Percussion Consort Child's Play

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					Percussion Consort: Child’s Play
Friday, October 21, 2011 at 7:30 PM, New World Center

Michael Linville, artistic coordinator and conductor
Tony Arnold, soprano
Boy soprano from Florida's Singing Sons Boychoir
Stephanie Kai-Win Ho and Saar Ahuvia, piano duo
Jay Ganser, Rajesh Prasad, Shaun Trubiano, Erick Wood, percussion
Brian Flescher, timpani/percussion

George Crumb                       Ancient Voices of Children (1970)
(b. 1929)                           The little boy was looking for his voice
                                      (Dances of the Ancient Earth)
                                    I have lost myself in the sea many times
                                    From where do you come, my love, my child?
                                      (Dance of the Sacred Life-Cycle)
                                    Each afternoon in Granada, a child dies each afternoon
                                      (Ghost Dance)
                                    My heart of silk is filled with lights

                 Tony Arnold, soprano; Boy soprano from Florida's Singing Sons Boychoir
                 Karen Kistler, oboe; David Meyer, mandolin/musical saw
                 Marnie Hauschildt, piano/toy piano; Grace Browning, harp


Igor Stravinsky                    Petrushka (1911)
(1882-1971)                          First Tableau: The Shrovetide Fair
arr. Michael Linville                Second Tableau: Petrushka’s Room
                                     Third Tableau: The Moor’s Room
                                     Fourth Tableau: The Shrovetide Fair (Toward Evening)

                 Stephanie Kai-Win Ho, Saar Ahuvia, pianists
                 Marnie Hauschildt, celesta/piano; Grace Browning, harp

Ms. Ho and Mr. Ahuvia appear in collaboration with
The Dranoff International Two Piano Foundation.

This performance is sponsored in part by

provided by Piano Music Center. This concert is being recorded for archival and possible broadcast purposes.
Your cooperation in maintaining a quiet listening environment is appreciated. The use of flash photography and
recording devices is not permitted. All programs and artists are subject to change.
                                   Percussion Consort: Child’s Play
                                   GEORGE CRUMB
                                   Ancient Voices of Children (1970)

                                                                         George Crumb, active since the late 1940s
                                                                         and still composing today, is best known for a
                                                                         handful of personal and evocative works from
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                                                                         the late 1960s and early 1970s. One of his few
                                                                         orchestral scores, Echoes of Time and the River
                                                                         (1967), won the Pulitzer Prize in 1968. Black
                                                                         Angels (1970) for electric string quartet and Vox
                                                                         balaenae (1971) for flute, cello and piano have
                                                                         become essential chamber music repertoire. But
                                                                         Crumb will be remembered chiefly for his vocal
                                                                         music, particularly his settings of the Spanish
                                                                         poet Federico García Lorca, above all Ancient
                                                                         Voices of Children. Crumb wrote the following
                                                                         notes to accompany the premiere recording.
Percussion Consort: Child’s Play

                                                                           In Ancient Voices of Children, as in my earlier
                                                                           Lorca settings, I have sought musical images
                                   that enhance and reinforce the powerful, yet strangely haunting imagery of Lorca's
                                   poetry. I feel that the essential meaning of this poetry is concerned with the most
                                   primary things: life, death, love, the smell of the earth, the sounds of the wind and
                                   the sea. These “ur-concepts” are embodied in a language which is primitive and
                                   stark, but which is capable of infinitely subtle nuance. In a lecture entitled Theory
                                   and Function of the “Duende,” Lorca has, in fact, identified the essential characteristic
                                   of his own poetry. Duende (untranslatable, but roughly: passion, élan, bravura in its
                                   deepest, most artistic sense) is for Lorca “all that has dark sounds ... This ‘mysterious
                                   power that everyone feels but that no philosopher has explained’ is in fact the spirit
                                   of the earth. … All one knows is that it burns the blood like powdered glass, that it
                                   exhausts, that it rejects all the sweet geometry one has learned.”

                                   The texts of Ancient Voices are fragments of longer poems which I have grouped into
                                   a sequence that seemed to suggest a “larger rhythm” in terms of musical continuity.
                                   The two purely instrumental movements—Dances of the Ancient Earth and Ghost
                                   Dance—are dance interludes rather than commentaries on the texts. These two
                                   pieces, together with the third song, subtitled Dance of the Sacred Life-Cycle (which
                                   contains a rising-falling ostinato bolero rhythm in the drums), can be performed by
                                   a solo dancer. The vocal style in the cycle ranges from the virtuosic to the intimately
                                   lyrical, and in my conception of the work I very much had in mind Jan DeGaetani's
                                   enormous technical and timbral flexibility. Perhaps the most characteristic vocal
                                   effect in Ancient Voices is produced by the mezzo-soprano singing a kind of fantastic
                                   vocalise (based on purely phonetic sounds) into an amplified piano, thereby producing
                                   a shimmering aura of echoes. The inclusion of a part for boy soprano seemed the best
                                   solution for those passages in the text where Lorca clearly implies a child's voice. The
                                   boy soprano is heard offstage until the very last page of the work, at which point he
                                   joins the mezzo-soprano onstage for the closing vocalise.

