Tom Morris’ 10th Anniversary

Thomas W. Morris was appointed artistic director of the Ojai Music Festival starting with the 2004 season. Since then, he has shaped the Ojai programming to reflect the legacy of innovation and adventure. To celebrate Tom’s anniversary, we asked Festival artists to write about their experience working with Tom and last fall, Christopher Hailey sat down with him to discuss his decade-long tenure and what he has in store for the Festival’s coming years.

See the complete 10 year repertoire>>

Christopher Hailey: 2013 marks your tenth Ojai Music Festival as artistic director. What had been your experience with the Festival when you began in 2004?

Tom Morris: I first heard about the Festival in 1969 from Michael Tilson Thomas—we were both just starting working at the Boston Symphony—but it wasn’t until 1996 that I attended the Festival. That year, Boulez was the music director with the Los Angeles Philharmonic. After that I attended about every other year until I took over as artistic director in 2004.

CH: Ojai has quite a legacy; that must have been daunting…

TM: Well, yes, and there were also things I didn’t see at the beginning, possibilities I underestimated. I came from the symphony orchestra world, which has a fairly rigid structure, all about fitting things into slots. I took me a couple of years to really understand Ojai.

CH: In what way?

TM: For one thing, to understand the incredibly active role the audience has in defining this experience. They do not just sit and receive; they provide much of the artistic energy and vitality. In fact, all the artists speak of the attentiveness and energy of the audience. That’s something I didn’t truly understand right away—it took me a couple years of doing it.

Another thing I came to understand is that the possibilities of what you can do are far broader than I could have imagined. I learned that the further afield you go from the traditional concert experience (not just in repertoire, but in the experience itself) the better it works. Take the Ligeti metronome piece [Poème symphonique, 2007]—that we could do that at the end of a program and stage it in a dramatic way…that a concert like that was the norm and not the exception. But you can also do an astonishingly broad repertoire in Ojai—old music, known music, as well as new and unfamiliar pieces. I learned, too, that what works least well here are the kinds of concerts you can do elsewhere.
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CH: What new directions have you taken Ojai?

TM: I think my own ideas have developed organically toward what I call a continuous festival texture. That is, a dramatic expansion of festival events. At the beginning there were just five concerts and a couple of symposia. We started by adding Thursday night, not as a prequel but as the genuine start of the festival.

Starting in 2006 we began inserting bonus events as a way for artists to do additional things in an even  more informal setting—nontraditional concert settings and concert lengths, different ticketing, etc. That has expanded so that now we have almost continuous activity. This idea—which seems to be working incredibly well—has actually done a lot to increase the contact between the audience and artists in different ways and settings, and that has brought a fundamental shift in the relationship between them. One good example was last year’s performance of John Luther Adams’ Inuksuit in which the audience was wandering among performers. That created a different kind of relationship—both subtle and powerful. Our various events with sound sculptor Trimpin also come to mind. Part of this is spreading out from the Libbey Bowl, letting the Festival spill over into the park, the town, breaking down barriers, such as having ragas at the downtown Ojai shopping arcade [2010] and what we’ll do this year with the gamelan and the early morning concerts.

We’ve also expanded the amount of information and outreach beyond the symposia to an increased web presence, a more integrated program book, more artist interviews in our pre-concert insights—all part of the package of interaction and intersection between people who come to listen, and those who come to play. All these things are drivers of an enhanced, more intense experience.

CH: A lot of the work of the artistic director is behind the scenes and therefore largely unseen. Describe your job and how you put a festival together.

TM: I always describe Ojai as a four-day festival that has to operate on the level of the Salzburg Festival. None of this would be possible without a great staff and an army of dedicated volunteers. We’ve been fortunate to have enormous continuity, including nine festivals together with Jeff [Haydon], who came the same year I did, and Gina [Gutierrez], who was here before both of us. That kind of continuity both in the office but also in the technical staff is really important. We’re a small organization, we know each other and there is a culture of involvement, commitment and communal adventure that is really important.

CH: And then there is each year’s music director…

TM: Right. One decision I made at the beginning, which I’ve been very happy with, was not to repeat music directors, certainly for a period of time. There are so many younger artists—and we need to build toward a future artist family for Ojai. After a couple years I also discovered you could, in fact, be quite nontraditional in terms of music directors—it first dawned on me when we had Pierre Laurent Aimard, a pianist [2007], and then eighth blackbird, a new music group [2009]. I discovered you could free yourself to take more chances, which opened up musical possibilities far wider than I could have imagined. It also introduced me to repertoire I hadn’t known.

CH: Repertoire—a big topic. How do you go about selecting repertoire with such varied succession of music directors?

