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RITENOW


Maestro’s Message

T

he Rite of Spring premiered in Paris on May 29th, 1913, a landmark date in the history of music, and art at large. This event launched the 20th century. Here, now at the centennial, we have the opportunity to look back and reflect.

The vitality of the contemporary artistic climate led me to the concept of paying homage to collaborative spirit that gave birth to the Rite of Spring.

Based on the episodic structure of Stravinsky’s work, I commissioned eight gifted composers to compose an episode that would form a part of a whole. The result is an eclectic work, where eight points of view have Myriad approaches to hono- been captured in a single score. ring this historic event were carried out this year; one Complementing this, the vision of above all sparked my fasci- our Production Designer unifies the nation: the spirit of artistic contrasting elements, showing a collaboration. The gathering common message based on the esof brilliant minds who shared sential concept of the original work: a specific time in history and “the Rite.” Rites for spring, but also spawned a masterpiece. for death and birth, rites both ancient and modern, a rites for humanity and Art is an ever evolving or- its most immediate language of art, ganism that strives to find rites of a society on the verge of the new ways to communicate first global war, rites of rebirth, rites and express through obser- now to celebrate the music in a convance of the past, present cert hall that 100 years ago was one and future. Rarely can an ar- of the most scandalous premieres in tist capture all three angles musical history. A Rite THEN and a simultaneously. RiteNOW.”

RITENOW PROJECT is Sponsored by

The Association of Chinese Students & Scholars at Yale (ACSSY)

Paolo Bortolameolli Conductor, Producer

In celebration of the 100-year anniversary of the “Rite of Spring,” eight composers have been invited to write short selections of music that will be combined ( t a b l e a u - l i ke ) into one giant piece for massive orchestra. We call it the RiteNow Project. It’s the brainchild of conductor Paolo Bortolameolli who has brought us all together to bring this event to life.


RITENOW

PROGRAM

Paolo Bortolameolli Conductor, Producer, Video Production, Kickstarter Justin Tierney Composer, Producer, Video Production, Webmaster, Booklet Design, Poster Design, Kickstarter Campaign Fay Kueen Wang Composer, Producer, Kickstarter Campaign, Fundraising Executive

Matthew Welch Composer, Co-producer, Publicity, Kickstarter, Bagpipes

Daniel Schlosberg Composer, Score Assembly, Recruitment Sponsorship Manager Polina Nazaykinskaya Composer, Violinist, Music Librarian Paul Kerekes Composer, Equipment Rental Solomon Weisbard Production Designer

Igor Stravinsky (1882-1971) RITE OF SPRING (1913)

First Part

First Part: The Adoration of the Earth

RITENOW (2013) • Ritual Fall— Matthew Welch • Moment D’extase— Gleb Kanasevich • The Unbearable Roller Coaster of Being and Black Hole Burial—Fay Wang • Hermeto and Igor— Ben Wallace

Second Part

• NYSA I— Justin Tierney • Summoning— Paul Kerekes • NYSA II— Justin Tierney • Reading the Wind—Polina Nazaykinskaya • A Brief Descent into the Eleven Circles of Igor Stravinsky—Daniel Schlosberg

I N T E R M I S S I O N

Gleb Kanasevich Composer, Clarinetist, Recording Engineer, Equipment Admin

B R I E F

Benjamin Wallace Composer, Score/Parts Assembly, Location Manager

Daniel Perez Production Manager Elisa R. Sádaba Cellist, Recruitment Ksenia Zhuleva Violist, Wardrobe Manager, Recruitment Michiko Tierney Photography, Photo Illustration

NOV 17

30’

Introduction— The Augurs of Spring— Dances of the Young Girls— Ritual of Abduction— Spring Rounds— Ritual of the Rival Tribes— Procession of the Sage— The Sage— Dance of the Earth

Second Part: The Sacrifice

Introduction— Mystic Circles of Young Girls— Glorification of the Chosen One— Evocation of the Ancestors— Ritual Actions of the Ancestors— Sacrificial Dance (The Chosen One)

10’

33’

S p e c i a l Th a n k s

to those who went above and beyond

Astrid Baumgardner, Karen Cook, Reena Esmail, Brian Robinson, Hans Meyer, Yale School of Music, Yale Symphony Orchestra, Kito Covington, Lisa Clyde Nielsen, Steven Walters, Chris Brigham, Caroline Ross, Phil Grasso (P7) Jeffrey Johnson, Luna Kang, Isabel Kim, Alexei Zelenev, Ian Donald


Igor Stravinsky

RITE OF SPRING T

he premiere of The Rite of Spring in 1913 was the result of an artistic collaboration.

