“Love, Death, and Resurrectionin the Musical Vision of

Philip Glass, Franz Liszt, andAncient Chant”

Paul Barnes, piano

Monday, March 5, 20187:30 p.m. Ashurst Hall

PROGRAM

Dreaming Awake (2003) Philip Glass (b.1937)

Ballet from Orfeo and Euridice Christoph Willibald Glück (1714-1787)/arr. Alexander Siloti (1863-1945)

Selections from Orphée Suite for Piano (2000) Philip Glass/II. Orphée’s Bedroom arr. Paul Barnes (b.1961)III. Journey to the UnderworldIV. Orphée and the Princess VII. Orphée’s Bedroom—Reprise

Communion Hymn of the Annunciation N. Takis, from John SakellaridesPlagal First Tone

Today Is Suspended arr. Fr. Seraphim DedesPlagal Second Tone

Hristos anesti (“Christ is Risen”) Traditional Greek, Arabic, and SlavonicPlagal First Tone

~ Intermission ~

Ballade No. 2 in B Minor (1853) Franz Liszt (1811-1886)

PROGRAM NOTES

PHILIP GLASS (b. 1937)Dreaming Awake (unpublished)

Glass’s intimate character piece Dreaming Awake was written in 2003 for a benefitrecital for the Jewel Heart Society in New York. It was a similar benefit recital thatbrought Glass and Alan Ginsburg to Lincoln in 1995 where we first met. I was withGlass just three weeks ago where we discussed my upcoming edition of this unpublishedwork. It represents Glass at his most musically intimate. It was included on my lastrecording New Generations at the suggestion of Orange Mountain Music’s RichardGuerin. Richard also had the crazy idea of commissioning Philip to write his first pianoquintet so I’m dedicating this performance of Dreaming Awake to him!

ORPHEUS AND CHRIST

I spent the summer of 2017 in semi-monastic seclusion due to a conscious decision toreduce the crazy frenetic pace of my life. As a result, my mind was free to create, connect,and absorb all that was around me. During that summer, I experienced the loss of manydear friends from cancer and I sought to understand the intense pain of this loss. I hadrecalled that Philip Glass had written his beautiful opera Orphée partially as a result ofthe loss of his wife from cancer. The music which I transcribed into the seven-movementOrphée Suite for Piano explores the timeless themes of love, death, and the journey toconnect the eternal with the temporal.

During that reclusive summer, I was also practicing Liszt’s monumental BalladeNo. 2 in B Minor. My friend Antonio Pompa-baldi had written about the work as atype of Orpheus piece where Orpheus’s love for Euridice and his battle with her deathand the underworld were given a most powerful musical expression by Liszt. As Iexplored visual expressions of the Orpheus and Euridice myth, I discovered ChristianGottlieb Kratzenstein’s beautiful 1806 painting reflecting Orpheus’s powerful loss ofEuridice.

As in Glass’s Orphée, musical themes of longing, love, and the underworld arepresented in a powerfully moving musical narrative.

I then began to connect these musical expressions of love and death with my lifeas a Greek Orthodox psalti, or chanter, where I have the sublime privilege of singingancient chant that also explores the theme of human suffering, divine love, and theultimate journey to the underworld. I am singing three Orthodox hymns on tonight’sprogram. The first is the communion hymn for the feast of the Annunciation of theTheotokos (Virgin Mary). This theme is the hymn upon which Glass is basing his firstpiano quintet which I will premiere with the Chiara Quartet on April 17, 2018, at the

Lied Center for Performing Arts in Lincoln with a New York premiere at theMetropolitan Museum of Art on May 12. The hymn sung during the reception of holycommunion reflects the great mystery of the Incarnation and the ultimate joining ofthe eternal with the temporal, the human and the divine. The second hymn is from theOrthodox Holy Thursday service where the crucifixion of Christ is commemorated.This intense hymn of suffering and paradox communicates the truth that our Creatorchose to share in our own intense pain of death. The final hymn, Hristos anesti (“ChristIs Risen”), communicates in multiple languages the hope of the destruction of deathand of life eternal. As I meditated on the traditional icon of Christ conquering the

Christian Gottlieb Kratzenstein-Stub, Orpheus and Eurydice (1806)

underworld before his resurrection, I was struck by the contrast to the aboveKratzenstein painting.

