international contemporary ensemble

Sunday, Tuesday, and Thursday, August 17, 19, and 21, 2014

Artists-in-Residence

International Contemporary Ensemble

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All–Sofia Gubaidulina Program Sunday Afternoon, August 17, at 5:00

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All–Anna Thorvaldsdottir ProgramTuesday Evening, August 19, at 7:30

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Dai Fujikura, John Zorn, Alvin Lucier, and MessiaenThursday Evening, August 21, at 7:30

Park Avenue Armory Please make certain your cellular phone,pager, or watch alarm is switched off.

July 25–August 23, 2014

Sponsored by Bloomberg

This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

Co-presented with Park Avenue Armory

The Mostly Mozart Festival is sponsored byBloomberg.

The Mostly Mozart Festival is made possible byRita E. and Gustave M. Hauser, The Fan Fox andLeslie R. Samuels Foundation, Inc., Ann andGordon Getty Foundation, Charles E. CulpeperFoundation, S.H. and Helen R. Scheuer FamilyFoundation, and Friends of Mostly Mozart.

Public support is provided by the New York StateCouncil on the Arts.

Artist Catering is provided by Zabar’s andZabars.com.

MetLife is the National Sponsor of Lincoln Center.

Bloomberg is the Official Sponsor of Lincoln CenterSummer Programs.

Movado is an Official Sponsor of Lincoln Center.

United Airlines is the Official Airline of Lincoln Center.

WABC-TV is the Official Broadcast Partner ofLincoln Center.

William Hill Estate Winery is the Official Wine ofLincoln Center.

“Summer at Lincoln Center” is sponsored by DietPepsi.

Time Out New York is Media Partner of Summer atLincoln Center.

Anna Thorvaldsdottir’s In the Light of Air was com-missioned by ICE through the ICElab program. ICElabis made possible through lead support from TheAndrew W. Mellon Foundation, alongside generousfunding from the Greenwall Foundation, the NationalEndowment for the Arts, Jerome Foundation, theNew York State Council on the Arts, the FrancisGoelet Lead Charitable Trusts, and public funds fromthe New York City Department of Cultural Affairs inpartnership with the City Council.

Upcoming Mostly Mozart Festival Events:

Tuesday and Wednesday Evenings, August 19–20, at 8:00 in Avery Fisher Hall

Mostly Mozart Festival OrchestraDavid Zinman, ConductorJoshua Bell, ViolinLawrence Power, Viola M|M

BOYCE: Symphony No. 1MOZART: Sinfonia concertante for violin and viola,K.364

BEETHOVEN: Symphony No. 3 (“Eroica”)Pre-concert recitals at 7:00 by Igor Kamenz, piano

Wednesday Evening, August 20, at 7:30in the Clark Studio Theater

Steven Schick, PercussionJOHN LUTHER ADAMS: The Mathematics ofResonant Bodies

Friday and Saturday Evenings, August 22–23,at 8:00 in Avery Fisher Hall

Mostly Mozart Festival OrchestraLouis Langrée, ConductorPatricia Kopatchinskaja, ViolinSusanna Phillips, SopranoKelley O’Connor, Mezzo-sopranoDimitri Pittas, Tenor M|M

Morris Robinson, BassConcert Chorale of New YorkJames Bagwell, DirectorBACH: Chorales from St. John PassionMARTIN: Polyptyque: Six Images of the Passion of

ChristMOZART: RequiemPre-concert lecture on Friday, August 22 at 6:45 byAndrew Shenton in the Stanley H. KaplanPenthouse

M|M Mostly Mozart debut

For tickets, call (212) 721-6500 or visitMostlyMozart.org. Call the Lincoln Center InfoRequest Line at (212) 875-5766 to learn about program cancellations or request a Mostly Mozartbrochure.

Visit MostlyMozart.org for full festival listings.

Join the conversation: #LCMozart

We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members.

In consideration of the performing artists and members of the audience, those who must leavebefore the end of the performance are asked to do so between pieces. The taking of photographsand the use of recording equipment are not allowed in the building.

Mostly Mozart Festival

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Welcome to Mostly MozartI am delighted to welcome you to the 2014 Mostly Mozart Festival, where we explore themany facets of our namesake composer’s brilliance and invention. What better way tousher in that spirit than with an outdoor world premiere work by American composer JohnLuther Adams. Sila: The Breath of the World transforms Lincoln Center’s Hearst Plaza intoa sonic stage before we rejoin Mozart in Avery Fisher Hall with the acclaimed MostlyMozart Festival Orchestra.

This summer, our Festival Orchestra reaches beyond many Mozart masterpieces to thesignature works of some of his great successors: Beethoven’s Ninth Symphony, Berlioz’sSymphonie fantastique, Martin’s Polyptyque. We join with favorite soloists—Joshua Bell,Richard Goode, Christian Tetzlaff—and also introduce luminaries making their festivaldebuts, including pianists Yuja Wang and Steven Osborne, and bass Ildar Abdrazakov.

We are always pleased to welcome the Mark Morris Dance Group to Mostly Mozart. ThisAugust, Mark Morris brings his unparalleled affinity for Handel to his newest creation,Acis and Galatea. The Philharmonia Baroque Orchestra and the Emerson String Quartetdelight us in Alice Tully Hall, while the International Contemporary Ensemble celebratesnew music in a collaboration with Park Avenue Armory. And don’t forget to join us formusic and wine in casual, intimate Little Night Music recitals at the Kaplan Penthouse.

We all embrace the joy that celebrating Mozart’s music brings to New York in the summer.I hope to see you often here at Lincoln Center.

Jane MossEhrenkranz Artistic Director

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Note from the Artists-in-ResidenceFive summers ago we had the unexpected and life-changing privilege of sharing a strollthrough the Austrian countryside with Sofia Gubaidulina. Members of ICE were playing atthe Lockenhaus Chamber Music Festival, where Gubaidulina was the featured composer.At one point during an outdoor dinner, she took a couple of us by the arm and, in her bro-ken but buoyantly musical English, said, “Young friends, let us walk together.” We ambledaround the hillside as she talked eagerly, with an effervescent ebullience about everythingfrom post-serial microtonal Russian music to the mysticism of improvisation to her desire tosend her music into outer space during her lifetime. She recalled with vivid fondness themoment when Shostakovich told her, upon hearing her music for the first time, “My wishfor you is that you should continue on your own incorrect path.”

If Gubaidulina blazed her own trail in the Soviet Union, through exile, oppression, andpoverty, what possible excuse did we have in 21st-century New York not to blaze ours, toinnovate uncompromisingly, and at all costs?

We were searching at the time for a new way to invigorate and support the collaborativeaspects of creating and commissioning new work by our generation of composers, particu-larly women, non-white artists, and those working at the borderlines of different disciplinesand performance practices. Shortly thereafter we stumbled upon our next “incorrect path”with the realization of an ICE dream: the ICElab program, a radical platform to commissiona new body of repertory by emerging composers created in close collaboration with ensem-ble members. Since then, we have commissioned 24 ICElab composers to write more than60 new works, which we have presented in upwards of 150 performances around theworld, many of them here at our beloved Mostly Mozart Festival.

