January 19, 2016
San Francisco Conservatory of Music
50 Oak St, San Francisco, CA 94102 (map)
Concert begins at 7:30 PM
Pre-concert panel discussion at 6:30 PM curated by Artistic Director, Steve Schick
Reception following the concert
Café Crème located in the SF Conservatory of Music offers a menu including beer and wine two hours before performances.
Read program notes
Premium Seating $35, General Seating $25, Student w/ID $15
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Our 2015-16 season, X-SCAPE: New Spaces for New Music explores space in the physical, metaphorical and poetic sense.
SONGSCAPE (October 2015) – An examination of the nature of utterance and communication
XERISCAPE (January 2016) – A look at the role of art in climate change
OSCUROSCAPE (March 2016) – On the nature of darkness
STARSCAPE (March 2016) – On pulsars, vastness and space
Xeri from Greek ξηρός means dry. Scape means “space,” in the physical, metaphorical or poetic sense. Xeriscape invokes climate change and poses the question: is there a cultural and musical counterpart to climate change? Are there important artistic statements that resonate in new arid spaces? Students from the San Francisco Conservatory of Music will join SFCMP in exploring these questions as part of our Xeriscape program.
This concert is dedicated to George Bosworth for his longtime dedication and support of San Francisco Contemporary Music Players
Zosha Di Castri, La forma dello spazio
Flute, Clarinet, Piano, Violin, Cello
Louis Andriessen, Worker’s Union
Morton Feldman, For Samuel Beckett
In Zosha DiCastri’s’s piece La forma dello spazio, she alludes to the idea of mobiles, the musicians are spatialized around the hall in a particular configuration. The piece begins with a solo by the violin, while the other instruments provide resonance. Gradually the fragments accumulate and are set into orbit around the concert hall.
Louis Andriessen’s Workers’ Union is a symphonic work for any loud sounding of instruments. This piece is a combination of individual freedom and severe discipline: its rhythm is exactly fixed; the pitch, on the other hand, is indicated only approximately, on a single-lined stave. It is difficult to play in an ensemble and to remain in step, sort of thing like organizing and carrying on political action.
Morton Feldman’s intimate portrait For Samuel Beckett, a much admired and rarely performed piece, completes the bill. AllMusic reviewer Dave Lewis says, “For Samuel Beckett has a mysterious and somewhat menacing character. Subdivided instrumental groups exchange pitches belonging to a large, dissonant cluster chord. The basic notes in use do not vary, but the order in which they come in, and the combinations resulting thereof, does. As Marcel Duchamp once said, “Repetition is change,” and this is a terrific example of minimalism in music that is not “minimalistic” in style, at least not in the usual sense of the term.”
Grawemeyer award–winning composer, Louis Andriessen is a Dutch composer and pianist based in Amsterdam. Andriessen is one of Europe’s most eminent and influential composers. His music combines propulsive energy, economy of material and distinctive sonorities, often dominated by pungent wind and brass, pianos and electric guitars. Andriessen has explored, in relation to music, the subjects of politics, time, velocity, matter and mortality. Andriessen is the winner of the 2011 Grawemeyer Award.
Zosha Di Castri is a Canadian composer/pianist living in New York. Her compositions have been performed in Canada, the US, and Europe by such ensembles as the Edmonton Symphony Orchestra, the Internationale Ensemble Modern Akademie, l’Orchestre de la francophonie canadienne, the NEM, JACK Quartet, the Orchestre national de Lorraine, members of the L.A. Philharmonic and Chicago Symphony Orchestra, and Talea Ensemble. Learn more about DiCastri here.
Music reviewer, Alex Ross says,
“Morton Feldman was a big, brusque Jewish guy from Woodside, Queens—the son of a manufacturer of children’s coats. He worked in the family business until he was forty-four years old, and he later became a professor of music at the State University of New York at Buffalo. He died in 1987, at the age of sixty-one. To almost everyone’s surprise but his own, he turned out to be one of the major composers of the twentieth century, a sovereign artist who opened up vast, quiet, agonizingly beautiful worlds of sound.”
Enjoy the rest of this article by Alex Ross.