concerts will take place at 8:00 on Tuesday evenings at
28, 1999 -- Turtle Island String Quartet
December 7, 1999 -- Thoughts on the
End of Time
January 25, 2000 -- American Baroque
March 21, 2000 -- The Wolford-Rosenblum
May 16, 2000 -- City Winds
Island String Quartet
Tuesday, September 28, 1999, 8:00 p.m. (Ballroom)
David Balakrishnan, violin
Evan Price, violin
Danny Seidenberg, viola
Mark Summer, cello
the jazz tradition, the program will be announced
by the performers.
1986, the Turtle Island String Quartet has fused the classical
quartet aesthetic with 20th Century American popular styles
and devised a performance practice that honors both. They
have explored folk and bluegrass, swing jazz, be-bop, post-bop,
Indian classical music, funk and R&B, new age, rock
and hip-hop, bossa nova and salsa.
Turtle Islanders have also revived venerable chamber music
tradititions that haven't been explored by string players
for nearly 200 years--improvisation and composition. In
recent years, they have begun to focus more on the string
quartet's classical European roots.
. . a unified voice that truly breaks new ground -- authentic
and passionate -- a reflection of some of the most creative
music making today." -- Yo-Yo Ma, cellist
on the End of Time
Tuesday, December 7, 1999, 8:00 p.m. (Ballroom)
Toby Levers, clarinet (substituting for Deborah Pittman)
Heather Katz, violin
Burke Schuchmann, 'cello
Joanne De Phillips, piano
evening will include Olivier Messiaen's Quartet for
the End of Time and poet Leslie Scalapino reading
from her 1999 book New Time.
evening will present timely thoughts for the end of
this century from one its most mystical composers,
Olivier Messiaen, and renowned Berkeley poet, playwright,
and essayist Leslie Scalapino. The program pairs Leslie
Scalapino reading from her 1999 book New Time and
a performance of Messiaen's "Quatour pour la
fin du temps". Messiaen's quartet is one of the
signature pieces of the mid-twentieth century, the
kernel of which was written and first performed in
1941 while Messiaen was interned in a German prison
Leslie Scalapino's New Time, Ron Silliman has written, "This
crystalline epic may be Scalapino's most "accessible"
book yet, but its surfaces perpetually peel back to reveal
a further that could never have existed before, nor in any
I composed this quartet, it was to escape from the snow,
from the war, from captivity, and from myself. The greatest
benefit that I drew from it was that in the midst of thirty
thousand prisoners, I was the only man who was not one."
-- Olivier Messiaen
Tuesday, January 25, 2000, 8:00 p.m. (Members Lounge)
Musical Celebration of the Millennium
Schultz, baroque flute
Gonzalo X. Ruiz, baroque oboe
Elizabeth Blumenstock, baroque violin
Katherine Shao, harpsichord
Roy Whelden, viola da gamba
from Les fêtes d'Hebe, J.P. Rameau (1683-1764)
Concerto Il Gardellino, Antonio Vivaldi (1678-1741)
Artificial Light (1996), Randall Woolf (b.1959)
Quatorzième Ordre, François Couperin
Of Hammered Gold (1999), Jonathan Berger (b. 1954)
Baroque's adventurous programs combine 18th-century music
with new works composed for the group, bridging the gap
between the music frontier and the music of the past. In
the words of oboist Gonzalo X. Ruiz, "Even though we
play period instruments, we're not purists by any stretch.
We really wanted to do music for entertainment and enjoyment,
and we wanted variety in programming that you don't normally
get. We wanted to deliver the music fresh. Our intention
is to have great music written for us and to present good
music that hasn't been heard."
program, Jonathan Berger's 1999 work Of Hammered Gold will
use modern interactive electronics and sound-producing automata
that were in vogue in the 18th century.
are few outstanding and perfect creations by human hands.
And here is one of them!"
-- Alte Musik Aktuell
of the treasures of the Bay Area period instrument scene."
-- San Francisco Examiner
Tuesday, March 21, 2000, 8:00 p.m. (Members Lounge)
Ivan Rosenblum, piano
Wolford and Ivan Rosenblum perform a wide range of
music, including 20th Century works written specifically
for saxophone, transcriptions of 18th and 19th Century
oboe and clarinet pieces, and jazz. In the Duo's own
words, "All that ultimately matters to us is
that any arrangement sounds as if it could have been
written for the saxophone; that it sounds natural
and authentic, and it plays well on the instrument.
Such transcription is completely consistent with Baroque
performance practice, where often more than one instrument
. . . was stipulated as appropriate by the composer."
This concert promises to display the saxophone's versatility.
moving so easily from Ravel to Chick Corea to Schumann,
Wolford and Rosenblum . . . showed us how the saxophone
can be used as a classical instrument (Wolford used a whole
variety of tone colors to imply movement or signal development
in the music)." -- Sarah Cahill
Tuesday, May 16, 2000, 8:00 p.m. (Members Lounge)
Laura Reynolds Chrisp, Oboe
Jim Freeman, clarinet
Bill Hunker, bassoon
Zachary Limacher, French horn
is a wind quintet with a 7-year tradition of commissioning
new works by both emerging and established composers. The
ensemble performed a residency at the 1997 Festival of New
American Music in Sacramento, and, for its second year,
they will participate in "Composers in the Schools",
a program designed by the American Composers Forum to bring
professional composers and performers together with student
is an excellent ensemble, consistently playing with facility
and fine musicianship. . . . Their use of styles, colors,
and characters is imaginative. Their performances . . .
reflect the fruits of their research into the works and
composers in their repertoire. . . . I recommend them highly."
-- Hank Dutt of the Kronos Quartet
accomplished members of the group brought an enthusiasm
and obvious love of what they do to the performance. The
fact that the musicians are both advocates and educators
for 20th-century music was made clear by the care which
they took to introduce and provide examples for the audience
before performing each piece as a whole."
-- Martha Westland, 20th-century Music Journal
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