In that spirit, for our second program, on August 19, we offer an evening of recent ICElabcommissions by the spectacularly gifted young Icelandic composer Anna Thorvaldsdottir.Her immersive new work In the Light of Air—which features an array of metallic elementscalled klakabönd (“a bind of ice”) in Icelandic—transforms the performance space into aporous chamber of light, sound, and sparkling stillness. Anna is one of the brightest stars ofour generation, and we are proud to present a portrait of her work on the heels of ourGubaidulina retrospective.

For our final program, we journey through themes of love, birth, eroticism, mysticism, andmemory with a program of works crafted for the ensemble by our dear collaborators DaiFujikura, John Zorn, and Cliff Colnot. As a counterpart to these premieres, we will also orna-ment Park Avenue Armory’s Board of Officers Room with a new rendition of Alvin Lucier’s1968 classic Chambers, a work that reveals the rich natural resonances of objects by enclos-ing within them recordings of past events. In our version, we present homemade objects—some made by ICE members, others by ICE fans, still others by children we taught in ruralGreenland and in Fukushima, Japan—for audience members to hold, experience briefly, andpass on. We invite you to embrace your own “incorrect path” within and around these tinymemory boxes.

Claire Chase ICE Founder, Flutist, and Artistic Director

Sunday Afternoon, August 17, 2014, at 5:00



All–Sofia Gubaidulina Program

String Trio (1988)IIIIII

Sotto Voce (2010/13)

Quasi Hoquetus (1984–85)

Meditation on the Bach Chorale “Vor deinen Thron tret ich hiermit” (1993)

This program is approximately 70 minutes long and will be performed without intermission.



Steinway PianoPark Avenue Armory

Please make certain your cellular phone,pager, or watch alarm is switched off.


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Program Summaryby Ellen McSweeney

One of the most prolific and prominent Russian composers living today, Sofia Gubaidulinais known for the deep spiritual dimensions of her music. She is a devout Christian and citesher two massive choral works—St. John Passion (2000) and St. John Easter (2001)—asher most significant compositions. Gubaidulina has said that “true art for me is always reli-gious. It always involves collaborating with God.”

Born in the Russian region of Tatarstan to a Russian Orthodox mother and an atheist fatherof Islamic descent, Gubaidulina was raised in an environment where ethnic identity andspirituality were essential elements. As an emerging composer, she co–founded anensemble made up of traditional folk instruments from the Russian Tatar and other regions.Though she now resides in Germany, she has continued to cultivate a strong connectionto Russian culture, setting a number of texts by contemporary Russian poets to music andwriting extensively for the bayan, the Russian chromatic-button accordion.

Gubaidulina’s music also reflects a deep awareness of historical context. She cites J.S. Bachas an important influence, as well as Dmitry Shostakovich and Anton Webern. “Althoughmy music bears no apparent traces of it,” she writes, “these two composers taught methe most important lesson of all: to be myself.”The influence of Shostakovich, whose stringquartets are among the most important in the repertoire, can certainly be heard in thisevening’s emotive String Trio. And Gubaidulina’s keen interest in musical history is evidentin Quasi Hoquetus, which riffs on a vocal imitation technique from the medieval period, aswell as Vor deinen Thron tret ich hiermit, a fantasy on a Bach choral prelude for organ.

Because Gubaidulina came of age during such a tumultuous political period, it is natural toconsider what impact political pressures might have had on her music. But she has oftensaid that because her music was roundly rejected by the Soviet government, she had agreat deal of artistic freedom. Impoverished and unrecognized, Gubaidulina wrote whatshe wanted to. The result is a bold, spiritual body of work that reveals the solitary artist incommunion with her God and herself.

—Copyright © 2014 by Lincoln Center for the Performing Arts, Inc.


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Notes on the Programby Ellen McSweeney

String Trio (1988)SOFIA GUBAIDULINABorn October 24, 1931, in Chistopol, RussiaCurrently resides in Appen, Germany

Approximate length: 20 minutes. This piece isscored for violin, viola, and cello.

Gubaidulina’s String Trio, written in 1988, isdedicated to the memory of Russian literarygiant Boris Pasternak. With its angst-filledexpressiveness and vivid characters, the Triohas much in common with the beloved 20th-century chamber music of Schnittke andShostakovich. But Gubaidulina’s palette, withits innovative textures and extreme sounds,also represents a bold departure from themusic of her Russian predecessors.

As is common in string-trio writing, theinstrumentalists are essentially treated likesoloists, with significantly different virtuosicdemands than they might face in a quartet.In Gubaidulina’s spacious, highly theatricalsecond movement, the pizzicato interac-tions between violinist and cellist seemspontaneous—almost improvised—whilethe violist unfolds its church-like melody likea singer steadily intoning from the pages ofa hymnal. This movement is a kind of colli-sion between earthly stumblings and sacredintention. Here more than anywhere else inthe Trio, we hear the restraint and asceticismof Webern. This is sparse, contemplativemusic with abundant silences, allowing us torest and reflect between the dense, freneticouter movements.

The third movement springs to life immedi-ately, with a relentless and anxious motorrhythm in the viola part that could have beenwritten by Shostakovich himself. But the

dense, swarming trills and insect-like collegnos that surround it are pure Gubaidulina.Despite its hyperactivity, the music has aluminous, multidimensional quality that sug-gests not only the realm of the spiritual, buteven the supernatural.

Sotto Voce (2010/13)SOFIA GUBAIDULINA

Approximate length: 22 minutes. This piece isscored for viola, bass, and two guitars.

Written in 2010 and revised in 2013, SottoVoce is an excellent example of the unusualinstrument combinations for which Gubai-dulina has become well-known. It is also anintroduction to her provocative use of titles:the ferocious double-cadenza opening is any-thing but sotto voce. Like any good juxta-position, the pairing of the bowed andplucked string instruments naturally attunesthe listener to the differences in the waythese instruments begin and sustain sound.

The two guitars create a highly unusual, the-atrical “underbelly” for the virtuosic strings.While at times the sound of the guitars is dif-ficult to discern, perhaps it is their subtlepresence to which Gubaidulina refers in hertitle. Whether audible or not, the guitars areperforming the invisible, the inaudible—adding another ghostly dimension to thecomposer’s exploration of the sacred.

Quasi Hoquetus (1984–85)SOFIA GUBAIDULINA

Approximate length: 14 minutes. This piece isscored for viola, bassoon, and piano.

Throughout her career, Gubaidulina hasshown a particular affinity for the viola andbassoon, two orchestral instruments that areoften considered soloistic underdogs. They

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play a key part in the medievally inspiredQuasi Hoquetus, a work of great color andhumor that demonstrates Gubaidulina’smasterful ability to juxtapose music fromvastly different time periods and places.Gubaidulina has long had a fascination withearly music; she has set to music texts bynoted composer and writer Hildegard ofBingen. The very old and the very new coex-ist easily in this work: amid its wild soundworld of extended instrument techniques, atwo-part chorale—complete with vibrato andmore traditional viola and bassoon voices—materializes out of nowhere.