Whereas Orpheus was unable to rescue Euridice from the Underworld, Christ asdepicted in the icon, grabs the wrists of both Adam and Eve and frees them from thepower of death. As I still experience the tremendous pain of the loss of so many dearfriends and most especially dear Edward this summer, this image and all of the musicon tonight’s program gave me strength to transcend my pain and enter into the intensejoy and hope of the resurrection.

Traditional icon of Christ conquering the underworld before his resurrection

Communion Hymn of the Annunciation(from Psalm 133:13)

E-xe-le-xa-to Ky-ri-os tin Si-on,I-re-ti-sa-to aft-in is ka-ti-ki-an e af-to.

For the Lord has chosen Zion,He has desired it for his dwelling place.

Antiphon 1(from the Matins Service of Holy Friday, celebrated on Thursday evening)

Today, He who suspended the earth on the waters is suspended on a cross. 3 timesThe King of the Angels wears a crown of thorns.He who wraps the sky in clouds is wrapped in a fake purple robe.He who freed Adam in the Jordan accepts to be slapped.The Bridegroom of the Church is fixed with nails to the cross.The Son of the virgin is pierced with a spear.We worship Your Passion, O Christ. 3 timesShow us also Your glorious Resurrection.

Hristos anesti (“Christ is Risen”)

Hri-stos a-ne-sti ek ne-kron!Tha-na-to tha-na-ton pa-ti-sas,Ke tis en-tis mni-ma-si Zo-in cha-ri-sa-me-nos!

Al-Ma-seeh-hoo qam-a min bain il-am-wat, wa wa-ti al-mout-a bil-mout,Wa wa-ha-bal- ha-yat lil-la-thee-na fil-qu-bur.

Hris-stos vos-kre-se iz mer-tvih, smer-ti-yu smert po-prav,I su-shchim vo gro-beh zhi-vot da-ro-vav.

Christ is risen from the dead, trampling down death by death,And upon those in the tombs bestowing life.

ARTIST PROFILE

Praised by the New York Times for his “Lisztian thunder and deft fluidity” and the SanFrancisco Chronicle as “ferociously virtuosic,” pianist PAUL BARNES has electrifiedaudiences with his intensely expressive playing and cutting-edge programming. He hasbeen featured four times on APM’s Performance Today, on the cover of ClavierMagazine, and his recordings are broadcast worldwide. Deeply inspired by the aestheticvision of his friend and long-time collaborator Philip Glass, Barnes commissioned andgave the world premiere of Glass’s Piano Concerto No. 2 (“After Lewis and Clark”).The Omaha World Herald praised Barnes’s playing for its “driving intensity andexhilaration.” Nebraska Educational Telecommunications’ production The Lewis andClark Concerto, a documentary/performance of the concerto featuring Barnes, won anEmmy for Best Performance Production.

Additional performances included collaborations with conductor Marin Alsop atthe prestigious Cabrillo Festival of Contemporary Music and also the NorthwestChamber Orchestra where the Seattle Times called Barnes’s performance “an impressivefeat.” The world-premiere recording with the NWCO was released by Glass’s labelOrange Mountain Music. Gramophone Magazine remarked that this recording is“certainly one of the most enjoyable recent releases of Glass’s music . . . Paul Barnes isa shining soloist.” Orange Mountain Music also released Barnes’s recording of histranscriptions from the operas of Philip Glass, including both the Trilogy Sonata andthe Orphée Suite for Piano. Gramophone Magazine observed, “Barnes offers a surprisinglyexpressive reading . . . Atmosphere and rhythmic vitality are important, and thesequalities Barnes has in abundance.” The American Record noted, “Barnes is an expressivepianist with a lovely tone and a flair for the dramatic.” The Trilogy Sonata and theOrphée Suite for Piano are published by Chester Music of London and are available atsheetmusicplus.com. Barnes’s eleventh CD The American Virtuoso featuring the musicof Philip Glass, Samuel Barber, and Joan Tower was released on Orange MountainMusic to much critical acclaim. The American Record Guide wrote, “Another fine releasefrom the amazing pianist Paul Barnes . . . with a pianist like this, new American musicis in good hands.”