TM: It’s funny, but true—something that completely amazed me—that each year the process has been almost exactly the same with each artist. The music director is usually chosen three to four years in advance—which gives us the chance to get calendars clear and start meeting, start talking about ideas, making lists of potential pieces. And in each case we’ve ended up with enough pieces for four years of festival programs. I’ll keep a master list of all these ideas so any that don’t get used are put it back into the pot and I can use them in talking with future music directors. So this is usually a year, year-and-a-half process. The idea is to have a meeting, come up with stuff, generate notes, then sit on it for a few months. In the meantime we need to move on securing the major artists or if there is a major anchor piece or a commission. We have to move on that fairly quickly. That was the case with eighth blackbird and the Steven Mackey piece [Slide, 2009] or the George Benjamin opera [Into the Little Hill, 2010].

Then there comes a time—usually about a year and a half before the Festival—in which we have to shape this mass of stuff into a workable festival. I’ll sit at my desk, stare at it and make a festival out of it. Then it’s back to the music director for discussion, debate and refinement, and, like magic, every single year there is this click—and 75% of the Festival just locks in—all of a sudden there’s a structure. From there it’s just going back, massaging details, a kind of paint-by-number, filling in colors. And then there is a second moment—usually seven to eight months before the Festival—a second click, and 95% is locked in. So there are always these two “click” moments. My job is really to keep the process going, but after  10 very diverse music directors, this pattern has persisted almost exactly.

CH: I imagine this can be pretty exhilarating.

TM: Totally. As I say, I came from the symphonic repertoire, but was less familiar with the ensemble repertoire; that was in many ways a new world to me. Take this year, for instance: I didn’t know the world of Lou Harrison, Henry Cowell—the California School—I wasn’t all that familiar with John Cage, and John Luther Adams has been completely new and thrilling.

So this year we’re going in an American direction with Harrison, Cowell, Cage, Ives. But we’re also introducing a dance program with the Mark Morris Dance Group, including a West Coast premiere [Jenn and Spencer]. That will be a high point. There is also the first-ever Ojai performance of Terry Riley’s In C. And such a range of instruments and ensembles—jazz trio, organ, gamelan, percussion, conch shells, you name it. Mark Morris has been struck by the beauty, informality, energy, and intimacy of this place. He has such a deep understanding of music and the environment, so he wants to emphasize the communal experience with lots going on. It will all be somewhat madcap, with heavy folk elements, very earthy.

CH: So where do we go from here?

TM: I am committed through 2017 so over the next four years I’m hoping to give each music director the opportunity to grow, to experiment. I’ve been thinking of Ojai as a laboratory in which each music director can do something new for himself/herself. That is, not just curate programs, but take new steps in their own artistic development. This has been happening in recent years and is certainly true for Mark Morris. Jeremy Denk will go in significant new directions in 2014.

So this is the exciting thing—that Ojai becomes a place for great artists to enter a new stage of their artistic development. My artistic job in building a festival comes down to two overriding goals: to build on the Ojai aesthetic of discovery, adventure and involvement; and to provide each music director a forum to explore and experiment while at the same time melding his/her musical personality with the rich heritage of this glorious festival and sublimely beautiful place. It is irresistible and exhilarating and, dare I say, enormous fun.

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Complete Repertoire
Use the arrows to expand and see the complete repertoire for Tom Morris’ ten years with the Ojai Music Festival.
[reveal heading=”%image% 67th Ojai Music Festival | June 6-9, 2013 – Mark Morris, music director”][wpcol_1half id=”” class=”” style=””] Artists:
Mark Morris, music director
Mark Morris Dance Group
MMDG Music Ensemble
American String Quartet
red fish blue fish
Colin Fowler, piano
The Bad Plus
UCBerkeley Gamelan Sari Raras
Ojai In-C Players
Michi Wiancko, violin
Wolfram Koessel, cello
Yegor Shevtsov, toy piano
Yulia Van Doren, soprano
Sycil Mathai, Piccolo Trumpet
Jamie Van Eyck, mezzo
Douglas Williams, baritone
Hrabba Altadottir, violin
Joshua Gersen, conductor

Program:
John Luther Adams: for Lou Harrison
John Luther Adams: songbirdsongs
John Luther Adams: Strange and Sacred Noise
The Bad Plus: Selections from “Made Possible”
The Bad Plus: Stravinsky: The Rite of Spring (arr. The Bad Plus)
Samuel Barber: Excursions
William Bolcom: La Cathedrale engloutie (Rock of Ages)
John Cage: 4’33”
John Cage: Credo in US
John Cage/Lou Harrison: Double Music
John Cage: Four Walls
John Cage: Inlets
John Cage: Six
John Cage: Suite for Toy Piano
John Cage: Third Construction
[/wpcol_1half] [wpcol_1half_end id=”” class=”” style=””] Henry Cowell: Atlantis
Henry Cowell: Heroic Dance (for Martha Graham)
Henry Cowell: Quartets No. 3 “Mosaic & No. 4 United”
Henry Cowell: Songs
Henry Cowell: Suite for Violin & Piano (Jenn & Spencer)
Lou Harrison: Concerto for Organ with Percussion Orchestra
Lou Harrison: Concerto for Piano with Javanese Gamelan
Lou Harrison: Fugue for Percussion
Lou Harrison: Gamelan Works
Lou Harrison: Grand Duo
Lou Harrison: Suite for Symphonic Strings
Charles Ives: Berceuse
Charles Ives: Songs
Charles Ives: String Quartet No. 2
Charles Ives: Trio (“Empire Garden”)
Charles Ives: Variations on America
Vincent Persichetti: Sonatine
Terry Riley: In C
Carl Ruggles: Exaltation (arr. Colin Fowler)
Leo Sowerby: Pageant
Eric Satie: Peccadillos
Tcherepnin Bagatelles: Ten Suggestions
[/wpcol_1half_end][/reveal] [reveal heading=”%image% 66th Ojai Music Festival | June 7-10, 2012 – Leif Ove Andsnes, music director”] [wpcol_1half id=”” class=”” style=””]

