traditions and transformations · 2010-05-12 · traditions and transformations sounds of silk road...

CHICAGO SYMPHONY ORCHESTRA SILK ROAD ENSEMBLE

YO-YO MA / WU MAN MIGUEL HARTH-BEDOYA / ALAN GILBERT

TRADITIONS AND TRANSFORMATIONS SOUNDS OF SILK ROAD CHICAGO

1 BLOCH/Schelomo,HebraicRhapsodyforSoloCelloandLargeOrchestra 22:39 ChiCagoSymphonyorCheStra/yo-yoma/miguelharth-Bedoya

2 SHARAV/Legend of Herlen 10:58 SilkroadenSemBle yo-yoma,morinkhuur khongorzulganbaatar,voice JayFriedman,michaelmulcahy,andCharlesVernon,trombones Josephgramley,markSuter,andShaneShanahan,percussion JoelFan,piano

HARRISON/PipaConcerto ChiCagoSymphonyorCheStra/Wuman/miguelharth-Bedoya3 allegro 4:07

Bitsandpieces:4 troika 2:095 threeSharing 2:04

JohnSharp,cello/Josephguastafeste,bass6 “Windandplum” 2:427 neapolitan 0:588 threnodyforrichardlocke 5:189 estampie 6:59

PROKOFIEV/ScythianSuite,Op.20 ChiCagoSymphonyorCheStra/alangilBert10 theadorationofVelesandala 6:0511 theenemygodandthedanceoftheBlackSpirits 3:1512 night 6:1313 lolly’sgloriousdepartureandtheCeremonialprocessionoftheSun 5:38

TOTAL PLAYING TIME 79:24

CHICAGO SYMPHONY ORCHESTRA / SILK ROAD ENSEMBLE / YO-YO MA, CELLO / WU MAN, PIPA MIGUEL HARTH-BEDOYA, CONDUCTOR / ALAN GILBERT, CONDUCTOR


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TRADITIONS AND TRANSFORMATIONS SOUNDS OF SILK ROAD CHICAGO 3

TRADITIONS AND TRANSFORMATIONS: SOUNDS OF SILK ROAD CHICAGO

in1893,whenChicagohostedtheWorld’sColumbianexposition,one-thirdofthecity’spopulationwasforeignborn.themixthenwaslargelyeuropean—irish,polish,Scandinavian,Centraleuropean,german.theChicagoSymphony,whichplayeditsfirstconcertexactlyoneyearbeforetheofficialopeningceremoniesofthefair,evenconductedallofitsrehearsalsingerman,becausethatwasthenativetongueofsomanyoftheplayers.theColumbianexpositionopenedthedoorwiderstilltotheworldatlarge,offeringglimpsesoflittle-knownplaces—tunisia,algeria,morocco,persia.

in2007,whenSilk Road Chicagoreachedtheclimaxofitsyearlongprojectinthecitymorethanacenturylater,Chicagosatatthecrossroadsoftheworld—ithadbecomeaninfinitelymorecomplextapestryofcultures,traditions,andpeoples.andalthoughtheChicagoSymphonynowconductsallitsrehearsalsinenglish,asithassince1914,theorchestraitselfismuchmoreinternationalinmakeupthanithaseverbeen,areflectionnotonlyofsocietytoday,butalsooftheChicagodemographic,wheresomanycultureshavecometoliveandworktogetherinoneplace.

thisCdisarecordoftheprojectthatbroughttheChicagoSymphonytogetherwithyo-yomaandtheSilkroadensembleinaseriesofeventsthroughoutthecity,mirroringthemanykindsofculturalexchangethatdefinedthehistoricSilkroad.inrecentdecades,crossingbordersandswappingtraditionshavebecomemorecommonandmorecomplex,inmusicandinlife.Justasthelongtraditionofincorporatingfolkmaterialintoseriousartmusicdevelopedfromasuperficialinteresttoatrueabsorption,so,too,afascinationwithfarawayplaces—theorientinparticular—hasprogressedfromarmchairtravelingtoimmersion.asthemusicaltrafficbetweencontinentshasincreasedinrecentyears,itisnolongereasytospeakofonecultureevokingthemusicallandscapeoftheother.themusiconthisCdreflectsthedialoguethathasbeentakingplacebetweenmusiciansforcenturies,notonlyalongthefabledSilkroad,butfromparistoisrael,fromtokyotonewyorkCity,andfromukrainetoChicago.