                                   The instruments employed in Ancient Voices were chosen for their particular timbral
                                   potentialities. The pianist also plays toy piano (in the fourth song), the mandolinist
                                   musical saw (second song), and the oboist harmonica (fourth song). Certain special
                                   instrumental effects are used to heighten the “expressive intensity”—e.g., “bending”
the pitch of the piano by application of a chisel to the strings (second song); use of a
paper-threaded harp (in Dances of the Ancient Earth); the frequent “pitch-bending”
of the oboe, harp and mandolin. The mandolin has one set of strings tuned a quarter-
tone low in order to give a special pungency to its tone. The three percussionists
command a wide range of instruments, including Tibetan prayer stones, Japanese
temple bells, and tuned tom-toms. The instrumentalists are frequently called upon to
sing, shout and whisper.

In composing Ancient Voices of Children I was conscious of an urge to fuse various
unrelated stylistic elements. I was intrigued with the idea of juxtaposing the

                                                                                               Percussion Consort: Child’s Play
seemingly incongruous: a suggestion of Flamenco with a Baroque quotation (Bist du
bei mir, from the Notebook of Anna Magdalena Bach), or a reminiscence of Mahler
with a breath of the Orient. It later occurred to me that both Bach and Mahler drew
upon many disparate sources in their own music without sacrificing “stylistic purity.”

It is sometimes of interest to a composer to recall the original impulse—the “creative
germ”—of a compositional project. In the case of Ancient Voices I felt this impulse to
be the climactic final words of the last song: “... and I will go very far ... to ask Christ
the lord to give me back my ancient soul of a child.”

                                                                      IGOR STRAVINSKY
                                                                         Petrushka ( 1911)
                                                                     arr. Michael Linville

Stravinsky’s rise to fame began in 1909, when
the impresario Serge Diaghilev asked him to
arrange music by Chopin for the ballet Les
Sylphides, performed in the debut season of the
Ballets Russes. The following year, Diaghilev
conceived a massive new production, The
Firebird, based on a Russian folktale. He initially
approached Anatoly Liadov to compose the
score, but when Liadov fell through Diaghilev
redirected the commission to the 27-year-old
Stravinsky. The 1910 premiere of The Firebird
made Stravinsky a household name, and he was
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soon plotting his next projects for the Ballets

Stravinsky proposed a ballet based on
prehistoric pagan sacrifice—the work that
would eventually become Le Sacre du printemps (The Rite of Spring). But first, while
staying with his family in Switzerland, another idea came to him, as he explained in
his autobiography:

             Before tackling the Sacre du printemps, which would be
             a long and difficult task, I wanted to refresh myself by
             composing an orchestral piece in which the piano would
             play the most important part—a sort of Konzertstück. In
             composing the music, I had in my mind a distinct picture
             of a puppet, suddenly endowed with life, exasperating the
             patience of the orchestra with diabolical cascades of arpeggi.
             The orchestra in turn retaliates with menacing trumpet-
                                               blasts. The outcome is a terrific noise which reaches its
                                               climax and ends in the sorrowful and querulous collapse
                                               of the poor puppet. Having finished this bizarre piece, I
                                               struggled for hours, while walking beside Lake Geneva, to
                                               find a title which would express in a word the character of
                                               my music and consequently the personality of this creature.

                                               One day I leapt for joy. I had indeed found my title—
                                               Petrushka, the immortal and unhappy hero of every fair in
                                               all countries. Soon afterwards, Diaghilev came to visit me
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                                               in Lausanne, where I was staying. He was much astonished
                                               when, instead of sketches of the Sacre, I played him the piece
                                               which I had just composed and which would later become
                                               the second scene of Petrushka. He was so much pleased with
                                               it that he would not leave it alone and began persuading me
                                               to develop the theme of the puppet’s sufferings and make it
                                               into a whole ballet. While he remained in Switzerland we
                                               worked out together the general lines of the subject and
                                               the plot in accordance with the ideas which I suggested.
                                               We settled the scene of the action: the fair, with its crowd,
                                               its booths, the little traditional theatre, the character of the
                                               magician, with all his tricks; and the coming to life of the
Percussion Consort: Child’s Play

                                               dolls—Petrushka, his rival, and the dancer—and their love
                                               tragedy, which ends with Petrushka’s death.