Artists:
Leif Ove Andsnes, piano
Marc-André Hamelin, piano
Norwegian Chamber Orchestra – Terje Tønneson, leader
Reinbert de leeuw, conductor
Antoine Tamestit, viola
Martin Fröst, clarinet
Lucy Shelton, soprano
Christianne Stotijn, mezzo-soprano
Ida Bang, harp
Øyvine Bjorå, violin
Teodor Janson, actor
Rong-Huey Liu, obo
John Steimatz, bassoon
Teag Reaves, horn

Program:
John Adams: Shaker Loops
John Luther Adams: Dark Waves (version for two pianos & tape)
John Luther Adams: Inuksuit (West Coast Premiere)
John Luther Adams: Red Arc/Blue Veil
Béla Bartók: Contrasts
Beethoven: Piano Sonata No. 21 C Major, Op. 53 “Waldstein”
Berg: Four Songs, Op. 2
Berg: Four Pieces, Op. 5 for clarinet
Busoni: Berceuse Elégaique (arr. Schoenberg)
William Bolcom: Cabaret Songs (selections)
Eivind Buene: Langsam und Schmachtend
Aaron Copland: Clarinet Concerto
Claude Debussy: Danse sacrée et Danse profane
Reinbert de Leeuw: Reinbert de Leeuw: Im wunderschӧnen Monat Mai
[/wpcol_1half] [wpcol_1half_end id=”” class=”” style=””] Edvard Grieg: Holberg Suite (arr. for string orchestra)
Haflidi Hallgrímsson: Poemi, Op. 7
Anders Hillborg: Peacock Tales (version for clarinet & tape)
Ives: Piano Sonata No. 2, “Concord”
Janáček: String Quartet No. 1, “Kreutzer Sonata” (arranged for string orchestra & actor)
Janáček: String Quartet No. 2, “Intimate Letters” (arr. for string orchestra)
György Kurtág: Hommage à Robert Schumann
György Kurtág: Játékok (selections)
György Kurtág: Ligatura
György Kurtág: Nine Pieces for solo viola & Jelek (selections)
Franz Liszt: Die Zelle in Nonnenwerth (version for piano & violin)
Franz Liszt: Elegie
Franz Liszt: Romance oubliée (version for piano & viola)
Mahler: Rückert Lieder
Mozart: Trio in E-Flat Major, K. 498, “Kegelstatt”
Schnittke: Piano Quintet
Shostakovich: Six Poems of Marina Tsvetaeva, Op. 143a
Bent Sørensen: Lullabies
Bent Sørensen: Piano Concerto No. 2, “La Mattina” (American Premiere)
Stravinsky: Le sacre du printemps (two-piano version)
Wagner: Wesendonck Lieder (arr. Tarkman)

Films:
Leonard Kamerling: Strange and Sacred Noise
Judit Kele: The Matchstick Man
Pictures Reframed
[/wpcol_1half_end] [/reveal] [reveal heading=”%image% 65th Ojai Music Festival | June 9-12, 2011 – Dawn Upshaw, music director”] [wpcol_1half id=”” class=”” style=””] Artists:
Dawn Upshaw, soprano
Peter Sellars, director
Australian Chamber Orchestra
Richard Tognetti, violin
Gilbert Kalish, Piano
Maria Schneider Orchestra
red fish blue fish, percussion
Steven Schick
Ustad Farida Mahwash, vocals
The Sakhi Ensemble
Singers of Bard College Conservatory of Music
Satu Vänskä, violin
Tim-Veikko Valve, cello
Scott Robinson, alto clarinet/bass clarinet
Frank Kimbrough, piano
Jay Anderson, bass

