May 19, 2015

Lincoln Center Festival 2015, July 6-August 2: Music Presentations

Lincoln Center Festival

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LINCOLN CENTER FESTIVAL 2015

MUSIC ADVISORY

 

Danny Elfman’s Music from the Films of Tim Burton

July 6 –12, 2015

Eight performances, Avery Fisher Hall (Broadway at 65th Street)

Music composed and arranged by Danny Elfman

Films and artwork by Tim Burton

John Mauceri, conductor

Sandy Cameron, violin

Special Guest Appearance by Danny Elfman

Running time: Approximately 2 hours and 30 minutes, with one intermission.

 

Monday, July 6 at 8 PM (critics performance); Wednesday, July 8 at 7:30 PM; Thursday, July 9 at 7:30 PM; Friday, July 10 at 7:30 PM; Saturday, July 11 at 2 PM and 8 PM; Sunday, July 12 at 2 PM and 8 PM

 

• Films at the Atrium: Pee-wee’s Big Adventure on June 5 at 7 PM in David Rubenstein Atrium.
• Films at the Atrium: Batman on June 6 at 7 PM in David Rubenstein Atrium.
• Panel discussion on artistic process, featuring conductor John Mauceri and Sandy Cameron, violin soloist on July 9 at 6 PM in Stanley H. Kaplan Penthouse (165 West 65th Street, 10th Floor).

 

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Yarn/Wire

July 14, 2015, 6:00 PM

Up Close with the Artists in the Stanley H. Kaplan Penthouse (165 W. 65th Street, 10th floor)

Featuring composers Raphaël Cendo and Misato Mochizuki and members of Yarn/Wire, moderated by Frank Oteri.

Running time: approximately 1 hour and 30 minutes, with no intermission

 

July 15, 2015, 8:00 PM

One performance in the Stanley H. Kaplan Penthouse (165 W. 65th Street, 10th floor)

Misato Mochizuki: new work (2015)

Raphaël Cendo: new work (2015)

Tristan Murail: new work (2015)

Running time: approximately 1 hour and 30 minutes, with no intermission.

 

Tuesday, July 14 at 6 PM; Wednesday, July 15 at 8 PM                                               

 

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The Cleveland Orchestra

Franz Welser-Möst, music director

July 15–18, 2015

Four performances at Avery Fisher Hall (Broadway at 65th Street)

 

July 15, 2015, 7:30 PM

Strauss: Daphne (One Act Opera in concert), Op. 62

Regine Hangler, soprano (Daphne) (New York Debut)

Nancy Maultsby, mezzo-soprano (Gaea)

Andreas Schager, tenor (Apollo) (New York Debut)

Norbert Ernst, tenor (Leukippos) (New York Debut)

Ain Anger, bass (Peneios)

Sung in German with English subtitles

Running time: Approximately 1 hour and 50 minutes with no intermission

 

July 16, 2015, 7:30 PM

Messiaen: Hymne

Messiaen: Chronochromie

Dvorák: Symphony No. 5 in F major, Op. 76

Running time: Approximately 1 hour and 40 minutes, with one intermission

 

July 17, 2015, 7:30 PM

Beethoven: Symphony No. 6, "Pastoral" in F major, Op. 68

Strauss: Symphonia domestica, Op. 53

Running time: Approximately 1 hour and 45 minutes, with one intermission

 

July 18, 2015, 7:30 PM

Strauss: Daphne (One Act Opera in concert), Op. 62

Regine Hangler, soprano (Daphne)

Nancy Maultsby, mezzo-soprano (Gaea)

Andreas Schager, tenor (Apollo)

Norbert Ernst, tenor (Leukippos)

Ain Anger, bass (Peneios)

Sung in German with English subtitles

Running time: Approximately 1 hour and 50 minutes with no intermission

 

Wednesday, July 15 at 7:30 PM (Daphne in concert); Thursday, July 16 at 7:30 PM (Messiaen and Dvorák); Friday, July 17 at 7:30 PM (Beethoven and Strauss); Saturday, July 18 at 7:30 PM (Daphne in concert)

 

• LC Kids Event: Fantastic French Horn on July 18, 2015 at 11 AM in Stanley Kaplan Penthouse (165 West 65th Street, 10th Floor). During this special edition of The Cleveland Orchestra’s exceptional family programs, kids ages 6+ enjoy an up-close demonstration of the modern French Horn by the Orchestra’s own Hans Clebsch before traveling back in time to the instrument’s prehistoric origins. They’ll then have a chance to try out the horn—as well as other brass instruments, strings and woodwinds—during Instrument Discovery. Tickets on sale at a later date.