Originally conceived as a ballet, a new type of company was needed to produce it. “Ballet Ruses” created by the impresario Sergei Diaghilev, considered the most influential dance company of the 20th century, had been performing in Paris since 1909, and featured productions set in exotic locations, incorporating spectacular sets, with glitzy costumes and high doses of the exotic and erotic It was the Cirque du Soleil of the ballet world. Diaghilev’s success relied on recognizing the vitality of contemporary art. He had the uncanny ability to not only identify the most promising artists but to also promote collaboration between them. Composers Ravel, Prokofiev, Debussy, Strauss, de Falla; choreographers Fokine, Massine, Balanchine and artists Benois, Picasso, Matisse, Miró, and Dalí among many others collaborated with the company.

The Parisian audience was beguiled by these wild and provocative Russians who reinvented the art of dance, transforming it into an entirely new spectacle. In an era where artistic experimentation was often tied to strong socio-political changes, the Ballet Russes represented a paradise for unbridled creativity. After the startling launch of the young Igor Stravinsky whose “Firebird” was a breakthrough hit, Diaghilev went to enlisted the artist and archeologist Nicholas Roerich to come up with a concept for a new production. Roerich had been mulling over such a concept for years while visiting ancestral Russian


Vaslav Nijisnky, who already had challenged the limits of eroticism in his choreography of Claude Debussy’s “Prelude to the Afternoon of a faun”, materialized the primitivism of the “Rite” concept by uprooting all the parameters of ballet, reinventing it in such a way that it became the basis for contemporary dance.

NICHOLAS ROERICH’S DESIGNS FOR THE 1913 PRODUCTION pagan tribes in Lithuania. Stravinsky too had an image of a tribe gathering for the sacrifice of a chosen one who would dance herself to death as an offering to the gods to ensure a fruitful spring.

“I had only

my ear to help me.

Stravinsky’s score sought new means for capturing the beauty inherent in the brutality of these ancient rites. The delicacy in the impressionistic introduction suggests the awakening of nature that makes its way through dudki sounds (Russian bagpipes) and guttural contortions of the earth, to the tribal rhythms, primitive and static in structure but with blast of energy from its unpredictable accentuations.

I heard and I wrote what I heard.

This is the Augurs of Spring tableau that changed music forever. Innovation in the rite is the product of an intrinsic artistic necessity. Theatrical at first, but on deeper listening the consistent relationship between creation of the piece and its surrounding circumstances resonates with prophetic consistency. In the well-known story, now elevated to the status of myth, at the riot at the premiere, defenders and detractors had their own Ritual of the Rival Tribes, revealing the dangerous primitivism that would consume the entire world later with the onset of the Great War. Here, the sacrificial victim was humanity itself.

I am the vessel through which The Rite of Spring passed”

The Rite of Spring is more alive than ever. Not because it was a revolutionary work but because it was an evolutionary one. As true art always is.

— Paolo Bortolameolli

—Igor Stravinsky


The music of Matthew Tobin Welch (b.1976), Composer/Multi-instrumentalist, stems from a multi-faceted foundation. As a virtuoso of the Highland Bagpipe, he studied traditional music with Gold Medalist masters such as Colin MacLellan, Jack Lee, Angus MacLellan and Andrew Wright. Matthew also was a member of the four- time World Champion Simon Fraser University Pipe Band, winning with them in 1999 and 2001. Regarded as “a composer pos-

Truax, Rodney Sharman, Alvin Lucier and Anthony Braxton. After locating to New York City in 2001, he has worked with a host of other artists such as John Zorn, Julia Wolfe, Zeena Parkins, and Ikue Mori. The eclectic breadth of his interests in Scottish bagpipe music, Balinese gamelan, minimalism, improvisation and rock converge in compositional amalgams ranging from traditional-like bagpipe tunes to electronic pieces, improvisation strategies and fully notated works for solo instruments, chamber ensembles, orchestra and non-western instruments.

sessed of both rich imagination and the skill to bring his fancies to life” by Time Since 2002, Mr. Welch has been Out New York, composer and bagpipe virtuoso Matthew Welch (b.1976) holds two degrees in Music Composition, a BFA from Simon Fraser University (1999), and an MA from Wesleyan University (2001), having studied with noted composers such as Barry

running and composing for his own eclectic ensemble, Blarvuster, whose repertoire the New York Times has claimed as “border-busting music; original and catchy.” Mr. Welch has recorded for the Tzadik, Mode, Cantaloupe, Leo, Porter, Muud, Avian, Newsonic and Parallactic record labels.

Ritual Fall In my music, there is a real leaning toward ritual. The practice of music is a necessary ritual. Playing bagpipes and gamelan has involved me in the magic and gravity of a musical ritual. The “Rite” on the other hand is a major influence on my sense of theatrical ritual as a composer for dance and opera. I had been revisiting the “Rite” quite a bit in preparation for this event, and dreamt of a processional lead by the bagpipes and with most of the orchestra that could walk. Much like the leading up to and the moment of sacrifice in the Rite shows a brutal side of group mentality, here the orchestral gets to act it out in a metaphorical performance ritual.

