In our On Stage series we bring to the stage some of the most influential national and international contemporary classical composers of the 20th and 21st centuries
Sat, Oct 8, 2016
Venue: Taube Atrium Theater Veterans Building 4th floor 401 Van Ness Ave, San Francisco, CA 94102
Free and open to the public
4:00 – 4:30 pm Open Dress Rehearsal of Sawdust on Ararat by Ken Ueno
4:30 – 5:30 pm Composer Talk, “How Music is Made” with composers Ken Ueno and Joe Pereira, facilitated by Steven Schick
Open to ticket-holders 6:30 – 7:00 pm Informal pre-concert discussion with Steven Schick and musicians 7:30 pm CONCERT
*limited tickets available at the door
*online sales end at noon on 10/8
*season subscriptions available at the concert
This work by Icelandic composer Anna Thorvaldsdottir is among the most important new pieces of recent years and anchors a program of intense luminosity, including colorful and evocative new works by California composers Ken Ueno and Joe Pereira. The San Francisco Contemporary Music Players also returns to a composer we have longed championed, Toru Takemitsu performing his sublime classic, Toward the Sea.
Joe PereiraGlimpse (2015) (17’) *world premiere Alto flute, bass clarinet, piano, violin, cello
Tod Brody, alto flute; Peter Josheff, bass clarinet; Kate Campbell, piano; Susan Freier, violin; Stephen Harrison, cello
Toru Takemitsu Toward the Sea (1981) (12’)
Guitar, alto flute
David Tanenbaum, guitar; Tod Brody, alto flute
Ken UenoSawdust on Ararat (2016) 20’ *west coast premiere Flute, oboe, clarinet, 2 cellos, 2 percussion
Tod Brody, flute; Claire Brazeau, oboe; Bill Kalinkos, clarinet; Thalia Moore, cello; Crystal Pascucci, cello; Nick Woodbury, percussion; Loren Mach, percussion
Anna ThorvaldsdottirIn the Light of Air (2013) (40’) Viola, cello, piano, harp, percussion, fixed electronics
Susan Freier, viola; Stephen Harrison, cello; Kate Campbell, piano; Karen Gottlieb, harp; Nick Woodbury, percussion
Sat, Dec 10, 2016 5:00 pm Free San Francisco community event
Join us for a free holiday event linked to “Unsilent Night” celebrations around the world. The original composition by Phil Kline, written specifically to be heard outdoors in the month of December, takes the form of a street promenade in which the audience becomes the performer. Each participant plays one of four tracks of music downloaded to a smart phone, or anything that amplifies music, together comprising “Unsilent Night.” As the SFCMP public ensemble, we will walk a carefully chosen route through San Francisco, creating a unique mobile sound sculpture.
Who’s Invited: Everybody! A family-friendly, public event. Free. When: Sat, Dec 10th, 2016. 5:00 pm – 6:00 pm Rain or Shine! Meet at: Mission Dolores Park. Meet on Dolores Street at the Dolores Park tennis courts by the corner of 18th St. Share: #unsilentnight Twitter: @gosfcmp
About SFCMP Master Classes
SFCMP Master Classesprovide opportunities for talented students to learn about contemporary classical music through guidance and critiquing in front of a live audience. The classes are led by SFCMP Artistic Director and Players. These classes are challenging, intense and inspiring.
February 16, 2017 7:30pm – 9:00pm New Music and Percussion Master Class Led by Steven Schick, Percussionist and Artistic Director of San Francisco Contemporary Music Players Venue: San Francisco Conservatory of Music 50 Oak St, San Francisco, CA 94102
SFCM’s Master Class series invites renowned performers and conductors to share insights with Conservatory students about technique, style and the business – sprinkled with backstage tales – all before a live audience. We invite you to observe SFCMP Artistic Director and percussionist, Steven Schick in a new music and percussion master class.