           

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Harry Partch: Bitter Music

Lecture-Performance by David Moss

Thursday, July 23, 6:00 PM

New York City Center Studios (130 West 56th Street)

Running time: Approximately 65 minutes, with no intermission

 

Harry Partch: Delusion of the Fury

Directed by Heiner Goebbels

Music Theatre with the Ensemble Musikfabrik

July 23 and 24, 8 PM

Two performances, New York City Center (131 West 55th Street)

Music: Harry Partch

Director: Heiner Goebbels

Sets and Lighting: Klaus Grünberg

Costumes: Florence von Gerkan

Sound: Paul Jeukendrup

Dramaturgy: Matthias Mohr

Musical rehearsal leader: Arnold Marinissen

Assistant choreography: Florian Bilbao

Dramaturgical project development: Beate Schüler

Instrument builder: Thomas Meixner

Running time: approximately 1 hour and 30 minutes, with no intermission

 

Thursday, July 23 at 6 PM (Bitter Music); Thursday, July 23 at 8 PM (Delusion of the Fury); Friday, July 24 at 8 PM (Delusion of the Fury)

                                                                                                                                 

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More about the productions:

 

Lincoln Center Festival opens with Danny Elfman’s Music from the Films of Tim Burton, a unique program of specially-created suites from many of the film collaborations by the legendary composer and visionary director, enhanced by visuals on a big screen of film clips, sketches, drawings and artwork edited by Burton. For nearly 30 years Elfman and Burton have collaborated on some of the most popular films of our times, including Batman, Edward Scissorhands, The Nightmare Before Christmas, and Alice in Wonderland, among others.  John Mauceri, one of the world’s foremost conductors of live film music, will lead an 87-piece orchestra and 45-person choir.  Danny Elfman will make a special guest appearance singing his songs from The Nightmare Before Christmas. Violinist Sandy Cameron will perform the Edward Scissorhands Suite, written especially for her by Elfman. This concert, which premiered at London’s Royal Albert Hall, has been performed, seen and heard by more than 100,000 people around the globe in ten countries, including Japan, Switzerland, Australia and Czech Republic, and these Lincoln Center shows will be the New York premiere performances.

 

Beginning with his first score for Tim Burton’s  Pee-wee’s Big Adventure, four-time Oscar nominee Danny Elfman has scored a broad range of films, including:  Milk, Good Will Hunting, Big Fish, Men in Black, Edward Scissorhands, Wanted, Charlie and the Chocolate Factory, Mission: Impossible, Planet of the Apes, A Simple Plan, To Die For, Spider-Man (1 & 2), Batman, Dolores Claiborne, Sommersby, Chicago, Dick Tracy, The Nightmare Before Christmas, and Alice in Wonderland. Most recently he provided the music for David O. Russell’s award-winning American Hustle & Silver Linings Playbook, Tim Burton’s Big Eyes, Sam Raimi’s Oz: The Great and Powerful, Rob Minkoff’s Mr. Peabody & Sherman, and the upcoming The End of The Tour and Tulip Fever.

 

A native of Los Angeles, Elfman grew up loving film music. He travelled the world as a young man, absorbing its diverse musical influences. He helped found the band Oingo Boingo, and came to the attention of a young Tim Burton, a native of Burbank, California, who asked him to write the score for his debut film Pee-wee’s Big Adventure, in 1985. The score was a revelation, and an instantly identifiable musical personality had arrived. Over the years, the two men have forged one of the most fruitful composer-director collaborations in film history.

 

In addition to his film work, Elfman wrote the iconic theme music for the television series The Simpsons and Desperate Housewives. He also composed a ballet, Rabbit and Rogue, choreographed by Twyla Tharp; a symphony entitled Serenada Schizophrana, commissioned by American Composers Orchestra, which premiered at Carnegie Hall; an overture called The Overeager Overture, commissioned by John Mauceri for his farewell concert with the Hollywood Bowl Orchestra in 2006; and Iris, a Cirque du Soleil show.

