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Wadada
Leo Smith
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Friday October 28 at 8:30 PM
Ten Freedom Summers, Part One
Saturday October 29 at 8:30 PM
Ten Freedom Summers, Part Two
Sunday October 30 at 7:00 PM
Ten Freedom Summers, Part Three
REDCAT in the Walt Disney Concert Hall Complex
These concerts are sold only through REDCAT. Click the button to the right or contact REDCAT directly at
(213) 237-2800.
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Wadada Leo Smith
Performed by the Golden Quartet and Southwest Chamber Music, Jeff von der Schmidt, conductor
World premiere commission by Southwest Chamber Music
An epic journey played over the course of three concerts, this major new opus by creative music luminary Wadada Leo Smith draws upon, and interprets, key events in the history of the Civil Rights Movement from 1954 through 1964. Ten Freedom Summers takes listeners on a probing journey of immense musical, psychological and spiritual scope—with social and historical resonances that reach well beyond the epochal struggles for African American civil rights in the 1950s and ’60s. Performing this landmark multimovement work are the riveting Golden Quartet and Southwest Chamber Music under the direction of Grammy Award-winning conductor Jeff von der Schmidt.
n Freedom Summers is a three-evening musical composition by Wadada Leo Smith, which will be performed by Smith's dynamic Golden Quartet, joined by Southwest Chamber Music, and conducted by Grammy Award-winner Jeff von der Schmidt. This large multimovement work is inspired by the activity of the civil rights movement from 1954-1964. The composition is in suite form and reflects the spiritual condition and attitude surrounding many incidents that changed American social history.
The music of Ten Freedom Summers is a psychological interpretation of the events pertinent to the struggle for civil rights, not a pictorial or cinematic treatment that musically describes each event or situation. The trajectory of the three-concert experience is: Part One-America Part 1 & Part 2, Fannie Lou Hamer and the Mississippi Freedom Democratic Party 1964, Rosa Parks, and The Freedom Riders Ride; Part Two-Dred Scott 1857, Democracy, Buzzsaw: The Myth of the Free Press, September 11, 2001, and People of the Shahada; Part Three-Brown v. Board of Education 1954, Little Rock Nine 1957, Freedom Summer 1964, LBJ Civil Rights Act 1964, and Martin Luther King, Jr.-Memphis Prophecy and Assassination.
Ten Freedom Summers was commissioned by the MAP Fund, James Irvine Foundation, and the Clarence E. Heller Charitable Foundations. Chamber Music America and the Doris Duke Foundation commissioned "America" for the Golden Quartet, which inspires the opening of Ten Freedom Summers.
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John Cage
Photo
Betty Freeman
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John Cage
One6
One10
(Both works feature audio-kinetic sound sculptures by Mineko Grimmer)
WHY CAGE?
Southwest Chamber Music began its celebration of the John Cage Centenary in January 2010 and will end it with a celebration of the composer’s 100th birthday on September 5, 2012.
But “why Cage?” Why are we continually fascinated by this iconoclastic individualist who, much like Carl Ruggles and Charles Ives, paved his way apart from tradition and method, reaching for an essence that was nothing -- or something?
Enough time has passed that John Cage's music and philosophies are finally being understood. Chance, the I-ching, silence, transformation of sound, are only a few of Cage’s musical explorations which took him well beyond the traditions and paths composers of his time were challenging. Now that these ideas are within our grasp, we begin to realize that what Cage was trying to say is far more radical than we could have imagined.
Despite his still-controversial place in the history of music, John Cage emerges as a vital and highly influential part of the American cultural landscape, with his music played all over the world. Cage's works are a distillation of long-held American democratic ideals, often highlighting individual determination and Yankee ingenuity as a viable alternative to older, collectivist European ideals. It is well known that John Cage had an intense connection with the cultural fabric of the United States. Much like Henry David Thoreau, who often was an inspiration to the composer, Cage had an obsession with the ability of Yankee ingenuity to bring people together to solve problems.
Southwest’s Cage 2012 presents for the first time John Cage as a composer with three distinct periods of early, middle and late works, as has been done with other iconic classical composers such as Beethoven or Stravinsky. The Early Cage Period includes his through-composed works ending with the Sixteen Dances of 1951; a Middle Cage Period that includes his discovery of compositional chance procedure in the Chinese I-ching that culminate in Europeras in 1987; and a final summation until his death in 1992 with abstractly numbered pieces, and a reconciliation with his lifelong fascination with time.
Cage's music embodies a study in contrasts and a spirit of inclusiveness that is endemic to the American cultural landscape. His music can be performed by trained musicians and amateurs; it is facile and impossible; there is activity and inactivity; technology and primitivism; solos and ensembles; teachers and students; order and chaos; sound and silence. Cage 2012 highlights these contrasts into a compelling and important portrait of an American Master.