Matthew WELCH


Gleb Kanasevich is currently a composer/ erata, Lunar Ensemble, Baltimore Concerto Orclarinetist with the Lunar Ensemble, an ensemble of contemporary and twentieth century music based in Baltimore, MD and is managed by Chesapeake International Artists. In 2013 Mr. Kanasevich has been a resident clarinetist/composer at soundSCAPE Festival and Spoleto Festival. He also attended Academy ManiFeste at IRCAM, Paris in class for computer music and had his works premiered at University of Maryland, University of Texas at Austin and Foundation for Contemporary Music in Buenos Aires, Argentina. He has appeared as a soloist with the Baltimore Symphony Orchestra, Belarus National Philharmonic, Peabody Symphony Orchestra, Peabody Chamber Orchestra, Peabody Cam-

chestra and more. He has performed on stages of Spoleto Festival USA, Norfolk Chamber Music Festival, Washington Performing Arts Society, Shriver Hall Concert Series, Atlantic Music Festival, soundSCAPE Festival, Klangspuren Schwaz Festival, Moritzburg Festival Academy and more. As an interpreter of contemporary music, Mr. Kanasevich has premiered over a hundred and twenty works of living composers (USA, World and European premieres). His performances can be heard on a recent NEOS release “Music of Marcela Pavia and Max E. Keller” and his debut solo album “Refractions.” Mr. Kanasevich is currently preparing for his second solo release “Refractions Vol.2,” which will feature electroacoustic music for solo clarinet. glebkanasevich.com

Gleb KANASEVICH Moment D’extase

The piece reflects the ecstatic chaos in the apex of coalescence. For me, the “ritual” largely involved the integration of particular elements of Stravinsky’s compositional rhetoric and developing/reshaping them by my favorite means of exponential harmony expansion and esoteric metric and rhythmic construction. While throughout the work there is a consistent sense of downbeat, it is often subdued by a gradually building pyramid of conflicting rhythmic groups, thus, at times, shaping not only the orchestrational and harmonic density, but also rhythmic. The infernal convulsions gradually increase in intensity and continue, eventually concluding in a massive disintegration.


Fay WANG

Fay Kueen Wang (Wang Fei-nan) is a multifaceted composer and performer

from Beijing. Her works have been performed internationally in Asia, Europe and the United States. Musikverlag Doblinger, Vienna, publishes her sheet music. Her album has been released in China and her music has been broadcast on China Central Television, Austrian National Broadcast and WQXR. Fay has been collaborated with ensembles including Bang On A Can All-Stars, the RIAS Youth Orchestra (Gerd Albrecht), Sinfonia Iuventus, Yale Philharmonic, Dinosaur Annex, Ensemble De Reihe, and China Philharmonic Orchestra. Her compositions are performed at various venues including Merkin Concert Hall, Arnold Schoenberg Center, Berlin Concert House, Musikverein, Oper Graz, Joseph Haydn-Saal, as well as the Flea Theater, Yun Isang Memorial Hall, Beijing, Shanghai Concert Hall and Lincoln Center. Fay has received honors and awards from competitions including ASCAP Young Composer Award, China’s “Golden Bell” Award and “Governmental Award”. She has received commissions from the Classic Euro Young Festival, Roger Shapiro Fund for New Music, Hopkins Center for the Arts of Dartmouth College, Shanghai Spring International Music Festival, Beijing Modern Music Festivals etc. Fay’s creative work spans a variety of genres. She has created her own unique Monodrama Series. Recently She has been working on her debut EP of alternative pop. Fay Wang holds degrees from the Central Conservatory of Music (BA ‘08), and the Yale School of Music (MM ‘10 / AD ‘12) where she received the Ezra Laderman Prize and John Day Jackson Prize. She is currently a DMA candidate at Boston University.

The Unbearable Roller Coaster of Being and Black Hole Burial

Most of my music come from a dark and struggling place. While working on this specific piece and the RiteNow project, I experienced some difficulties as well as changes in my personal life. In the piece, I introduce two inner experiences that I’ve been enjoying - the trembling feelings of being on a roller coaster, and a funeral that occurs in a black hole. I want to dedicate the piece to my beloved ones who have had their own rites – my mother, my grandparents and an old friend of mine who died this past summer, at the age of 31. Everything shall not only be buried, but also burnt out in space, deep in a black hole, where no one will ever find it again.


Sometimes I wonder what would have happened if some of our most beloved composers had ventured into other genres of music.

Hermeto and Igor

For instance, what if Bach had been able to go to the disco? Or if Xenakis and Brahms had been able to go to more jazz clubs? Or what if Stravinsky took a vacation down to Brazil and met Hermeto Pascoal? Maybe they could have enjoyed a glass of lemonade on the beach or jammed together at a night club? Maybe Stravinsky could have let loose a sweet piano solo off of Hermeto’s famous tune Bebe? What if Hermeto and Igor threw the world’s greatest samba party? What would that be like??