 

Tim Burton has enjoyed great success in both the live-action and animation arenas. Most recently Burton directed and produced the critically acclaimed Big Eyes. Earlier in 2012 Burton directed the animated film Frankenweenie and the gothic thriller Dark Shadows, based on the cult favorite television show. He also produced the fantasy horror Abraham Lincoln: Vampire Hunter which was directed by Timur Behmambetov. In 2010, he directed Alice in Wonderland, an epic fantasy based on the classic story by Lewis Carroll. The film earned more than a billion dollars at the worldwide box office, making it the second-highest-grossing release of 2010. Alice in Wonderland also received a Golden Globe nomination for Best Picture – Musical or Comedy, and won two Academy Awards, for Best Art Direction and Best Costume Design. Burton was previously honored with an Academy Award nomination for Best Animated Feature for the 2005 stop-motion film Corpse Bride, which he directed and produced. He earlier received BAFTA Award and Critics’ Choice Award nominations for Best Director for the acclaimed fantasy drama Big Fish. More recently, Burton won a National Board of Review Award and garnered Golden Globe and Critics’ Choice Award nominations for his directing work on Sweeney Todd: The Demon Barber of Fleet Street, which also won the Golden Globe for Best Film – Musical or Comedy. Burton began his film career in animation, and, in 1982, directed the stop-motion animated short Vincent, narrated by Vincent Price, which was an award-winner on the film festival circuit. He made his feature film directorial debut in 1985 with the hit comedy Pee-Wee’s Big Adventure. In 1988, Burton helmed the inventive comedy hit Beetlejuice. He then directed the action blockbuster Batman, which became the top-grossing film of 1989 and Batman Returns. In 1990, Burton directed, co-wrote and produced the romantic fantasy Edward Scissorhands, starring Johnny Depp. Their subsequent collaborations include the Burton-directed films Ed Wood, Sleepy Hollow, adapted from the classic tale by Washington Irving, and the worldwide smash Charlie and the Chocolate Factory, which was based on Roald Dahl’s beloved book, and Sondheim’s Sweeney Todd: The Demon Barber of Fleet Street.

 

John Mauceri is the recipient of a Grammy, Tony, Olivier, and three Emmy awards.  He has conducted at the Metropolitan Opera, Royal Opera House (Covent Garden), Teatro alla Scala, Deutsche Oper (Berlin), the New York Philharmonic, the Chicago Symphony Orchestra, the Boston Symphony Orchestra, all the major London orchestras, as well as l’Orchestre Nationale de France and the Israel Philharmonic. He is the Founding Director of the Hollywood Bowl Orchestra, which was created for him in 1991 by the Los Angeles Philharmonic Association, and conducted there for 16 seasons to a combined audience of four million people.

 

Mr. Mauceri has made over 80 commercial recordings, including the world premiere of Danny Elfman’s Serenada Schizophrana. The recent release of Music for Alfred Hitchcock has been unanimously praised and includes many first recordings of performing editions made by Mr. Mauceri. In 2015 he will perform Danny Elfman’s music in Adelaide, Paris, and Denver.

 

On Broadway, he was co-producer of On Your Toes and served as musical supervisor for Hal Prince’s production of Candide, as well as Andrew Lloyd Webber’s Song and Dance with Bernadette Peters. He also conducted the orchestra for the film version of Evita. He served as music director of the Teatro Regio in Turin, Italy for three years after completing seven years as music director of Scottish Opera, and is the first American ever to have held the post of music director of an opera house in either Great Britain or Italy. He was music director of the Washington (National) Opera as well as Pittsburgh Opera, and was the first music director of American Symphony Orchestra in Carnegie Hall after its legendary founding director, Leopold Stokowski, with whom he studied. For fifteen years he served on the faculty of his alma mater, Yale University, and returned in 2001 to teach and conduct the official concert celebrating the university’s 300th anniversary. For 18 years, Mr. Mauceri worked closely with Leonard Bernstein and conducted many of the composer’s premieres at Bernstein’s request.

 

Deeply committed to preserving two American art forms, the Broadway musical, and Hollywood film scores, he has edited and performed a vast catalogue of restorations and first performances, including a full restoration of the original 1943 production of Rodgers & Hammerstein’s Oklahoma!, as well as performing editions of Gershwin’s Porgy & Bess, Girl Crazy and Strike up the Band, Bernstein’s Candide and A Quiet Place, Marc Blitzstein’s Regina, and film scores by Miklos Rozsa, Franz Waxman, Erich Wolfgang Korngold, Max Steiner, Elmer Bernstein, Jerry Goldsmith, Danny Elfman and Howard Shore. As one of two conductors in Decca Records’ award-winning series “Entartete Musik,” Mauceri made a number of historic first recordings of music banned by the Nazis. The intersection of the “degenerate composers” of Europe and the refugee composers of Hollywood is the subject of much of his research and his writings. In addition, Mr. Mauceri has conducted significant premieres of works by Verdi, Debussy, Hindemith, Ives, Stockhausen, and Weill. From 2006-2013 he served as chancellor of the University of North Carolina’s School of the Arts.

