PRISMS Contemporary Music Festival 2019 - 10th edition Concert 1 Faculty & Guest Artists Series Organ Hall/Katzin Concert Hall Arizona State University November 9, 2019 7:30 pm Organ Hall Steve Reich Music for Mallet Instruments, Female Voices and Organ Crossing 32nd St. Ensemble Ilona Kubiaczyk-Adler, Lisa Tolentino voice 1 & 2 Amanda DeMaris, voice 3 (solo) Jacob Adler, organ Jeremy Muller, vibraphone Travis Rowland, glockenspiel 1 Brett Reed, glockenspiel 2 (solo) Sonja Branch, Neil Hathaway marimba 1 & 2 Joe Millea, Rob Esler marimba 3 & 4 (soli) Douglas Nottingham, director Alex Christle Mouth/eel Solo voice with megaphone Doug Nottingham, soloist Guillaume de Machaut Rose, liz, printemps, verdure Rondeau for four voices Ilona Kubiaczyk-Adler Stacey Mastrian Eric Flyte Jacob Verhine Luigi Nono La fabbrica illuminata For soprano and four-channel tape Stacey Mastrian, soprano Gabriel Bolallos, sound projection - INTERMISSION- Guillaume de Machaut. who lived from ca. 1300-1377, was a leading figure in the French ars nova (New Art) of his time. He was a composer and a poet, whose work influenced generations of composers, including Luigi Nono. "Rose. liz... " is a rondeau. with the fonm ABaAabAB. Katzin Concert Hall Gabriel Bolanos en abril no 1/ueve For soprano and ensemble (World Premiere) Arizona Contemporary Music Ensemble Amanda DeMaris, soprano Yan Shen, Miao Liu, Anne-Marie Shaver, flutes Michael Robinson, clarinet Mohamed Farag, violin Kimberly Hankins, viola Jacob Barker, cello Sarah Core, MIDI Keyboard Adam Heyen, horn John Pisaro, trombone Simone Mancuso, director Luciano Berio Folk Songs For soprano and 7 instruments 1. Black is the Color (USA) 2. I Wonder as I Wander (USA) 3. Locsin yelav (Armenia) 4. Rossignolet du bois (France) 5. A la femminisca {Sicily) 6. La donna ideale (Italy-Genoa) 7. Balla {Italy-Sicily) 8. Motettu de tristura {Sardinia) 9. Malurous qu'o uno fen no (France-Auvergne) 10. Lo fiolaire (France-Auvergne) 11. Azerbaijan Love Song (Azerbaijan) Stacey Mastrian, voice Juliana Scholle, harp Vian Shen, flute Michael Robinson, clarinet Kimberly Hankins, viola Jacob Barker, cello Jingya Zhou, Travis Rowland, percussion Simone Mancuso, director Rose. liz, printemps. verdure. Fleur. baume et Ires douce odour, Belle, passes en dow;;our, Rose, lily, spring, greenery, Flower, balm, and the sweetest fragrance, Beautiful lady, you surpass them in sweetness. Et tous les biens de Nature, Avez dont je vous aour. Rose, liz, printemps, verdure, Fleur, baume et Ires douce odour. And all the gifts of nature You possess, for which I adore you. Rose, lily, spring, greenery. Flower, balm, and the sweetest fragrance. Et quant toute creature Seunmonte vostre valour, Bien puis dire et par honnour: Rose, liz, printemps, verdure, Fleur, baume et Ires douce odour, Belle, passes en douc;;our. And since beyond any creature's Your worth excels, I must say in all honor: Rose, lily, spring, greenery, Flower, balm, and the sweetest fragrance, Beautiful lady, you surpass them in sweetness. Luigi Nono (1924-1990) addressed political and social issues in his revolutionary music, examining the state of the world and expressing sympathetic anguish for humanity's plights as well as hope for the future. He said that his composijions were "always born from a human stimulus: a happening, an experience, a text of our life strikes my instinct and my conscience and demands that I, as a musician and as a man, give it testimony."' La fabbrica illuminata (The Illuminated Factory, 1964), for soprano and tape, is significant for its stance against the low wages, dangerous environment, and physical and mental anguish caused by the conditions in the workplace of an increasingly industrialized Italy-the postwar "economic miracle" came at human cost. La fabbrica illuminata was dedicated to the workers at the ltalsider steel factory in Genoa, Italy, where Luigi Nono went with the poet Giuliano Scabia to record and take notes on the sounds and words they heard. Emerging out of plans for an opera at La Scala, entitled Diario italiano, this piece is a milestone in the history of electronic music. The material for the tape part came from several sources: the ltalsider factory in Genoa-Cornigliano (noises of the factory itself, including the entire 1½ km of steel production, other sounds in the building, such as mice, and the workers' voices); voices singing and speaking (the German mezzo-soprano Carla Henius and a chorus); and electronic sounds produced at the Studio di Fonologia of RAI in Milan. 2 These elements are interwoven with each other as well as with the voice of the live soprano. The work is not merely co//age--the piece is carefully crafted so as to filter, transfonm, and fuse the electronic and natural material, with a trajectory and a progression in mind. There is also dialogue with the soprano and with the present: even though the tape part is fixed forever in the past, Nono said that the relationship wijh the live performer was what united the past with the present, and he wanted the piece to change according to the situation of each performance-he himself altered the volume levels, speaker placement, and other elements in response to the space in which the work was performed, the individual perfonmer and what she was doing at each moment, and what he felt he wanted to emphasize on a given occasion. For Nono, music was a means of communication, and he performed La fabbrica il/uminata in countless factories, not merely in concert halls. Decades later, this dynamic and evanescent work still illuminates injustices that have yet to be eliminated in many parts of our world. 