Ernest Bloch / Schelomo, Hebraic Rhapsody for Solo Cello and Large Orchestra (1916)

Swissbybirth;trainedinBrussels,Frankfurt,dresden,andparis;andfirstrecognizedintheunitedStates,ernestBlochhascometobeknownprimarilyasaJewishcomposer.But,asyehudimenuhin,oneofhisstrongestchampions,noted,Bloch

was“agreatcomposerwithoutanynarrowingqualificationswhatever.”

Blochwasalwaysinterestedinexploringotherlandsandotherculturesthroughmusic—oneofhisfirstcompositionswasanOrientalSymphonyhewroteattheageoffifteen—buthesooncametorealizethatitwashisownJewishrootsthatspokemoststronglytohim.manyofBloch’sbest-knownworks,particularlythosewrittenintheseconddecadeofthetwentiethcentury,aredominatedbyhisJewishconsciousness—“avoice,”ashewrote,“whichseemedtocomefromfarbeyondmyself,farbeyondmyparents.”intheend,Blochadmittedthathecouldn’tdistinguishtowhatextenthismusicwasJewishandtowhatextent“itisjusternestBloch.”Blochwasnotinterestedinauthenticity;hewasafteradifferentkindoftruth.“idonotproposeordesiretoattemptareconstructionofthemusicoftheJews,”hewrote,“ortobasemyworkonmelodiesmoreorlessauthentic.iamnotanarchaeologist.ibelievethatthemostimportantthingistowritegoodandsinceremusic—mymusic.itisratherthehebrewspiritthatinterestsme,thecomplex,ardent,agitatedsoulthatvibratesformeintheBible.”

afterthestartofWorldWari,Blochwasdrawntothebiblicalbookofecclesiastes.atfirsthebegantosketchaworkforvoiceandorchestra,butherecognizedthatthelanguagesheknewbest—French,german,andenglish—weren’tappropriateandhedidn’thavesufficientcommandofhebrew.afterheheardtherussiancellistalexanderBarjanskyplay,however,Blochbegantore-envisiontheworkfor“aninfinitelygranderandmoreprofoundvoicethatcouldspeakalllanguages”—thecello.thepiecenowcametogetherquickly,andwhenitwastimetogiveitatitle,BlochpickedSchelomo,thehebrewnameforSolomon(ingermantransliteration),who,accordingtolegend,wrotethewordsofecclesiastes.

“ifonelikes,onemayimaginethatthevoiceofthesolocelloisthevoiceofthekingSchelomo,”Blochlaterwrote.

thecomplexvoiceoftheorchestraisthevoiceofhisage...hisworld...hisexperience.therearetimeswhentheorchestraseemstoreflecthisthoughtsasthesolocellovoiceshiswords.theintroduction,whichcontainsthegermsofseveralessentialmotives,istheplaint,thelamentation—“nothingisworththepainitcauses;VanityofVanities—allisVanity”—anemotional,nearlyaphysiologicalreaction.

BlochwritesthreelargeparagraphslinkedbypowerfulcellomonologuesinwhichtheloneSolomonpondersthelessonsoflife.evenasSchelomoexplorestheseductiverhythmsoflanguorousdanceorthe“exoticpanoplyofanorientalworld,”theworkiscloudedbypessimismanddespair.“eventhedarkestofmyworksendwithhope,”Blochlaterwrote.

thisworkaloneconcludesinacompletenegation.Butthesubjectdemandedit!theonlypassageoflightfallsafterthemeditationofSchelomo.ifoundthemeaningofthisfragmentfifteenyearslater,wheniuseditintheSacred Service.thewordsarewordsofhope,anardentprayerthatoneday,menwillknowtheirbrotherhood,andliveinharmonyandpeace.

Byambasuren Sharav / Legend of Herlen (2000)ByambasurenSharavwasborninasmallsettlement

150milessoutheastofthebirthplaceofChinggiskhan.hestartedtocomposebywritingchildren’ssongswhenhebecameanelementaryschoolmusicteacher.afterenteringtheekaterinburgConservatoryinrussiain1975,hebegantowritemusicthatlinkshisnativefolksongwiththeeuropeantradition.