Quasi Hoquetus (meaning “in the manner ofa hocket,” or “almost hocket”) refers to acomposing technique, popular in medievalmusic, in which two or more voices performa single melody, most simply by alternatingpitches back and forth. This creates analmost comical “hiccupping” sound betweenthe two singers, one of the most colorfulvocal effects found in early music.

Hocket is everywhere in this work, but itspresence can be easily missed if one isn’tstudying the score. In the work’s opening,the rapid alternation of the pianist’s left andright hands places him in a kind of hocketwith himself. About midway through, theviola and bassoon trade short, jocular pairs ofnotes like a pair of medieval tenors, and thebumpy, bouncy vocal effect of traditionalhocket is evident. Even when hocket is notpresent, the title Quasi Hoquetus rather inge-niously draws our attention to whether theinstruments might, in some way, be com-pleting each other’s musical sentences.

Meditation on the Bach Chorale “Vordeinen Thron tret ich hiermit” (1993)SOFIA GUBAIDULINA

Approximate length: 10 minutes. This piece isscored for harpsichord, two violins, viola, cello,and bass.

The program’s closing Meditation is nothingshort of a tour de force. The influence ofBach’s religious devotion, and his music’sunparalleled balance between intellect andemotion, are exhibited here in the explosivedrama and pathos of this meditation on his“death bed” chorale prelude. Written fororgan, “Vor deinen Thron tret ich hiermet”is based on a hymn tune by Martin Luther.A revision of the piece was reportedly dic-tated by Bach as he lay dying. Its text istranslated as follows:

Before your throne I now appear,O God, and humbly bid you,turn not our gracious face,away from me, poor sinner.

As the harpsichord intones music fromBach’s original prelude, the string playershaunt the sonic landscape with glitteringtremolos and arresting harmonics. Towardthe end of the piece, steady downbeatsfrom the low strings and skittering ricochetfrom the violins sustain a tragic, almost cin-ematic tension until it erupts, leaving uswith a sound world markedly different fromthe one in which we began. For a time, it’sclear that we’ve descended into a chaoticabyss, as the low strings wail their harmonicglissandos. But then the harpsichord’s wildcadenza turns out to be an accompanimentto a glorious, unison articulation of the Bachchorale melody. As the piece comes to itsapocalyptic close, the supplication of God isnot a quiet prayer but a terrified screamfrom the void that pushes the harpsichordto its physical limits.

Ellen McSweeney is a Chicago-based violinist,writer, and songwriter. Her writing can befound regularly on NewMusicBox.org and onher blog, ellenmcsweeney.net.

—Copyright © 2014 by Lincoln Center for thePerforming Arts, Inc.

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Tuesday Evening, August 19, 2014, at 7:30



All–Anna Thorvaldsdottir Program

Shades of Silence (2012) (New York premiere)

Into—Second Self (2012)

In the Light of Air (2013–14) (New York premiere)LuminanceSerenityExistenceRemembrance

This program is approximately one hour long and will be performed without intermission.

Please join the artists for a reception following the performance.



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Anna Thorvaldsdottir describes her music as a “flowing world of sounds with an enigmaticlyrical atmosphere.” Born in Iceland, she has spent significant time in the U.S., earningadvanced degrees in composition from the University of California at San Diego.

Now 37, Thorvaldsdottir began her collaboration with ICE as a participant in the 2013ICElab program, which selects six young composers annually to place in long-term col-laborations with the ensemble. Her work In the Light of Air, written for the ICE players,resulted from this period. “We had a workshop in early 2013 where I was able to get toknow each of them as performers,” says the composer. “I wanted to find their passionsand emphasize these to some extent in their individual parts.”

While this evening’s program consists entirely of chamber music, it is Thorvaldsdottir’sunique use of the symphony orchestra that first drew international attention. She uses thelarge forces of the orchestra to achieve very subtle effects. Listeners can choose to“zoom out,” enjoying the grand sweep of the ensemble’s sound, or “zoom in,” observingthe tiny details of a single string part. This same way of listening applies to the threechamber compositions on the program.

Thorvaldsdottir’s approach to melody is based more upon noise than pitch; she has saidthat she hears musical gestures as melody. The rasps and rattles of the percussion instru-ments in Into—Second Self can be heard not as isolated events, but as a pitchless melodystrung together across the three parts. The same holds with the sighs, rustles, and hollowtremolos as they are passed among the string instruments in Shades of Silence.

The balance between profound stillness and percolating energy is one of the most engag-ing tensions in this composer’s music. Her forms breathe, change, and unfold organically.Critics, perhaps influenced by the programmatic music (and shared landscapes) of Nordicpredecessors like Sibelius and Grieg, cannot help but hear howling wind and crackling icein Thorvaldsdottir’s work. Into—Second Self, with its austere atmosphere and somberbrass chorales, is a perfect example. But Thorvaldsdottir is careful to distinguish herselffrom these nature-inspired predecessors, and between programmatic and conceptualinspiration. “I don’t seek to portray the actual sounds heard in nature,” she says, “butrather to let nature inspire me as a grand design.”



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Shades of Silence (2012)ANNA THORVALDSDOTTIRBorn July 11, 1977, in Akranes, IcelandCurrently resides in Reykjavík

Approximate length: 8 minutes. This piece isscored for violin, viola, cello, and harpsichord.

Originally written for the Nordic Affectensemble and premiered by them in January2013, Shades of Silence has a brief, mysteri-ous epigraph: a stream of subtleties in anocean of silence.

This composition exemplifies the fascinatingtension between pitch and noise in Thor-valdsdottir’s music. She draws magical effectsfrom the string instruments, creating anecosystem of sound utterances that trulylives and breathes. Her palette of surfacenoises—hollow rustlings, distant rattles,metal, wood, and hair—makes a compellingargument for the exquisite beauty of noise.The music has an adept physicality, explor-ing the many levels of depth on which thebow can engage the string. In these spookyand lush string colors reside echoes ofGyörgy Ligeti and George Crumb.

Around the halfway point in the piece, aflute-and-guitar-like composite emerges fromthe guttural soundscape. This fragmented,energized approach to melody is one of themost distinct characteristics of Thorvalds-dottir’s music. Shades of Silence closeswith a gorgeous, suspended chorale-likesection that coexists naturally with the non-melodic sounds around it. In Thorvaldsdottir’smulti-layered music we can, if we listencarefully, hear both the forest and the trees.

Into—Second Self (2012)ANNA THORVALDSDOTTIR

Approximate length: 8 minutes. This piece isscored for four horns, three trombones, andpercussion.

Into—Second Self was originally written asa commission for the Harpa Concert Hall andConference Center in Reykjavík, to celebrateits new, specially designed glass facade.The piece was conceived as a site-specificsound installation, and was performed onvarious levels of the concert hall during itsinauguration in 2011. Thorvaldsdottir thenreframed the work as a concert piece, whichpremiered in May 2013. This evening’s per-formance places instruments in variousparts of the room, surrounding the audienceand echoing the work’s original incarnationas a sound installation.

