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DTSTART;TZID=America/New_York:20260712T140000
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SUMMARY:Ensemble Dal Niente
DESCRIPTION:Ensemble Dal Niente \nEnsemble Dal Niente\nAmanda DeBoer Bartlett\, soprano • Emma Hospelhorn\, flute • Chris Wild\, cello • Mabel Kwan\, piano \nKAIJA SAARIAHO (1952–2023)\nCendres\nEmma Hospelhorn\, flute • Chris Wild\, cello • Mabel Kwan\, piano \nHILDA PAREDES (b. 1957)\nCanciones sobre poemas de Eduardo Hurtado\nAmanda DeBoer Bartlett\, soprano • Mabel Kwan\, piano\n \nANDILE KHUMALO (b. 1978)\nIsO[r]\nEmma Hospelhorn\, flute • Chris Wild\, cello • Mabel Kwan\, piano \nREBECCA SAUNDERS (b. 1967)\nO Yes & I\nAmanda DeBoer Bartlett\, soprano • Emma Hospelhorn\, bass flute \nSALVATORE SCIARRINO (b. 1947)\nUltime Rose (da Vanitas)\nAmanda DeBoer Bartlett\, soprano • Chris Wild\, cello • Mabel Kwan\, piano \n— \nProgram Notes \nKAIJA SAARIAHO \nCendres (1998) \nI found the basis of the musical material for this piece in my double concerto … à la fumée for alto flute\, cello and orchestra. The name of the piece also derives from this. \nWhile writing Cendres\, I was mainly concen­trating on the inter­pre­tation of partic­ular musical ideas by the three different instru­ments of the trio\, each of which has its unique character and palette of colours. Musical tension is created and regulated by sometimes bringing the instru­ments as close together as possible in all ways (pitch\, rhythm\, dynamics\, artic­u­lation\, colour etc.)\, or\, at the other extreme\, letting each of them express the music in their most idiomatic fashion. Between these two extremes there is an unlimited number of possible ways to create more or less homogenous musical situ­ations. The consciousness of this variety was the rope on which I was balancing whilst working on the piece. \nCendres was commissioned by the Gesellschaft für Neue Musik Ruhr and Kulturbüro der Stadt Essen for the Wolpe Trio. \nProgram Note by Kaija Saariaho \n  \nHILDA PAREDES \nCanciones sobre poemas de Eduardo Hurtado (1992) \nI have found setting poetry to music a very enriching and enlightening experience\, which always sparks off my imagination into directions I don’t necessarily go towards when I write instrumental music. \nFrom the very first time I heard Eduardo Hurtado reading his poems in Mexico City in the early ’90s\, I realized that in his poetry there was an invitation to create a world of sound. So I wrote this song cycle in ’92\, at a time when I was living in Mexico. \nProgram Note by Hilda Paredes \n  \nANDILE KHUMALO \nIsO[r] (2004) \nAs an African\, I am deeply committed to the belief that my work is an integral part of the contemporary African narrative\, a story that I am resolute in telling. This narrative\, with its multi-dimensional nature\, has led me to adopt a hybrid approach to composition. My work is rooted in the idea that sound is the primary resource for composition. This concept is deeply influenced by my training in acoustics\, particularly the French spectral school\, and my study of Nguni spectral music\, a field that we can hear in the music of the amaXhosa people of South Africa. \nAs a young boy\, I was captivated by the world of painting\, particularly the power of color and shape. This fascination has become a vital part of my musical world\, which is centered around timbre. The interplay of different perspectives on the same object\, and how they can create varied meanings based on the object’s position and the environment\, is another intriguing aspect of my work. \nThe works of the Swiss artist Markus Raetz have been instrumental in shaping my approach to music. In IsO[r]\, the piano’s timbre forms the foundation from which the rest of the musical objects are developed. \nProgram Note by Andile Khumalo \n  \nREBECCA SAUNDERS \nO Yes & I (2017–18) \nRebecca Saunders wrote O Yes & I for soprano and bass flute in 2018. It was part of a cycle of vocal works inspired by the closing chapter of James Joyce’s Ulysses\, in which the protagonist’s wife\, Molly Bloom\, delivers an improvisatory\, punctuation-less monologue. Saunders combines bits of Joyce with her own fragmentary statements and puts all this text through a singular sonic filter. The bass flute acts as an extender of the