                                   The premiere of Petrushka on June 13, 1911 in Paris was a stunning success. By all
                                   accounts, the legendary dancer Vaslav Nijinsky was a Petrushka for the ages, and the
                                   choreography by Mikhail Fokine and sets by Alexandre Benois exemplified the bold
                                   spectacle of the modern Russian ballet. Stravinsky’s music, with its mix of brilliant
                                   colors, driving rhythms, brittle chords and folksong quotations, was simultaneously
                                   exotic and inviting. It remains one of the landmark scores of the 20th century, a step
                                   past Stravinsky’s tradition-rooted The Firebird and a harbinger of the earth-rattling
                                   The Rite of Spring.

                                   The music heard here is a new transcription of the four tableaux from Stravinsky’s
                                   1911 score. Michael Linville, a conductor, pianist and percussionist (and also the
                                   New World Symphony’s Associate Dean and Director of Chamber Music Activities),
                                   redistributed the orchestral score into a chamber ensemble of two pianos, celesta,
                                   harp, timpani and percussion. It is a natural extension from the prominent piano and
                                   percussion writing in Petrushka, and not at all out of character for the composer:
                                   Stravinsky executed a similar transformation with the ballet Les Noces (1923),
                                   abandoning an orchestral scoring and instead writing for four pianos and a huge
                                   battery of percussion.

                                   The outer scenes of Petrushka transpire in the fairgrounds, while the two central
                                   episodes occur in the cells of Petrushka and the Moor, rivals for the affection of the
                                   Ballerina—three puppets magically animated and imbued with human emotions.
                                   In the final scene, the Moor kills Petrushka, and the ballet ends with the ghost of
                                   Petrushka taunting the magician who created him. A signature sound in the ballet is
                                   the superimposition of two major triads, their roots separated by a tritone (usually
                                   C and F-sharp, one triad from the piano’s white keys and another from the black
                                   keys). The ambiguous “Petrushka” chord first appears near the beginning of the
                                   second tableau: listen for the discordant rising triads from a solo piano, starting a
                                   few measures after the offstage barrage from a military drum. This bitonal sound
                                   captures exactly the predicament of Petrushka—he is of two worlds, and belongs in
                                   neither. Stravinsky was also poised between two worlds, the last embers of Russian
Romanticism on the one hand and the blinding spark of the modern age on the other.
Unlike his ill-fated puppet protagonist, Stravinsky excelled in both spheres.

                                                                       — Aaron Grad

Aaron Grad is a composer, guitarist and writer based in Seattle. Besides providing
program notes for the New World Symphony, he has been the Orpheus Chamber
Orchestra’s program annotator since 2005 and also contributes notes to the Saint Paul
Chamber Orchestra and National Symphony Orchestra.

                                                                                        Percussion Consort: Child’s Play
                                                                                        October 21
October 21
Percussion Consort: Child’s Play   MICHAEL LINVILLE

                                   Pianist, percussionist, harpist, conductor, arranger and educator, Michael Linville
                                   is currently the Associate Dean and Director of Chamber Music Activities for the
                                   New World Symphony, having served previously as both Dean of Musicians and
                                   Director of Admissions. Mr. Linville is also the artistic coordinator of the New World
                                   Percussion Consort, an ensemble dedicated to the performance of contemporary
                                   chamber music that features percussion. During the summer months he performs
                                   as pianist, percussionist and guest conductor with the Breckenridge Music Festival
                                   in Colorado.

                                   As a soloist, Mr. Linville has performed with the San Francisco Symphony, New World
                                   Symphony, Breckenridge Music Festival Orchestra, National Repertory Orchestra,
                                   and Atchison (Kansas) and Central Iowa symphonies. He has played as a guest artist
                                   with the Florida Orchestra, Honolulu Symphony and Pasadena Symphony, and was
                                   a featured keyboardist with the former Florida Philharmonic. His playing can be
                                   heard on a number of recordings, including New World Jazz (BMG), A Night in the
                                   Tropics: The Music of Gottschalk (Naxos), Orchestral Music of Bernstein (Naxos) and
                                   White Mares of the Moon: Chamber Music of Dan Welcher (CRI/NWR), which Mr.
                                   Linville also produced.