Barnes also serves as head chanter at Annunciation Greek Orthodox Church inLincoln where his fascination with Byzantine chant led to a commissioned pianoconcerto Ancient Keys written by Victoria Bond based on a Greek chant. The world-premiere recording of this concerto as well as Gershwin’s Rhapsody in Blue was releasedon Albany Records. With performances throughout Europe, the Near East, the FarEast, and the U.S., Barnes’s unique lecture/recitals have received international acclaim.Liszt and the Cross: Music as Sacrament in the B Minor Sonata explores the fascinatingrelationship between music, theology, and the Orthodox icon. Barnes’s live recordingof this lecture recital was recently released on the Liszt Digital label. The British SocietyNewsletter reviewed the recording and wrote that Barnes was “a fine pianist and gives

us a performance of resounding conviction.” Clavier Magazine wrote, “It is a majestic,reverential performance that elevates listeners to the sacred experience Barnes soeloquently describes in the lecture.”

Barnes is Marguerite Scribante Professor of Music at the University of Nebraska-Lincoln Glenn Korff School of Music. He teaches during the summer at the ViennaInternational Piano Academy and the Amalfi Coast Music Festival. In great demandas a pedagogue and clinician, Barnes has served as convention artist at several stateMTNA conventions and was recently named “Teacher of the Year” by the NebraskaMusic Teachers Association. Barnes’ twelfth CD New Generations: The Etudes of PhilipGlass and Music of the Next Generation has received rave reviews. Gramophone Magazinewrote, “Pianists of Barnes’s great technique and musicality are a boon to new music.”And American Record Guide commented, “This disc provides further proof of Barnes’sability to communicate new music with flair and passion.” Produced by OrangeMountain Music, the recording features a selection of Glass’s etudes juxtaposed withworks by N. Lincoln Hanks, Lucas Floyd, Jason Bahr, Zack Stanton, Ivan Moody, andJonah Gallagher. The sonic result is a breathtaking panorama of the energetic andexpressive landscape that is twenty-first century piano music. Barnes has performedthe recital version of New Generations in Vienna, Seoul, Rome, New York, Boston, LosAngeles, Chicago, Interlochen, and most recently at the 2017 Music Teachers NationalAssociation Convention in Glass’s hometown of Baltimore.

Upcoming performances include Barnes’s latest lecture recital “Love, Death, andResurrection in the Musical Vision of Philip Glass, Franz Liszt, and Ancient Chant.”Barnes will give the premiere performance of this interdisciplinary event at CaliforniaState University at Northridge’s Cypress Hall with future performances in Philadelphia,South Carolina, the Amalfi Coast Music Festival and the 2018 American Liszt SocietyFestival to be held at Furman University. Barnes has also commissioned Philip Glassto write his first piano quintet to be premiered with the Chiara Quartet on April 17,2018, at the Lied Center for Performing Arts in Lincoln. The New York premiere willtake place on May 12, 2018, at the Metropolitan Museum of Art. Entitled PianoQuintet No.1 (“Annunciation”), the quintet will be based on Greek Orthodox hymnsfor the Annunciation of the Theotokos. Barnes’s recordings are available on Pandora,iTunes, Apple Music, YouTube, and Amazon.

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2017-2018 Horizons Concert Seriesjoin us for these exciting performances in Spring 2018 . . .

“Love, Death, and Resurrection”Paul Barnes, piano7:30 p.m., Monday, Mar. 5, Ashurst HallThe musical vision of Philip Glass, Franz Liszt, and Ancient Chant

“Bach Listening-Room”Matt Haimovitz, cello7:30 p.m., Monday, Apr. 2, Ashurst Hall Bach’s suites introduced by new “overtures” influenced by folk music from around the globe

“Debussy & the Dawn of Modernism”Jeffrey Swann, piano & Friends6:00 p.m. InContext / 7:30 p.m. Recital, Monday, Apr. 16, Ashurst HallCentenary celebration of the revolutionary French composer within the context of his times

Tickets required. $20 Adults, $12.50 Seniors & NAU Employees, free for children & NAU studentswith ID.

For tickets, contact the Central Ticket Office at 523-5661 or nau.edu/cto

nau.edu/music/horizons

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