 

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Yarn/Wire, the Queens-based chamber quartet specializing in the performance of 20th- and 21st-century music for piano and percussion, will make its Lincoln Center Festival debut on July 15 with a concert dedicated to contemporary music by a new generation of French composers. The evening offers world premieres by composers rarely-heard in the United States: Misato Mochizuki, Raphaël Cendo, and a new work from Tristan Murail. Murail is the leading exponent of “spectral” music and student of Olivier Messiaen, known as a composer who has challenged accepted ways of writing music. The program results in a survey of some important trends in French contemporary classical music.

 

Yarn/Wire is a versatile chamber quartet made up of percussionists Ian Antonio and Russell Greenberg and pianists Laura Barger and Ning Yu, focused on contemporary repertoire. The unique instrumental combination serves the ensemble well in both traditional performance practice and with emergent stylistic forms. Founded in 2005 at Stony Brook University on Long Island, the ensemble frequently presents world and U.S. premieres by leading international composers, greatly expanding the repertoire for this particular instrumental arrangement, and has garnered acclaim for its adventurous programs.

 

Tokyo-born Misato Mochizuki (b.1969) writes music with magical rhythms, unusual sounds, and stylistic freedom, combining western traditions and her own sense of breathing. Her catalogue consists of some 40 works, including 12 pieces for ensemble. She obtained a Master’s degree in composition at the National University of Fine Arts and Music (Tokyo) in 1992. She moved to Paris  where she was awarded first prize in composition at the CNSDM Paris, studying with Paul Méfano and Emmanual Nunes (1995), followed by IRCAM’s Composition and Computer Music program (1996-97) with Tristan Murail. Between 2011 and 2013. Misato Mochizuki was composer-in-residence at the Festival international de musique de Besançon. Since 2007 she has been professor of artistic disciplines at the Meiji Gakuin University in Tokyo, and has been invited to teach composition at Darmstadt, the Amsterdam Conservatory and elsewhere. In addition, Mochizuki writes about music and culture, reflecting on the role of the composer in today’s society, in her own column for the renowned Yomiuri Shimbun, the most widely read daily newspaper in Japan.

 

Raphaël Cendo (b. 1975) studied piano and composition at the École Normale de Musique in Paris, where he graduated in 2000. He studied composition at the National Conservatory of Paris in 2003 and completed the course in composition and computer music at IRCAM in 2006. He studied with Gaussin Allain, Brian Ferneyhough, Fausto Romitelli and Philippe Manoury. Cendo has written works for internationally renowned ensembles including The Route, Orchestre National d’Ile de France, the Diotima Quartet, Ensemble Intercontemporain, Ictus, Ensemble musikFabrik, the Montreal Symphony Orchestra, and the Radio Orchestra in Munich. His music has also been performed at international festivals, among them, MITO in Milan, the Venice Biennale, Musica Strasbourg and at Darmstadt and Donaueschingen in Germany. In 2007, Cendo received the Hope Award from the Francis and Mica Salabert Foundation International Composition Competition. He currently lives and works in Berlin.

 

A native of Le Havre, France, Tristan Murail (b. 1947) studied with Olivier Messiaen and won the Prix de Rome in 1971. After two years at the Villa Médicis, he returned to Paris in 1973 and founded the Itinéraire ensemble with a group of young composers and performers. The group became widely renowned for its ground-breaking explorations of the relationship between instrumental performance and electronics. In the 1980s, Murail began using computer technology to further his research into acoustic phenomena. This led to years of collaboration with IRCAM, where he taught composition from 1991 to 1997 and helped develop the Patchwork composition software. Now known as one of the principal founders and theoreticians of the spectral school of music, Mural has taught at numerous schools and festivals worldwide, including at Darmstadt, the Abbaye de Royaumont, the Centre Acanthes and Columbia University in New York. His works have been commissioned and performed by such ensembles as Ensemble Intercontemporain, Nouvel Ensemble Moderne, Radio France Philharmonic Orchestra, and the New York Philharmonic, among many others.

 

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The Cleveland Orchestra, led by music director Franz Welser-Möst, returns to Lincoln Center Festival with four concerts focused on the exploration of the relationships between nature and humanity. Considered one of the world’s most highly regarded music ensembles, the Orchestra will offer two concert performances of Richard Strauss’s rarely-performed ”bucolic tragedy” Daphne, highlighting Franz Welser-Möst’s passion and expertise in the operatic repertory, along with two additional programs featuring works which probe our understanding of the natural world by Messiaen, Dvorák, Beethoven, and Strauss.