Legend of Herlen,acontemporaryinterpretationofthemongoliantraditionofstorytellingthroughmusic,isataleabouttheherlenriver.SharavcombinesWesternbrassandpercussioninstrumentswithtwoofmongolia’smostemblematicmusicalsounds:thatofthemorin khuur,atwo-stringfiddlewhoseneckisdecoratedwithacarvedwoodenhorse’shead,andurtiin duu,or“longsong.”traditionallyperformingamidtheflatexpansesofthegobidesert,longsongsingerstakeextraordinarilylongbreathstosustainloud,extended,andhighlyornamentedmelodicphrases.astheodorelevinandestherWonhavewritten,“BothSharavandlongsongsingerkhongorzulrepresentanewgenerationofurbanizedmongolianswhoaredismantlingtheboundariesbetweenindigenousandimportedmusic,andwhoareascomfortableinoneofulaanbaatar’smanydiscothequesandinternetcafesasinager,theroundfelttentofmongolianherders.”

longsongtextsregularlydepictscenesfromnature.typically,theemphasisisontheuniquesweepofthevocalline,whichdrawsonthesoundsofnature.thetextisthereforesecondaryandeachverseisrepeatedseveraltimes.thetextforLegend of Herlenfollows:


theherlenriveranditslanditisclearandclean,itislikeseeinganoldbrotheragain.

Lou Harrison / Pipa Concerto (1997)longbeforehevisitedasiaforthefirsttime,louharrisonhad

alreadyincorporatedthesoundsofitsmusicintohisownwork.BornontheWestCoast,harrisonbegan,withhisearliestworks,tomovetowardasynthesisofthemusicalculturesborderingthepacific.heneverfeltitnecessarytoacquireaeuropeanpedigree.hisfirstmusicalmentorwastheamericanpioneerhenryCowell,whourgedhimtoexploretheworld’smanymusics(harrisontookCowell’scoursemusicofthepeoplesoftheWorldin1935)andencouragedhimtofindhisownstylebyunitingdisparateinfluences.(“don’tputhybridsdown,”harrisonsaidinaBBCinterview,“becausethereisn’tanythingelse.”)

harrisonbegantobuildhisowninstruments,startingwiththe“tackpiano,”anuprightwiththumbtacksdrivenintothehammers.CowellintroducedhimtoJohnCage,akindredspirit,andthetwoworkedtogetheronarepertoryofpiecesfor“junkyard”percussionensemble—automobilebrakedrums,coffeecans,plumber’spipes,andflowerpots.harrison’sownearlyworks,mostlyscoredforeverydayWesterninstruments,imitatedthe“honeyedthunder”ofthegamelanthathefirstheardonCowell’srecords.(hesawarealgamelanforthefirsttimeatthegoldengateexpositionontreasureislandin1939.)

harrisonstudiedbrieflywitharnoldSchoenberginlosangelesandlatermovedtonewyork,wherehewasamusiccriticandwontheadmirationofVirgilthomson.(atvarioustimes,healsoworkedasaflorist,recordclerk,poet,dancecritic,playwright,andmusiccopyist.)Whileinnewyork,heeditedseveralofives’sworksforpublicationandconductedtheworldpremiereofives’sthirdSymphony(in1947,nearlyfiftyyearsafteritscomposition).

onmarch25,1961,theforty-three-year-oldcomposerboardedafreighterfortokyotoattendtheeast-WestmusicencounterConference.astherecipientofarockefellergrant,fortwoyearsheimmersedhimselfinaculturehehadonlyimagined,studyingkoreancourtmusicandChineseclassicalmusic.afterthat,hisownworksnappedintofocus,particularlyinitsquestforanewsynthesis,notonlyofmusicalsensibilities,butalsoofasianandWesterninstruments.intheearly1970s,hebegantocollaboratewithWilliamColvigontheconstructionofan“american”gamelan.harrisonalsohasbuiltjadeflutesandentirefamiliesof

instrumentsbasedonorientalwindandstringmodels.inallitsmanyphases,harrison’smusicis,byhisowndefinition,essentially“asongandadance”—aviewheowestoCowell,whotaughthimthatmusicaroundtheworldisprimarilymelodywitharhythmicaccompaniment.

thepipaconcerto,harrison’slastlarge-scalework,whichhewroteforWuman,placesasingleasianinstrumentagainsttheWesternsymphonyorchestra.evenwithoutthemixtureofdisparateinstrumentsthatcharacterizesmanyofharrison’searlierpieces,thisconcertoisoneofhisgreatunclassifiablehybrids.althoughtheopeningmovementsuggeststheformalityofa“classical”concerto,thefollowingmovementsaretrulysui generis.thesecondmovementisahighlyvariedmini-suitethattreatsthepipaasacameosoloistindifferentsettings—apseudobalalaikainthetroika,apercussioninstrumentinthreeSharing(alongwithcelloanddoublebass,allofthemtappingoutrhythmicpatternswhiletheorchestrarests),anexpressiveChinesesoloistin“Windandplum,”andamake-believemandolininneapolitan.thethird-movementlamentoffersoneofharrison’scharacteristicallygenerousmelodiclines—whatheregularlycalled“theaudience’stake-homepay.”theconcertofinaleisanestampie,adancelikeformfromfourteenth-centuryFranceanditalythatherebecomesasurprisingvirtuososhowpiecefortheancientChineselute.

