Are You Brave Too ? Festival 4.29.2000  Brave New Works					Britton Recital Hall School of Music Earl V. Moore Building
WElcome WHo NExt PAst LInks STuff 4.29.2000 Back to Are You Brave Too ? Festival		April 29, 2000 Saturday 7 pm concert Forrest Pierce "Sea Changes" [World Premiere] written for Anne Adams & Jennifer Goltz & Brave New Works Emily Perryman, flute Jared Hauser, oboe Barnaby Palmer, clarinet Amy Ley, harp Maria Sampen, violin Carolyn Lukancic, violin Tim Christie, viola Andrea Yun, cello Anthony Stoops, bass Chris Younghoon Kim, conductor Forrest Pierce "Artifacts" Tim Christie, viola Andrea Yun, cello - intermission - Matthew Ardizzone, Guitar Bagatelle No. 1 (from Five Bagatelles for Julian Bream,1972) William Walton Allegro(1902-1983) Aquarelle (1992) Sergio Assad 1. Divertimento 2. Valseana 3. Preludio e toccatina El Decameron Negro (1984) Leo Brouwer (b.1939) 1. El Arpa del Guerrero 2. Huida de los Amantes por el valle de los ecos 3. Balada de la Doncella Enamorada L'histoire du Tango Astor Piazzolla Cafe 1930 Nightclub 1960 Alejandra Urrutia, violin Matthew Ardizzone, guitar    Program Notes Our knowledge of the sea floor has long been limited by the shortcomings of breath and sunlight. Our visits are brief, the water dim, and death is easily come by. As we stand above the surface, we see a country below distorted by wave, murk, and filtered sun. Objects we can't identify, creatures alien and diverse, and even our own silky reflections leave us with impressions of a world utterly transformed by immersion in water. We, ourselves, are transformed by immersion. Perhaps no word quite captures the essence of human terror like drowning does, and this may be why rituals like baptism and bathing hold such appeal for some of us-we enter the soft, embracing, foreign land of death and emerge as different, cleaner beings. Five examples of the sea's power over our imagination are presented here tonight. The Demon Lover returns from the sea a creature of hell, whose only wish is to lure and destroy his unfaithful lover in the deep. Shakespeare paints us an image of the body of a loved one transmuting into the treasures of the sea. Comforted, but beyond rescue, the deceased is at once more and less than he was in life. Elytis lures the land from the ocean floor, creating love out of what was before a desert of water. Neruda casts himself upon the foam, his old age dissolving into the tolling of sunken bells. Whitman hears the night sea calling softly for his body. Perhaps the meaning of a life is in the movement of his waves: they push their gifts onto the sand for brief instant, then gather them back to the black water. In all cases, the direction in which we cross the barrier of foam and surface tension makes the difference. From wet to dry, we find life, sometimes horrifying and evil, but often replenished and forgiven. Travelling from air to water, however, there is always that "sweetest song and all songs," the "low and delicious" word Death. Artifacts, a musical tale of scholarly adventure, In which professor Wollonbriar and his intrepid students, colleagues, paramours, etc., discover not a few delightful and preposterous buried tools of the long forgotten LoLo culture at the fortress of LoLo-La. I. The Fabulous Dream Flicker In which Miranda Wollonbriar, daughter of the professor by his first marriage, stumbles across a limestone statue. Her hopes of instantaneous archaeological renown are shattered when professor Majors identifies it as being made of bronze. Clearly, it was erected by the armies of Noober-noo XIV, and such stelas are quite literally a dime a dozen. Miranda angrily puts her foot down, shaking loose a pile of earth from an artifact of exceeding grace, elegance, and exoticism: the fabulous dream flicker. II. Two Blue Lightning Jars (defunct) In which Archibald, the bus driver, discovers two blue so-called "lightning jars," used in the roomiroo chambers of ancient LoLo-La. With the help of a tie tack from prof. Wollonbriar, Archibald links their trailula to a car battery and a nearby phase-tripper. The company holds their collective breath as they fire up the jars...alas, failure. III. A Chipped Clay Water Pot In which Simon, a fellowship student, unearths through careful and delicate hammering a light azure water vessel missing a handle and pieces of its outer rim. The glaze would seem to date it somewhere between the fourth and fifth dynasties. IV. A Red Earth Mother Rumbler In which the company dashes for high ground as the third of four mother rumblers of the red earth variety roars to life. Prof. Majors is understandably furious as this would not have happened if Simon had followed protocol. V. Big Rusted Wheel In which Simon again trumps the professors when he discovers a big rusted wheel. VI. A Set of Interchangeable Trick Pricklers In which professors Wollonbriar and Majors painstakingly reassemble a set of interchangeable trick pricklers unearthed from a residential section. They utter mild curses as the pricklers flip and whirl away from the tapping of their hammers. At Last! They are aligned. VII. Two Blue Lightning Jars (extant) In which Estelle, formerly Simon's lover, now professor Wollonbriar's, returns from her cataloguing work just as one of the lower division students discovers two more lightning jars. Somewhat skeptical, she holds the tie-tack for Archibald as he fires them up. Miracles! They are fully functional! Archibald shuts off the power to the sound of a rousing chorus of "Zofty, my Love-nugg!" All involved retire for an evening of delightful misunderstandings. Sea Changes Texts William Shakespeare from The Tempest Full fathom five thy father lies: Of his bones are coral made, Those are pearls that were his eyes. Nothing of him that doth fade But doth suffer a sea change Into something rich and strange Sea-nymphs hourly ring his