Benjamin WALLACE Ben Wallace, originally hailing from Albuquerque, New Mexico, is a New England based composer, pianist, percussionist, and conductor. His works have been performed at various venues in Cincinnati, New Haven, New York, Switzerland, and Albuquerque. He received his Bachelor of Music in 2011 from the College-Conservatory of Music at the University of Cincinnati where he studied with Joel Hoffman, Michael Fiday,

Mara Helmuth, and Al Otte of Percussion Group Cincinnati. Ben is currently pursuing a Master of Music in Composition at the Yale School of Music where he has studied with David Lang and Christopher Theofanidis. Ben has twice attended the MusicX festival in Swizterland where he has worked with composers Stephen Hartke, Martin Bresnick, and Mathias Pinstcher, as well as Matthew Duvall and Nick Photinos from eighth black-

bird. In 2011, CCM commissioned and performed the new work “Psappho” for chamber winds and percussion conducted by Terrance Milligan. Current commissions include a piece for San Francisco based guitar trio Mobius Trio as well a duet for Yale percussionists Garret Arney and Mari Yoshinaga. Ben is currently the co-music director and rehearsal pianist for Musical Theatre Southwest’s production of “The Pajama Game.”


One of Stravinsky's compositional characteristics that I consistently find striking is how he uses harmony to assert unpredictable rhythmic patterns. In my piece, I took the building blocks of a metrical pattern he uses in the third to last movement, "evocation of the ancestors," and found interesting ways of expressing them through my own harmonies. Just as Stravinsky's tableau is summoning the ancestors of a tribe, I hoped to do the same to Stravinsky, our iconic compositional grandfather.

Summoning

Paul Kerekes was born in Huntington, New York. His music has been described as

“striking…ecstatic…dramatic”

(WQXR), “highly eloquent” (New Haven Advocate), and able to create “an almost tactile picture” (The New York Times). He has had the privilege of hearing his music performed by TwoSense, New Morse Code, American Composers Orchestra, Dinosaur Annex, Second Instrumental Unit, Stonewall Chorale, Mannes Preparatory Division Choir, Norfolk Contemporary Ensemble, cellist Nicholas Photinos, flutist Kelli Kathman, and saxophonist/composer Ed Rosenberg in such venues as (le) poisson rouge, The Dimenna Center, Symphony Space, Centre de musique Hindemith, Lefrak Hall, and Central Park. He has also attended notable programs such as MusicX, Yale’s New Music Workshop in Norfolk, Connecticut, California Summer Music, the Young Artists Piano Program at Tanglewood, and Stony Brook Summer Music Festival. Additionally, he has participated in master classes both as a composer and pianist with Lisa Moore, Lisa Kaplan, Joel Hoffman, and Bright Sheng.

Paul KEREKES In June 2012, Paul joined forces with 5 of New York City’s top pianists to form Grand Band, whose debut was featured on Bang on a Can’s annual marathon. Grand Band has been described by The New York Times as, “The Travelling Wilbury’s of the city’s new music piano scene.”

Paul is currently pursuing an M.M.A. at Yale School of Music studying with David Lang. He received his undergraduate degree from Queens College where he primarily studied with Bruce Saylor. Past teachers include Martin Bresnick, Christopher Theofanidis, Ezra Laderman, David Schober, Edward Smaldone, and Eleanor Cory. paulkerekes.com


JUSTIN TIERNEY’S music

was declared “superb, robust, and grand” by the by Boston Globe who avowed that “Tierney’s dark-hued music had polished, ominous richness… and sound-worlds that were cogent and immediate.” A recent performance of The God’s Script was described as [one of] “the most compelling operas…it sheathes in fierce, gorgeously orchestrated music a dramatization of Jorge Luis Borges’s La Escritura del Dios.” Tierney has worked with composers such as Martin Bresnick, Aaron Jay Kernis, Christopher Theofanidis, Ezra Laderman, Ryan Vigil, John McDonald, Jeffrey Johnson and Douglas Townsend. He holds degrees from Yale, Tufts, and the University of Bridgeport, and is currently pursuing a PhD at Duke University under Stephen Jaffe. Tierney has taught music composition at Yale College and Music Notation at the University of Bridgeport. He was born in West Haven, CT (1984) and currently resides in Durham, NC with his wife Michiko Tierney, a photographer. JustinTierney.com