Sergei Prokofiev / Scythian Suite, Op. 20 (1915)in1917,ChicagobusinessmanCyrushallmcCormick,

thefarmmachinemagnate,metSergeiprokofievwhileonabusinesstriptorussia.mcCormickwasinterestedinthecomposer’snewmusic,andagreedtopayfortheprintingoftheunpublishedScythian Suite,prokofiev’snewworkbasedontalesoftheancientnomadictribesthatroamedcentralasia.prokofiev(orprokofieff,astheamericanpressspelledhisnameatthetime)appearedwiththeChicagoSymphonythefollowingyear,playinghisFirstpianoConcertounderFrederickStockandconductingtheorchestrahimselfintheunitedStatespremiereofhisScythianSuite.theChicagopressunderstoodthesignificanceoftheevent,althoughonecritic,whilepraisingtheScythian Suite,remarkedthat“themusicwasofsuchsavagery,sobrutallybarbaric,thatitseemedalmostgrotesquetoseecivilizedmen,inmoderndresswithmoderninstruments,performingit.”thepubliclovedit,andprokofievwasgivenathunderingovation.

likeseveralofthelandmarkscoresofthetime,theScythianSuiteowesitsexistencetotheimpresarioSerge

diaghilev.hemetprokofievforthefirsttimeonJune3,1914,inlondon.diaghilevwasalreadyoneofthemostpowerfulfiguresinthearts—hiscelebratedandscandalousstagingofStravinsky’sRite of SpringwiththeBalletsrussesinparisthepreviousspringhadmadehimarealcelebrity.prokofiev,thenonlytwenty-three,hadjustgraduatedfromtheSaintpetersburgConservatory—thetriptolondonwasapresentfromhismother—and,althoughhewasclearlyonthethresholdoffame,hewasoutofhiselementinthisheadyworldofinternationalhighcultureandavant-gardefashion.

diaghilevfoundprokofievnaive,brash,andinsolent,buthelikedhismusic.afterseveralmeetings,theyagreedthatprokofievwouldwriteaballetonaprehistorictheme,anddiaghilevpickedthepoetSergeigorodetskytopreparethescenario.Beforehereturnedtorussia,prokofievattendedsevenBalletsrussespremieres,andheleftlondoninJulypreparedtoaddanewballet,hisfirst,totheircompany.aftermanymonths,gorodetskyfinallyproducedastorycalledAla and Lolly,andprokofievbegantowritemusicatonce.prokofievtoldthecomposernicolaimiaskovskythatitinvolved“theninthcentury,idols,bullsinthesky,andsoon,”althoughinfactitissetintheScythianempire,whichflourishedaround400B.C.inthespringof1915,prokofievwenttorometoplaythroughthescorefordiaghilev,whodismissedtheworkoutrightanddemandedthattheystartoverfromscratch,recommendingthatprokofievworkwithStravinsky,whichhedidthatwinterinitaly.

althoughprokofievthrewhimselfintothecompositionofThe Buffoon,thenewworkwithwhichhewasdestinedtomarkhisdebutwithdiaghilev’scompany,hewasreluctanttowastetheAla and Lollymusicandhenowrecycleditsbestpassagesintoafour-partScythianSuitefororchestra.thescore,awatershedinprokofiev’scareer,hadarockyreception.thepremiere,inSaintpetersburginJanuary1916,wasgreetedwithhostility,bothfromtheorchestra—thetimpanistbrokehisinstrumentpoundingoutprokofiev’sinsistentrhythms—andfromtheaudience.glazunov,apopularandconservativecomposer,pointedlywalkedouteightmeasuresbeforetheend.laterthatsameyearrachmaninovthrewafitwhenhelearnedthathispublisherplannedtoissuethis“barbaric,impudentlyinnovative,andcacophonousmusic.”(thepublisherrelented.)koussevitzkyplannedtoconducttheScythianSuiteinmoscowthefollowingdecember,butwhenmanyoftheplayerswereunexpectedlycalledformilitaryduty,hesubstitutedalessdemandingworkbyanothercomposer.nevertheless,the


nextday’spaperincludedascathingreviewoftheScythianSuite,writtenbyleonidSabaneev,alocalcriticwhohatedprokofiev’smusiconprincipleandhadnotbotheredtoattendtheconcert.prokofievwroteanopenlettertotheeditor,exposingSabaneev,whowasforcedtoresign.