John Cage's influence cannot be denied, and now at his 100th birthday, it is time to take a new look at Cage's works and philosophies and to celebrate this American cultural icon.
That’s “why Cage.”
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John Cage
Photo
Betty Freeman
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John Cage
Atlas Eclipticalis
Variations IV
0'00"
WHY CAGE?
Southwest Chamber Music began its celebration of the John Cage Centenary in January 2010 and will end it with a celebration of the composer’s 100th birthday on September 5, 2012.
But “why Cage?” Why are we continually fascinated by this iconoclastic individualist who, much like Carl Ruggles and Charles Ives, paved his way apart from tradition and method, reaching for an essence that was nothing -- or something?
Enough time has passed that John Cage's music and philosophies are finally being understood. Chance, the I-ching, silence, transformation of sound, are only a few of Cage’s musical explorations which took him well beyond the traditions and paths composers of his time were challenging. Now that these ideas are within our grasp, we begin to realize that what Cage was trying to say is far more radical than we could have imagined.
Despite his still-controversial place in the history of music, John Cage emerges as a vital and highly influential part of the American cultural landscape, with his music played all over the world. Cage's works are a distillation of long-held American democratic ideals, often highlighting individual determination and Yankee ingenuity as a viable alternative to older, collectivist European ideals. It is well known that John Cage had an intense connection with the cultural fabric of the United States. Much like Henry David Thoreau, who often was an inspiration to the composer, Cage had an obsession with the ability of Yankee ingenuity to bring people together to solve problems.
Southwest’s Cage 2012 presents for the first time John Cage as a composer with three distinct periods of early, middle and late works, as has been done with other iconic classical composers such as Beethoven or Stravinsky. The Early Cage Period includes his through-composed works ending with the Sixteen Dances of 1951; a Middle Cage Period that includes his discovery of compositional chance procedure in the Chinese I-ching that culminate in Europeras in 1987; and a final summation until his death in 1992 with abstractly numbered pieces, and a reconciliation with his lifelong fascination with time.
Cage's music embodies a study in contrasts and a spirit of inclusiveness that is endemic to the American cultural landscape. His music can be performed by trained musicians and amateurs; it is facile and impossible; there is activity and inactivity; technology and primitivism; solos and ensembles; teachers and students; order and chaos; sound and silence. Cage 2012 highlights these contrasts into a compelling and important portrait of an American Master.
John Cage's influence cannot be denied, and now at his 100th birthday, it is time to take a new look at Cage's works and philosophies and to celebrate this American cultural icon.
That’s “why Cage.”
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John Cage
Photo
Betty Freeman
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John Cage
R/13 (Where R = Ryoanji)
Branches
Music for Carillon No. 5
Lullaby
Radio Music
Etudes Boreales I - IV
WHY CAGE?
Southwest Chamber Music began its celebration of the John Cage Centenary in January 2010 and will end it with a celebration of the composer’s 100th birthday on September 5, 2012.
But “why Cage?” Why are we continually fascinated by this iconoclastic individualist who, much like Carl Ruggles and Charles Ives, paved his way apart from tradition and method, reaching for an essence that was nothing -- or something?
Enough time has passed that John Cage's music and philosophies are finally being understood. Chance, the I-ching, silence, transformation of sound, are only a few of Cage’s musical explorations which took him well beyond the traditions and paths composers of his time were challenging. Now that these ideas are within our grasp, we begin to realize that what Cage was trying to say is far more radical than we could have imagined.
Despite his still-controversial place in the history of music, John Cage emerges as a vital and highly influential part of the American cultural landscape, with his music played all over the world. Cage's works are a distillation of long-held American democratic ideals, often highlighting individual determination and Yankee ingenuity as a viable alternative to older, collectivist European ideals. It is well known that John Cage had an intense connection with the cultural fabric of the United States. Much like Henry David Thoreau, who often was an inspiration to the composer, Cage had an obsession with the ability of Yankee ingenuity to bring people together to solve problems.
Southwest’s Cage 2012 presents for the first time John Cage as a composer with three distinct periods of early, middle and late works, as has been done with other iconic classical composers such as Beethoven or Stravinsky. The Early Cage Period includes his through-composed works ending with the Sixteen Dances of 1951; a Middle Cage Period that includes his discovery of compositional chance procedure in the Chinese I-ching that culminate in Europeras in 1987; and a final summation until his death in 1992 with abstractly numbered pieces, and a reconciliation with his lifelong fascination with time.
Cage's music embodies a study in contrasts and a spirit of inclusiveness that is endemic to the American cultural landscape. His music can be performed by trained musicians and amateurs; it is facile and impossible; there is activity and inactivity; technology and primitivism; solos and ensembles; teachers and students; order and chaos; sound and silence. Cage 2012 highlights these contrasts into a compelling and important portrait of an American Master.