“The magical vine of Nysa, which miraculously went through all the stages of growth and vintage in a single day,’ is the legendary counterpart of a ritual miracle…attested to festivals of Dionysos” —W. R. Halliday “There is a certain Nysa, a mountain most high and richly grown with woods, far off in Phoenice, near the streams of Egyptus...The Father of men and gods gave you birth remote from men…who will lay up many offerings. And as these things are three, so shall mortals ever sacrifice cattle 100 in number to you at your feasts each three years.” —Homeric Hymn 1 to Dionysus “As it is, the Greek story has it that no sooner was Dionysus born than Zeus…carried him away to Nysa in Ethiopia beyond Egypt.”—Herodotus “Zeus taking up the child Dionysos from the body of his dead mother Semele, handed it over to Hermes, and ordered him to take it to the cave in Nysa, which lay between Phoinikia and the Nile in Egypt, where he should deliver it to the Nymphai that they should rear it . . .” —Diodorus Siculus “The rich-haired Nymphai received Dionysos from his father and fostered and nurtured him carefully in the dells of Nysa.” —Homeric Hymn 26 to Dionysus 2 “There the boy was reared by nymphs and was given the name Dionysus after his father (Dios) and after the place (Nysa). —Diodorus Siculus

“On Mount Nysa they obtained a boon from their foster-son Dionysos. They were… consecrated among the stars, they are called Hyades (rain nymphs).” —Pseudo-Hyginus “Most people assign to India the city of Nisa…this being the place from which originated the myth of the birth of Dionysos.”—Pliny the Elder Laughing, Persephone reached down where a hundred flowers hung…and plucked, and there in Nysa the earth opened and he, Host of Many, with his immortal horses sprang out upon her— the Son of Cronos, he who has many names, and he took her in his golden chariot, though she cried. But there was no one to hear her, there in Nysa, No men, no gods, nor Zeus, Nor even sunripe olives glittering, As they hung in that silence.”—Homeric Hymn to Demeter (Burton Raffel)

Justin TIERNEY


Reading the Wind Rhythms and sounds can reveal the power of the invisible world. Turning the pages of Nature’s Book of Life, one may rediscover a sense of mystery that is part and parcel of our existence. Learning to see the words that have not been written down gives one the ability to perceive the contours of light and darkness more clearly and understand the Wind that brings Change. Just as the pagan rituals in Stravinsky’s masterpiece unleash an amalgamation of mystical forces that culminate in the evocation of Spring and human Sacrifice, music can give birth to a mystical experience and become a source of new beginning. The difference between a deeper communication with the forces of nature and a method of divination disappears as future and the past become intertwined.

Polina Nazaykinskaya was born in Togliatti, Russia on January 20, 1987 and has been studying music since the age of 4. After graduating with honors from the the Tchaikovsky Conservatory in Russia with concentrations in violin and composition, Polina earned her Masters of Music Degree from the Yale School of Music. Her professors at Yale included Christopher Theofanidis and Ezra Laderman. Currently Polina is pursuing Artist Diploma in composition at the Yale School of Music. In the last four years her music has been performed by Russian National Orchestra, Minnesota Orchestra, Metropolitan Symphony Orchestra, Yale Philharmonia Orchestra, Youth Symphony Orchestra of Russia, Omsk Philharmonic Orchestra, Boston Metro Opera and others. Polina`s music has garnered numerous national and international awards and received raving reviews in the press. In 2010 "Sony-Music Russia" label released a CD that featured Polina`s symphonic poem "Winter Bells". In addition to being a composer Polina is an active violinist and a conductor. http://musicians.yale.edu/polinamusic

Polina NAZAYKINSKAYA


Daniel SCHLOSBERG Composer and pianist Daniel Schlosberg (b. 1987) is currently pursuing his MMA at the Yale School of Music. His works have been performed by the Cabrillo Festival Orchestra, Buffalo Philharmonic, Yale Philharmonia, Aspen Contemporary Ensemble, Cantata Profana, Center City Opera Theater, Yale Baroque Ensemble, New Morse Code, and counter)induction. His choral piece Letter was co-commissioned by the Yale-China Association and the Yale Glee club, who premiered it in Hong Kong in June 2013. Simon Carrington conducted the premiere of nightingale + rose, commissioned by Astrid and John Baumgardner, at the Norfolk Chamber Music Festival in August 2013. Daniel also re-orchestrated and conducted Stephen Sondheim’s Sunday in the Park with George at the Yale School of Drama in December 2012. Upcoming concerts include a work for flute and piano, commissioned by the flutist Ginevra Petrucci for her recital with Bruno Canino at Carnegie Hall in November 2013, and a new choral work for the Lorelei Ensemble. He will also be writing incidental music for Dustin Wills’s production of J. M. Barrie’s Peter Pan at the Yale School of Drama in December 2013.

In May 2014, he will conduct his new re-orchestration of Kurt Weill’s The Seven Deadly Sins, directed by Ethan Heard, in New York.