soprano’s dynamically extreme vocal acrobatics\, taking sung gestures and augmenting them with sounds that humans cannot produce. Together\, the voice and flute form a single\, composite instrument capable of gasping\, speaking\, trilling\, fluttering\, and traversing an astonishing range. As the composer describes the piece\, “Words or phrases rear up\, becoming visible\, audible\, and intelligible\, before disappearing again\, consumed within the flow of the music—just as moments of Bloom’s biography\, personality\, and memories take on temporary form in her stream-of-consciousness monologue\, only to sink back into the river of time.” \n  \nSALVATORE SCIARRINO  \nUltime Rose (da Vanitas) (1981) \nVanitas (Vanity)\, Salvatore Sciarrino’s chamber cantata for voice\, cello\, and piano\, dates from 1981. In a detailed\, philosophical program note on the work\, he claims that the title came to him in a dream and that it refers to the “concept of emptiness and its representation\, and the concept of time.”  “Flowers are the true protagonists of Vanitas\,” he explains\, writing that flowers\, like songs\, have an ephemeral\, fleeting beauty that reflects back to us the awe-inspiring truth that our time on this earth is limited. \nUltime Rose (Final Rose) is the last of the work’s five movements. In it\, the three instruments mostly serve separate functions. The singer starts alone with a mesmerizing\, keening soliloquy and ends most phrases by wavering on a few grace notes and then letting the voice dip down to silence. The cello’s fragile harmonics create ethereal countermelodies that occasionally interact with the singer for bits of haunting dialogue. The piano just plays chords\, which are sometimes aggressively short and sometimes sustained like the sound of a resonant bell. The harmonies eventually become sweeter — even a bit jazzy at points — cautiously dipping into what Sciarrino saw as the deceptively deep realm of popular song. \nProgram Notes by Nicky Swett \n  \n\nEnsemble Dal Niente performs\, develops\, and sustains new and experimental music for small to large chamber ensemble. We are dedicated to growing relationships with artists\, composers\, and listeners; advancing distinct and challenging musical voices; and sharing that work with our Chicago\, U.S.\, and international communities. \nDal Niente’s roster of 27 musicians presents an uncommonly broad range of contemporary music. Audiences coming to Dal Niente shows can expect distinctive productions—from fully staged operas to multimedia spectacles to intimate solo performances— that are curated to pique curiosity and connect art\, culture\, and people. \nSince 2004\, Ensemble Dal Niente has performed concerts across Europe and the Americas\, including  appearances at The Metropolitan Museum of Art in NYC; The Foro Internacional de Música Nueva in Mexico City; Radialsystem Berlin\, MusicArte Festival in Panama City; The Library of Congress and the Phillips Collection in Washington\, D.C.; the Art Institute of Chicago and the Hyde Park Jazz Festival; Walt Disney Concert Hall in Los Angeles; Big Ears Music Festival; The Americas Society; and the Darmstadt Summer Courses in Germany. Dal Niente is the recipient of the 2019 Fromm Music Foundation prize\, and was the first-ever ensemble to win the Kranichstein prize for interpretation in 2012. The group has recordings available on the New World\, New Amsterdam\, New Focus\, Navona\, Parlour Tapes+\, and Carrier labels; has held residencies at The University of Chicago\, Harvard University\, Stanford University\, Brown University\, Brandeis University\, and Northwestern University\, among others; and collaborated with a wide range of composers\, from Enno Poppe to George Lewis to Hilda Paredes to Roscoe Mitchell. \nThe ensemble’s name\, Dal Niente (“from nothing” in Italian)\, is a tribute to Helmut Lachenmann’s Dal niente (Interieur III)\, a work that upended traditional conceptions of instrumental technique; and also a reference to the group’s humble beginnings.
URL:https://www.bowdoinfestival.org/event/ensemble-dal-niente/
LOCATION:Studzinski Recital Hall\, 12 Campus Road S\, Brunswick\, ME\, 04011
CATEGORIES:Concert,Ticketed Events,Gamper Festival of Contemporary Music,Livestream,Sundays,New Music
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