intime,theScythianSuitehastakenitsplaceasamodernistlandmark.Withitsstrongrhythmicprofile,abundantandaggressivedissonance,extravagantorchestration,andprimitivetheme,prokofiev’sscorehasregularlybeencomparedtoStravinsky’sRite of Spring,composedayearearlier.itisnotclearwhenprokofievfirstheardStravinsky’sseminalwork.ironically,hewasinparisin1913butmissedthenotoriouspremierebyafewweeks.later,inhisautobiography,heclaimedthatheknewThe Rite of SpringbythetimehewroteAla and Lolly,andadmittedthathewasperhaps“searchingforthesameimagesinmyownway.”Stravinskyhimselfonlycommented,withcharacteristicmodesty,thatprokofiev“adoredThe Rite of Springandwasformanyyearsquiteunabletorecoverfromtheeffectofit.”Foralltheirsurfacesimilarities,thesetwoscoresarefundamentallydifferent.prokofiev’srhythms,inparticular,areregularandlargelyunsyncopated—asopposedtothejaggedcontoursofRite—andhismelodiesaremoretraditional,eventuneful.prokofiev’smusicmovesanddevelopsinconventionalways,incontrasttotheshifting,kaleidoscopicbuildingblocksofStravinsky’sballet.prokofiev’sstyleisverymuchhisown,andthebestofhismusic,liketheScythianSuite,hasastrongandunforgettablepresence,almostfromtheopeningnotes—whatStravinskyadmiringlycalled“theinstantimprintofpersonality.”

thefoursectionsoftheScythianSuitefollowthesequenceoftheunproducedballet.theScythianswereanomadicpeoplewholivedalongthenorthshoreoftheBlackSea.thesun,namedVeles,wastheirsupremegod;alawashisdaughter;andlollywasoneoftheirgreatheroes.prokofiev’sballetdepictsthegreatharminflictedonalabyanevilgod,andhereventualrescuebylolly.Phillip Huscher is the program annotator for the Chicago Symphony Orchestra.


theChicagoSymphonyorchestra’sdistinguishedhistorybeganin1891whentheodorethomas,thentheleadingconductorinamericaandarecognizedmusicpioneer,wasinvitedtoestablishasymphonyorchestrainChicago.thomasservedasmusicdirectoruntilhisdeathin1905.hissuccessor,FrederickStock,wasmusicdirectorforthirty-sevenyears,from1905to1942,andledtheorchestrainitsfirstcommercialrecordingsin1916.threedistinguishedconductorsheadedtheorchestraduringthefollowingdecade:désirédefauwfrom1943to1947,arturrodzinskiin1947–48,andrafaelkubelíkfrom1950to1953.

thenexttenyearsbelongedtoFritzreiner,whoserecordingswiththeChicagoSymphonyorchestraarestillconsideredperformancehallmarks.itwasreinerwhoinvitedmargarethillistoformtheChicagoSymphonyChorusin1957.Forthefiveseasonsfrom1963to1968,Jeanmartinonheldthepositionofmusicdirector.SirgeorgSolti,whowasmusicdirectorfrom1969until1991,ledtheorchestra’shighlyacclaimedfirsteuropeantourin1971.theorchestrahassinceundertakenmorethanthirtyinternationaltoursandperformedonfivecontinents.danielBarenboimbecametheorchestra’sninthmusicdirectorin1991,apositionhehelduntilJune2006.twocelebratedconductorsassumedtitledpositionsin2006:Bernardhaitinkbecametheorchestra’sprincipalconductorandformerprincipalguestconductorpierreBoulezbecameitsconductoremeritus.

theChicagoSymphonyorchestrahasproducedmorethanninehundredrecordingssince1916.recordingsbytheChicagoSymphonyhaveearnedfifty-eightgrammy®awardsfromthenationalacademyofrecordingartsandSciences,morethananyotherorchestraintheworld.in2007,theChicagoSymphonyorchestralauncheditsnewin-houserecordinglabel,CSoresound,withmahler’sthirdSymphonyconductedbyBernardhaitink.Formoreinformation,visitcso.org.

CHICAGO SYMPHONY ORCHESTRA


SILK ROAD PROjECT / YO-YO MA, ARTISTIC DIRECTORtheSilkroadprojectisanot-for-profitarts,cultural,

andeducationalorganizationfoundedin1998byyo-yoma,whoservesasitsartisticdirector,andledbylauraFreid,executivedirectorandCeo.theprojecthasavisionofconnectingtheworld’sneighborhoodsbybringingtogetherartistsandaudiencesaroundtheglobe.inspiredbytheculturaltraditionsofthehistoricSilkroad,theSilkroadprojectisacatalystforpromotinginnovationandlearningthroughthearts.