Daniel performs regularly and remains dedicated to playing works of his contemporaries. Recent piano performances have included Schoenberg’s Pierrot Lunaire in a staged production at the Yale Cabaret, Thomas Adès’s Living Toys with Le Train Blue, George Crumb’s Vox Balaenae, and Peter Maxwell Davies’s Eight Songs for a Mad King with Cantata Profana, of which he is a founding member. He has played Barber’s Piano Concerto and Scriabin’s Prometheus with the Yale Symphony Orchestra, as well as numerous solo recitals featuring music from Scarlatti to Ustvolskaya. Daniel’s teachers have included Martin Bresnick, David Lang, Aaron Kernis, and Christopher Theofanidis, and he has studied piano with Hung-Kuan Chen, Peter Frankl, and Wei-Yi Yang. He has won awards and honors from ASCAP, NFAA, and ACO. He enjoys baking cookies and watching David Lynch films (though not necessarily both at the same time). www.danschlosbergmusic.com

A Brief Descent into the Eleven Circles of Igor Stravinsky

On a recent encounter with Igor’s ghost, I looked directly into his eyes and called him what he truly is.


Solomon WEISBARD The Rite of Spring’s significance to me is also the same chief reason I work in performance: the synergistic energy of a group of people participating in a unique event. On its base level the piece portrays a tribe performing a sacred ritual. But its subject matter is also its form - the unrest it caused in the Théâtre des Champs-Élysées was its own kind of ritual, complete with sacrificial victims. Tonight you will be part of another unique ritual - this one probably a bit more civil. In fact, I can’t imagine a piece today that would incite the kind of reaction Stravinsky’s did 100 years ago, but the basic chemicals are the same. We (you included!) transmit a frenzy of energy from stage to auditorium and back - an activity that only the performance experience can achieve. Light and space are also key participants. When used correctly they amplify, deepen, and dynamize the flurry of performance. So listen carefully, look deeply, and partake of this ritual with us.

From Portland, Oregon, Solomon continually seeks to foster deeply satisfying collaborations by working specifically while thinking holistically. He believes theatre at its best should invite, exhilarate, and provoke. Selected professional theatre credits include Stones in his Pockets (Yale Rep), Rite of Spring (Martha Graham Dance Co.), Christina Anderson’s Hollow Roots (Public Theatre Under the Radar), Lion in Winter and A Class Act (Berkshire Theatre Group), White’s Lies (New World Stages); Agamemnon (La Mama); Faust, The Barber of Seville (Tri-Cities Opera); 9 to 5, A Chorus Line, All Shook Up (Merry-Go-Round Playhouse); Frank London’s A Night in the Old Marketplace (Merkin Hall and international tour); What of the Night and St. Joan of the Stockyards (Barnard College). Original evening-length dance / movement pieces with Alethea Adsitt, Jennifer Archibald, Julian Barnett (set), Ximena Garnica / Leimay, Lane Gifford, Ofelia Loret de Mola / danscores (set and lighting), The Nerve Tank (set and lighting), Patrick Lovejoy, Stefanie Nelson (set and lighting), WaxFactory (as featured in American Theatre magazine), and three new works as associate set designer with renowned choreographer Bill T. Jones. Solomon is a graduate of Ithaca College and Yale School of Drama. SolWeisbard.com


Born in Moscow, Ms. Ksenia Zhuleva started her music education at the age of seven. She graduated with honors from Academic Music College, (associated with the Moscow State Tchaikovsky Conservatory) where she was the recipient of the prestigious E. Bystritskaya International Scholarship for the most promising and outstanding young musicians. Ms. Zhulevawas also the recipient of “The Premiere” Ensemble of Soloists Scholarship. In 2003, Ms. Zhuleva entered the Moscow State Conservatory as a student of Professor Alexandr BoFire is an eternal symbol brovsky. Upon the same year, she was accepted as a member of the of life, power and passion. Fire remains also, a Russian National Orchestra (RNO) symbol of magic. In our under Mikhail Pletnev. As a member of the RNO over the next seven performance, the fire embodies both the power years, she participated in many reof magic and our strong, cordings on several prestigious recording labels, including Deutsche shared passion for art. My goal is to invoke the Grammophon and Pentatone. atmosphere of wizardry Also in 2003, Ms. Zhuleva was apand fairytale, wrapped around our passion for art pointed as the violist of the Ruswhich remains as eternal quartet, a professional STRING quartet under the Tutelage of and blazing as fire. Dmitry Shebalin (from the Borodin A ritual fire of art.

While working on the costumes for RiteNow project and for the musicians of the Zephyrus Project Orchestra, I was looking for a symbol that would connect the artistic riot of Stravinsky's Rite of Spring with the young and talented RiteNow composers’ dedications to it. An image of a mesmerizing, ritual fire inspired such a symbol.

