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Orchestra Underground: Plus Milton Babbitt's From the Psalter for soprano and orchestra & Aaron Copland's Concerto for Clarinet and Orchestra ACO presents Orchestra Underground: American Accounts on Thursday, March 22, 2012 at 7:30pm at Carnegie Hall’s Zankel Hall. The concert, led by ACO Music Director & Conductor George Manahan, explores uniquely American stories -- both in musical content and in the background of the composers -- and features works by Aaron Copland, Milton Babbitt, Gabriel Kahane, and Michael Daugherty. American Accounts features the world premiere of a new work commissioned by ACO from Brooklyn-based composer/ singer/ songwriter Gabriel Kahane – his Crane Palimpsest is a meditation on the Brooklyn Bridge that takes as its starting point the words of Hart Crane and features the composer as both singer, guitarist, and pianist. The concert also includes the New York premiere of Michael Daugherty’s Trail of Tears, an ACO co-commission which chronicles the tragic internment and march of native Americans to reservations in Oklahoma, with Amy Porter as the flute soloist. Milton Babbitt’s From the Psalter, commissioned by ACO in 2002, and reprised on this program in memory of the composer’s passing last year, features soprano Judith Bettina. Aaron Copland’s jazz-fueled 1950 Concerto for Clarinet and Orchestra, with ACO’s Creative Advisor Derek Bermel as the clarinet soloist, completes the program. 
Composer and performer Gabriel Kahane is a musical polymath,
invested equally in the worlds of concert, theater and popular
music. Launched by his 2006 song cycle Craigslistlieder –
heard frequently in august concert halls and dirty bars alike –
Kahane's rapid ascent as a composer of concert works came into
focus in the 2010-2011 season, which witnessed the premieres of
three commissioned works: The Red Book, a string quartet
for the Kronos Quartet; a hybrid cello sonata/song cycle for
cellist Alisa Weilerstein and himself; and a large chamber work
for the Los Angeles Philharmonic. As a performer, Kahane moves with ease between musical realms.
His self-titled debut album, featuring performances by Sam
Amidon, Sufjan Stevens and Chris Thile, was released in 2008 and
was followed up by a second LP in the fall of 2010. Among his
various credits as a performer, he has appeared with Rufus
Wainwright on Elvis Costello's Spectacle, sung lieder
with pianists Jonathan Biss and Jeremy Denk, and has, as a
pianist, joined bass-baritone Thomas Quasthoff in recital
throughout Europe. Crane Palimpsest is a meditation on the Brooklyn Bridge, juxtaposing settings of stanzas from Hart Crane’s poem, To Brooklyn Bridge, with songs set to Kahane’s own lyrics in response to the Crane text. Kahane explains, “I’ve literalized the idea of ‘the bridge’ in the sense that two distinct musical vocabularies are in play and cross paths; the first being the more formal language heard in the introduction and first several stanzas of the Crane, the second being the vernacular or pop-based harmonic language in the songs with my own words.” Hear more about the piece in the
following video: Gabriel Kahane's work is commissioned and premiered by ACO
with the support of the Jerome Foundation, and with public funds from the New
York State Council on the Arts.
Michael Daugherty is one of the most commissioned, performed,
and recorded composers on the American concert music scene
today. With music rich with cultural allusions and bearing the
stamp of classic modernism, Daugherty has been hailed by The Times (London) as
“a master icon maker” with a “maverick imagination, fearless
structural sense and meticulous ear.” Daugherty first came to
international attention when the Baltimore Symphony Orchestra
performed his Metropolis
Symphony at Carnegie Hall in 1994. In 2011, the Nashville
Symphony’s Naxos recording of Daugherty’s
Metropolis Symphony
and Deus ex Machina
was honored with three Grammy Awards, including Best Classical
Contemporary Composition. Daugherty has received numerous awards, distinctions, and
fellowships for his music, including: a Fulbright Fellowship,
the Kennedy Center Friedheim Award, and the Goddard Lieberson
Fellowship from the American Academy of Arts and Letters. His
recordings can be heard on Albany, Argo, Delos, Equilibrium,
Klavier, Naxos and Nonesuch labels. Of his flute concerto
Trail of Tears, Daugherty says, “One of the tragedies of
human history is the forced removal of peoples from their
homeland for political, economic, racial, religious, or cultural
reasons. In America, the forced removal of all Native Americans
living east of the Mississippi River began with the passage of
President Andrew Jackson’s Indian Removal Act of 1830. In 1838,
15,000 Cherokee men, women, and children were forcibly taken
from their homes by the U.S. Army and placed in stockades and
camps in Tennessee. From November 1838 to March 1839, the
Cherokee, with scant clothing and many without shoes, were
forced to make an 800-mile march for relocation in Oklahoma
during the bitter cold of winter. Suffering from exposure,
disease, and starvation, nearly 4,000 Cherokee died during the
five-month march known as the ‘Trail of Tears.’ My flute
concerto is a musical journey into how the human spirit
discovers ways to deal with upheaval, adversity and adapting to
a new environment.” Michael Daugherty's work is commissioned by the American
Composers Orchestra, Ann Arbor Symphony Orchestra, Delaware Symphony Orchestra,
Omaha Symphony and Tupelo Symphony.
