy to generate and organize musical materials.

 

Alexis Olsen's Claro II is in two movements. The pitch content is largely derived from superimposed octatonic sets, with little deviation. The first movement provides numerous textural settings for a few basic and recurring motives, with an ever-ascending bass motion that is constantly interrupted. It culminates in a rapidly pulsing minimalist gesture that eventually bleeds into a triadic cycle that harmonizes the original motive of the piece. The second movement is more economical in means, primarily employing a single octatonic set in all the instruments, each one ascending though the set at a varying metric rate, emulating a simple mensuration canon.

 Claro II is Olsen's second attempt at working with these materials; it was originally performed by a piano quintet on 11/5/11. Olsen writes "The title derives from a conversation I had one summer evening with a fellow in Montpellier, France. Each time I said something obvious or clearly apparent, he replied with an animated and gestured, Claro! I find in the piece multiple moments when rhythmically divergent lines combine to articulate a unified thought, so I thought Claro and apt title."

 

Pierrot Lunaire, Op. 21, is a set of twenty-one of Giraud's poems, arranged into three parts, each of seven poems. Schoenberg chose to have five instrumentalists accompany a singer (asking three of them to double on other instruments): piano, cello, violin/viola, clarinet/bass-clarinet, and flute/piccolo. These instruments are used in an ever-changing combination of solos, duos, trios, quartets, and quintets, lending the music an astonishing amount of sonic diversity. Listeners have often found challenge in Schoenberg's treatment of the vocal part, which is delivered in a half-sung, half-spoken technique, notated in maniacal detail. This "Sprechstimme" technique recalls the wildly melodramatic style of poetry recitations in cabaret theater.

 

The first part, beginning with the poem "Moon-drunk," is Pierrot's celebration of the mind-altering power of moonlight. The clown Pierrot switches constantly between experiencing and narrating his own life, and as he moves from scene to scene, the tone descends into darker and more horrifying places. The second part, beginning with the poem "Night", finds Pierrot lost deep in frightening hallucinations, some of which he seems to take part in with disturbing pleasure. The climax of these nightmares is poem 13, "The Beheading," in which Pierrot imagines his own beheading. His enemy in this poem is his old friend the Moon, who he sees now in its sickle-shape, glinting like the sword of the executioner. The third part opens with the poem "Homesick," and it begins the process of reassembling Pierrot's shattered mind, in a metaphorical journey home. The closing poem "O Ancient Scent" is a touching return for Pierrot, delivered (after a very rough night) from his "sun-filled window."

 

Pierrot Lunaire is one of Schoenberg’s most elaborate innovations in the organization of musical materials, across domains of pitch, timbre, formal hierarchy, and dramatic narrative; it might be the most crystalline expression of Schoenberg’s whole impact on our musical world. 

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Friday, April 5, 2013 - 7:30pm
Music Center Recital Hall (UCSC)

The critically acclaimed Borromeo String Quartet, one of America’s leading string quartets, with clarinetist John Sackett and star performers of traditional Korean instruments will perform a program featuring Andrew Imbrie’s Clarinet Quintet, Hi Kyung Kim’s Thousand Gates with images by Korea's renowned photographerBohnchang Koo, and Kim's new work for string quartet, Han San

 
The Borromeo Quartet is the ensemble-in-residence at the New England Conservatory.Ensemble Rituel features the Borromeo’s Nicholas Kitchen, violin, and Yeesun Kim, cello, along with John Sackett, clarinet, William Winant, percussion, and three of Korea's most prominent traditional performers: Soo-Neon Chung, haegeum (fiddle);Jeong-Seung Kim, daegeum/tungso/danso (flute); and Eun-Ha Park, Korean percussion. Camille Chitwood will conduct the Ensemble. 

 

THOUSAND GATES Preview Presentation Schedule

April 4, 2013 Asian Art Museum, San Francisco (Samsung Hall)

April 5, 2013 University of California, Santa Cruz (Recital Hall)

April 7, 2013 Smithsonian, Washington, DC (Meyer Auditorium)

 

Part of UCSC's "April in Santa Cruz" festival of contemporary music.

 

Tickets will go on sale on Feb 27 at santacruztickets.com. In person or by phone at the UCSC Ticket Office (459-2159) and the Santa Cruz Civic (831-420-5260).

$12 general

$10 seniors (62+)

$8 students w/ ID

 

parking $4

doors open at 7:00 PM.

 

image courtesy: Bohnchang Koo

 

 

 

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Senior Recital

Sunday, April 14, 7:30 p.m.
Music Center Recital Hall

Accompanied by Inara Morgenstern

Featuring works by:  Handel, Debussy, Schubert, Mahler, Wolf, Brahms, Gershwin

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Sunday, April 7, 2013 - 3:00pm
Music Center Recital Hall (UCSC)

Featuring works by 

Schubert, Faure, Handel, Monteverdi, Bizet, Weill, Bach 

 

With Cora Frantz - Soprano 

Rachel Rush - Mezzo-Soprano 


Accompanied by Kylan de Ghetaldi

 

free and open to the public

Doors open at 2:30 pm

parking $4

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