String Quartet). For the next seven years Ms. Zhuleva toured with the quartet throughout Russia, Europe and Canada. During that period, the Rusquartet was awarded honorary diplomas and certificates of excellence. Ms. Zhuleva has won numerous competitions in Europe, including the International Quartet Competition held in honor of Shostakovich’s 100th anniversary in Rheinsberg, Germany in 2006 and the prestigious Shostakovich International Quartet Competition in Moscow in 2008. Before graduating with high honors from the Moscow Conservatory in 2008, Ms. Zhuleva performed in major concert venues in Moscow, such as the Great Hall of Moscow Conservatory, the Tchaikovsky Concert Hall, as well as in Germany, Italy, France and Canada both as a Soloist and as a member of the Rusquartet. Ms. Zhuleva is currently pursuing an Artist Diploma in Viola Performance Program at the Yale University, School of Music, where she is a student of Professor Ettore Causa.

Ksenia ZHULEVA


Paolo BORTOLAM P

raised by composer George Crumb for his “sensitive and insightful interpretation”, conductor Paolo Bortolameolli brings a visual, synthetic and collaborative approach to music that is infused by his fascination for and interplay among the arts. With his passion for connecting the 21st century audience to the concert stage, Mr. Bortolameolli enjoys conducting orchestral music, working with youth orchestras, collaborating with today’s composers and lecturing. As Assistant Conductor of Yale Philharmonia, he collaborated with conductors such as Shinik Hahm, Peter Oundjian, Xu Zhong, Jahja Ling, William Christie and Helmut Rilling. He was also the Principal Conductor of the New Haven Chamber Orchestra.

Upcoming engagements include a concert with the Orquesta Filarmónica de Santiago, Chile celebrating the Centennial Anniversary of the premiere of the Rite of Spring. In Chile, where he was named “100 young leaders of the country” by the Chilean national Magazine “Sábado” in 2007, Mr. Bortolameolli has been the Principal Conductor of the Youth Orchestra Orquesta Sinfónica Juvenil de Colina for the past 3 years, as well as Assistant Conductor of the USACH Orchestra and the Faculty of Arts Orchestra (OFA). Other engagements in Latin America include guest conductor of the Universidad de Concepción Orchestra and the National Symphonic Orchestra of Perú. As assistant conductor to Maestro David del Pino Mr. Bortolameolli worked with orchestras such as the SODRE Orchestra, Uruguay in 2010 and National Orchestra of Georgia (Tbilisi) in 2007. In addition he collaborated with Maestro Rodolfo Saglimbeni and the Orquesta Municipal de Caracas on a European Tour in 2008.

Deeply committed to and enthusiastic about new music, he frequently collaborates with the composers of Yale School of Music. Among recent collaborations are the world premiere of Matthew Barnson’s “The Rule and Exercises of Holy Dying” at Zankel Hall in Carnegie Hall, two operas by Yale composers Justin Tierney and Mathew Welch as part of the “Experiments in Opera” Company, a composer-driven initiative, featuring recent and new Works, and participating on the American Composers Alliance’s Opera Scenes Evening at Symphony Space, New York. Mr. Bortolameolli also enjoys lecturing and has appeared as a guest lecturer at the Teatro Municipal de Santiago Opera Season and at the Gian Paolo Martelli Academy speaking about Mahler symphonies and an Introduction to Contemporary Opera. Mr. Bortolameolli has attended master classes working with leading conductors including Bernard Haitink, Neeme Järvi, Pavo Järvi, Leonid Grin and Peter Oundjian. He has also participated in the Lucerne Festival Academy where he could work along with the Festival Strings Lucerne, in the Järvi Summer


MEOLLI Festival and Academy (Estonia) where he conducted concerts with the Pärnu City Orchestra and Estonian National Youth Orchestra, the Jorma Panula Masterclass at El Escorial in Madrid and the Mozarteum Sommerakademie where he worked with professor Peter Gülke. An accomplished pianist, Paolo won in 2003 the first prize of the National Chopin competition and in 2005 the National competition for young Soloists playing Tchaikovsky Piano Concerto Nº1 along with the National Symphonic Orchestra of Chile. Mr. Bortolameolli received his Master of Music in Orchestral Conducting degree from Yale School of Music in 2013 where he studied with Maestro Shinik Hahm. He graduated from the Arts Faculty of the University of Chile where he studied orchestral conducting with Professor David del Pino Klinge and from Catholic University of Chile where he studied piano with Professor Frida Conn. He is looking forward to working with Maestro Gustav Meier at Peabody Institute where he will be pursuing the Graduate Performance Diploma in Orchestral Conducting.


Zephyrus Project Orchestra Ksenia Zhuleva (Principal) Xinyi Xu Rebecca Wiebe Daniel Stone Batmyagmar Erdenebat Yuan Qi Hyeree Yu Lucy Caplan

CELLO

Elisa R. Sádaba (Principal) Sohyang Yoo Christopher Hwang Yoonha Yi Chang Pan Ian Gottlieb Yinfan Wu

BASS

FLUTE

Anouvong Liensavanh, Piccolo Luna Kang, Fl. 1 (Principal) Ginevra Petrucci, Fl. 2 Bill Ylitalo, Fl. 3/Picc. 2 Jonathan Slade, Alto Fl.

