Carillon Marks Centennial in November; Looks Toward Future

On Friday, November 3 the carillon bells located in Sather Tower (the Campanile) will mark their 100th anniversary. Although originally cast in 1915 by the John Taylor Bell foundry of Loughborough, England, the bells were not installed in Sather Tower until 1917 due to delays caused by World War I. The bells were first played for three hours on November 3, 1917, joined by all the bells and whistles of Berkeley.

“The bells of Berkeley are so strongly integrated into the daily life of the campus community that they are the aural icons of Berkeley,” noted University Carillonist Jeff Davis.

To celebrate the 100-year mark of the carillon, Davis will be inviting a variety of carillonists and composers to collaborate on performances throughout the year. The festivities will culminate in the summer with the 2018 UC Berkeley Carillon Festival. These activities will also seek to raise awareness and funds for much needed repairs to the instrument.

Although the UC Berkeley Carillon enjoys fame well beyond the Bay Area, long overdue maintenance threatens to silence the bells.  Crucial improvements were made in 1983, but significant repairs are still needed. For example, the transmission mechanism on any carillon generally needs to be redone every twenty years, a length of time that we have long-since surpassed.  At Berkeley, routine upkeep is exacerbated by the location of the instrument directly across from the Golden Gate, a location that, while beautiful, is extraordinarily rough on the instrument.  The result is that rust and other mechanical problems caused by the uninterrupted action of salt air and wind, have made the instrument increasingly difficult to play.

We appeal to everyone in the Berkeley community, past and present, to help renovate and rejuvenate this true treasure of our shared life.

The UC Berkeley Carillon has enjoyed incremental progress over the decades. The original twelve bell chime did not have enough notes to play pieces such as the National Anthem. So in 1978, the Class of 1928, as a fiftieth anniversary gift to the University, decided to raise funds to add a few bells so more tunes could be played. The improvements to the instrument sparked interest throughout the world, and in 1983, thanks to a generation donation by Jerry and Evelyn Hemmings Chambers, the carillon expanded to 61 bells.

In the decades since, Berkeley’s carillon has only grown in international stature.  The acquisitions of the carillon library include rare recordings, manuscripts and books. The carillon instructional program has grown to the point where it is now one of the largest in the world.  The professional playing staff is one of the largest in North America, and the equal to any in the carillon centers of Europe.  The compositions and arrangements that have been created at Berkeley represent a great flowering of carillon music, and are played constantly on practically every carillon world-wide.

The centennial of Sather Tower was celebrated on February 3, 2015 and featured a special installation and performance including a unique composition of bells (both recorded and live) and lighting modulated in real time by data from the UC Berkeley seismometer adjacent to the Hayward Fault. The composition performed on the carillon was written by Music Chair and faculty member Edmund Campion.

Taruskin Wins Esteemed Kyoto Prize

UC Berkeley Department of Music Professor Emeritus Richard Taruskin has been awarded the prestigious Kyoto Prize. A notable honor, the Kyoto Prize has long been regarded by many as the most significant award available in fields that are traditionally not honored with a Nobel Prize.

Bestowed annually since 1985 by the Inamori Foundation, the Prize is presented in three categories: Advanced Technology, Basic Sciences, and Arts and Philosophy. Taruskin joins prominent scholars to win the award including Noam Chamsky, Jane Goodall, Witold Lutosławski, and fellow UC Berkeley faculty member Richard Karp. The Kyoto Prize also comes with a 50 million Yen prize that will be awarded at the official ceremonies in Kyoto, Japan in November.

“It’s obvious that he is the most important music historian of his generation in this country – perhaps in the world,” said Princeton University musicologist Simon Morrison of Taruskin.

A world-renowned musicologist, music historian, and critic Taruskin came to UC Berkeley Music in 1986. Previously he served numerous roles at Columbia University where he earned his B.A., M.A. and Ph.D. While at Columbia he worked as choral conductor and played viola da gamba with the well-known Aulos Ensemble.

While at UC Berkeley he published widely including his widely-lauded six volume “Oxford History of Western Music” which examines the whole of the European musical history. He retired from the UC Berkeley Department of Music in 2014.

Read more:
SF Gate
PR Newswire
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5 Questions: Music Alumni Alexander Kahn ’08

Credit: Rick Peckham

Alexander Kahn graduated from UC Berkeley Music with his Ph.D. in 2008. After a stint at Gettysburg College, Kahn now serves as Director of Orchestral Activities at Sonoma State University.