 

Richard Strauss’s seldom performed, one-act opera, Daphne, is among the great works of the composer’s later period. With a libretto by Joseph Gregor, the work was premiered in 1938, and retells the story of the beautiful nymph Daphne, with a plot derived from the familiar myth from Ovid’s Metamorphoses. Daphne, an outsider who cherishes the beauty of nature, where she feels most at home, is loved by the simple shepherd Leukippos and the god Apollo. But, when Apollo betrays her trust and kills his rival, Daphne is inconsolable. Apollo is moved by Daphne’s profound grief and grants her immortality by transforming her into a laurel tree. This operatic gem has been called one of Strauss’s supreme love letters to the soprano voice.

 

The Daphne cast features many rising stars, including soprano Regine Hangler, in her New York debut, who will sing the title role and will also take on the role this spring in Cleveland at the Orchestra’s home, Severance Hall and in Berlin, in addition to a part in the Vienna State Opera’s production of Elektra. Joining Ms. Hangler, the cast includes: acclaimed mezzo-soprano Nancy Maultsby as Daphne’s mother Gaea; tenor Andreas Schager (New York debut) as Apollo; tenor Norbert Ernst (New York debut) as Leukippos; and bass Ain Anger, known for numerous Wagner roles, as Daphne’s father, Peneios. Also featured are baritone Christopher Feibum, tenor Matthew Plenk and bass-baritone Ryan Speedo Green as shepherds, and soprano Lauren Snouffer as a maid.

 

Between the two concert performances of Daphne, The Cleveland Orchestra will present two concerts which will complete their Lincoln Center Festival engagement. On July 16 they will perform Messiaen’s Hymne, Chronochromie, a large orchestral work with experimental techniques which explore both time and color, and Dvorák’s pastoral Symphony No. 5, which paints a picture of the Czech composer’s countryside homeland. The following evening’s performance on July 17, pairs Beethoven’s masterful Symphony No. 6, “Pastoral,” with a Strauss tone poem, his Symphonia domestica, an autobiographical multi-movement symphonic work from 1902 about a day in the life of the composer and his wife.

 

As it nears the centennial of its founding in 2018, The Cleveland Orchestra is undergoing a new transformation and renaissance. Universally-acknowledged among the best ensembles on the planet, the entire institution is working together on a set of enhanced goals for the 21st century — to develop the youngest audience of any orchestra, to renew its focus on fully serving the communities where it performs through engagement and education, to continue its legendary command of musical excellence, and to move forward into the Orchestra’s next century with a strong commitment to adventurous programming and new music. The Cleveland Orchestra divides its time across concert seasons at home in Cleveland’s Severance Hall and each summer at Blossom Music.  Additional portions of the year are devoted to touring and to a series of innovative and intensive performance residencies.  These include an annual set of concerts and education programs and partnerships in Florida, and recurring residencies at Vienna’s Musikverein, Switzerland’s Lucerne Festival, and New York’s Lincoln Center Festival. Under the leadership of Franz Welser-Möst, now in his 13th season as the ensemble’s music director, The Cleveland Orchestra is acknowledged as among the world’s handful of best orchestras.  Its performances of standard repertoire and new works are unrivalled at home in Ohio, in residencies around the globe, on tour across North America and Europe, and through recordings, telecasts, and radio and internet broadcasts.  The Cleveland Orchestra last appeared at Lincoln Center Festival in 2011 with concerts pairing the music of John Adams and Anton Bruckner, and at Lincoln Center’s White Light Festival in 2013.

 

The 2014-15 season marks Franz Welser-Möst’s 13th year as music director of The Cleveland Orchestra, with a long-term commitment extended through 2022.  He holds the Kelvin Smith Family Endowed Music Director Chair.  Under his leadership, the Orchestra is renowned among the world’s greatest ensembles, acclaimed for its musical excellence, and a champion of new composers and innovative programming. Franz Welser-Möst has led an acclaimed series of opera performances each season during his tenure in Cleveland, including opera-in-concert presentations and a three-season cycle of fully staged Zurich Opera productions of the Mozart-Da Ponte operas.  In May 2014, an innovative presentation of Janácek’s The Cunning Little Vixen mixed live singers with projected action animation, to national and international attention. As a guest conductor, Mr. Welser-Möst enjoys a close and productive relationship with the Vienna Philharmonic.  Recent performances with the Philharmonic include a critically-acclaimed production of Strauss’s Der Rosenkavalier at the 2014 Salzburg Festival as well as appearances as New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan.  From 2010 to 2014, Mr. Welser-Möst served as general music director of the Vienna State Opera, He previously served a decade-long tenure with the Zurich Opera, culminating in three seasons as general music director.   Mr. Welser-Möst’s recordings and videos have won a series of international awards and two Grammy nominations.  His Cleveland Orchestra recordings include live video performances of Bruckner Symphonies Nos. 4, 5, 7, 8, and 9 and together they are in the midst of new project to record the major works of Brahms.