knell. Ding dong. Hark! Now I hear them: Ding dong bell. The Demon Lover Anonymous "O where have you been, my long long love, This long seven years and mair?" "O I'm come to seek my former vows Ye granted me before." "O hold your tongue of your former vows, For they will breed sad strife; O hold your tongue of your former vows, For I am become a wife." He turned him right and round about, And the tear blinded his ee: "I wad never hae trodden on Irish ground, If it had not been for thee. "I might hae had a king's daughter, Far, far beyond the sea, I might have had a king's daughter, Had it not been for love o thee." "If ye might have had a king's daughter, Yer sel ye had to blame; Ye might have had taken the king's daughter, For ye kend that I was nane. "If I was to leave my husband dear, And my two babes also, O what have you to take me to, If with you I should go?" I hae seven ships upon the sea- The eighth brought me to land- With four-and twenty bold mariners, And music on every hand." She has taken up her two little babes, Kissd them baith cheek and chin: "O fair ye weel, my ain two babes, for I'll never see you again." She set her foot upon the ship, No mariners could she behold; But the sails were o the taffetie, And the masts o the beaten gold. She had not sailed a league a league, A league but barely three, When dismal grew his countenance, And drumlie grew his ee. They had not saild a league, a league, A league but barely three, Until she espied his cloven foot, And she wept right bitterlie. .... "O what hills are yon, yon pleasant hills, that the sun shines sweetly on?" "O yon are the hills of heaven," he said, "Where you will never win." "O whaten a mountain is yon," she said, "All so dreary wi frost and snow?" "O yon is the mountain of hell," he cried, "Where you and I will go." He strack the tap-mast wi his hand, The fore-mast wi his knee, And he brake that gallant ship in twain, And sank her in the sea. Pablo Neruda William O'Daly, trans. from The Sea and the Bells Forgive me if my eyes see no more clearly than sea foam, please forgive that my form grows outward without license and never stops: monotonous is my song, my word is a shadow bird, fauna of stone and sea, the grief my word is a shadow bird, fauna of stone and sea, the grief of a winter planet, incorruptible. forgive me this sequence of water, of rock, of foam, of the tide's delirium: this is my loneliness: salt in sudden leaps against the walls of my secret being, in such a way that I am a part of winter, of the same flat expanse that repeats from bell to bell, in wave after wave, and from a silence like a woman's hair, a silence of seaweed, a sunken song. Walt Whitman from Sea-Drift ^Êthe sea under the yellow and sagging moon, The messenger there arous'd, the fire, the sweet hell within, The unknown want, the destiny of me. O give me the clew! (it lurks in the night here somewhere,) O if I am to have so much, let me have more! A word then, (for I will conquer it,) The word final, superior to all, Subtle, sent up-what is it?-I listen; Are you whispering it, and have been all the time, you sea waves? Is that it from your liquid rims and wet sands? Where to answering, the sea, Delaying not, hurrying not, Whisper'd me through the night, and very plainly before daybreak, Lisp'd to me the low and delicious word death, And again death, death, death, death, ^Êedging near as privately for me rustling at my feet, Creeping thence steadily up to my ears and laving me softly all over, Death, death, death, death, death. The word of the sweetest song and all songs, That strong and delicious word which, creeping to my feet, (Or like some old crone rocking the cradle, swathed in sweet garments, bending aside,) The sea whisper'd me. Odysseas Elytis Olga Broumas, trans. From Monogram IV It is still early in this world, do you hear me The beasts have not been tamed, do you hear me My spilled blood and the pointed, do you hear me Knife Like a ram running the skies Snapping the stars' branches, do you hear me It's me, do you hear me I love you, do you hear me I hold you and take you and dress you In Ophelia's white bridal, do you hear me Where do you leave me, where do you go and who, do you hear me Holds your hands over the floods The enormous lianas and the volcanoes' lavas One day, do you hear me Will bury us and the thousand later years, do you hear Luminous will make of us strata, do you hear me On which the heartlessness of, do you hear me People will shine And throw us a thousand pieces, do you hear In the water one by one, do you hear I count my bitter pebbles, do you hear me And time is a large church, do you hear Where sometimes the figures, do you hear me Of Saints Emit a real tear, do you hear The bells open on high, do you hear me A passage deep for me to pass The angels wait with candles and funereal psalms I am not going anywhere, do you hear me Either neither or together both, do you hear me This flower of storm and, do you hear Of love We cut once and for all, do you hear me And it can't flower otherwise, do you hear me In another earth, another star, do you hear me The soil is gone, the air is gone That we touched, that same, do you hear me And no gardener ever had the luck From so much winter so much north wind, do you hear me To pull a flower, only we, do you hear me In the middle of the sea From just the waning of love, do you hear me Raised a whole island, do you hear With caves and coves and flowering gullies Hear, hear Who speaks to the waters and who cries -hear? Who looks for the other, who shouts-hear? It's me who shouts and it's me who cries, do you hear me I love you, I love you, you hear me. "The Sea and the Bells" and "Monogram" used by permission of Copper Canyon Press.     Are You Brave Too ? Festival is looking for sponsors. Contact Brave.New.Works@umich.edu or call 800-896-7340 to become a sponsor