program: irvine arditti & roger reynolds

IRVINE ARDITTI & ROGER REYNOLDSFriday, September 25, 2015 at 8 pmDepartment of Music’s Conrad Prebys Music Center Experimental Theater

at UC San Diego

THANK YOU TO OUR PERFORMANCE SPONSORSEric Lasley and Judith Bachner

ABOUT ARTPOWERArtPower at UC San Diego builds creative experiences in music, dance, film, exhibition and food for our collective pleasure and inspiration. We engage diverse audiences through vibrant, challenging, multi-disciplinary performances by emerging and renowned interna-tional artists. Through extensive partnerships, ArtPower provides exciting opportunities for research, participation, and creation of new work, igniting powerful dialogue between artists, students, scholars and the community.

ARTPOWER MISSION1. To create co-curricular opportunities in the performing arts and film that foster learning and self-discovery, as well as personal and professional skill development.2. To supplement and enhance the academic investigation of our students through collabo-rative explorations in the performing arts and film.3. To add to the artistic and cultural life of the La Jolla and San Diego communities.

PROGRAMIntroductory conversation between the collaborators,with related demonstrations to illuminate the performance to follow

Shifting/Drifting Roger Reynolds (b. 1934)for violin and computer musician (2015) Irvine Arditti, violinPaul Hembree, computer musician

ArtPower presents

IRVINE ARDITTI & ROGER REYNOLDS

Friday, September 25, 2015 at 8 pmDepartment of Music’s Conrad Prebys

Music Center Experimental Theater UC San Diego

Many thanks to the Department of Music (Rand Steiger and Lei Liang, chairs) and to the department’s Production Manager, Jessica Flores. And, as is always the case, particular gratitude to Josef Kucera, music department recording engineer, for his invaluable advice and services.—Roger Reynolds

Run time for this event is approximately one hour and 15 minutes, without intermission.

4 Program

PROGRAM NOTESShifting/Drifting for violin and computer musician (2015)Roger Reynolds (b. 1934)

Two ways of moving—also of being—that seemed to me inherent in the way my friend Irvine Arditti plays his violin. At times, a sudden and decisive shift from one position to another is called for, at others, a gradual and subtle repositioning of the hand (or an attitude) is more appropriate. This work is a response to him as well as to his instrument. From another per-spective, this pair of “ways”—shifting or drifting—could be seen as referencing digital and analog processes, ways in which we store or manipulate information: in cascades of explicit quanta, or rather in continuously varying waves.

In 2007, I began what is an ongoing engagement with the writing of small-scale, complemen-tary solos for particular instruments. The idea was to posit complementary worlds in which sonic images could arise, one Assertive, the other Evocative. I have composed seven such pairs now, and the most recent—imAge/violin and imagE/violin—became the source materials for the larger-scale duo, Shifting/Drifting. The latter work is a metaphorical journey, from the violinist’s tentative responses to a distant, sonic fog, through an increasingly dynamic inter-play between solo violinist and a computer-musician, who manages—in real time—four algo-rithmic processes.

So the duet is between two individuals each of whom has a particular “instrument,” phys-ical (the violin) or processual (the computer). As the work evolves over time, there is what might be thought of as succession of contrasting sonic landscapes through which the soloist passes. The first two comprise extended waves of increasingly substantive nature. They are followed by a period of incessant, sometimes edgy iteration, and another featuring prolifer-ations of bright, brief “points of sound,” in wave after wave. In the last section, the comput-er part invokes strongly contrasted environments while the soloist navigates a series of five re-shufflings of the same set of twenty musical fragments. Each time the set is restated, the segments—they are all literal quotes from previously heard music—become more explicit and detailed. The final set amounts to a series of direct quotations from earlier music, but now in a repackaged form that emphasizes the urgency and lyrical force that is inherent in the mate-rial, but has not previously been realized. This metaphorical journey is about how the places we visit, the things we do, can take on unforeseen meaning. The same is true of friendship.

Shifting/Drifting has a special place in my work because it involved an intense and ongoing collaboration with a friend of more than three decades. The pair of source solos as well as the more elaborate, and partially improvisational content of the resulting duo were developed in close, interactive contact over many months. Finally, in a ten-day period in La Jolla, we final-ized the musical content in a collaboration that now expanded to include computer-musician, Paul Hembree. It is Hembree who detailed the programming of the algorithmic processes that I specified, and who, in concert, performs my algorithmic concepts in a musical dialog with the violinist.

Special gratitude to Shifting/Drifting’s dedicatee Irvine Arditti, to computer musician Paul Hembree, to the Department of Music at UC San Diego for the invaluable use of its facilities and expert staff (in particular, Senior Recording Engineer, Josef Kucera, and Production Man-ager, Jessica Flores) and, of course, to ArtPower for making the UC San Diego presentation possible.