The sonic environment of the work is dark,cold, and austere, but unmistakably alive.The use of a brass choir evokes the greatorchestral works of Thorvaldsdottir’s Scan-dinavian predecessors. Into—Second Selffinds a rich territory between the grandscale of the orchestra and the intimacy ofchamber music: the brass and percussioninstruments allow for a soaring, all-envelopingsound, swarming dissonances in the horns,and subtle, hushed interactions. The piecealso foreshadows Thorvaldsdottir’s interestin the sounds of human breath, which willbe explored to great sonic and visual effectin tonight’s final work, In the Light of Air.Here it is the percussion instruments, withtheir rasping surface sounds, that uncannilyevoke the sounds of breath.

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In the Light of Air (2013–14)ANNA THORVALDSDOTTIR

Approximate length: 42 minutes. This piece isscored for viola, cello, piano, harp, percussion,electronics, and light installation.

In the Light of Air, created during Thorvalds-dottir’s year-long collaboration with ICE in2013, had its world premiere in Reykjavíkand will have its New York premiere thisevening. Its four movements—Luminance,Serenity, Existence, and Remembrance—areseamlessly connected by brief transitions.“The music material is constructed withfocus on subtle nuances and poetic texturesthat form lyrical gestures throughout thework,” Thorvaldsdottir says. “Melodies aregenerated just as much by sounds, gestures,and nuances as by pitched lyrical material.”

Throughout the work, listeners will hearsections in which the instrumentalists arefeatured soloists. “The performers alternatebetween traveling through fields of collec-tive instrumental alliances and moving intosoloistic approaches,” the composer writes.

In the Light of Air’s visual world, designed byThorvaldsdottir in collaboration with ICEmusicians and technical designers, is one ofaustere, luminous beauty. Bare light bulbsdangle from the ceiling among Icelandicornaments called klakabönd (“a bind ofice”), created by artist Svana Jósepsdóttir.The pulsations of the lighting design

suggest flickering campfires, or sunsetsglimpsed through trees. Thorvaldsdottirchose to use the musicians’ breath as aguiding element of the lighting; in a sense,this places the audience in direct contactwith the performers’ bodily experience ofthe music. We might even feel that we areinside their instruments, experiencing thedelicate and ever-evolving sound world fromthe inside out.

With its thoughtfully conceived, all-envelop-ing sonic and visual production, In the Lightof Air is what we might, in a historical dis-cussion of classical music, call a total workof art. Or, placing the piece in a more con-temporary context, we might note thatThorvaldsdottir’s legendary pop country-woman, Björk, also carefully crafts thecostume, set, and video pieces that accom-pany her artful popular music when it tours.Makers of contemporary art music areincreasingly thinking about creating a com-plete experience. This grand work byThorvaldsdottir strikes an utterly modern bal-ance between the lush spectacle of a“show” and the intimacy and experimenta-tion of 21st-century chamber music.



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Thursday Evening, August 21, 2014, at 7:30


International Contemporary EnsembleDavid Fulmer, Conductor M|M

Ellie Dehn, Soprano M|M

DAI FUJIKURA Minina (2013) (New York premiere)

JOHN ZORN Baudelaires (2013) (New York premiere)Paris SpleenFlowers of EvilArtificial Paradises

ALVIN LUCIER Chambers (1968)PHYLLIS CHEN, Soloist

MESSIAEN (arr. Cliff Colnot) Chants de terre et de ciel (1938/2008)(New York premiere)

Bail avec MiAntienne du silenceDanse du bébé-piluleArc-en-ciel d’innocenceMinuit pile et faceRésurrection

This program is approximately one hour long and will be performed without intermission.

M|M Mostly Mozart debut



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This evening’s program is a collection of works in which musical color and timbre are king.From John Zorn’s hyper-energized Baudelaires to Dai Fujikura’s Minina, this is whimsical,lively music that dazzles with its ever-changing palette. It was the spectacular range of col-ors in Olivier Messiaen’s Chants de terre et ciel that inspired Cliff Colnot to create anensemble arrangement of the piece. And for the influential sound pioneer Alvin Lucier,color and timbre are territory for constant exploration and innovation. The open-endedscore for Lucier’s Chambers—written for what he calls “sound-producing resonantobjects”—encourages the performers to search for sound coloring in objects as ordinaryas bowls or shoes.

The program also tracks the transformation of musical works as they travel from one per-formance context to another. While Fujikura originally wrote his dazzling concerto Mina forICE and the Seattle Symphony, he reconfigured it as Minina for the more portable quintetwe hear tonight. Messiaen’s songs for voice and piano have been transformed by Colnot,who heard their potential as an ensemble work. And Lucier’s whimsical and poetic per-formance instructions for Chambers guarantees that every rendition of the piece will beunique. ICE designed its realization of Chambers specifically for this performance atMostly Mozart. They began following Lucier’s instructions months ago, gathering “cham-bers” (instruments) from artists and schoolchildren alike and making field recordings fromNew York City to Greenland. Whether in the hands of the composer, arranger, performer,or audience, musical works of art can continue to grow and evolve long after their scoreshave been finished.



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For an audio-visual guide to the instruments used in Chambers—from teapotsto handmade objects from Greenland—visit instagr.am/iceensemble or scan



Minina (2013)DAI FUJIKURABorn April 27, 1977, in Osaka, Japan Currently resides in London

Approximate length: 8 minutes. This piece isscored for flutes, oboe, clarinets, bassoon, andhammered dulcimer.

Minina, for wind quartet and percussion, isthe chamber version of Dai Fujikura’s con-certo, Mina, which was co-commissionedby the Seattle Symphony Orchestra, Bam-berg Symphony, and Nagoya PhilharmonicOrchestra. As Fujikura noted ahead of thework’s premiere in 2012, Minawas inspiredby the birth of his first child:

I was amazed how one’s life on earthstarts so suddenly. And so the piecebegins as if it starts in the middle: thesoloists play together at first, as if theywere one instrument. I wanted to showhow rapidly the mood of the musicshifts from one mood to another, justas if you were looking at the baby’sface, which can display four expres-sions in one second.

The solo wind instruments are unabashedlythe stars of Mina, and in hearing the piecewithout its original orchestral surroundings,we can perhaps appreciate Fujikura’s windwriting—and the virtuosity of the soloists—even more fully. The music buzzes withenergy and new life, rapidly shifting andbabbling excitedly. One can easily imaginethat the principal woodwinds (and the percussionist) of the orchestra have takenflight from their chairs and begun to chant

unexpectedly celestial music. At times inflowing unison, and other times in fascinatingcanon, the wind parts create a multi-dimen-sional sound world against the inspiredbackdrop of the hammered dulcimer.

Baudelaires (2013)JOHN ZORNBorn September 2, 1953, in New York CityCurrently resides in New York City

Approximate length: 12 minutes. This piece isscored for violin, cello, flutes, clarinets, bas-soon, guitar, and harpsichord.

The prolific American composer John Zornrecently marked his 60th birthday. To cele-brate, ICE gave a retrospective that focusedexclusively on his most recent work—a wisechoice, given that assembling a completeZorn retrospective would require an enor-mous number of concerts. The composer hascollaborated with a dizzying number ofmusicians in a diverse array of genres: clas-sical, improvised, jazz, rock, and klezmer, toname just a few. His music is often both styl-ish and irreverent; Baudelaires, premiered byICE last October in Chicago, is no exception.

