 I'm pleased to welcome you to the 11th annual Santa Cruz County Artist of the Year awards this evening. Profile performance, as we all know, will gather here to honor the London River Green Hall by 1904 Artist of the Year. I'm Barbara Birston. I'm chairman of the County Arts Commission. I represent January's from the first district. There are four other commissioners, each pointed by one of the board of supervisors. The other commissioners include Betty Allen from the second district, Marsha McDougall from the third district, Dougie from the 100th and from the fourth district, and Mary Kay Hebert from the fifth district. So if you want to make a comment about County Arts Commission business, please do find your commissioner. We welcome you. I would also like to welcome tonight and name my previous artist of the year. We have several audience, and in particular I would like to point out Lou Harrison, who is here with us tonight. Oops, I haven't arrived yet. Other artists of the year include William Neverson, David Dunn, Jack Sajak, Charles Silber, the Cabrionis Festival, and Tandy Heel. I'd like to say a few words about the Arts Commission, and before I do that, I'd like to mention that tonight's pro-pop performance is co-sponsored by the Division of the Arts at UCSC, where Linda is a professor, and Chancellor Carl Piester and his associate Riga Olson Piester here with us tonight, as well as other representatives, so you'll hear from later. It's also co-sponsored by KYSP Radio, a treasure in our community. This program has a very program, and the Artist of the Year project is just one of many things that we do. For those of you who have come to produce Artist of the Year presentations, it will occur to me, say before, how proud we are of our Art and Public Places program. This program is relatively new in San Francisco County, and I'm delighted to inform you that just this week, a freeway art project that will be going in the new underpass of the Bay Avenue freeway exchange, we have local ceramic artist Susanna Areas, who will be creating for us a wonderful ceramic sculpture mural for that underpass, so I'm delighted to let you know that the Capital City Council yesterday provided its approval for that project. There are two nationally recognized artists who have been engaged to do work at the Health Services Building, which is going up, and also at the Live Oak Swing Center. We'll be able to see those works coming up in the next few years. We're also working with Juvenal Hall on a project for youth with an artist, and we are working on an arts and parks overlay plan so that in the future as we begin to see new county parks projects develop, there will be more and more of our elements to bring all of us joy to the community. We've been working with the Cultural Council towards increasing arts and education in schools, and you'll all be hearing about that over the next year or so ahead. And for those of you cooperating with the Cultural Council, I'm doing a study to create a performing arts facility here in San Cruz County, and Larry Pearson has been heading up that project for the Cultural Council and he's doing the youngest job. I'd also like to say, and I'm very pleased to let you know, that I have several faxes that arrived just today, and I don't think Linda knows about it. I'd like to read one from International Recognized Parks Courtist Gustav Landmeld. Dear Linda, of course, the news of your being an artist of the year has spread to Holland and beyond. I don't know if you can see, I'm just sitting back here. It's kind of hot. I am extremely happy that your devotion to the good cause has found a large recognition, and we, too, are sending you our warmest congratulations. Splendid, yours better, Gustav. And another just arrived late this afternoon from Royal Chalice, Honour Bill Smith. Honour says, Dear Linda, how wonderful to hear of your being an artist of the year in 1994. Great Santa Cruz County, too, to be happy with its own artist. Take Holland, but oh, no, being from there, I really feel really awed by your enormous knowledge of the music from the former Dutch Indies. Netherlands, Boots, Indies. Linda, it has always been such a pleasure to work together. May it have been soon again at your side or mine. I'll bring my uncles. Tune the perfect sevens. Know that I am there this afternoon in the reception in spirit. And finally, from Max von Egland, a baritone, fabulous folk list, it has come to Santa Cruz, as has these two other wonderful musicians as part of the Santa Cruz Broad Festival. And Max says, Dear Linda, such good news from Santa Cruz, my congratulations for your reward and may the 27th of May be a glorious day for you. Is life not getting too busy and do you have enough time to spare? Again, congratulations, your regards from your friend Max. Because if you haven't been to Santa Cruz Broad Festival, you're really missing out. And out in the lobby, there's some information where you can find out about the subscription season next year, so I know where y'all are hoping to do that. To extend what you'll hear tonight into the future. Now, what I'd like to do is, while Simon's here, then I am designated to... Linda, could you come up here? This is the product information from while Simon's chair of the Board of Supervisors, the Board of Supervisors, Gary's of the chair, and then Herman Hull as 1994 artist of the year where as Linda Berman Hull is recognized as a virtuoso heart supportist whose keyboard progress radiates brilliance and is internationally renowned in the borough music field