—Roger Reynolds, University Professor, University of California, San Diego

5Innovation

ABOUT THE ARTISTSRoger Reynolds, Pulitzer–winning American composer, is known for his capacity to inte-grate diverse ideas and resources, for the seamless blending of traditional musical sounds and those newly enabled by technology. His work sometimes responds to text of poetic and mythological origins. His reputation includes a “wizardry in sending music flying through space: whether vocal, instrumental, or computerized.” His leadership within the UCSD De-partment of Music helped establish it as an international leader in composition and comput-er music. Reynolds won the Pulitzer Prize in music in 1989, with the string orchestra work, Whispers Out of Time. In 2009, he was appointed university professor, the only artist ever so honored by the University of California. His work has been featured at festivals including Warsaw Autumn, the Proms and Edinburgh Festivals (UK), the Suntory International Series and Music Today (Tokyo), and the Helsinki and Venice Biennales. In 1998, the Library of Con-gress established a Special Collection of his work, and it is also included in the Paul Sacher Collection, Basel. Reynolds’s compositions are published exclusively by the C.F. Peters Cor-poration, and several dozen CDs and DVDs of his work have been commercially released. His work embodies an American artistic idealism reflecting the influence of Varèse and Cage, and it has also been compared with that of Boulez and Scelsi. He lives with his partner of 50 years, Karen, in Del Mar, California, overlooking the Pacific.

Irvine Arditti studied at the Royal Academy of Music where the Arditti Quartet was formed in 1974. Both in the quartet and as soloist, he has performed throughout the world in most of the leading concert halls and festivals promoting the most challenging new music and has given world premieres of hundreds of works. Arditti’s name is synonymous with the highest level of quality and dedication in the performance of new music. The list of composers he has worked with is a who’s who of 20th and 21st century music, and there are also hundreds of younger composers whose work he has performed. More than 200 CD releases both with the quartet and as soloist document Arditti’s achievement. As leader of the quartet, he accepted, in 1999, the prestigious Ernst von Siemens Music Prize. This prize for “lifetime achievement” in music began in 1974 and is normally given only to individuals. The Arditti quartet is the only ensemble ever to receive it. The complete archive of both the Arditti quar-tet and Irvine Arditti are housed in the Sacher Foundation in Basel, Switzerland.

Paul Hembree’s work explores the boundaries between the perceptual categories of sounds in a search for uncanny or sublime hybrids. His recent projects include Ikarus-Azur, a La Jolla Symphony and Chorus commission; Light: Frozen and Refracted, premiered by En-semble Intercontemporain; and several audio-visual works informed by music cognition and computational models of natural processes. His music has been performed around the United States and Europe, at events including IRCAM’s ManiFeste, MusicX, NWEAMO Festival, and the SEAMUS and NIME conferences. Since 2011, Hembree has collaborated with composer Roger Reynolds as a computer music researcher and performer. In this role, Hembree has worked alongside the JACK Quartet, Mark Dresser, and Ensemble Signal. As a guest speaker he has presented at Harvard University’s Group for New Music and SUNY Buffalo, and his scholarship and audio engineering of Edgard Varèse’s Ionisation was pub-lished in Perspectives of New Music vol. 51, no. 1.

6 Program

DONORS 2015–16VISIONARY ($50,000+)Joan and Irwin Jacobs Fund of the Jewish Community Foundation

CATALYST ($20,000–49,999)Jon and Bobbie Gilbert of the Jewish Community Foundation George Clement Perkins EndowmentThe Weil Family Foundation

CREATOR ($10,000–19,999)Epstein Family FoundationSam B. Ersan Elaine Galinson and Herbert Solomon of the Galinson Family FoundationEric Lasley and Judith BachnerNew England Foundation for the Arts

PERFORMER ($5,000–9,999)Amnon and Lee Ben-Yehuda Joan Jordan Bernstein Hamburger Chamber Music Series Endowment Fund

ADVOCATE ($2,500–4,999)Ann Spira Cambell Michael and Susanna FlasterRonald and Wynnona Goldman Menhran and Susan GoulianRenita Greenberg Alexa Kirkwood Hirsch Charles and Marylin Perrin Edith High Sanchez and Paul SanchezLee and Judith Talner

GUARDIAN ($1,000–2,499)Joyce Axelrod and Joseph FischBjorn Bjerede and Josephine A. KiernanMaureen and C. Peter BrownNelson and Janice ByrneCarol and Jeffrey ChangAlain Cohen and Denise WarrenRuth CovellMartha and Edward DennisWayne and Elizabeth Dernetz Drs. Edwin and Wita GardinerNorman J. Goldberg and Fusako YokotobiPat JacobyLiz Lancaster and Eli ShefterMarvin and Reinette LevineBarbara and Robert NemiroffHans Paar and Kim Signoret-PaarClayton and Susan PeimerAnne Marie Pleska and Luc CayetRobert and Lauren ResnikElaine and Jerry SchneiderRuth Stern and Mort LevyArthur and Molli WagnerZelda Waxenberg