1 Transl. Mastnan: "Tutte le mie opera nascono sempre da uno stimolo umano: un avvenimento, un'esperienza, un testo della nostra vita colpisce ii mio istinto e la mia C06Cienza eel esige che io, come musidsta e come uomo, ne dia testimonienza." Luigi Nono, Texte, Studien zu seiner Musik, ed. JOrg Stenzl (Zurich 1975), 123. 2 The studio was founded in 1955 by Berio and Medema. La fabbrica lllumlnata per soprano e nastro magnetico a quattro piste The Illuminated Factory for soprano and 4-channel magnetic tape SU testi di Operai dell'ltalsider - Genova Contratti sindacali (elaborati da Giuliano Scabia) Giuliano Scabia Cesare Pavese (finale-frammento da "Due poesie a T.") on texts by Workers from ltalsider in Genoa Trade union contracts (elaborated by Giuliano Scabia) Giuliano Scabia Cesare Pavese (finale-fragment from "Two poems for T.") fabbrica dei morti la chiamavano esposizione operaia a ustioni a esalazioni nocive a gran masse di acciaio fuso esposizione operaia a elevatissime temperature su otto ore solo due ne intasca l'operaio esposizione operaia a materiali proiettati relazioni umane per accelerare i tempi esposizione operaia a cadute a luci abbaglianti a corrente ad alta tensione quanti MINUTI-UOMO per morire? factory of the dead they call it worker's exposure to bums to noxious fumes to large quantities of molten steel worker's exposure to extremely elevated temperatures out of eight hours the worker pockets only two worker's exposure to projectile materials human relations in order to speed up the time worker's exposure to falls to blinding lights to high voltage how many MAN-HOURS in order to die? 2 MANI di aggredire, e non si fermano ININTERROTTI che vuota le ore nuda afferrano al CORPO quadranti, visi: e non si femlano guardano GUARDANO occhi fissi: occhi mani giro del letto sera tutte le mie notti ma aridi orgasmi TUTTA la citta dai morti VIVI continuamente PROTESTE noi la folla cresce parla del MORTO la cabina delta TOMBA tagliano i tempi fabbrica come lager UCCISI 3 passeranno i mattini passeranno le angosce non sara cosl sempre ritroverai qualcosa 2 and they do not slop HANDS attacking, UNINTERRUPTED that empty the hours nude they grasp on the BODY and they do not stop clock faces. faces: they look THEY LOOK eyes staring: eyes hands giro del letto* night all of my nights but arid orgasms ALL of the city of the dead LIVING we continually PROTESTS the crowd grows talks of the DEAD the cabin known as TOMB they cut time** factory like concentration camp KILLED * �giro del Jetta" is dlff,cult to translate. It is not a phrase typically used in Italian and seems fragmentary. Two possible meanings are: 1, tossing and turning in bed, an produced In loss time. 3 mornings will pass anguish will pass H will not always be like this you will find something INTERMISSION En abril no llueve is based on the following poem by Nicaraguan poet and playwright Lourdes Chamorro Cesar. This was written as a lament for the students that were killed by the Sandinista government during the protests of April, 2018. The victims' killers have not yet been brought to justice. En abril no llueve In April, It doesn't rain En abril no llueve pero la tierra que la pala removi6 al cavar la tumba de mi hijo aquel abril estaba humeda. Mis lagrimas fueron. In April, it doesn't rain but the dirt that the shovel excavated while digging my son's grave that April is wet. Thanks to my tears. Y lleg6 un nuevo abril y pas6 de largo... A new April has come and gone... Y todo sigue igual aunque ya nada es iguaL And everything remains the same even though now nothing is the same ... La lierra que lo guarda sigue htlmeda. Tanto asi que han brotado flores alrededor de su nombre grabado en el cemento blanco. The earth that holds him is still wet. So much so, that flowers have sprouted around his name carved in the white cement. Y mi nii'lo amado sigue ahi sin respirar... And my dear boy is still there not breathing... Con el hoyo de la asesina bala en su craneo With the hole of the murderous bullet in his skull Con el hoyo de la asesina bala en su t6rax With the hole of the murderous bullet in his thorax O en su cuello Or in his neck 0 con su indefenso cuerpo todo agujereado Or with his helpless body punctured. Pero i No pudieron agujerearle el alma! But they could not puncture his soul! En abril no llueve... Mas la tumba de mi muchacho esta siempre florecida. In April it doesn't rain... But my boy's tomb is always in bloom. Lourdes Chamorro Cesar 2 de mayo de 2019 Lourdes Chamorro Cesar May 2, 2019 Luciano Beno (1925-2003) wrote his Folk Songs in 1964 for the singer Cathy Berberian. Some of the songs were traditional ones arranged by