CentraltotheSilkroadprojectistheSilkroadensemble,acollectiveofinternationallyrenownedartistsandmusiciansinterestedinexploringtherelationshipbetweentraditionandinnovationinmusicfromtheeastandWest.nourishingglobalconnectionswhilemaintainingtheintegrityofartrootedinanauthentictradition,theSilkroadensembleiscommittedtoartisticexcellenceandregularlycommissionsnewworks.theensemblehasreachedthousandsofpeopleatsold-outperformancesthroughouteurope,asia,andnorthamerica.

partneringwithotherinstitutionstopresentmusical,visual,andnarrativetraditionsfromalongtheSilkroad,theSilkroadprojectengagesaudiencesanddiversecommunitiesthroughouttheunitedStatesandtheworldthroughperformancesandeducationalprograms,aswellresidenciesinuniversities,colleges,museums,andschools.

throughitspassionforeducationandawishtoinspireself-motivatedlearning,thecollectivehopestocreateadialogicprocesswhereinlearningandteachingarethesame.theSilkroadprojectbelievesinknowingthingsdeeply,insharingideasbroadly,andinstimulatingindividualsandinstitutionstocollaborateandtothinkinnewways.


YO-YO MA / CELLO AND MORIN KHUURyo-yomaisthefounderandartisticdirectoroftheSilk

roadproject.hismany-facetedcareerisatestamenttohiscontinualsearchfornewwaystocommunicatewithaudiences.Whetherperforminganewconcerto,comingtogetherwithcolleaguesforchambermusic,reachingouttoyoungaudiencesandstudentmusicians,orexploringculturesandmusicalformsoutsideoftheWesternclassicaltradition,mastrivestofindconnectionsthatstimulatetheimagination.oneofhisgoalsistoexploremusicasameansofcommunicationandasavehicleforthemigrationofideasacrosscultures.

expandingonthisinterest,maestablishedtheSilkroadprojecttopromotethestudyofthecultural,artistic,andintellectualtraditionsalongtheancientSilkroadtraderoutethatstretchedfromthemediterraneanSeatothepacificocean.Byexaminingtheflowofideasthroughoutthisvastarea,theprojectseekstoilluminatetheheritagesoftheSilkroadcountriesandidentifythevoicesthatrepresentthesetraditionstoday.

ma’sdiscographyofoverseventy-fivealbums(includingmorethanfifteengrammy®winners)reflectshiswide-ranginginterests.hismostrecentreleasesincludeNew Impossibilities,recordedlivewiththeChicagoSymphonyorchestraandSilkroadensemble;Silk Road Journeys: Beyond the HorizonwiththeSilkroadensemble;Yo-Yo Ma Plays Ennio Morricone; Vivaldi’s CellowithtonkoopmanandtheamsterdamBaroqueorchestra;Paris: La Belle ÉpoquewithpianistkathrynStott;andtwogrammy®award-winningtributestothemusicofBrazil,Obrigado BrazilandObrigado Brazil: Live in Concert.

alongtimecollaboratoroftheChicagoSymphonyorchestra,yo-yomahasperformedfrequentlywiththeorchestrasincehisfirstappearanceonsubscriptionconcertsatorchestrahallindecember1979.


WU MAN / PIPAWumanisrecognizedasanoutstandingexponentof

thetraditionalrepertoryaswellasaleadinginterpreterofcontemporarypipamusic.asaprincipalmemberoftheSilkroadensemble,sheperformsregularlythroughouttheunitedStatesandeuropewiththeensemble;shealsoperformsandrecordswiththekronosQuartet.

Wumanhasappearedassoloistwithmanyoftheworld’smajororchestras,andhertouringhastakenhertothemajormusichallsoftheworldandtomanyinternationalfestivals.Shehasgivensolorecitalsacrosstheglobe;touredwiththemoscowSoloistsandyuriBashmet;performedconcertsatCarnegiehallandtanglewoodwiththeSilkroadensemble;andperformedwiththekronosQuartetineurope,asia,Southamerica,andtheunitedStates.

Wuman’sdiscographyincludestandun’sGhost OperawiththekronosQuartet;Orionwiththephilipglassensemble;Wu Man: Pipa from a Distance;recordingswiththeSilkroadensembleandyo-yoma;Wu Man and Friends;severalsolorecordings;andYou’ve Stolen My HeartwiththekronosQuartetandsingerashaBhosle,whichwasnominatedforagrammy®awardforBestContemporaryWorldmusicalbum.

anativeofhangzhou,China,WumanstudiedwithlinShicheng,kuangyuzhong,ChenZemin,andliudehaiattheCentralConservatoryofmusicinBeijing,whereshereceivedthefirstmaster’sdegreeinpipa.WhileinChina,WumanreceivedfirstprizeinthefirstnationalmusicperformanceCompetition.ShealsowasselectedasaBuntingFellowattheradcliffeinstituteofadvancedStudyatharvarduniversity,andyo-yomanamedherwinneroftoronto’sglenngouldprotégéprize.