SUPPORTER ($500–999)Ginger and Ken BaldwinDouglas BradleySam and Teresa Buss Bill Coltellaro and Eric CohenJanice Alper and Charles KantorBill MichalskyNessa O’ShaughnessyAnne OttersonSamuel Popkin and Susan Shirk

CONTRIBUTOR ($250–499)K. Andrew AchterkirchenConnie and George BeardsleyWilliam and Wendy BrodyPatti and Brian CarlosMeg and Allan GoldsteinBarry and Helen LebowitzCarol HinrichsRobert and Arleen LettasAthina Markou and Mark GeyerRod and Barbara OrthCarol Plantamura and Felix PraelGary and Brenda RatcliffDoug and Eva RichmanJim and Kathleen StivenMr. and Mrs. Eli StrichJohanna ThompsonSylvia Wechter

SPARK ($100–249)Shirley Babior and Judith RichardsGeoffrey ClowEd and Edie DrcarCarole LelandElaine and Howard MaltzKate OesterreicherIna PageStephen and Susan ShuchterJanet SmarrEllen Speert and Paul HenryJimmy TranCarey G. WallShirley WeaverAnonymous, In honor of Jimmy Tran

CORPORATE SPONSORS

7Innovation

GRANTING ORGANIZATIONS

MEDIA SPONSOR

ARTPOWER STAFF DONORSMolly ClarkCarolena Deutsch-GarciaJordan PeimerJason SmithJoanna SzuRebecca Webb

POWERPLAYERSPowerPlayers are an exceptional group of donors that have made a three year commitment to support ArtPower. This multi-year support is crucial to ArtPower’s continued success and growth.Joyce AxelrodJoan BernsteinAlain CohenMartha DennisPhyllis EpsteinElaine GalinsonBobbie GilbertNorman GoldbergRenita GreenbergEric LasleyKim Signoret-PaarHans PaarRobert and Lauren ResnikArthur and Molli WagnerZelda WaxenbergPat WeilA portion of funding for ArtPower is provided by the UC San Diego Student Services Fee Committee.

Donor list as of 09.09.2015

ARTPOWER STAFFMolly Clark, Associate Director of Artistic Planning & EducationCarolena Deutsch-Garcia, Associate Director of DevelopmentJohn Morgan, Box Office ManagerSean Nash, Ticketing CoordinatorJordan Peimer, Executive DirectorJason Smith, Production ManagerJoanna Szu, Associate Director of Marketing and CommunicationsRebecca Webb, Film Curator

STUDENT STAFFGrason Caldwell, Marketing AssistantCrystal K. Chan, Film Curatorial Assistant InternMinhtri Chu, Marketing InternAustin Eamnarangkool, Marketing InternKeita Funakawa, Film Curatorial AssistantCamille Latzke, Marketing InternAileen Liang, Marketing AssistantJoyce Liang, Marketing InternDerrick Lieu, Marketing InternCliff Mann, Film Curatorial AssistantBrian Nguyen, Marketing InternConnie Oh, Marketing InternKendra Quinlan, Marketing InternEmily Small, Marketing InternMaryanee Vargas, Marketing InternBryant Vu, Marketing AssistantKaren Wang, Production Assistant

COMING UP NEXTFOOVIE/MEXICO

LOS HAMSTERSFriday, October 9, 2015 at 8 pmThe Loft, UC San DiegoLos Hamsters is a delightfully dark social satire about a riotously dysfunctional Tijuana family by emerging Mexican filmmaker Gil Gonzalez.

DANCE/TAIWAN

HUANG YI & KUKAWednesday, October 14, 2015 at 8 pmMandeville Auditorium, UC San DiegoAward–winning Taiwanese dancer and choreographer Huang Yi performs with his robot KUKA.

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2015–16 SEASON DONOR GIVING LEVELS AND BENEFITS

PERFORMER ($5,000–$9,999) $120 not tax deductible

CREATOR ($10,000–$19,999) $220 not tax deductible

CATALYST ($20,000–$49,000) $320 not tax deductible

VISIONARY ($50,000+) $320 not tax deductible

SPARK ($100–$249) Entire gift is tax deductible

CONTRIBUTOR ($250–$499) Entire gift is tax deductible

SUPPORTER ($500–$999) Entire gift is tax deductible

GUARDIAN ($1,000–$2,499) $56 not tax deductible

ADVOCATE ($2,500–$4,999) $95 not tax deductible

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program: irvine arditti & roger reynolds

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