                                   A Los Angeles native, Mr. Linville has performance degrees in percussion from
                                   Pepperdine University and the University of Southern California. While living
                                   in Los Angeles, he served on the accompanying staffs of USC, CSU Fullerton, and
                                   Crossroads School in Santa Monica. In 1993, Mr. Linville moved to Miami Beach
                                   to participate as a pianist in the New World Symphony fellowship program. After
                                   completing his fellowship in 1997, he was invited to join the staff of the Symphony as
                                   coach and accompanist.

                                   In 2003-04, Mr. Linville collaborated with John Beck, Jr. in writing the first “e-text”
                                   for a graduate course at the North Carolina School of the Arts, called The Audition.
                                   The class was taught in tandem by both instructors, in-person and via Internet2. Mr.
                                   Linville continues his mentoring work today as a coach to New World Symphony
                                   Fellows and with young musicians in Miami-Dade and Summit County, Colorado.
                                                                    TONY ARNOLD

The Chicago Tribune wrote that “anything
sung by soprano Tony Arnold is worth
hearing.” Hailed by The New York Times as
“a bold and powerful interpreter,” she has
gained international acclaim for sparkling and
insightful performances of the most daunting
contemporary scores. In 2001, Ms. Arnold was
thrust into the international spotlight when she

                                                                                        Percussion Consort: Child’s Play
became the only vocalist ever to be awarded
first prize in the Gaudeamus International
Interpreters Competition. On the heels of
that triumph, she claimed first prize in the
15th Louise D. McMahon International Music
Competition. Since that time, Ms. Arnold has
established a reputation as a leading specialist
in new vocal repertoire, receiving consistent
critical accolades for her many recordings, as
well as performances with groups such as the International Contemporary Ensemble
(ICE), Chicago Symphony Orchestra’s MusicNOW, Los Angeles Philharmonic New
Music Group, New York New Music Ensemble, Ensemble 21, eighth blackbird,
Contempo, Orchestra of St. Luke's, Boston Modern Orchestra Project, Fulcrum Point,
and many others.

Ms. Arnold has been a frequent guest at international festivals in the United States,
Mexico, Germany, Armenia, Finland, Switzerland, Italy and Korea. She was a featured
artist at the 2008 Darmstadt International Music Festival, the premier contemporary
music venue of Europe, and she tours regularly as a member of the George Crumb
Ensemble. With violin virtuoso Movses Pogossian, Ms. Arnold has taken György
Kurtág’s Kafka Fragments to more than 30 venues across the United States, Canada,
Europe and Asia. A DVD/CD set of their performance was released in 2009 on Bridge
Records, to great critical acclaim.

In addition to Kafka Fragments, Ms. Arnold’s many recordings include a 2006
Grammy-nominated performance of George Crumb’s Ancient Voices of Children on
Bridge Records and a DVD of the music of Crumb with the composer, released in
2009. She collaborated with conductor Robert Craft on a CD of vocal works by Anton
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Webern on the Naxos label, and has also recorded music of Carter, Babbitt, Wolpe
and Tania León for Bridge; Berio’s Sequenza III for Naxos; and Kaija Saariaho’s Adjö
on New Focus Records.

Ms. Arnold is an active participant in the creation and commissioning of new
music. As the 2009 Howard Hanson Distinguished Professor of American Music
at the Eastman School of Music, Ms. Arnold shepherded the creation and premiere
performances of new vocal music by 15 student composers. Recent premieres have
included works by Philippe Manoury, Jason Eckardt, David Liptak and Ricardo
Zohn-Muldoon. During the summer, Ms. Arnold engages composers and singers in
music written by the participants of the SoundSCAPE Festival in Maccagno, Italy.
Since 2003 she has served on the faculty of the University at Buffalo, where she
founded the extended vocal techniques ensemble, BABEL.

Ms. Arnold is a graduate of Oberlin College and Northwestern University. Among her
many mentors, she is greatly indebted to her study with sopranos Carmen Mehta and
Carol Webber, and conductors Robert Spano and Victor Yampolsky.
                                   FLORIDA'S SINGING SONS BOYCHOIR

                                   The international award-winning Florida’s Singing Sons Boychoir has been
                                   delighting South Florida audiences since it was founded in Fort Lauderdale in 1975.
                                   The Boychoir performs a wide variety of choral literature. From Gregorian chant to
                                   Broadway favorites, its concerts include secular and sacred choral classics as well
                                   as selections from opera, operetta, folk music and musical theater. Members of
                                   the choir have appeared with Symphony of the Americas, Master Chorale of South
                                   Florida, Florida Grand Opera, James Judd and the Florida Philharmonic Orchestra,
                                   New World Symphony, Sinfonia Virtuosi of Florida, Gold Coast Opera, Imperial
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                                   Symphony and stage luminaries Liza Minnelli, Judy Collins, Lee Greenwood, and the
                                   late Audrey Hepburn and Bob Hope.