Charles Baudelaire, the French poet afterwhom the piece is named, is the perfect lit-erary figure for Zorn to tackle. Baudelairewas an advocate of the contemporary musicand art of his time and is credited with coin-ing the term “modernity.” As an artist himself,Baudelaire was a stylistic and formal inno-vator, inventing a style of prose poetry thatwas highly influential on his contemporaries.His poetic voice was a notable departurefrom the Romantics who had preceded him:his work was more urban, refined, and morallycomplex. He was also deeply interested inthe concept of the dandy—the emerging

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18th-century image of a self-made, dapper,intellectual showman with a political edge.Baudelaires shares with its namesake aninterest in rhetoric: not only what the music(or poem) is saying, but how it is saying it.

Showmanship is a major feature of Baude-laires. The piece begins with a tutti flurry ofactivity before starting to highlight energeticsolos from the flute, violin, bassoon, andharpsichord. Each instrumentalist’s effort toseize the spotlight frequently collapses intodelightful chaos, with gestures tumbling ontop of one another. As the piece progresses,however, moments of unity and organizationtake place more frequently. In Baudelaires,we find the musicians in a kind of hyper-modern concerto grosso: trading busy,expressive, virtuosic solos as the guitar andharpsichord lay down a gnarly continuo.

Zorn’s music here has a distinct and elabo-rate way of speaking, like someone winkingas they use a deliberately fancy vocabulary.Seamlessly marrying the divergent worldsof Baroque virtuosity and 21st-century coun-terpoint, Baudelaires is a shining example ofthe pluralism that has made Zorn one of ourmost important living composers.

Chambers (1968)ALVIN LUCIERBorn May 14, 1931, in Nashua, New HampshireCurrently resides in New York

Approximate length: 10 minutes

American composer Alvin Lucier came toprominence in the 1960s, and his pioneeringwork continues to influence and permeatecontemporary music being written today.Many of the young composers championedby ICE are carrying forth Lucier’s legacy of

conceptual and technological innovation: forexample, his use of brain waves in live per-formance (an idea explored by ICElabcomposer Daniel Dehaan in a 2013 work forcellist Katinka Kleijn) and the generation ofvisual imagery by sound (an important con-cept in the audiovisual work of Anna Thor-valdsdottir, who was celebrated in an earlierconcert at this Mostly Mozart ICE series).

Lucier not only uses everyday objects as instruments, but often considers the performance space itself to be an instru-ment. An illustrative example is his 1967work Shelter, written for “vibration pickups,amplification system, and enclosed space.”Chambers also elevates the importance of sonic space, or more specifically, space-within-a-space. Tailoring the piece to ParkAvenue Armory’s Board of Officers Room,ICE musicians broke down Lucier’s perfor-mance instructions into four basic steps:

1. Collect or make a “chamber,” or resonantobject. (Lucier includes a delightful list ofpossible chambers—instruments, that is—in his score, including bulbs, funnels, cacti,and empty missiles.) ICE has been “perform-ing” this aspect of the score since the latespring, collecting everything from the whirly-tubes loved by New York schoolchildren tocustom music-boxes made by Phyllis Chen.

2. Find a way to make the chamber sound.Lucier’s suggestions include blowing, bow-ing, bouncing, and squeezing.

3. Take the chamber away. Performers mayget quite far apart during this phase of therealization, but we could also understand thisinstruction as part of the sound-collectingprocess that ICE musicians have beenengaging in throughout the summer. Theensemble took some of the “chambers”

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very far away indeed—to their recent resi-dency at the Far North music festival inGreenland, where they captured fieldrecordings for this evening’s performance.

4. Bring it back. The place ICE has broughttheir chambers back to is, of course, ParkAvenue Armory, where the listener candelight in the specificity of something neverheard before, and will never be heard inquite the same way again.

Chants de terre et de ciel (1938/2008) OLIVIER MESSIAENBorn December 10, 1908, in Avignon, FranceDied April 28, 1992, in Paris

CLIFF COLNOTBorn in Youngstown, OhioCurrently resides in Chicago, Illinois

Approximate length: 24 minutes. This piece isscored for voice, violin, viola, cello, piccolo,flutes, clarinets, piano, and percussion.

Messiaen wrote his Chants de terre et deciel (Songs of Earth and Sky) in 1938,inspired by his love for his wife, the violinistand composer Claire Delbos, and their new-born son Pascal. The songs, and their title,reflect an important tension in Messiaen’swork between a reverence for the sacredand appreciation for the earth-bound,human realm. The texts for the songs are bythe composer himself; Messiaen wrote thetexts for all but two of his own vocal works.His strong interest in theology and literaturemade it a natural choice for him to bothcompose and set his own poetry. Here, wefind the composer grappling with themessy, human, transcendent realm of loveand family. In the first two songs, Messiaenreflects upon the sacred and celestial bondhe shares with his wife; in the second two

songs, the innocence of his newborn child;and in the final two songs, man’s potentialfor both sinfulness and resurrection.

Messiaen is one of the most distinct andcolorful voices of 20th-century music, witha particularly rich harmonic language thateasily evokes the mystical. Noted conductorand arranger Cliff Colnot first heard thesesongs while walking down the halls ofChicago’s Merit School of Music, where apianist and vocalist were rehearsing them ina practice room. He stopped to listen andrealized almost immediately that the songs,with their diverse colors and timbres, wouldbe a natural fit for an ensemble arrange-ment using winds, strings, and percussion.

In the opening of the first song, “Bail avecMi,” what was once a passage of warmpiano chords in the first song’s openingbecomes a lush chorale of winds and strings,shading the luxurious vocal line. In “Antiennedu silence,” viola pizzicati allow a lively bassline to emerge with new clarity. In the finalsong, “Résurrection,” the ensemble punctu-ates the singer’s religious declarations with apersistent, clanging chord. Throughout thecycle, the silver transparency of the flutetransforms the piano’s high register, andpercussion instruments punctuate the music’smost gripping dramatic moments. Colnot’sarrangement of Chants de terre et de ciel isa celebration and elaboration of the originalscore, bringing the songs to new life in thisexpanded instrumentation.



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Chants de terre et de cielText: Olivier Messiaen

Songs of Earth and SkyTrans.: Joseph Bain and Donald Winkler

Bail avec Mi (pour ma femme)Ton œil de terre,Mon œil de terre, Nos mains de terre, Pour tisser l’atmosphère, La montagne de l’atmosphère. Étoile de silence, À mon cœur de terre, A mes lèvres de terre, Petite boule de soleil,Complémentaire à ma terre, Le bail, Doux compagnon de mon épaule amère.

Antienne du silence (pour Le Jour desAnges Gardiens)

Ange silencieux, Écris du silence dans mes mainsAlléluia.Que j’aspire le silence du ciel,Alléluia.

Danse du bébé-pilule (pour mon petitPascal)

Pilule, viens, dansons. Malonlanlaine, ma.Ficelles du soleil.Malonlanlaine, ma.C’est l’alphabet du rireAux doigts de ta maman. Son oui perpétuel Était un lac tranquille.Malonlanlaine, ma, ma.Douceur des escaliers,Surprise au coin des portes.Tous les oiseaux légers S’envolaient de tes mains.Oiseaux légers, cailloux, Refrains, crème, légère.En poissons bleus,En lunes bleues,Les auréoles de la terre et de l’eau,Un seul poumon dans un seul roseau.