Program:
Georges Aperghis: No. 7 from Récitations pour voix seule
Béla Bartok: Five Hungarian Folk Songs for soprano and string orchestra
Beethoven: Sonata No. 9 in A major, Op. 47 (“Kreutzer”)
Benjamin Britten: The Ash Grove
David Bruce: from Piosenki – “Mroz”; “Rok i bieda”; “Ptasie plotki”
Ernst Chausson: La Nuit
Aaron Copland: “The Little Horses”, from Old American Songs
George Crumb: Black Angels
George Crumb: The Winds of Destiny (American Songbook IV) (World Premiere, staged version)
Jayne Davies: Lisa Lân
[/wpcol_1half] [wpcol_1half_end id=”” class=”” style=””] Gabriel Fauré: from La Chanson d’Ève – “Prima verba”; “L’aube blanche”; “O mort, poussière d’étoiles”
Gerald Finzi: It was a Lover and his Lass
Percy Grainger: Scotch Strathspey & Reel (arr. Grainger/Shawn Jaeger)
Percy Grainger: Sprig of Thyme (arr. Grainger)
Edvard Grieg: String Quartet in G minor, Op. 27
Charles Ives: The Greatest Man
Leos Janácek: Violin Sonata
Dunam Jo: Baet no Iae (Korean Boat song)
Olivier Messiaen: “Épouvante” from Poèmes pour Mi
Music of Afghanistan (selections announced from the stage)
Francis Poulenc: “Violon”, from Fiancailles pour rire
Henry Purcell: If Music be the Food of Love (version 3)
Henry Purcell: No, Resistance is but Vain
Roger Quilter: Blow, blow thou Winter Wind
Sergei Prokofiev: Sonata for Two Violins in C major
Giacinto Scelsi: Anâgâmin
Peter Sculthorpe: Irkanda I
Alfred Schnittke: Trio Sonata (arr. Yuri Bashmet)
Arnold Schoenberg: Verklärte Nacht
Maria Schneider: Program announced from stage
Maria Schneider: Winter Morning Walks (World Premiere)
Karol Szymanowski: Lecioly zórazie; Ściani dumbek
Tchaikovsky: Don Juan’s Serenade
Richard Tognetti: Deviance (on Paganini’s Caprice No. 24)
Trimpin: Sound Arch Demonstration
Anton Webern: Five Pieces for Strings, Op.5

Film:
Musica Surfica
[/wpcol_1half_end] [/reveal] [reveal heading=”%image% 64th Ojai Music Festival | June 10-13, 2010 – George Benjamin, music director”] [wpcol_1half id=”” class=”” style=””]

Artists:
George Benjamin, piano
Ensemble Modern
Hilary Summers, mezzo soprano
Hermann Kretzschmar, piano
Aashish Khan, sarode
Javad Ali Butah, tabla
John Stephens, tanpura
Dietmar Wiesner, flute
Eric Huebner, piano
Anu Komsi, soprano
Wildcat Viols
Megumi Kasakawa, viola
Patrick Juedt, viola
Ueli Wiget, piano

Program:
George Benjamin: At First Light
George Benjamin: Into The Little Hill (concert version) – West Coast Premiere
George Benjamin: Viola, Viola
Pierre Boulez: Mémoriale
Elliott Carter: Oboe Quartet
Saed Haddad: Le Contredésir
North Indian Classical Ragas
Oliver Knussen: Songs for Sue, Op. 33
György Ligeti: Chamber Concerto
Olivier Messiaen: Oiseaux exotiques
Olivier Messiaen: Vingt Regards sur L’Enfant-Jésus
[/wpcol_1half] [wpcol_1half_end id=”” class=”” style=””] Steve Potter: Paradigms (Excerpts)
Henry Purcell: Fantasias for Viols
Arnold Schoenberg: Five Pieces for Orchestra, Op. 16 (chamber version arr. Schoenberg)
Johann Strauss Jr.: Emperor Waltz (arr. Schoenberg)
Igor Stravinsky: Histoire du Soldate Suite
Edgard Varèse: Density 21.5
Edgard Varèse: Octandre
Frank Zappa: from Greggery Peccary & Other Persuations (Arr. Ali N. Askin, 2000)
What Will Rumi Do?
Night School
Revised Music for Low Budget Orchestra
The Beltway Bandits
A Pig With Wings
Put a Motor In Yourself
Moggio
Peaches en Regalia
Black Page No. 1
G-Spot Tornado
Frank Zappa: From The Yellow Shark (arr Ali N. Askin, 1992)
Dog/Meat
Outrage at Valdez
The Girl in the Magnesium Dress
Ruth is Sleeping
Get Whitey
Welcome to the United States
G-Spot Tornado

Film:

[/wpcol_1half_end] [/reveal] [reveal heading=”%image% 63rd Ojai Music Festival | June 11-13, 2009 – eighth blackbird, music director”] [wpcol_1half id=”” class=”” style=””] Artists:
eighth blackbird
Tim Munro, flutes
Matthew Albert, violin & viola
Michael Maccaferri, clarinets
Lisa Kaplan, piano
Jeremy Denk, piano
Carla Kihlstedt, violin and voice
Matthew Duval, percussion
Alexis Kenny, flute
Greg Beyer, percussion
Nathan Davis, percussion
Todd Meehan, percussion
Doug Perkins, percussion
QNG (Quartet New Generation)
Andrew Nogal, oboe
Evan Kuhlmann, contrabassoon
Jeremy Ruthrauff, soprano/baritone sax
Andrew McCann, violin
Victoria Miskolczy, viola
Darrett Adkins, cello
Nico Abondolo, bass
Amy Briggs, piano
Steven Mackey, electric guitar, narrator
Rinde Eckert, actor/singer
Thomasa Eckert, singer
Natalie Janssen, singer
John Schertle, clarinet
Andrea Moore, percussion
Ian Fry, percussion
Matthew Duval, Pierrot
Lucy Shelton, soprano
Elyssa Dole, dancer and costume design
Mark DeChiazza, director
Emily Upson, production manager
Tin Hat
Mark Orton
Trimpin, installations

Program:
John Luther Adams: Dark Waves
Louis Andriessen: Workers Union
Bach: Goldberg Variations, BWV 988
Lisa Bielawa: Kafka Songs
Woiciech Blecharz: Airlines
Benjamin Broening: Trembling Air for flute & mixed media
John Cage: Construction No. 3
[/wpcol_1half] [wpcol_1half_end id=”” class=”” style=””] Fulvio Caldini: Beata viscera; Clockwork Toccata
George Crumb: Music for a Summer Evening (Makrokosmos III)
Nathan Davis: Sounder
Thierry de Mey: Musique de Tables (Table Music)
Brett Dean: Demons for solo flute
Ross Edwards: Ecstatic Dances for two flutes
Victor Ekimovskij: Kites Flying
Daivid Michael Gordon: Quasi Sinfonia
Stephen Hartke: Oh Them Rats Is Mean In My Kitchen
Stephen Hartke: Meanwhile: Incidental music to imaginary puppet plays
Lee Hyla: We Speak Etruscan
Charles Ives: Piano Sonata No. 1
Steven Mackey: Heavy Light
Steven and Rinde Mackey, Eckert: Slide (World Premiere)
Eric Marty: Puerilia, or Amusements for the Young
Chiel Meijering: Sitting Ducks
Harold Meltzer: Trapset for solo flute
Paul Moravec: Mortal Flesh
David Rakowski: Etudes
Steve Reich: Double Sextet
Steve Reich: Music for 18 Musicians
Steve Reich: Vermont Counterpoint for two flutes
Marcel Reuter: Suspiro
Peter Rose: Tall P
Arnold Schoenberg: Pierrot lunaire
Igor Stravinsky: Four Russian Songs
Igor Stravinsky: Pastorale
Igor Stravinsky: Two Poems by Konstantin Bal’mont
Toru Takemitsu: Rain Tree
John Taverner: In Nomine
Music by Tin Hat – Selections announced from the stage
Helena Tulve: Lendayad (“Soaring”) for two flutes
Trimpin at Libbey Park (Sheng High, Giuter-toy)

Film:
Peter Esmonde: Life and Work of Trimpin
[/wpcol_1half_end] [/reveal] [reveal heading=”%image% 62nd Ojai Music Festival | June 5-8, 2008 – David Robertson, music director”] [wpcol_1half id=”” class=”” style=””]

Artists:
Ojai Festival Orchestra
David Robertson, conductor
Dawn Upshaw, soprano
Gilbert Kalish, piano
Eric Huebner, piano
Erika Duke-Kirkpatrick, cello
Barbara Sukowa, actress
Juliana Snapper, soprano
Miller Puchette, electronics
Frank Almond, violin
Andrew Schulman, cello
Todd Levy, clarinet
Gloria Cheng, piano
Kate Lindsey, mezzo soprano
Nexus, percussion
Bob Becker
Bill Cahn
Russell Hartenberger
Gary Kvistad
So Percussion, percussion
Edward Atkztz, percussion
Martha Culver, soprano/whistling
Nina Mutlu, soprano
Melissa Hughes, soprano
Kirsten Sollek, alto
Russell Hartenberger
Signal
Brad Lubman, conductor
Steve Reich, percussion
Caleb Burhans, conutertenor
Sarah Jackson, piccolo
Doug Perkins, maracas/percussion
David Skidmore, percussion