John Cage's influence cannot be denied, and now at his 100th birthday, it is time to take a new look at Cage's works and philosophies and to celebrate this American cultural icon.
That’s “why Cage.”
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John Cage
Photo
Betty Freeman
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John Cage
Lecture on the Weather
Score (40 Drawings by Thoreau) and 23 Parts
WHY CAGE?
Southwest Chamber Music began its celebration of the John Cage Centenary in January 2010 and will end it with a celebration of the composer’s 100th birthday on September 5, 2012.
But “why Cage?” Why are we continually fascinated by this iconoclastic individualist who, much like Carl Ruggles and Charles Ives, paved his way apart from tradition and method, reaching for an essence that was nothing -- or something?
Enough time has passed that John Cage's music and philosophies are finally being understood. Chance, the I-ching, silence, transformation of sound, are only a few of Cage’s musical explorations which took him well beyond the traditions and paths composers of his time were challenging. Now that these ideas are within our grasp, we begin to realize that what Cage was trying to say is far more radical than we could have imagined.
Despite his still-controversial place in the history of music, John Cage emerges as a vital and highly influential part of the American cultural landscape, with his music played all over the world. Cage's works are a distillation of long-held American democratic ideals, often highlighting individual determination and Yankee ingenuity as a viable alternative to older, collectivist European ideals. It is well known that John Cage had an intense connection with the cultural fabric of the United States. Much like Henry David Thoreau, who often was an inspiration to the composer, Cage had an obsession with the ability of Yankee ingenuity to bring people together to solve problems.
Southwest’s Cage 2012 presents for the first time John Cage as a composer with three distinct periods of early, middle and late works, as has been done with other iconic classical composers such as Beethoven or Stravinsky. The Early Cage Period includes his through-composed works ending with the Sixteen Dances of 1951; a Middle Cage Period that includes his discovery of compositional chance procedure in the Chinese I-ching that culminate in Europeras in 1987; and a final summation until his death in 1992 with abstractly numbered pieces, and a reconciliation with his lifelong fascination with time.
Cage's music embodies a study in contrasts and a spirit of inclusiveness that is endemic to the American cultural landscape. His music can be performed by trained musicians and amateurs; it is facile and impossible; there is activity and inactivity; technology and primitivism; solos and ensembles; teachers and students; order and chaos; sound and silence. Cage 2012 highlights these contrasts into a compelling and important portrait of an American Master.
John Cage's influence cannot be denied, and now at his 100th birthday, it is time to take a new look at Cage's works and philosophies and to celebrate this American cultural icon.
That’s “why Cage.”
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Dates and programs will be announced in
February, 2012
Programs will include world premieres of commissioned works by:
Charles Wuorinen (It Happens Like This), Unsuk Chin (Homage to Gyorgy Ligeti), Anne LeBaron, Vu Nhat Tan (The Song of Napalm), Hyo-shin Na (Morning Study), Gabriela Ortiz (De ánimos y quebrantos) and others to be announced.
Between May 9 and May 24, Southwest will present a dazzling series of commissions celebrating the ensemble's international reputation. The complete schedule for the New Music Festival will be announced in January 2012. Already confirmed are commissioned works by Unsuk Chin, Anne Le Baron, Hyo-shin Na, Lei Liang, Kurt Rohde, Tôn Thât Tiêt, Charles Wuorinen, and Vu Nhat Tan.
Highlights include It Happens Like This by Charles Wuorinen, co-commissioned with the Tanglewood Music Center of the Boston Symphony and dedicated to James Levine. Wuorinen's next major work is the highly anticipated opera Brokeback Mountain, which will be premiered in Madrid in 2014. Unsuk Chin's Homage to Gyorgy Ligeti captures her reflections on her imposing mentor and his lasting musical influence, and is a co-commission with the Nieuw Ensemble of Amsterdam and the Witten Festival in Germany.
Vu Nhat Tan will return to Los Angeles, supported by the Asian Cultural Council in New York City, following his successful appearances during Southwest's Ascending Dragon Music Festival of 2010. Working with American poet Bruce Weigl, Tan's The Song of Napalm is a break-out piece for the up and coming Vietnamese composer. Lei Liang contributes his new Falling Blossoms to the festival and San Francisco- via-Seoul composer Hyo-shin Na offers her ravishing Morning Study, inspired by the time of day many creators find most conducive to thoughts and ideas.
Gabriela Ortiz will join us from Mexico City for her De ánimos y quebrantos, while Anne Le Baron is planning a ruminative Viennese-haunted monodrama. Paris-based Vietnamese master Tôn Thât Tiêt plans a new work for string quartet. Kurt Rohde has received a Meet the Composer grant for a new work still under construction. More composers will be announced in January 2012.
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