Béla Bartók, Sonata for Two Pianos & Percussion (1937) Syon Kim, Piano 1
Xin Zhao, Piano 2
Noah McKee, Percussion
John Jaworski, Timpani
Christopher Deane, Mourning Dove Sonnet (1983) John Jaworski, vibraphone
David Lang, Unchained Melody (2004) Noah McKee, percussion solo: 7 glockenspiel notes, 7 noises, 1 brake drum or other nasty metal
Tickets Free and Open to the public.
Limited seating available. VIP seating for the first 25 to RSVP.
Café Crème Café Crème offers a menu including beer and wine two hours before performances.www.sfcm.edu/cafe-creme or 415.503.6295
Steven Schick, Percussionist, conductor, and author, for forty years has championed contemporary music by commissioning or premiering more than one hundred-fifty new works. He was the founding percussionist of the Bang on a Can All-Stars (1992-2002) and served as Artistic Director of the Centre International de Percussion de Genève (2000-2005). Schick is founder and Artistic Director of the percussion group, “red fish blue fish”. Currently he is Music Director of the La Jolla Symphony and Chorus in addition to serving as SFCMP’s Artistic Director. In 2012 he became the first Artist-in-Residence with the International Contemporary Ensemble (ICE). Schick founded and is currently Artistic Director of “Roots and Rhizomes,” a summer course on contemporary percussion music held at the Banff Centre for the Arts. He maintains a lively schedule of guest conducting including appearances in this season with the BBC Scottish Symphony Orchestra, the Saint Paul Chamber Orchestra, the Nova Chamber Ensemble and the Asko/Schönberg Ensemble. Schick will be music director of the 2015 Ojai Festival. Among his acclaimed publications are a book, “The Percussionist’s Art: Same Bed, Different Dreams,” and numerous recordings of contemporary percussion music including a 3 CD set of the complete percussion music of Iannis Xenakis (Mode). Mode released a companion recording on DVD of the early percussion music of Karlheinz Stockhausen in September of 2014. Steven Schick is Distinguished Professor of Music at the University of California, San Diego and he was named Artistic Director of SFCMP in 2011.
Reed Family Presidential Chair in Music, University of California, San Diego
Music Director, La Jolla Symphony and Chorus
Co-Artistic Director, Banff Centre’s Summer Music Program
Artistic Director, San Francisco Contemporary Music Players
Open to ticket-holders 6:45 pm Pre-concert talk with Steven Schick and musicians 7:30 pm CONCERT
At the conservatory is Cafe Creme, where meals, beer, and wine may be purchased prior to the concert. With 10 minutes’ walk is Hayes’ Valley area with several local restaurant choices.
Please join us for a post-concert reception.
In this program, we explore the voice in its broadest sense: from a premiere of a song cycle by San Francisco composer Richard Festinger to an invocation of the voices of nature in Michael Pisaro’s evocative ricefall for 16 players and various resonant metal and wooden objects. Anchoring the program is a pair of composers – one emerging and another established: Kate Soper’s Door features voice and electric guitar alongside a rare performance of Gyorgy Ligeti’s landmark Chamber Concerto, which features the voices of 13 concertante soloists.
Encouraging and mentoring the next generation of new music performers, SFCMP will once again join San Francisco Conservatory of Music students on this program.