Pledge with Mi (for my wife)Your eye of earth, my eye of earth, our hands of earth,to weave the atmosphere, the mountain of atmosphere.Silent star to my heart of earth, my lips of earth,small ball of sun, a foil for my earth.This pledge, sweet companion to my bitter shoulder.

Antiphon of Silence (for the Day ofGuardian Angels)

Silent angel, silent writings in my hands, alleluia.How I aspire to the silence of heaven, alleluia

Dance of Bébé Pilule (for my littlePascal)

Pilule, come, let’s dance.Malonlanlaine, ma.Strands of sunshine.Malonlanlaine, ma.It’s the alphabet of laughter at your mother’s fingertips.Her perpetual yes was a tranquil lake.Malonlanlaine, ma, ma.Gentleness of staircases, surprise at the turnings of doors.All the light birds take flight from your hands.Light birds, pebbles, refrains, light cream.Into blue fish, into blue moons, halos of earth and water,a single lung in a single reed.

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Lo, io, malonlaine, ma.L’œil désarmé, Un ange sur la tête, ton petit nez levé Vers le bleu qui s’avale, Ourlant de cris dorésLes horizons de verre, Tu tendais ton cœur si pur. Chanter, chanter, chanter, ah! chanterGlaneuses d’étoiles, tresses de la vie,Pouviez-vous chanter Plus délicieusement? Le vent sur tes oreilles, Malonlanlaine, ma,Joue à saute-mouton,Malonlanlaine, ma, Et la présence verte Et l’œil de ta maman.En effeuillant une heure Autour de mon sourire.Malonlanlaine, ma.Lo, ha, ha, ha, ha, ha, io, io!

Arc-en-ciel d’ innocence (pour monpetit Pascal)

Pilule, tu t’étires comme une Majuscule de vieux missel.Tu es fatigué; regarde ta main.Jouet incassable, les ressortsFonctionnent toujours;Mais on ne peut pas le lancer par-dessusbord

Comme la jolie poupée en coton.Rêve aux plis de l’heure; tresse, tresseDes vocalises autour du silence:Le soleil t’écrira sur l’êpaule du matin

Pour lancer des oiseaux Dans la bouche sans dents.Sourire, sourire, ce que tu chantes,Chanter, chanter, t’a appris à sourire.Ce que tu ne vois pas, sauras-tu en rêver?

Viens, que je te catapulte dans le jourComme la libellule aviateur!Te voilà plus haut que moi; quel plaisir de Dominer tous ses géants!

Lo, malonlaine, ma.The disarmed eye, an angel on the head, your little nose raised towards the blue which swallows itself,hemming the glass horizons with gilded cries, you offered your heart so pure.To sing, to sing, ah! to sing,gleaner of stars, braids of life,could you sing more delightfully?The wind on your ears,Malonlanlaine, ma,plays leap-frog,Malonlanlaine, ma,and your mother’s watchful eye and presence.Shedding one hour around my smile. Malonlanlaine, ma.Lo! ha, ha, ha, ha, ha, io, io!

Rainbow of Innocence (for my littlePascal)

Pilule, you stretch like an old missal’s first letter.You’re tired; look at your hand.Unbreakable toy, the springs still work;but you can’t toss it overboard

like the pretty cotton doll.Dream at the folds of time; braid melismas around silence:the sun will write to you on the shoulderof the morning

to fling birds into your toothless mouth.Smile, smile, that which you sing,Singing, singing, has taught you to smile.Will you be able to dream what you donot see?

Come, let me launch you into the day like an aviator dragonfly! Now you are higher than me;what fun to reign over all these giants!

(Please turn the page quietly)

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Attache à tes poignets fins Les arcs-en-ciel d’innocence Qui sont tombés de tes yeux,Fais-les frémir dans les encoignures dutempsTrès loin, très près; recommençons cent Fois le jeu!Où est-il? si haut qu’on ne le voit plus? Saute, mon bilboquet Pilule! Tu t’agites comme un battant deCloche pascale.Bonjour, mon petit garçon.

Minuit pile et face (pour la Mort)Ville, œil puant, minuits obliques, Clous rouillés enfoncés aux angles del’oubli.Agneau, Seigneur!Ils dansent, mes péchés dansent!Carnaval décevant des pavés de la mort!Grands corps tout pourri des rues,Sous la dure lanterne.Carrefour de la peur!Couverture deDémence et d’orgueil!Rire, aiguise-toi, rire, avale-toi

Ces flarnbeaux sont des montagnes de nuit.Nœuds bien serrés de l’angoisse.Bête inouïe qui mange.Qui bave dans ma poitrine. Tête, tête quelle sueur!Et je resterais seul à la mort quim’enroule?Père des lumières, Christ, Vigne d’amourEsprit Consolateur, Consolateur aux sept dons!Cloches, mes os vibrent, Chiffre soudain,Décombres de l’erreur Et des cercles à gauche,Neuf, dix, onze, douze. Oh! m’endormir petit! Sous l’air trop large, dans un lit bleu,La main sous l’oreille, Avec une toute petite chemise.

To your delicate wrists fasten rainbows of innocencewhich have fallen from your eyes,make them tremble in the corners of time.Now far, now near; let’s start the game over a hundred times!Where is he? so high, that he can’t be seen?Jump, my bilboquet Pilule!You jiggle like the clapper of an Easter bell.Good morning, little boy.

Midnight Heads and Tails (for Death)City, stinking eye, slanted midnights, rusted nails sunk at the angles of theforgotten.Lamb, Lord! They dance, my sins dance!deceiving carnival on the cobbles of death.Large rotted body of the streets, under a stark lantern.Crossroad of fear! Blanket of dementia and pride!Laugh, hone yourself, laugh, swallowyourselfthese torches are mountains of night.Knots of anguish well tightened, inconceivable beast that eats,drooling within my breast. On my brow, on my brow, what sweat! And I would be left alone while deathcircles me round? Father of light, Christ, Vine of Love,Spirit Comforter,Comforter of the seven gifts!Bell, my bones shake, a sudden numbering, ruins of error and of sinister circles, nine, ten, eleven, twelve.Oh! To fall asleep so small! Under too wide a sky, in a blue bed, hand under ear, in a tiny little shirt.

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Résurrection (pour le Jour de Pâques)Alléluia, alléluia,Il est le premier, le Seigneur Jésus.Des morts, il est le premier né.Sept étoiles d’amour au transpercé,Revêtez votre habit de clarté.“Je suis ressuscité, je suis ressuscité.

Je chante: pour toi, mon Père, pour toi,Mon Dieu, AlléluiaDe mort à vie je passe.” Un ange. Sur la pierre il s’est posé.Parfum, porte, perle,Azymes de la Vérité.

Alléluia, alléluia,Nous l’avons touché, nous l’avons vu.De nos mains nous l’avons touché.Un seul fleuve de vie dans son côté,Revêtez votre habit de clarté.“Je suis ressuscité, je suis ressuscité.