Beno, several were based on arrangements by others (American folksong scholar John Jacob Niles; Joseph Canteloube's "Songs of the Auvergne"), and two were written by Serio himself to old Italian poetry. Berio said that he 'would like to create a unity between folk music and our music-a real, perceptible, understandable conduit between ancient, popular music-making which is so close to everyday work and our music" ("our music" meaning contemporary classical music). This cycle of songs was written at the end of Berio's marriage to Berberian and at the beginning of his new relationship; they span the gamut in terms of attitudes related to love, from simple to sensuous-pure and profound, sacred, bucolic, wooing and saucy, devoted, practical, racy, lost, sassy, innocent and flirtatious, unifying and fun. Black is the Color (John Jacob Niles/traditional, USA) Black is the color of my true love's hair His lips are something rosy fair The sweetest smile and the kindest hands I love the grass on whereon he stands. I love my love and well he knows I love the grass whereon he goes If he no more on earth will be 'twill surely be the end of me. I W onder as I Wander (John Jacob Niles/traditional, USA) I wonder as I wander out under the sky How Jesus our Savior did come for to die For poor orn'ry people like you and like I I wonder as I wander out under the sky. When Mary birthed Jesus 'twas in a cow stall Wrth wise men and farmers and shepherds and all But high from the Heavens a star's light did fall The promise of ages it then did recall. If Jesus had wanted of any wee thingA star in the sky or a bird on the wing Or all of God's angels in Heav'n for to sing He surely could have had it 'cause he was the King. Loosin yelav - The Moon Has Risen (Armenia) The moon has risen over the hill, Over the top of the hill, Its red rosy face Casting radiant light on the ground. O dear moon Wrth your dear light And your dear, round, rosy face! Rossignolet du bois - Little Nightingale (France) Little nightingale of the woods, Little wild nightingale, Teach me your language, Teach me to speak, Teach me the way In which one must love. The way one must love, I am going to tell you: You must sing dawn serenades Two hours after midnight, You must sing to her: "Beautiful one, This is for you to delight in." I've been told, beautiful one, That you have some apples, Some rennet apples, That are in your garden. Permit me, beautiful one, To put my hands on them. No, I will not permit you To touch my apples. You must first take the moon And the sun in your hands, Then you may have the apples That are in my garden. A la femminlsca -A Woman's Way [Song of the Sailors' Women) (Trapani, Sicily) May the Lord send fine weather For my lover out in the middle of the sea; His masts are of gold; his sails of silver. May the Madonna help him, So that he gets back safely. And when a letter arrives, May there be two sweet words written, Telling me how it's been for him at sea. La donna ideale - The Ideal Woman (Anonymous, Genoa) How like me you are! Sorrowful nightingale, Console me if you can As I weep for my lover. Sorrowful nightingale, When I am buried, Sorrowful nightingale, Sing this song When I am buried. Malurous qu'o uno fenno -Wretched is He (Joseph Canteloube, Auvergne) Unhappy is he who has a wife; Unhappy is he who doesn't have one! He who doesn't have one, wants one; He who has one, doesn1! Tralala, tralala, ... Happy the woman Who has the man she wants! Happier still is she Who has no man at all! Tralala, tralala,... Lo fiolalre - The Spinner (Joseph Canteloube, Auvergne) When I was a little girl I tended the sheep. Lirou, lirou, lirou .. Lirou la diri, tou tou la Iara... I had a distaff for spinning wool And I called a shepherd to me. Urou, lirou .... The man who wants to take a wife Must look into four things: The first is where she comes from, Another is if well-mannered, Another is her figure, The fourth is how much her dowry is. If you find these things in her, For God's sake, marry her! And I, not to be ungrateful, Instead of one kiss, I gave him two! Lirou, lirou .... Ballo - Dance (Guido delle Colonna, Sicily) Azerbaijan Love Song (Azeroaijan) La la la la la la la la la la la la..... Love leads astray even the wisest, And he who loves most is least able to control himself. The most crazy is the one who is most in love. La la la la la la.... Love doesn't care about doing damage. With his darts he causes so much heat That it cannot even be cooled by cold. We are neighbors Say, smile, nanay nay naninay, My balcony is next to yours, Look out of there, and I will look out of here; Let our enemies be blind. Motettu de tristura - Song of Sadness (Sardinia) Sorrowful nightingale, For rounding up the sheep He asked me for a kiss. Urou, lirou .... Girl, your waist is thin, very delicate, Your lips are like flower buds, hey!.... Go on girt, I will follow you. On the stove stands a bucket with water And all around is the sound of the reeds Ah stay with me, stay Don't blow out the fire of my soul. We can't wait for our dear ones... It doesn1 matter. What will be will be: And all happiness was divided all over again in half.