 

The Lincoln Center Festival 2015 presentation of the Cleveland Orchestra is made possible in part by generous support from the National Endowment for the Arts. 

 

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Heiner Goebbels’ production of Harry Partch’s rarely performed music theater spectacle Delusion of the Fury (A Ritual of Dream and Delusion) will receive its U.S. premiere at Lincoln Center Festival 2015. The visionary work by Partch, considered his magnum opus, was produced by the Ruhrtriennale in collaboration with Lincoln Center Festival and others under the direction of leading German Director Heiner Goebbels during his tenure as Artistic Director of the Ruhrtriennale. Ensemble Musikfabrik performs the work, with a complete set of his instruments which the Ensemble has built and recreated for these performances. Goebbels’ production integrates Partch’s idiosyncratic music with lighting, movement, and song into a spectacular sound world of lightness and humor that can only be described as out-of-this-world. This marks the second collaboration between Lincoln Center and Ruhrtriennale, the first being the groundbreaking production by David Pountney of Die Soldaten in 2008.

 

A genre-defying ritual work connecting Japanese Noh theater, and an Ethiopian folk tale, Delusion of the Fury (1965-66) is groundbreaking in its inspirations and soundscape. It was written for the largest arrangement of Partch’s distinct 32 custom-made instruments, with names such as Eucal Blossom, Cloud Chamber Bowls, Quadrangularus Reversum, Marimba Eroica, and Spoils of War. The instruments are part of the stage set, as the composer believed in the importance of a visual component to music performance. Partch’s masterpiece is impossible to perform without the right set of instruments to present his 43-note octave micro-tonal scale. Although Partch’s delicate original instruments still exist, many are not suitable for playing or international travel, so Ensemble Musikfabrik replicated a completely new set, which took nearly three years to craft, for the sole purpose of performing this work.

 

Delusion of the Fury tells a two-part story about murder and reconciliation, featuring tragedy and comedy reminiscent of Greek dramas. Act I, based on Japanese Noh theater, is the story of a dead warrior who returns as a ghost to haunt his murderer. Act II, based on a folk tale from Ethiopia, follows a story rife with misunderstanding, resulting in comical escapades among a group of villagers. Together, the stories illustrate parables of anger and fury in disparate ways. Goebbels has staged these stories with a colorful set and props, including an inflatable mountain, and a flowing river. After last year’s presentation at the Edinburgh International Festival, Delusion of the Fury was named the best live classical music event of 2014 by The Guardian (UK) newspaper.

 

In addition to these performances, the percussionist-vocalist David Moss will host an ancillary event to complement Delusion of the Fury in a lecture and performance preceding the July 23 concert. This one-night only, pre-concert event will feature portions of Harry Partch’s Bitter Music, writings and musical sketches that create a portrait of the pioneering composer’s artistic development from his transient days during The Great Depression in California, Oregon, and Washington.

 