Amy Porter,
flute Amy Porter first leapt to international attention
winning the Kobe International Flute Competition in Japan, which
led to invitations to perform throughout the world. She is a
touring concert artist who performs recitals in the major
concert halls of Asia and the United States. Porter has been
heard in recital on National Public Radio, highlighted on PBS
Live From Lincoln Center and featured on the magazine covers of Flute Talk Magazine in
the USA, The Flute Magazine in Japan and Muramatsu Flute Magazine in Japan. Porter has four world premieres written for her – The Shadow Of Sirius Concerto by Joel Puckett, David Sampson’s Undercurrents for solo flute, Christopher Caliendo’s Sonata
No. 8 The Ghost Sonata for flute and piano, as well as Michael Daugherty's
Trail of Tears. The compositional and intellectual wisdom of Milton Babbitt has
influenced a wide range of contemporary musicians. A broad array
of distinguished musical achievements in the dodecaphonic system
and important writings on the subject have generated increased
understanding and integration of serialist language into the
eclectic musical styles of today. Babbitt was also renowned for
his great talent and instinct for jazz and his astonishing
command of American popular music. An extensive catalogue of
works for multiple combinations of instruments and voice along
with his pioneering achievements in synthesized sound made
Babbitt one of the most celebrated contemporary composers. He
was a founder and member of the Committee of Direction for the
Electronic Music Center of Columbia-Princeton Universities and a
member of the Editorial Board of Perspectives of New Music.
Milton Babbitt was the recipient of numerous honors,
commissions, and awards, including a Mac Arthur Fellowship and a
Pulitzer Prize Citation for his "life's work as a distinguished
and seminal American composers." Babbitt was a member of the
American Academy of Arts and Letters and a Fellow of the
American Academy of Arts and Sciences. Babbitt’s From the Psalter
for soprano and orchestra joins Psalm 13 with two stanzas each
from Psalms 40 and 41, as realized in verse by Sir Philip Sidney
(1554-1586). Babbitt wrote of the piece, “The syntax of the
poetry may sometimes appear intricate, even convoluted; an
occasional word is ‘archaic’ (at least, for most of us), and
familiar words occasionally are employed unfamiliarly, but the
verses of this remarkable poet, essayist, and courtier are never
ultimately obscure, but elegant, original, and even memorable.”
Judith Bettina, soprano Soprano Judith Bettina, hailed for her proficiency in a wide
range of musical styles, has appeared as guest soloist with such orchestras as
the Houston Symphony, San Francisco Symphony, Saint Paul Chamber Orchestra, and
the Munich Philharmonic. She has appeared with chamber groups throughout the
United States and Europe, including appearances with the Bach Chamber Soloists,
The Chamber Music Society of Lincoln Center, Continuum, Bard Music Festival, New
York Philmusica, Parnassus, Speculum Musicae, The Geneva Music Festival,
Ensemble 21, Boston Musica Viva, San Francisco Contemporary Chamber players, the
Monadnock Music Festival, and the Library of Congress. Highly acclaimed for her
performances of contemporary music, Bettina has had works written for her by Mel
Powell, Tobias Picker, Christopher Berg, Chester Biscardi, David Rakowski,
Richard Karpen, and David Olan. She has premiered works by Charles Wuorinen,
Milton Babbitt, Lori Dobbins, Richard Danielpour, George Tsontakis, and Vivian
Fine. Bettina's recent performances have included Tobias Picker's Symphony No.
2: Aussöhnung and the premiere of Trest sonetos de amor,
Schoenberg's Pierrot Lunaire, and Edison Denisov's La vie en rouge.
Bettina premiered
From the Psalter with ACO in 2002.