1- You note your father Eugene was a big influence on your passion for music. How did he and your family nurture your interest?
I come from a long line of musicians. My father was a professional violinist and high school orchestra and youth orchestra conductor. His father was a violist in the Philadelphia Orchestra, under Eugene Ormandy. Other relatives include the composers Erich Itohr-Kahn and Roy Harris (by marriage), and the cellist Julian Kahn, who fled Nazi Germany and played in the Hollywood film studios.
2- You studied French horn as an undergrad (as well as comparative lit) at the University of Indiana. How did your background in performance influence your scholarship once you started working on your Ph.D. at UC Berkeley?
Like many college students, I changed my mind regarding “what I want to be when I grow up” many times. As an undergrad I first leaned towards French horn performance, than towards comparative literature, and finally towards musicology. By the end of my college career I realized that I could combine my knowledge about music with the critical theory and analysis skills that I gained as a student of comparative literature. At Berkeley, I continued to perform on French horn and studied conducting with David Milnes; these activities kept me grounded in music as a living, breathing art form.
3- How did your time serving as Assistant Conductor for UCBSO under David Milnes influence your approach as an Orchestral Director/Conductor?
David Milnes was quite simply the best conducting teacher I have ever had; although I went on after graduating from UC Berkeley to study with more “big name” conducting teachers I owe David an incredible debt of gratitude for giving me a rock-solid background in musicianship, aural skills, score study, rehearsal technique, and rhythmic acumen.
4- You’re active as a scholar as well as a conductor, and your thesis at UC-Berkeley focused on a community of musicians who fled to L.A. during World War II. Where has your research taken you lately?
These days my professional life is mostly focused on conducting; while during graduate school I had intended to have a career as a scholar-performer I find that I simply don’t have time to pursue both scholarship and performance at a professional level in addition to my heavy teaching load and the demands (and pleasures) of family life. However more and more I am in demand as a lecturer on the benefits of mindfulness meditation for musicians, and am hoping to write a book on the subject when the time is right.
5- What drives your passion for music?
The desire to connect with others through beauty.

Pacific Rim Music Festival Ensemble Korea, new music

Sang-hun Kim performs a solo ajaeng in a premiere performance of "When He Was 600 Years Old" by Hi Kyung Kim

Sang-hun Kim performs an ajaeng solo in a premiere performance of When He Was 600 Years Old by Hi Kyung Kim

A recent April noon concert featured Pacific Rim Music Festival Ensemble Korea, in the Bay Area for this and additional concerts at UC Santa Cruz, to be followed by a performance at the Italian Academy, Columbia University in New York. The program featured both preview concerts of new compositions by composer Shi-Hui Chen, chair and professor of composition at the Shepard School of Music at Rice University (When He Was 600 Years Old for ajaeng solo) which was about Noah’s Ark, as well as Berkeley Music Department chair and composer Cindy Cox (Naseon II), which is Korean for “spiral”. The instruments revolve around a central pitch, becoming increasingly embellished as the piece progresses. Naseon II is the second part of a larger work; the first part features an extended solo for the haegeum.  Cindy Cox visited Seoul in the summer of 2015 as a Fellow at the National Gugak Center, and while there studied traditional Korean music. She learned first hand about the gayageum, geomungto, and ajaeng, all zithers, but played in completely different ways. The large audience in Hertz Hall enthusiastically responded to the varied instruments and sounds of the colorful performance.

Naomi in the news

San Francisco Chronicle columnist Leah Garchik about Angélique Kidjo’s concert at the Nourse Theater: :


Naomi on CalDay addresses the crowd before the performance.

“(The concert) was as expected, a leap-from-your -seat and shake your booty op, and by the time she sang her last song, the audience had swarmed the stage and the aisles. Near the end of the show, she sang while walking through the audience, then invited folks to join her onstage. One of those was a young blind woman, a strawberry blonde you’d take at first glance to be Nordic, who took the stage with the guidance of a man in African dress. She was one of the individual fans who stepped forward to dance with the drummer. When the show seemed to be over and the audience began to leave, she lingered onstage to talk with Kidjo, a chat that spurred a concert addendum. The woman spoke a bit of Yoruba, had studied the singer’s music, and said she wanted to sing a Kidjo song to Kidjo. The audience, half out by then, turned to listen, as the “amateur” belted it out , Kidjo listening with a stunned expression on her face. There was huge applause, of course.

As we left, I caught up with the woman, who is Naomi Scott, 22, an African American studies student at UC Berkeley. She identified herself, in response to my inquiries, in precise African-accented English, her speaking voice sounding much—to my untrained ears—like Kidjo’s. “I want to teach traditions,” she said of her academic goals. “It’s good to be connected to your ancestral heritage.”

Naomi is a member of the African Music and Dance Ensemble directed by C.K. Ladzekpo, in the Department of Music. Their last concert was on Saturday, April 2, in Hertz Hall.

Elevating Berkeley's creative culture, an idea whose time has come.

Students from many academic disciplines at Berkeley are the focus of a new arts and design immersive initiative that introduces science, technology, engineering, and math students to arts and design, via a new Big Ideas course,  “Thinking Across the Arts and Design at Berkeley,” but of a major new effort at Berkeley called the Arts + Design Initiative. Its many ambitions include making exposure to the arts and design essential to the undergraduate experience, developing students’ creative skills for today’s workplace and establishing Berkeley as a world-leading arts institution. Read more in the article by Gretchen Kell in the March 10, 2016 issue of the UC Berkeley News.