Richard Festinger Careless Love(2016) (18’)
featuring Daniel Cilli, Baritone Daniel Cilli, baritone; Peter Josheff, clarinet; Alex Camphouse, horn; Roy Malan, violin, Susan Freier, viola; Stephen Harrison, cello; Kate Campbell, piano
Michael Pisaro ricefall (2010) (18’)
Featuring Steven Schick; Tod Brody; Kyle Bruckmann; Peter Josheff; Alex Camphouse; Kate Campbell; Roy Malan; Susan Freier; Stephen Harrison; Richard Worn; Andrew Friedman, SFCM student; David Tanenbaum; Clio Tilton; Albert Yan, SFCM student; Trevor van de Velde, UC Berkeley student; Zhoushu Ziporyn, UC Berkeley student
Kate Soper Door (2007) (11’)
Amy Foote, soprano; Tod Brody, flute; Kevin Stewart, tenor sax; Karen Hutchinson, accordion; David Tanenbaum, electric guitar
György Ligeti Chamber Concerto (1969) (21’)
Tod Brody, flute; Kyle Bruckmann, oboe; Peter Josheff, soprano clarinet; Alex Camphouse, horn; Richard Worn, double bass; Kate Campbell, piano and celesta; Allegra Chapman, harpsichord/B3 organ; Roy Malan, violin; James Encarnacion, tenor trombone; Clio Tilton, viola; Helen Newby, cello; Andrew Friedman, SFCM student, bass clarinet; Albert Yan, SFCM student, violin
In a departure from the usual way of presenting Stravinsky’s iconic L’Histoire du Soldat, now approaching its centennial, we will replace the dramatic action and much of the original Ramuz text with improvised interpolations featuring trumpet virtuoso supreme, Peter Evans. Performing with Evans on various movements will include a number of exceptionally talented improvisers, including special guests Nava Dunkelman (percussion), and India Cooke (violin) as well as SFCMP’s own Kyle Bruckmann (oboe) and William Winant and Steven Schick on percussion.
The result will be an Evans/Stravinsky mash-up in which two musics will speak to each other across a century—responding and resonating, cajoling and interrupting—in a conversation about the eternal issues of good and evil; war and peace.
Igor Stravinsky L’Histoire du Soldat(1918)
Hrabba Atladottir, violin; Richard Worn, bass; Jeff Anderle, clarinet; Dana Jessen, bassoon; Brad Hogarth, trumpet; Brendan Lai-Tong, trombone; Christopher Froh, percussion
Peter Evans Lover’s War (2016) Improvised Interpolations of L’Histoire du Soldat Peter Evans, trumpet (soloist); Kyle Bruckmann, oboe; William Winant, percussion; Steve Schick, percussion; Nava Dunkelman, percussion; India Cooke, violin
Peter Evans, Lover’s War
Igor Stravinsky, L’Histoire du Soldat (The Soldier’s Tale)
Peter Evans Solo: For Eddie Slovik
Igor Stravinsky The Soldier’s March
Peter Evans Trio: For Lewis Mumford
Igor Stravinsky Music to Scene I
Igor Stravinsky Music to Scene II
Peter Evans Quartet: For Michelle Alexander
Igor Stravinsky Music to Scene III
Igor Stravinsky The Soldier’s March
Peter Evans Duo: For Sarah Kendzior
Igor Stravinsky The Royal March
Igor Stravinsky Little Concert
Igor Stravinsky Three Dances
Peter Evans Solos: For Cecil Taylor
Igor Stravinsky The Devil’s Dance
Igor Stravinsky The Great Choral
Peter Evans Septet: For James Baldwin
Igor Stravinsky Triumphal March of the Devil
Peter Evans Septet: For James Baldwin, part 2
About Peter Evans
With Peter Evans on Trumpet, Only the Shape Is Familiar By NATE CHINENNew York Times
His reputation among freethinking trumpet players is ironclad, a function of superhuman precision and a trailblazing technical vocabulary. But Mr. Evans would rather not be known strictly on those merits. “Sometimes it bothers me that the physical intensity and the crazy sounds are what people focus on,” he said a couple of weeks after his concert, over coffee near the carousel in Bryant Park. “Actually that’s not really the point for me.” Mr. Evans, 35, has the look of a systems analyst and the instinct of a righteous outlier, questioning preconceptions at every turn.