Program:
George Antheil: A Jazz Symphony
Alban Berg: Die Nachtigall (from Sieben Frühe Lieder, no. 7)
William Bolcom: Amor (from Cabaret Songs)
William Bolcom: Song of Black Max (from Cabaret Songs)
William Bolcom: Waitin’ (from Cabaret Songs)
[/wpcol_1half] [wpcol_1half_end id=”” class=”” style=””] Johannes Brahms: Intermezzo, op. 119, no. 1
Elliott Carter: 90+
Elliott Carter: Night Fantasies
Aaron Copland: Four Piano Blues
Elliott Carter: Sonata for Cello and Piano
Claude Achille Debussy: La Chevelure (from Chansons de Bilitis)
Claude Achille Debussy: La Flûte de Pan
Gabriel Fauré: L’aube blanche (from La Chanson d’Eve, op.95)
Stephen Collins Foster: Beautiful Child of Song
Charles Ives: Two Little Flowers (& dedicated to them)
Michael Jarrell: Cassandre (West Coast Premiere)
György Ligeti: selections from Etudes, Book I: “Désorde,” “Autumne a Varsovie”
Philippe Manoury: En écho
Oliver Messiaen: Le Collier
Oliver Messiaen: Prière exaucée (from Poèmes pour Mi)
Oliver Messiaen: Quartet for the End of Time
François Narboni: El Gran Masturbador
Giovanni Battista Pergolesi: Stabat Mater
Maurice Ravel: Le Cygne (from Histoires naturelles)
Steve Reich: Clapping Music
Steve Reich: Daniel Variations
Steve Reich: Drumming
Steve Reich: Eight Lines
Steve Reich: Four Organs
Steve Reich: Nagoya Marimbas
Steve Reich: Tehillim
Frank Scheffer: “A Labyrinth of Time”
Robert Schumann: Er ist’s!, op. 70, no. 23
Robert Schumann: Mignon (Kennst du das Land?) op. 79, no.29
Ruth Crawford Seeger: White Moon (from Five Songs)
Edgard Varèse: Ionisation
Kurt Weill: Je ne t’aime pas
Hugo Wolf: Die Bekehrte (from Goethe-Lieder, no.27)

Films:
Charlie Chaplin: Modern Times
Frank Scheffer: A Labyrinth of Time
[/wpcol_1half_end] [/reveal] [reveal heading=”%image% 61st Ojai Music Festival | June 7-10, 2007 – Pierre Laurent Aimard, music director”] [wpcol_1half id=”” class=”” style=””] Pierre-Laurent Aimard, piano
Tamara Stefanovich, piano
Helena Bugallo, piano
Amy Williams, piano
Bob Becker, percussion
William Cahn, percussion
Russell Hartenberger, percussion
Gary Kvistad, percussion
Sabina Thatcher, viola
Julia Bogorad-Kogan, flute
George Ball, speaker
Monica Groop, mezzo-soprano
Sean Panikkar, tenor
Susan Narucki, soprano
Jennifer Roderer, mezzo-soprano
Kevin Short, bass-baritone
John Aler, tenor
Jan Williams, Thomas Morris, percussion
Los Angeles Master Chorale
Saint Paul Chamber Orchestra
Peter Eötvös, conductor
Douglas Boyd, conductor

Program:
Ancient Military Aires (arr. Nexus)
Bob Arr. Becker: Bye Bye Medley
Johann Sebastian Bach: from Art of the Fugue
Contrapunctus XIX, a 3 (4) (unfinished)
Contrapunctus IX, a 4, alla Duodecima
Béla Bartok: Sonata for Two Pianos & Percussion
William Cahn: The Birds
[/wpcol_1half] [wpcol_1half_end id=”” class=”” style=””] Elliott Carter: Dialogues for Piano & Large Ensemble
Elliott Carter: Intermittences
Elliott Carter: Caténaires
Peter Eötvös: Chinese Opera
Peter Eötvös: Cricketmusic
Peter Eötvös: Kosmos
Peter Eötvös: Sonata per sei
Russell Hartenberger: Telisi Odyssey
Charles Ives: Piano Sonata No. 2, “Concord”
Teinosuke Kinugasa: A Page of Madness
Kobina (Trad. Ghana, arr. Nexus)
György Ligeti: Concerto for Piano & Orchestra
György Ligeti: Three Pieces for Two Pianos
György Ligeti: Poème Symphonique for 100 Metronomes
Gustav Mahler: Das Lied von der Erde (The Song of the Earth) (arr. Schoenberg 1921, completed by Riehn 1983)
Wolfgang Amadeus Mozart: Concerto No. 8 in C for Piano & Orchestra, K. 246 “Lützow”
Maurice Ravel: Concerto in G for Piano & Orchestra
Steve Reich: Music for Pieces of Wood
Robert Schumann: Gesänge der Frühe, Op. 133
Salvatore Sciarrino: Sonata for Two Pianos
Linda Catlin Smith: Blue Sky
Igor Stravinsky: Concerto in E flat “Dumbarton Oaks” (version for two pianos, arr. Stravinsky)
Igor Stravinsky: Les Noces
Igor Stravinsky: Septet (version for two pianos, arr. Stravinsky)
Tongues (Trad. Zimbabwe, arr. Nexus)
[/wpcol_1half_end] [/reveal] [reveal heading=”%image% 60th Ojai Music Festival | June 8-11, 2006 – Robert Spano, music director”] [wpcol_1half id=”” class=”” style=””]