Ever since its formation, Ensemble Musikfabrik has been regarded as one of the leading ensembles for contemporary music. The Ensemble was last heard at the Festival in 2013 in Stockhausen’s Michael’s Reise um de Erde (Michael’s Journey Around the World) in Avery Fisher Hall. Following the literal meaning of its name, Ensemble Musikfabrik is particularly dedicated to artistic innovation. New, unknown, and often commissioned works in unusual media are typical of its repertory. The resulting works, many in close collaboration with their composers, are presented by the Cologne-based international soloist ensemble in up to 90 concerts a year in both Germany and abroad, at festivals, in its own series “Musikfabrik in WDR” and in regular radio broadcasts, recordings, and on CD. The musicians themselves are responsible for making all important decisions. Exploring the capabilities of modern communication forms, and new possibilities for expression in musical and theatrical areas, are focal points for the group. Interdisciplinary projects that can include live electronics, dance, theater, film, literature and artists in various mediums, along with chamber music, and works using open form and improvisation, extend their traditional, conducted ensemble concerts. This body of work and Ensemble Musikfabrik’s superb artistry, have resulted in collaborations with renowned composers and conductors, including Louis Andriessen, Harrison Birtwistle, Unsuk Chin, Péter Eötvös, Brian Ferneyhough, Heiner Goebbels, Toshio Hosokawa, Michael Jarrell, Mauricio Kagel, Helmut Lachenmann, David Lang, Liza Lim, Benedict Mason, Mouse on Mars, Carlus Padrissa (La Fura dels Baus), Emilio Pomàrico, Enno Poppe, Wolfgang Rihm, Peter Rundel, Rebecca Saunders, Karlheinz Stockhausen, Ilan Volkov and Sasha Waltz. Ensemble Musikfabrik made its Lincoln Center Festival debut in 2013 performing Karlheinz Stockhausen’s Michaels Reise um die Erde (Michael’s Journey Around the World).

 

The eccentric and maverick American composer Harry Partch is known for creating unique custom-made musical instruments, composing scores using scales of unequal intervals in just intonation, and meticulously working with microtonal scales. His mother encouraged him to learn several instruments as a young child, and he began composing by the age of fourteen. Dissatisfied by the quality of his instructors at the University of Southern California’s School of Music, he dropped out of college in 1922. Though he traveled frequently, establishing himself as a transient worker depending on job opportunities, he eventually took up self-study in the libraries of San Francisco, where he discovered Hermann von Helmholtz's Sensations of Tone and devoted himself to music centered on scales tuned in just intonation. He began building custom instruments in the mid-1920s to realize performance of his new musical theories. Later, in 1930, the composer firmly rejected the European concert tradition and burned all his previous compositions. In 1942 he completed one of his signature instruments, the Chromelodeon, a 43-tone reed organ. Like his instruments, the microtonal scales he composed divide the octave into 43 unequal tones, which begin with absolute consonance and gradually progress into an infinitude of dissonance. Partch’s earliest compositions were small-scale pieces meant to be intoned to instrumental backing. Over time they grew in scale, and he began to integrate them into theater productions inspired heavily by ancient Greek theater and the traditions of Japanese Noh and kabuki, where performers were expected to sing, dance, speak, and play instruments.

 

Heiner Goebbels is one of today’s most important exponents of the contemporary music and theater scene. His compositions for ensembles and orchestras are performed worldwide and his music theater works, staged concerts and music theater works were regularly produced by Théâtre Vidy Lausanne and the Ensemble Modern and recently created at the Ruhrtriennale. Goebbels is a professor at the Institute for Applied Theatre Studies of the Justus Liebig University in Gießen (Germany) and President of the Theatre Academy Hessen. From 2012 to 2014, he served as the artistic director of the International Festival of the Arts, Ruhrtriennale. Mr. Goebbels has brought a number of productions to Lincoln Center audiences over the years. His first New York production took place at Lincoln Center Festival in 2001 with Black on White, followed by Eislermaterial in 2003, and Eraritjaritjaka in 2006. His I went to the house but did not enter was performed by the Hilliard Ensemble as a part of the 2012 White Light Festival. Songs of Wars I Have Seen had its New York premiere, performed by the London Sinfonietta and the Orchestra of the Age of Enlightenment, at 2001’s Tully Scope Festival. Stifters Dinge, conceived, composed, and directed by Goebbels, was featured during Lincoln Center’s 2009 Great Performers season at the Park Avenue Armory.

 

Produced by Ruhrtriennale – Festival of the Arts. In co-production with Lincoln Center Festival, Ensemble Musikfabrik, and Holland Festival.

Supported by the Kulturstiftung des Bundes (German Federal Cultural Foundation) and the Kunststiftung NRW (Arts Foundation of North Rhine-Westphalia).

Ruhrtriennale and Ensemble Musikfabrik are supported by the State of North Rhine-Westphalia.

The construction of, and the rehearsals with, the instruments for the performance of Harry Partch’s “Delusion of the Fury” at the opening ceremony of the Ruhr Triennial in 2013 were funded by the German Federal Cultural Foundation and the Arts Foundation of North Rhine-Westphalia.

 

The Lincoln Center Festival 2015 presentation of “Delusion of the Fury” is made possible in part by generous support from The Andrew W. Mellon Foundation and the Arts Foundation of North Rhine-Westphalia.