Je monte: vers toi, mon Père, vers toi,

Mon Dieu, Alléluia.De terre à ciel je passe.” Du pain. Il le rompt et leurs yeux sontdessillés.

Parfum, porte, perle, Lavez-vous dans la Vérité.

Resurrection (for Easter Day)Alleluia, alleluia.He is the first, the Lord Jesus.Of the dead He is the first born.Seven stars of love for the pierced, don your cloak of clarity.“I am risen from the dead, I am risen fromthe dead.

I sing: for Thee, my Father, for Thee, my God, alleluia.I pass from death to life.” An angel. On the stone he perched.Fragrance, gate, pearl, unleavened Truth.

Alleluia, alleluia.We have touched Him, we have seen Him.With our hands we have touched Him.One sole river of life in His side, don your cloak of clarity.“I am risen from the dead, I am risen fromthe dead.

I climb: towards Thee, my Father, towardsThee,

my God, alleluia. From earth to heaven I pass.”Bread. He breaks it and their eyes areopened.

Fragrance, gate, pearl, wash yourselves in Truth.

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The International Contemporary Ensemble(ICE) is dedicated to reshaping the waymusic is created and experienced. With amodular makeup of 33 leading instrumental-ists performing in forces ranging from solosto large ensembles, ICE functions as per-former, presenter, and educator, advancingthe music of our time by developing innova-tive new works and new strategies foraudience engagement. ICE redefines con-cert music as it brings together new workand new listeners in the 21st century.

Since its founding in 2001, ICE has pre-miered more than 500 compositions––themajority of these new works by emergingcomposers––in venues ranging from alterna-tive spaces to concert halls around theworld. The ensemble received the AmericanMusic Center’s Trailblazer Award in 2010 forits contributions to the field, and received theChamber Music America/ASCAP Award forAdventurous Programming in 2005 and2010. ICE was ensemble-in-residence at theMuseum of Contemporary Art Chicagothrough 2013. The ICE musicians also serve asartists-in-residence at the Mostly Mozart Fes-tival, curating and performing chamber musicprograms that juxtapose new and old music.

ICE has released acclaimed albums on theNonesuch, Kairos, Bridge, Naxos, Tzadik,New Focus, and New Amsterdam labels,with several forthcoming releases on ModeRecords. Recent and upcoming highlightsinclude performances at Lincoln CenterFestival, Musica Nova Helsinki, Wien Mod-ern, Acht Brücken: Music for Cologne, andCité de la musique in Paris, plus tours ofJapan, Brazil, and France. ICE has workedwith conductors Ludovic Morlot, MatthiasPintscher, John Adams, and Susanna Mälkki.

With leading support from the Andrew W.Mellon Foundation, ICE launched ICElab inearly 2011. This program places teams ofICE musicians in close collaboration with sixemerging composers each year to developworks that push the boundaries of musicalexploration. ICElab projects will be featuredin more than 100 performances from 2011–14and will be documented online throughICE’s blog and DigitICE, an online venue.ICE’s commitment to building a diverse,engaged audience for the music of our timehas inspired the Listening Room, an educa-tional initiative for public schools withoutin-house arts curricula. Using team-basedcomposition and graphic notation, ICE musi-cians lead students in the creation of newmusical works, nurturing collaborative cre-ative skills and building an appreciation formusical experimentation.

A leader in his generation of composer-performers, David Fulmer has garnerednumerous international accolades for hisbold compositional aesthetic combined withhis thrilling performances. The success ofhis Violin Concerto at Lincoln Center in 2010earned international attention and resultedin immediate engagements to perform thework with major orchestras and at festivalsin the United Kingdom, Europe, NorthAmerica, and Australia. Mr. Fulmer made hisEuropean debut performing and recordinghis concerto with the BBC Scottish Sym-phony Orchestra under the direction ofMatthias Pintscher in 2011. A surge of newcommissions have led to recent and upcom-ing performances by the Berliner Philhar-moniker, Ensemble Intercontemporain, New

International ContemporaryEnsemble

Meet the Artists

David FulmerSONJA

GEORGEVICH

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York Philharmonic, Deutsche Kammerphil-harmonie Bremen, and ProMusica ChamberOrchestra of Columbus. This season Mr.Fulmer leads the Adelaide Symphony Orch-estra, International Contemporary Ensemble,Elision Ensemble, Sydney Modern MusicEnsemble, and numerous ensembles andorchestras throughout the United Statesand Europe. He was recently the recipientof the Charles Ives Fellowship from theAmerican Academy of Arts and Letters andthe Carlos Surinach Commissioning Awardfrom BMI. He holds a doctorate from TheJuilliard School, and joined the faculty ofColumbia University in 2009.

American soprano Ellie Dehn has earnedpraise for her stage presence and rich, sen-sual voice. In the 2013–14 season sheperformed Fiordiligi in Così fan tutte at theTeatro Lirico di Cagliari, Musetta in Labohème with Lyric Opera of Kansas City,and Donna Elvira in Don Giovanni at TeatroMassimo in Palermo, as well as coveredthe role of Rosalinde in a new production ofDie Fledermaus at the Metropolitan Opera(directed by Jeremy Sams). Ms. Dehn alsomade her debut in the title role of Weber’sEuryanthe at Bard SummerScape. Upcomingengagements include a return to San Fran-cisco Opera as Musetta in a new productionof La bohème, Donna Anna in Don Giovanniwith the San Diego Opera, and debuts withthe Royal Opera House–Covent Garden, PalmBeach Opera, and Central City Opera.

Ms. Dehn’s recent performances includethe trio of Mozart/Da Ponte heroines (theCountess, Donna Anna, Fiordiligi) with SanFrancisco Opera, her Teatro alla Scala debut

as Antonia in Les contes d’Hoffmann, Helenain Britten’s A Midsummer Night’s Dream,Musetta at Rome’s Teatro dell’Opera, andher return to the Metropolitan Opera asDonna Elvira and Musetta. Ms. Dehn madeher Metropolitan Opera in the Parks debut asMarguerite in Faust in 2007, and a success-ful house debut the following year as Mrs.Naidoo in Philip Glass’s Satyagraha. Shehas also performed with the Los Angeles,Minnesota, and Bilbao opera companies.

Highlights of Ms. Dehn’s orchestral engage-ments include performances at CarnegieHall with the Opera Orchestra of New Yorkin Mozart’s Mass in C minor, Bach’s Magni-ficat, Vivaldi’s Gloria, and Haydn’s Harmonie-messe. At Avery Fisher Hall, she joinedforces with Eve Queler at the Opera Orches-tra of New York as Inez in Meyerbeer’sL’Africaine, and she debuted the role of Avisin Dame Ethel Smyth’s The Wreckers withthe American Symphony Orchestra. Ms.Dehn’s discography includes Ravel: IntimateMasterpieces, released on the Oberlin Musiclabel and distributed by Naxos America, anda live recording of Saint-Saëns’s Henry VIIIat Bard SummerScape.