Artists:
Atlanta Symphony Orchestra
Rober Spano, conductor/speaker
Luciana Souza, vocalist
Romero Lubambo, guitar
Atlanta Symphony Orchestra Chamber Chorus
Norman Mackenzie, director of choruses
eighth blackbird
Bridget Kibbey, harp
Arietha Lockhart, soprano
Pamela Elrod, alto
Nin Hiles, tenor
James Morrow, bass
Peter Marshall, harpsichord
Christina Smith, flute
Jonathan Dlouhy, oboe
Laura Ardan, clarinet
Cecylia Arzewski, violin
Christopher Rex, cello
Luciana Souza, vocalist
Dawn Upshaw, soprano
Jessica Rivera, soprano
Kelley O’Connor, mezzo-soprano
Jesus Montoya, vocalist
Matthew Shaw, bass-baritone
Sean Mayer, tenor
Alex Richardson, tenor
Sindhu Chandrasekaran
Viveka Chandrasekaran
William Kanengiser, guitar
Andrew York, guitar
Adam Del Monte, flamenco guitar
Gonzalo Grau, percussion
Jeremy Flower, sound effects
Mark Dresser, bass
Jeremey Flower, laptop
Bridget Kibbey, hapr
Gustavo Santaolalla, guitar
Richard Todd, French horn
Michael Ward-Bergeman, hyper-accordion
John Dearman, guitar
Scott Tennant, guitar
[/wpcol_1half] [wpcol_1half_end id=”” class=”” style=””] Program:
John Adams: Chamber Symphony
Luciana Arr. Souza: Collection of Brazilian Duos
Johann Sebastian Bach: Contrapunctus XIX (from Art of the Fugue)
Johann Sebastian Bach: Dona nobis pacem (from Mass in B minor)
Luciano Berio: Folk Songs
Luciano Berio: Requies
Ferrucio Busoni: Berceuse ėlėgiaque, Op. 42 (arr. John Adams)
John Cage: Lecture on Nothing
Aaron Copland: Four Motets, Op. 20
Manuel De Falla: Concerto in D Major for Harpsichord, Flute, Oboe, Clarinet, Violin, & Cello
Manuel De Falla: El amor brujo
Maurice Duruflė: Quatre motets sur des thėmes grėgoriens, Op. 10
Osvaldo Golijov: Ainadamar
Osvaldo Golijov: Ayre
Osvaldo Golijov: Oceana
Olivier Messiaen: O sacrum convivium!
Conlon Nancarrow: Conloninpurple Demonstration
Conlon Nancarrow: Selected Studies for Player Piano
Study Nos. 1, 12, 21, 26, 37, 40a, 48c.
Frederic Rzewski: Coming Together (arr. Matt Albert)
Thomas Tallis: O sacrum convivium!
John Tavener: Song for Athene
Ralph Vaughan Williams: Mass in G Minor

Film:
Betty Freeman: A Life for the Unknown
[/wpcol_1half_end] [/reveal] [reveal heading=”%image% 59th Ojai Music Festival | June 9-12, 2005 – Oliver Knussen, music director”] [wpcol_1half id=”” class=”” style=””] Artists:
Peter Serkin, piano
Crown City Brass Quintet
William Preucil, violin
Martin Chalifour, violin
Joanne Pearce Martin, piano
Ojai Festival Orchestra
Brad Lubman, conductor
Cleveland Orchestra
Franz Welser-Most, conductor
Joseph Lulloff, alto saxophone
Grant Gershon, conductor
Susan Mills, soprano
Kimberly Switzer, mezzo-soprano
Kevin St. Clair, tenor
Margaret Batjer, violin
Gloria Cheng, piano
John Dearman, guitar
Jon Lewis, trumpet
Phillip O’Connor, clarinet
Jim Self, tuba
Paul Viapiano, guitar
Helena Bugallo, piano
Amy Williams, piano