Growing up outside of Boston, he studied classical music alongside jazz, a pattern he continued at the Oberlin Conservatory of Music. He was serious about solo trumpet performance even then, drawing from both contemporary composers like Luciano Berio and boundless improvisers like the trumpeter Bill Dixon. “I moved to New York in 2003, and that’s one of the few things I had that was ready to go,” Mr. Evans said. “I didn’t know anybody, but I could sit down at some coffee shop and play a solo set.”
The jazz trumpeter and composer Dave Douglas was among those who quickly noticed Mr. Evans, commissioning him to perform on the Festival of New Trumpet Music. “The kinds of things he was doing, hardly anybody was doing,” Mr. Douglas said. “He has now further developed those techniques into some sounds that are wholly his own. That doesn’t happen too often.” >> Read full New York Times article
Seating is limited. Sorry, no door sales. Online ticket sales end on March 24. To ensure your seat, please purchase your online ticket(s) today. Tickets includes food, wine, beer, and a live music presentation. You can apply your ticket value of $45 to the purchase of any artwork.
SFCMP ensemble presenters are Kyle Bruckmann, Jeff Anderle, and Bill Kalinkos. Program Igor Stravinsky, Three pieces for clarinet solo
György Ligeti from 2016-17 season
Peter Evans and Igor Stravinsky from 2016-17 season
Lou Harrison from 2016-17 season
John Zorn, 2017-18 season preview
-Beer and wine is included. A no-host bar is available.
-Wines are from Sonoma County, North Coast, and Paso Robles.
-Menu includes assorted sausages, chicken schnitzel, vegetable spatzle, pretzel knots, and tots.
-Artwork by contemporary artists will be displayed and available for sale. Artwork consists of prints of originals by contemporary artists Sydell Lewis, Wendy Costa and Gertie Mellon, plus one original series by Jennifer Siddens. All artwork is $250. The artists have kindly made special prices available for this event.
-Raffle at 5:00pm. Raffle tickets available for purchase at $10 each. Raffle items include Bottles of Ridge Vineyard Wines, Tickets to Our Arts Partner Performances. Bring your cash!
-No children, adults only please.
In our At the Crossroads series you will discover the music of iconic contemporary classical composers performed alongside cutting-edge emerging composers from California and beyond
Eavesdrop on conversations between Lou Harrison, much loved California composer whose 100th birthday we celebrate in 2017, and two younger generations who share his lifelong interests of exploration and inclusivity. We’ll hear Harrison’s music alongside that of Natacha Diels whose work, like Harrison’s, is steeped in a sense of ritual; Gity Razaz who fearlessly combines technologies and cultures; the prolific and eloquent Jimmy Lopez; and the playfully absurd Annie Gosfield. You’ll listen to composer talks and we’ll perform and record music by the newest generation of composers influenced by Harrison’s work through our SF Search Program: the San Francisco Contemporary Music Players program in support of emerging contemporary classical composers.
These events were made possible in part by a grant from
With his focus on the openness of Lou Harrison’s melodies and the lushness of microtonal harmonies, Roger Kim has constructed a piece of quiet beauty and generous space for the performer. From her childhood, near Lou Harrison’s Aptos home, Michelle Zheng was able to experience first hand the unique qualities of the light along the mid-Californian coast and its unique blend of cultures. In her work, full of musical contrast and shifting emotions, she captures this mixture with grace and skill. Benjamin Zucker simultaneously explores the dual personality of Lou Harrison, as an American composer indebted to the musical language of the gamelan, and as an American experimentalist. Through an unusual notational and musical scheme, Zucker captures both.
Roger Kim Quartet with one theme(2017) (5’) violin, cello, clarinet, piano
Michelle Zheng Rift (2017) (6’)
violin, cello, clarinet, piano
Benjamin Zucker Sarabandisms (2016) (6’)
violin, cello, bass clarinet, piano
12:30-1:30pm Composer Talks, “How Music is Made” with Jimmy Lopez and Natacha Diels
Artisanal pizza provided for first 50 people. A cash bar serving alcoholic and non-alcoholic beverages is available