Ensemble Intercontemporain

In addition to working with graduate student composers noted Parisian Ensemble Intercontemporain traveled to the Bay Area to perform works by Berkeley composers in a concert sponsored by Cal Performances. On two consecutive nights in November, November Cal Performances concert In Hertz Hall, they presented

Noted Parisian new music group Ensemble Intercontemporain traveled to the Bay Area to participate in two concerts in Hertz Hall sponsored by Cal Performances. They performed recent works by Berkeley composers, including a We met as Sparks by music faculty composer Franck Bedrossian and Cluster X by Edmund Campion/Kurt Hentschlager. While at Berkeley, they gave readings of student works, appeared in composer colloquia, and on two consecutive nights in November, participated in a concert in Hertz Hall.

Under the artistic direction of composer Matthias Pintscher, the 31-member ensemble lent its “bracing expertise” (The Guardian, London) to two programs of 20th-century gems on November 6 & 7 in a concert sponsored by Cal Performances. Included in the concert programs were the American premiere of a new work, We met as Sparks, by Music Department faculty composer Franck Bedrossian, (part of his cycle of pieces inspired by the poetry of Emily Dickinson). In addition, Berkeley faculty member Edmund Campion premiered a new work with live video, and the ensemble’s founding father Pierre Boulez was represented with sur Incises, his magnificent reimagining of his solo piano piece Incises, for three concurrent trios of piano, harp, and percussion. While at Berkeley, they did readings of student compositions and participated in composer colloquia.

The Mendelssohn Project at the Magnes

Photo of Nick Mathew by piano

Professor Nick Mathew with the Erard piano at the Schumann Bicentennial in Hertz Hall

Spring 2016 marks the opening and launch of the Mendelssohn Project at the Magnes Collection of Jewish Art and Life. One exhibition, two historic pianos, and fourteen lectures/performances sponsored by the Office of the Dean of Arts and Humanities, the Departments of History and Music, and the Magnes Collection. An exhibit curated by Francesco Spagnolo, “From Mendelssohn To Mendelssohn” reawakens 18th-century intercultural dialogs and the history of the Mendelssohn family in a salon-like setting animated by Oppenheim’s painting, Lavater and Lessing Visits Moses Mendelssohn (1865), ritual, art, paints, books and manuscripts from the Magnes Collection and the Erard piano, a historic piano on loan from UC Berkeley’s Department of Music. Built in 1854, it is a seven-octave grand piano, approximately eight feet long. In 2001, Charles Rus, organist at the Episcopal Church of Saint John the Evangelist, San Francisco, purchased the piano from a moving and storage company where it had been abandoned by its previous owner. In the spring of 2007, Rus sold the piano to the Department of Music of the University of California at Berkeley. » read more »

EZ Music Conference: Interdisciplinary perspectives

Nell Cloutier and Melanie Gudesblatt

Nell Cloutier (top) and Melanie Gudesblatt (bottom) are PhD candidates in Music History and Literature.

March 11 – 13, 2016
Elkus Room, 125 Morrison Hall, UC Berkeley campus

Nell Cloutier (dissertation topic: the reception of early 19th-century Italian opera in Paris and London, focusing on celebrity cultures, consumption of repetitive novelties, and social geography) and Melanie Gudesblatt, PhD candidates in Music History and Literature, co-produced a conference sponsored by the Department of Music that introduced interdisciplinary perspectives to the study of quotidian or “easy” music”: simple, generic, kitschy, or trivial music, usually for amateur performers or listeners.

EZ Music Conference link

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John Roberts identifies new music by Handel

Professor Emeritus John Roberts

Professor Emeritus John Roberts

Professor Emeritus John Roberts recently tripped over an important discovery that others had missed, an early version of Handel’s cantata Tu fedel? tu costante?, HWV 171, when examining a manuscript from a collection belonging to Dutch keyboard player, conductor, and collector of music scores Ton Koopman.

Three of the four arias in the cantata were completelphoto of music scorey new, likely to be written in 1705 or 1706. Koopman conducts the cantata in Amsterdam on April 9. Professor John Roberts plans to attend.

See article by Kathleen Maclay, UC Berkeley Public Affairs


Orchestra musicians perform with the Danish String Quartet

Cal Performances invited the Danish String Quartet to perform at Zellerbach Hall in February. Quartet members also performed with UC Berkeley Symphony Orchestra principals for an appreciative capacity crowd in a free Friday noon concert. The program included the Felix Mendelssohn Bartholdy Octet in E-flat major, op. 20. The talented and fortunate few orchestra members who performed were Lucia Petito, concert master; Peter Hintz, violin; Jane Kim, viola; and Mosa Tsay, cello. The crowd cheered when Mosa caught the bouquet with one hand, thrown from opposite side of the stage; her other hand was holding the cello (see Mosa easily catching blurred flowers in photo above).