Program:
Johann Sebastian Bach: Chorale – Wer nur den Lieben Gott lässt walten, BWV 691
Johann Sebastian Bach: Little Fugue in G Minor
James Barnes: The Tin-Ear Rag
Béla Bartok: Forty-four Duos, for two violins
Luciano Berio: Wasserklavier
John Bull: Ut, re, mi, fa, sol, la
William Byrd: La Volta
Andre Catozzi: Beelzebub
Johnathon Cole: Testament
Ingolf Dahl: Concerto for Alto Saxophone and Wind Ensemble
Claude Debussy: “Nuages” from Three Nocturnes
[/wpcol_1half] [wpcol_1half_end id=”” class=”” style=””] Josquin Desprez: Ave Christe
John Dowland: Pavana Lachrymae
Lucas Foss: Toccata: Solo Transformed for Piano & Orchestra
George Gershwin: “It Ain’t Necessarily So,” from Porgy & Bess
Percy Grainger:
  Molly on the Shore
  Lisbon
  Sea Song Nos. 1 & 2
  Walking Tune
  Let’s Dance Gay in Green Meadow
  Free Music Nos. 1 & 2
  Sea Song No. 3
  Green Bushes
W.C. Handy: Beale Street Blues
Mauricio Kagel: Kantrimusik– A Pastorale for Singers & Instruments
Oliver Knussen: A Fragment of Ophelia’s Last Dance
Oliver Knussen: Variations, op. 24
Oliver Knussen: Violin Concerto, op. 30
Oliver Messiaen: Le Moqueur Polygotte
Moritz Moszkowski: Suite for Two Violins & Piano in G minor, op. 71
Wolfgang Amadeus Mozart: Symphony No. 36 in C Major, K. 425 (“Linz”)
Conlon Nancarrow: Thirteen Studies for Player Piano
Andre Previn: First Outing for Brass
Maurice Ravel: Ma Mere l’Oye (“Mother Goose”) Ballet
Maurice Ravel: Sonata for Violin & Piano in G
G. Rossini: Dunque io son
John Philip Sousa: A Sousa Collection
Richard Strauss: Sonata for Violin & Piano, op. 18
Igor Stravinsky: Concerto in E-flat Major for Chamber Orchestra (“Dumbarton Oaks”)
Igor Stravinsky: Movements for Piano & Orchestra
Igor Stravinsky: Sacre du Printemps (version for two pianos, arr. Stravinsky)
Toru Takemitsu: For Away
[/wpcol_1half_end] [/reveal] [reveal heading=”%image% 58th Ojai Music Festival | June 3-6, 2004 – Kent Nagano, music director”][wpcol_1half id=”” class=”” style=””] Artists:
Apollo’s Fire
Jeannette Sorrell, conductor
Till Fellner, piano
Los Angeles Opera Orchestra
Kent Nagano, conductor/narrator
Center for New Music & Audio Technologies,
(UC Berkeley)
David Wessel, director/performance controller
Steve Adams, saxophone
Ward Spangler, percussion
Margaret Thompson, mezzo-soprano
Misuko Uchida, piano
Chanticleer
Ojai Festival Ensemble
Ojai Festival Orchestra
Singers from Los Angeles Opera
Kurt Rohde, viola
Ellen Ruth Rose, viola
Frederick Lau, flute

Program:
Anonymous: Far Away
Anonymous: Garfield’s Blackberry Blossom
David Arr. Greenberg: Bonnie Annie
David Arr. Greenberg: Cape Breton Jigs
David Arr. Greenberg: The “Cape Brenton Meets Old Time” Finale
David Greenberg: Captain Carswell
David Greenberg: Cawdor Fair (trad.)
David Greenberg: Cawdor Fair (Strathspey)
David Greenberg: Over the Isles to America
David Greenberg: Scarborough Settler’s Lament
David Greenberg: Tullochgorum
Jeannette Sorrell: Are you going to Scarborough Fayre?
Jeannette Sorrell: The Cutpurse, from Ben Jonson’s play Bartholomew Faire (Elizabethan tune Packington’s Pound)
Jeannette Sorrell: Down in Yon Bank
Jeannette Sorrell: The Flowres of the Forest
Jeannette Sorrell: The Flowre Rownde
[/wpcol_1half] [wpcol_1half_end id=”” class=”” style=””] Jeannette Sorrell: Jockey Loves his Moggie
Jeannette Sorrell: Lumps of Pudding
Jeannette Sorrell: O Lusty May
Jeannette Sorrell: St. Claire’s Defeat
Jeannette Sorrell: Scotch Cap
Jeannette Sorrell: Watkin’s Ale
Johann Sebastian Bach: From the Well-Tempered Clavier, Book II
Johann Sebastian Bach: Passion According to St. John, BWV 245
Ludwig van Beethoven: Sonata in E major, Op. 109
Ludwig van Beethoven: Symphony No. 4
Edmund Campion: Corail
Thomas Morley: O Mistresse Mine
Thomas Morley: The Buffens
Oliver Messiaen: selections from Vingt Regards Sur L’enfant-Jesus
Unsuk Chin: SnagS and Snarls (World Premiere)
Unsuk Chin: Allegro Ma Non Troppo
Wolfgang Mozart: Adagio in B Minor, K. 540
Wolfgang Mozart: Don Giovanni Overture
Johannes Ockeghem: Missa Ecce Ancilla Domini
Carl Orff: Die Kluge (The Clever Woman)
Kurt Rohde: Double Trouble
Kaija Saariaho: Noa Noa
Arnold Schoenberg: Friede Auf Erden (choral version)
Arnold Schoenberg: Friede Auf Erden (instrumental version)
Arnold Schoenberg: 6 Little Piano Pieces, Op. 19
Franz Schubert: Three Pieces from Moments Musicaux
No. 4 in C sharp minor
No. 5 in F minor
No. 5 in A flat Major
Robert Schumann: from Ritornelle, op. 65
Die Rose stand im Tau
Robert Schumann: from Sechs Lieder Fur Vietstimmigen Mannerchor, op. 33
Morton Subotnick: Silver Apples of the Moon
Anton Webern: Piano Variations, op. 27
David Wessel: Singularities
[/wpcol_1half_end][/reveal]