About the Board of Officers RoomThe Board of Officers Room is one of themost important historic rooms in Americaand one of the few remaining interiors byHerter Brothers. After decades of progres-sive damage and neglect, the room wascompletely revitalized in 2013 by the archi-tecture team at Herzog & de Meuron andexecutive architects Platt Byard DovellWhite Architects, who transformed thespace into a state-of-the-art salon for inti-mate performances and other contemporaryartistic programing.

The Board of Officers Room is the thirdperiod room (out of 18) at Park AvenueArmory to be completed. The revitalization

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Ellie DehnVICTO

RIA JANASHVILI


included the addition of contemporary lightingto the 1897 chandeliers, new interpretationsof the stencil patterns on areas of loss, theaddition of metallic finishes on new materi-als, and custom-designed furniture. Theroom’s restoration was guided by the under-standing that the Armory’s rich history and thepatina of time are essential to its character.

Park Avenue ArmoryPart palace, part industrial shed, Park AvenueArmory has transformed itself from the for-mer home of the Seventh Regiment into agroundbreaking cultural institution that fills acritical void in the cultural ecology of NewYork by enabling artists to create and audi-ences to experience unconventional workthat cannot be mounted in traditional perfor-mance halls and museums. Since 2007 theArmory has organized a series of immersiveperformances and installations that havedrawn critical acclaim and popular attention.

In 2010 the Armory instituted its artist-in-residence program that provides artistswith dedicated space in the building’s his-toric period rooms within which they canresearch, create, and develop new worksacross an array of disciplines. Park AvenueArmory’s arts education programming en-gages students and families with the Armory’sartistic programming, as well as the build-ing’s history and architecture. The Armorydebuted its annual recital series in 2013,staged in the exquisite Board of OfficersRoom to allow audiences a rare and intimateopportunity to hear chamber music the wayit was originally meant to be experienced.

Built between 1877 and 1881, Park AvenueArmory has been hailed for its 19th-centuryinteriors. The 55,000-square-foot WadeThompson Drill Hall, with an 80-foot-high

barrel vaulted roof, is one of the largestunobstructed spaces in New York City. TheArmory’s magnificent reception roomswere designed by leaders of the Americanaesthetic movement, among them LouisComfort Tiffany, Stanford White, CandaceWheeler, and Herter Brothers. The buildingis currently undergoing a $200 million reno-vation designed by Pritzker Prize–winningarchitects Herzog & de Meuron.

Mostly Mozart FestivalLincoln Center’s Mostly Mozart Festival—America’s first indoor summer music festival—was launched as an experiment in1966. Called Midsummer Serenades: AMozart Festival, its first two seasons weredevoted exclusively to the music of Mozart.Now a New York institution, Mostly Mozartcontinues to broaden its focus to includeworks by Mozart’s predecessors, contem-poraries, and related successors. In additionto concerts by the Mostly Mozart FestivalOrchestra, Mostly Mozart now includesconcerts by the world’s outstanding period-instrument ensembles, chamber orchestrasand ensembles, and acclaimed soloists, aswell as opera productions, dance, film, late-night performances, and visual art instal-lations. Contemporary music has becomean essential part of the festival, embodiedin annual artists-in-residence includingOsvaldo Golijov, John Adams, Kaija Saari-aho, Pierre-Laurent Aimard, and the Inter-national Con-temporary Ensemble. Amongthe many artists and ensembles who havehad long associations with the festival areJoshua Bell, Christian Tetzlaff, Itzhak Perl-man, Emanuel Ax, Garrick Ohlsson, StephenHough, Osmo Vänskä, the Emerson StringQuartet, Freiburg Baroque Orchestra, Orch-estra of the Age of Enlightenment, and theMark Morris Dance Group.

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Lincoln Center for the Performing Arts, Inc.Lincoln Center for the Performing Arts(LCPA) serves three primary roles: presen-ter of artistic programming, national leaderin arts and education and community rela-tions, and manager of the Lincoln Centercampus. A presenter of more than 3,000free and ticketed events, performances,tours, and educational activities annually,LCPA offers 15 programs, series, and fes-tivals, including American Songbook, Great

Performers, Lincoln Center Festival,Lincoln Center Out of Doors, MidsummerNight Swing, the Mostly Mozart Festival,and the White Light Festival, as well as theEmmy Award–winning Live From LincolnCenter, which airs nationally on PBS. Asmanager of the Lincoln Center campus,LCPA provides support and services forthe Lincoln Center complex and the 11 res-ident organizations. In addition, LCPA led a$1.2 billion campus renovation, completedin October 2012.


ViolinDavid BowlinJennifer Curtis *§

ViolaKyle ArmbrustMaiya Papach §

CelloKatinka Kleijn *§Akiva Cahn-Lipman †Michael Nicolas

BassRandall Zigler *

GuitarNadav Lev *Dan Lippel *§

FluteClaire Chase §

OboeNick Masterson §

ClarinetJoshua Rubin §

BassoonRebekah Heller *§

HornDavid Byrd-Marrow †Rachel Drehmann †Eric Reed †Alana Vegter †

TromboneTimothy Albright †Michael Boschen †Michael Lormand †

PianoPhyllis Chen *§Jacob Greenberg §Cory Smythe †

HarpsichordJacob Greenberg *Cory Smythe †§

HarpNuiko Wadden †

PercussionIan Antonio †Nathan Davis †§Russell Greenberg †Ross Karre †§

Hammered dulcimerNathan Davis §

Nicholas Houfek, LightingLevy Lorenzo, SoundDesign †

* August 17† August 19§ August 21

No symbol indicates allthree performances

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ARMEN ELLIOTT


International Contemporary Ensemble AdministrationClaire Chase, Artistic Director and CEOJoshua Rubin, Program DirectorJonathan Harris, Business ManagerRoss Karre, Production DirectorJacob Greenberg, Education DirectorRebekah Heller, Development AssociateRyan Muncy, Grants ManagerForrest Wu, Assistant to the Artistic Director/CEOMaciej Lewandowski, Program Assistant

For Park Avenue ArmoryRebecca Robertson, President and Executive ProducerMichael Lonergan, Producing DirectorJerad Schomer, Technical DirectorDavid Shocket, Assistant Technical DirectorUtsuki Otsuka, Production Coordinator

Lincoln Center Programming DepartmentJane Moss, Ehrenkranz Artistic DirectorHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingLisa Takemoto, Production ManagerBill Bragin, Director, Public ProgrammingCharles Cermele, Producer, Contemporary ProgrammingKate Monaghan, Associate Director, ProgrammingJill Sternheimer, Producer, Public ProgrammingMauricio Lomelin, Associate Producer, Contemporary ProgrammingJulia Lin, Associate ProducerNicole Cotton, Production CoordinatorRegina Grande, Assistant to the Artistic DirectorLuna Shyr, Interim Programming Publications EditorMariel O’Connell, House Seat CoordinatorHonor Bailey, House Program Intern; Brenton O’Hara, Theatrical Productions Intern; Jacob Richman, Production Intern

Program Annotators:Don Anderson, Christopher H. Gibbs, Ellen T. Harris, Kathryn L. Libin, Hugh Macdonald, Ellen McSweeney, Harlow Robinson, Paul Schiavo, David Wright

international contemporary ensemble

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