 

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For tickets, visit: LincolnCenterFestival.org.  Tickets are also available via CenterCharge, 212-721-6500 and at the Festival box office located at Avery Fisher Hall, 65th Street and Broadway. Tickets for Bitter Music and Delusion of the Fury are also available at New York City Center. For group sales call: 212-875-5378. 

 

Now in its 20th season, Lincoln Center Festival has received worldwide attention for presenting some of the broadest and most original performing arts programs in Lincoln Center’s history. The Festival has presented nearly 1,371 performances of opera, music, dance, theater, and interdisciplinary forms by internationally acclaimed artists from more than 50 countries. To date, the Festival has commissioned more than 42 new works and offered some 142 world, U.S., and New York premieres. It places particular emphasis on showcasing contemporary artistic viewpoints and multidisciplinary works that challenge the boundaries of traditional performance. LincolnCenterFestival.org

 

Lincoln Center for the Performing Arts (LCPA) serves three primary roles: presenter of artistic programming, national leader in arts and education and community relations, and manager of the Lincoln Center campus. A presenter of more than 3,000 free and ticketed events, performances, tours, and educational activities annually, LCPA offers 15 series, festivals, and programs including American Songbook, Avery Fisher Artist Program, Great Performers, Lincoln Center Books, Lincoln Center Festival, Lincoln Center Out of Doors, Lincoln Center Vera List Art Project, Midsummer Night Swing, Martin E. Segal Awards, Meet the Artist, Mostly Mozart Festival, and the White Light Festival, as well as the Emmy Award-winning Live From Lincoln Center, which airs nationally on PBS. As manager of the Lincoln Center campus, LCPA provides support and services for the Lincoln Center complex and the 11 resident organizations.  In addition, LCPA led a $1.2 billion campus renovation, completed in October 2012. For more information, visit LincolnCenter.org or AboutLincolnCenter.org

 

Lincoln Center is committed to providing and improving accessibility for people with disabilities. For information, call the Department of Programs and Services for People with Disabilities at 212-875-5375

 

Lincoln Center Festival lead support is provided by American Express

 

Major Support provided by The Andrew W. Mellon Foundation

 

Lincoln Center Festival 2015 is also made possible by The Shubert Foundation, Nancy A. Marks, LuEsther T. Mertz Charitable Trust, Virginia B. Toulmin Foundation, The Harold & Mimi Steinberg Charitable Trust, The Katzenberger Foundation, Inc., Mitsui & Co. (U.S.A.), Inc., Arts Foundation of North Rhine-Westphalia, Jennie and Richard DeScherer, The Grand Marnier Foundation, Mitsubishi Corporation (Americas), The Joelson Foundation, Laura Pels International Foundation for Theater, Great Performers Circle, Chairman’s Council, and Friends of Lincoln Center.

 

Public support for Festival 2015 is provided the New York City Department of Cultural Affairs, New York State Council on the Arts, and National Endowment for the Arts.

 

Endowment support is provided by Doris Duke Charitable Foundation and Nancy Abeles Marks.

 

MetLife is the National Sponsor of Lincoln Center

 

United Airlines is a Supporter of Lincoln Center

 

WABC-TV is a Supporter of Lincoln Center

 

Artist Catering provided by Zabar’s and Zabars.com

 

INFORMATION AND UPDATES
Visit LincolnCenterFestival.org and sign up for email to receive updates and information.

 

PHONE NUMBERS/CONTACT INFORMATION
CenterCharge: 212-721-6500
Lincoln Center general website: LincolnCenter.org
Lincoln Center Festival page: LincolnCenterFestival.org
Lincoln Center Customer Service: 212-875-5456
Lincoln Center Information Line: 212-875-5766

 

VENUE LOCATIONS

Avery Fisher Hall (Broadway at 65th Street)

New York City Center (NYCC), 131 West 55th Street, between 6th and 7th Avenues

New York City Center Studios (130 West 56th Street, between 6th and 7th Avenues)

Stanley H. Kaplan Penthouse (165 W. 65th Street, 10th floor)

Programs, artists and ticket prices are subject to change.

 

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FOLLOW LINCOLN CENTER ON SOCIAL MEDIA:

Facebook: facebook.com/LincolnCenterNYC

Twitter: twitter.com/lincolncenter

Tumblr: lincolncenter.tumblr.com

 

FOLLOW THE LINCOLN CENTER FESTIVAL ON SOCIAL MEDIA:

Facebook: facebook.com/LCFestival

Twitter: #LCFestival

 

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Documents

• Lincoln Center Festival 2015: Music Advisory [PDF]

High Resolution Images