MIGUEL HARTH-BEDOYA / CONDUCTORrecognizedasoneofthemostexcitingconductorsonthe

internationalscene,miguelharth-BedoyahasbeenmusicdirectoroftheFortWorthSymphonysince2000.recentlyreleasedrecordingsoftheFortWorthSymphonyunderharth-Bedoya’sdirectionincludeanall-tchaikovskyCdandthefirstbilingualrecordingofprokofiev’sPeter and the Wolf,featuringnarrationsinSpanishandenglishwithmichaelyork.

anativeofperu,miguelharth-BedoyacreatedandledthephilharmonicorchestraoflimaandtheContemporaryoperaCompany,andhehasconductedmanyofthemajororchestrasintheunitedStatesandCanadaaswellasorchestrasthroughouteurope,asia,andaustralia.healsohasbeenmusicdirectoroftheaucklandphilharmoniainnewZealandandtheeugeneSymphonyinoregon,andhewasassociateconductorofthelosangelesphilharmonicunderesa-pekkaSalonenforsixyears.hisfestivalappearancesincludeadelaide,aspen,avanti(helsinki),BBCproms,Blossom,hollywoodBowl(forwhichhereceivedanemmy®award),interlochen,oregonBach,ravinia,andtanglewood.

equallyathomeinopera,harth-BedoyahasledminnesotaoperainToscaandtheSantaFeoperainosvaldogolijov’sAinadamarwithdawnupshaw,aproductionthatwasalsopresentedatlincolnCenterin2006.productionswiththeFortWorthoperaandsemistagedperformanceswiththeFortWorthSymphonyincludeRomeo and Juliet, Falstaff, Rusalka,andEugene Onegin.

miguelharth-Bedoyaiswinnerofthe2002Seaver/neaConductorsaward.hemadehisdebutconductingtheChicagoSymphonyorchestrainJuly2000attheraviniaFestival.


ALAN GILBERT / CONDUCTORrecentlyappointedthenextmusicdirectorofthenew

yorkphilharmonic(tobeginin2009),alangilbertservedasthefirstmusicdirectoroftheSantaFeoperafrom2003to2007.healsohasbeenchiefconductorandartisticadvisoroftheStockholmorchestrasince2000andprincipalguestconductorofhamburg’sndrSymphonyorchestrasince2004.

gilberthasconductedtheleadingnorthamericansymphonyorchestras,servingasassistantconductoroftheClevelandorchestrafrom1995to1997andmakingfrequentguestappearanceswiththeSanFranciscoSymphony,losangelesphilharmonic,BostonSymphonyorchestra,philadelphiaorchestra,andtorontoSymphony,amongothers.hemadehislosangelesoperadebutwithhumperdinck’sHansel and Gretelin2006,andhehasledZemlinsky’sThe Chalk Circleandpuccini’sTurandotatZurichopera.

inadditiontohisworkwiththeroyalStockholmphilharmonicandndrSymphonyorchestra,gilbertregularlyconductsothermajoreuropeanensemblessuchastheorchestrephilharmoniquederadioFrance,Zurich’stonhalleorchestra,munich’sBavarianradioSymphonyorchestra,theorchestrenationaldelyon,andthemahlerChamberorchestra.

gilbertfrequentlyconductsinJapan;hehasworkedwiththenhkSymphonyorchestra,thetokyoSymphony,theSapporoSymphonyorchestra,andthenewJapanphilharmonic.inChina,hehasconductedtheChinaBroadcastingSymphonyorchestra.

BornandraisedinnewyorkCity,alangilbertstudiedatharvarduniversity,theCurtisinstitute,andtheJuilliardSchool,andhewashonoredwiththe1997Seaver/neaConductorsaward.hemadehisChicagoSymphonyorchestradebutinapril2004.