                                   The Boychoir carries on the long-lasting tradition of participating in festivals and
                                   regularly tours nationally and internationally. This year it participated in the
                                   Crescent City Choir Festival in New Orleans and performed in the prestigious St.
                                   Louis Cathedral. Other recent tours include Argentina, the upper northeastern U.S.
                                   and South Africa. In 2007, the choir performed at Pipe Organ Day with the famous
                                   Wannamaker Organ in Philadelphia.

                                   Other choral activities by the Boychoir have included arts in education concerts for
                                   the Broward County public schools through the SEAS Program (Student Enrichment
Percussion Consort: Child’s Play

                                   in the Arts and Sciences), community outreach concerts, performances for local and
                                   national conventions, commercials for radio and television, radio broadcasts, a pilot
                                   for Showtime, and television broadcasts on the NBC 6 show “South Florida Today”
                                   and WPBT2.

                                   For more information, please visit

                                   STEPHANIE KAI-WIN HO AND SAAR AHUVIA

                                   The collaboration of pianists Stephanie Kai-Win Ho and Saar Ahuvia, as DUO, in both
                                   piano four-hand and two-piano repertoire brings them to New York’s cutting-edge Le
                                   Poisson Rouge, the Czech Republic’s Pilsen Radio Symphony Orchestra performing
                                   Bohuslav Martinů’s Concerto for Two Pianos and Orchestra, an engagement with
                                   Cultural Center of Chicago's Dame Myra Hess series, and a live radio interview and
                                   performance on WNYC’s Soundcheck with John Schaefer.

                                   DUO was awarded a grant by the Foundation for Contemporary Arts in New York
                                   to present a special concert at Le Poisson Rouge featuring Celestial Mechanics by
                                   George Crumb in celebration of the composer’s 80th birthday. They were also invited
                                   for a three-concert residency for Composers Collaborative at Cornelia Street Café
                                   in NYC. Other highlights include an appearance on In the Gardens of Spain, a live
                                   WQXR broadcast concert from New York City’s Cervantes Institute, a live broadcast
                                   concert from Chicago on WFMT presented by PianoForte Foundation and a special
                                   concert in Miami for the Murray Dranoff International Two Piano Foundation.
                                   Highlights from the 2008-9 season include concerts with the Regensdorf Chamber
                                   Orchestra (Switzerland) performing Mozart and Bach Concertos for Two Pianos
                                   and engagements at the Metropolitan Museum of Art in New York, Catonsville
                                   Presbyterian Concert Series in Baltimore and Keneseth Israel Community Series in
                                                                                        Percussion Consort: Child’s Play
While pursuing Graduate Performance Diplomas at the Peabody Institute of the Johns
Hopkins University, the couple was inspired by Leon Fleisher to explore the string
quartets of Beethoven in a duo piano setting. From that motivation came several
concert appearances of Beethoven’s String Quartet Op. 18, No. 6 and a mentorship by
Mr. Fleisher, who was joined in his efforts by both Julian Martin and Boris Slutsky,
faculty members at the Juilliard School and Peabody Institute respectively.

In order to focus on developing a duo repertoire, Ms. Ho and Mr. Ahuvia completed
two Performing Artist Residencies at the Banff Centre in Canada in 2005 and 2006,
where they performed as well as recorded music by Debussy, Mozart, Brahms,
Messiaen, Schubert, Stravinsky and more. Selections from these performances were
chosen for broadcast on WQXR’s Young Artist Showcase in New York.
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Interested in programming a wide variety of music, DUO has been exploring a variety
of music from Guillame de Machaut to György Kurtág, Messiaen’s monumental
Visions de l’Amen, as well as their own four-hand transcription of A Time for Love by
jazz pianist Bill Evans. Deeply committed to playing new music, DUO has premiered
works by Hywel Davies, Michael Harrison, Philippe Bodin, Matt van Brink, Jay
Anthony Gach, Paul Hefner, Dana Richardson, Henry Martin and Joel Mandelbaum.
They were awarded a grant from New York City Department of Cultural Affairs to
present Sounds of New York—a concert devoted to New York composers at Queens
College. DUO presented special programs of music and letter readings. These
include Intimate Letters—the Piano Music of Leos Janáček and A Life in Letters—
Clara Schumann and Johannes Brahms.

In conjunction with their performing careers, both Ms. Ho and Mr. Ahuvia are
currently faculty members at Concordia College’s Conservatory of Music in
Bronxville, New York and Kean University in Union, New Jersey. They reside in
Forest Hills—Queens, NYC. Please visit them at

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