Mike Levin (Principal) Paul Nemeth Jonathan Hammonds Samuel Bobinski Catrin Dowd Christopher Lettie

OBOE Alexandra Lambertson (Ob.1) Caroline Ross (ob. 2) Ken Yanagisawa (ob. 3) Andrew Hendricks (Ob. 4/EH) Fiona Last (EH)

CLARINET

Gleb Kanasevich Joshua Anderson David Perry Emilio Greer Nathan Friedman

BASSOON

Bogdan Dumitriu (Principal) Daniel Henick Diana Ortega Eleanor Killiam Yuki Katayama Scott Switzer, Contra Bassoon

HORNS

Patrick C. Jankowski (Principal) Craig Hubbard Sarah Au Donna Yoo Emily Boyer Chuta Chulavalai​vong Chris Brigham [Wagner Tuba] Liam Hanna [Wagner Tuba]

TRUMPETS

John Ehrenburg (Principal) Mikio Sasaki Patrick Durbin Robby Moser Jean Laurenz

TROMBONES

Sam Kruse Raul Alexandro Ruiz Daniel Aaron Fears (bass)

TUBAS

Jens Peterson Allison Lazur

PERCUSSION Victor Caccese Ben Wallace Doug Perry Jonny Allen

pe rc

VIOLA

brass

str ings

Heewon Uhm (Concertmaster) Jessica Oddie (Associate Concertmaster) Polina Nazaykinskaya Julia Ghica Ki Won Kim Kayla Moffett Yaira Matya Suliman Tekalli Zou Yu Inyoung Hwang James Lee Avi Nagin Brian Lei Ryan Truby Hye Jin Koh Yumi Koga Xi Liao Elsie Yau Mann-Wen Lo Matheus Sardinha Garcia Souza

win d s

VIOLIN

SPONSORS


EX

E UTIV PROD C E He Cui

NIJINSKY CLUB

UC

TT-ART Beijing

ER

CO-

OUR SUPPORTERS

Marco Casas del Valle Xu Xiaoping Charlie Chen

DIAGHILEV’S IMPRESARIO CIRCLE Lyliam Trebitsch John Vere Pablo Larrain Alex Bennett TNJ Scout Isabel

STRAVINSKY’S INNER CIRCLE

Debbie Tierney Matt & Diane Kerekes

Maria Antonieta Lazarraga Michael G Wallace Dr. Jeffrey Johnson Seiichi Nomoto Miyo Nomoto James Sinclair Lauren Libaw Lev Bronstein Inés Isolda Grünwaldt Phillip Martin Jacob Kline Aissa Galvez Renato Albertini Haydee Domic

PATRONS

Joseph Martin Astrid Baumgardner Lisa Nielsen Sarah E Canzoneri Roberto Toscano Reena Esmail David Welch Dennis Waller Jori Chisholm Mary E. Hegeman Devon Yasamune Toyotomi Hiroko Nomoto Jan Faidley

Dr. Ping He Jack Tierney Ian O’Sullivan Ronald Shaw Sara Meserve Eric Laganowski Jon Lewis Kyung Yu Omar Surillo Myriam Singer

BACKERS

Scott So Ginevra Petrucci Alex Weiser Caroline Ross Dominic Coles Fay Wang Michael Schelle Jeremy Schlosberg Rob Watkins George Greene Victor Caccese Sumie Nomoto John Carr Ingram Marshall Corinne Mack Aimee Metz-Jordan Isabel Kim Nicholas Betson

Maura Valenti Ryan Vigil John McDonald Toby Sullivan Lissa Palacios William Gardiner Alvin Wong Gleb Kanasevich Jean Townsend George Lam Elizabeth Rathburn M.Carolina Rocha Amber Hayden

CONTRIBUTORS

Emily Cooley Naomi Woo Paul Nemeth Cristobal Gajardo Tiffany Richardson Cantata Profana Gregory Robbins Kirsten Volness Kyle S. Buckley Libby Van Cleve Leaha Maria Jess Li Stephen Feigenbaum Mike Compitello G Cid

Marissa Grunes

Alex Werrell

Kate Gonzales

Christina Hughes

Elisabeth Halliday

Craig Watson

Doug Perry

Dashon Burton Allison Felicetti Kenny Katsu John McQuown Thomas Piercy Stacey Zazu Scott Benjamin Firer Midori Samson Heidi Nakajima Amber Hayden

Mary Kouyoumdjian Stacey Daniels Corin Lee Sid Richardson Brendon Randall-Myers Aaron Minsky Hannah Collins Garth Neustadter Chris Rogerson Loren Loiacono Evan Lewis


Thank you for coming to the show. Tell us what you thought at RiteNowProject@gmail.com RiteNowProject.com

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