Aaron
Copland: Clarinet Concerto Aaron Copland's name is synonymous with American music. It was
his pioneering achievement to break free from Europe and create
concert music that is characteristically American. In addition
to writing such well-loved works as Fanfare for the Common
Man, Rodeo, and Appalachian Spring, Copland
conducted, organized concerts, wrote books on music, and served
as an American cultural ambassador to the world. While
studying with Nadia Boulanger in Paris, Copland became
interested in incorporating popular styles into his music. Upon
his return to the U.S. he advanced the cause of new music
through lectures and writings, and organized the famed
Copland-Sessions concerts. Aaron Copland was one of the most honored cultural figures in
the history of the United States. The Presidential Medal of
Freedom, the Kennedy Center Award, the National Academy of
Motion Picture Arts and Sciences "Oscar", and the Commander's
Cross of the Order of Merit of the Federal Republic of Germany
were only a few of the honors and awards he received. In 1982,
The Aaron Copland School of Music was established in his honor
at Queens College of the City University of New York. Copland’s Concerto for Clarinet and Orchestra was premiered in
November 1950, in a radio broadcast by Benny Goodman and the NBC
Symphony Orchestra, conducted by Fritz Reiner. Two weeks later,
clarinetist Ralph McClane gave the piece its public premiere
with the Philadelphia Orchestra. The following year,
choreographer Jerome Robbins set his ballet to the concerto, which helped the piece gain
critical and audience acclaim. Copland’s work from this period
has been described as “…a remarkable body of work, in a style
which came as close as any to blending popular and serious in a
productively intimate synthesis.” The Concerto, with its heavy
jazz influence, is such a blend.
Derek Bermel, clarinet Described by the Toronto Star as “an eclectic with wide open ears” and by the Pittsburgh Post-Gazette as “one of America’s finest young composers,” composer and clarinetist Derek Bermel has been widely hailed for his creativity, theatricality, and virtuosity. Bermel’s works draw from a rich variety of musical genres, including classical, jazz, pop, rock, blues, folk, and gospel. Hands-on experience with music of cultures around the world has become part of the fabric and force of his compositional language. Currently ACO’s Creative Advisor, Bermel served as Music Alive Composer-in-Residence with ACO from 2006-2009. Bermel has received commissions from major orchestras and chamber ensembles throughout the US and overseas, collaborating with a diverse array of artists as Wynton Marsalis, Midori, John Adams, Paquito D’Rivera, Philip Glass, Gustavo Dudamel and Stephen Sondheim. He is currently composer-in-residence with the Los Angeles Chamber Orchestra and artist-in-residence at the Institute for Advanced Study in Princeton. His clarinet concerto, Voices, commissioned and premiered by ACO and recorded by the Boston Modern Orchestra Project, was hailed as “magnificent’ by the San Francisco Chronicle. Bermel’s music is published by Peermusic (North/South American and Asia) and Faber Music (Europe and Australia). In his second season as Music Director of the American Composers
Orchestra, George Manahan’s esteemed career embraces everything
from opera to concert, the traditional to the contemporary. He
served as Music Director of the New York City Opera for fourteen
seasons, where he evoked ”from his players the kind of heartfelt
involvement unthinkable in the City Opera orchestra pit 20 years
ago…” (New York Times).
As Director of Orchestral Studies at the Manhattan School of
Music and guest conductor at the Curtis Institute of Music,
Manahan continues the tradition of mentoring young musicians. During his time at New York City Opera, Manahan helped envision
the organization’s groundbreaking VOX program, a series of
workshops and readings that provided unique opportunities for
numerous composers to hear their new concepts realized, and
introduced audiences to exciting new compositional voices. In
addition to established composers such as Mark Adamo, David Del
Tredici, Lewis Spratlan, Robert X. Rodriguez, Lou Harrison,
Bernard Rands, and Richard Danielpour, through VOX Manahan has
introduced works by composers on the rise including Adam
Silverman, Elodie Lauten, Mason Bates, and David T. Little. George Manahan’s wide-ranging recording activities include the
premiere recording of Steve Reich’s
Tehillim for ECM;
recordings of Edward Thomas’s
Desire Under the Elms,
which was nominated for a Grammy; Joe Jackson’s
Will Power; and Tobias
Picker’s Emmeline. His
enthusiasm for contemporary music continues today; he has
conducted numerous world premieres, including Charles Wuorinen’s
Haroun and the Sea of Stories, David Lang’s
Modern Painters, and the New York premiere of Richard Danielpour’s
Margaret Garner. As
music director of the Richmond Symphony (VA) for twelve years,
he was honored four times by the American Society of Composers
and Publishers (ASCAP) for his commitment to 20th century music.
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