SILK ROAD ENSEMBLESilk Road Ensemble members on this recording include:

joel Fan, piano

Khongorzul Ganbaatar, voice

joseph Gramley, percussion

Yo-Yo Ma, morinkhuur

Shane Shanahan, percussion

Mark Suter, percussion


CHICAGO SYMPHONY ORCHESTRA

Bernard HaitinkprincipalConductor

Pierre BoulezhelenregensteinConductoremeritus

ViolinsrobertChenConcertmaster The Louis C. Sudler Chair, endowed by an

anonymous benefactordavidtayloryuan-QingyuAssistant ConcertmastersCorneliusChiunathanColealisondaltonkozueFunakoshirussellhershowQinghounisannehowellBlairmiltonpaulphillips,Jr.SandoShiaSusanSynnestvedtrong-yantangakikotarumoto

BairddodgePrincipal The Marshall and Arlene Bennett Family

Foundation ChairalbertigolnikovAssistant PrincipalleihouarnoldBrostoffFoxFehlingherminegagnérachelgoldsteinmihaelaionescumelaniekupchynskyWendykoonsmeirJoycenohnancyparkronaldSatkiewiczFlorenceSchwartz-leeJennieWagner

ViolasCharlespiklerPrincipal The Prince Charitable Trusts Chairli-kuoChangAssistant Principal The Louise H. Benton Wagner ChairJohnBartholomewCatherineBrubakerkarendirksleelanedianemueslawrenceneumanyukikooguradanielorbachmaxraimirobertSwanthomasWright

CellosJohnSharpPrincipal The Eloise W. Martin ChairkennetholsenAssistant PrincipalphilipBlumlorenBrownrichardhirschlkatinkakleijnJonathanpegisdavidSandersgaryStuckaBranttaylor

BassesJosephguastafestePrincipal The David and Mary Winton Green ChairdanielarmstrongrogerClineJosephdiBellomichaelhovnanianrobertkassingermarkkraemerStephenlesterBradleyopland

HarpsSarahBullenPrincipallynneturner

FlutesmathieudufourPrincipalrichardgraefAssistant PrincipallouisedixonJennifergunn

PiccoloJennifergunn

OboeseugeneizotovPrincipal The Nancy and Larry Fuller ChairmichaelhenochAssistant Principal and Acting English HornScotthostetler

ClarinetslarryCombsPrincipalJohnBruceyehAssistant PrincipalgregorySmithJ.lawrieBloom

E-flat ClarinetJohnBruceyeh

Bass ClarinetJ.lawrieBloom

BassoonsdavidmcgillPrincipalWilliamBuchmanAssistant PrincipaldennismichelBurllane

ContrabassoonBurllane

SaxophoneBurllane

HornsdaleClevengerPrincipaldanielgingrichAssociate PrincipalJamesSmelserdavidgriffinotoCarrilloSusannadrake

TrumpetsChristophermartinPrincipal The Adolph Herseth Principal Trumpet Chair, endowed by an anonymous benefactor

markridenourAssistant PrincipalJohnhagstromtagelarsen

TrombonesJayFriedmanPrincipalJamesgilbertsenAssociate PrincipalmichaelmulcahyCharlesVernon

Bass TromboneCharlesVernon

TubagenepokornyPrincipal The Arnold Jacobs Principal Tuba Chair, endowed by Christine Querfeld

TimpanidonaldkossPrincipalVadimkarpinosAssistant Principal

PercussionpatriciadashActing PrincipalVadimkarpinosJamesrossActing Principal

PianomarySauerPrincipal

LibrarianspeterConoverPrincipalCarolekellermarkSwanson

Pierre BoulezHelen Regenstein

Conductor Emeritus

Bernard HaitinkPrincipal Conductor

14

CSO RESOUND IS UNDERWRITTEN BY A GENEROUS GIFT FROM MR. AND MRS. RALPH SMYKAL.

ABOUT THE ARTWORK

“ithinkoftheancientSilkroadastheinternetofantiquity.itwasthepaththatbroughtinnovationsfromeasttoWestandWesttoeastandhasbeenaninspirationtothousandsofcreativepeople.”—Yo-Yo Ma

astronghorizontal“path”istreatedasadynamic,electricalexchange.intermittentsparksofenergycharacterizehotbedsofartisticsymbiosis.theflaresemanatingfromthepathspiraloutinbothleftandrightdirections,symbolizingmutualexchangeandbenefit.

producer:davidFrostrecordingengineer:ChristopherWillismixing:tomlazarusanddavidFrostediting:davidFrostmasteringengineer:richardking

cso.org/resound

recordedliveinorchestrahallatSymphonyCenter.Bloch,Sharav,andharrisonrecordedapril12,13,and17,2007;prokofievrecordedmay17,18,19,and22,2007.design:toddlandComments:philliphuscher©2008ChicagoSymphonyorchestrayo-yomaappearscourtesyofSonyClassical.CSor901801


traditions and transformations · 2010-05-12 · traditions and transformations sounds of silk road...

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