and where Linda Berman Hull has contributed to the artistic richness of the county of Santa Cruz by helping to found and continuing to direct the Santa Cruz Broad Festival, which has a well-deserved reputation as one of the finest music series of its kind, and consistently bringing celebrated musicians to our community. And where as Linda Berman Hull has produced the Borough Music Program, Dr. Hull's Borough Tonic on KUSP FM for eight years, brings the finest Borough music available to the airways of Santa Cruz County. And where as Linda Berman Hull's concert appearances include the Fermat Bach Festival, the Enatomichi Borough Festival, Borough Early Music Festival, well, it goes on for quite a while, so it's a really long choreographed. I won't, don't think I'll bring the whole thing, but you've got the idea. And where as Linda Berman Hull's music expertise extends beyond Borough Music to contemporary music, which is recorded and she is reported for commercial saving release. And where she's been active at the E.C.S.C. Donnelly Cochrane and served as a faculty coordinator for Banja and Bali. She is now recognized by her students at the E.C.S.C. as a favorite professor for you and has served as chair of the music department. And where as the lives of Santa Cruz County residents have been greatly matched by the fine performances of Linda Berman Hull. Now therefore, I, Eric Patton, chairman of the Santa Cruz County Arts Board of Supervisors, do hear about becoming Linda Berman Hull at Santa Cruz County's 1994 Art Studio and honor her significant contribution to the Santa Cruz County community. I want to thank the Santa Cruz County Arts Commission for the opportunity to present this resolution from the California State Senate to Linda Berman Hull on behalf of my father. I'd like to reflect for a moment on her contribution to the Santa Cruz County area as a performer, concert organizer, and teacher. As a performer, Linda brought to our attention the music of the Heart's Chord, Orton, or De Piano, both as a soloist and continual player, and also the gamma. In her frequent travels, she has established a reputation on a world stage. As a concert organizer, she's brought many of the world's greatest performers of the world from the right here to Santa Cruz. This is a tribute not only to her considerable skills as an officer here, but also to the esteem with which she is held by musicians of international stature. As a musical entrepreneur, she began the Broad Festival nearly 20 years ago, originally calling it the Festival of Living Music. Now, I always thought the name should help the uninitiated by saying exactly what it is that a fin is. Did this name announce her intention to sweep away the dust of centuries and to bring a vibrant music to life? This hypothesis is supported by such rare and exclusive moments as the two concerts entitled 400 Years of Chicken Music and another favorite, a musical Insectami Elements. On the other hand, she hypes about awareness and appreciation of the live element in live music performance. And she reminded us that there were more musicians gainfully employed on a per capita basis during the Baroque period than during our own time. Now, Mass Media selects only a few individuals from among the many who were available and talented. Our model should be accept no substitute for live music for a teacher, a patient who taught me the secrets of ornamentation, gynecology, dive rhythms, and the rudiments of improvisation in the Continuo style. Now, this involves something quite frightening for most music and pianos to consider. Tradition, making a transition over to the harpsichord, and that is, how do you notice that aren't even there? To live, I also owe my interest in building a tuning harpsichord. You know, it's surprising how few musicians have ever heard or probably understood the peaceful consonants of a purely tuned major third. Thank you. Thank you all for seeing the familiar faces that we've had tonight. And Steve, of course, we're going to leave that much to take. It's a really good choice. Pierre Trossel and Madeline McCall come forward. I've been a executive director of the Baroque Festival for a long time. Pierre is, as many now, Pierre is executive director of KUSK Radio. Pierre? Well, thank you. Linda Brenner-Call was the first person I met when I came to Santa Cruz almost a dozen years ago. As a student of music myself and as an amateur fan of especially early music, I had, of course, crew with Linda in the marvelous work she was doing at the Festival of Living Music in Santa Cruz. I had also ran and was fascinated by her doctoral thesis and I was aware of her name for musical and intellectual accomplishments about which I'm sure her other colleagues will have much to say this evening. Well, I was prepared to be impressed upon being here and I was. As well as charmed by the warmth of her intelligence and by her fine wit. Not to mention the fact and many of you might not know this about Linda that she is a cat mom, part S.O.U.S. I went on to become associated with Linda in the Santa Cruz Baroque Festival first as a board member and then for two years as a general manager following with great difficulty in the footsteps of Peter Charles although he's speaking that working closely with Linda in festival activities and by admiration through As founder and artistic director of the festival Linda has created funds to present to Santa Cruz audiences not only artists of international acclaims such as Gustave Leibnacht and Max Leibnacht to mention just a few but also local artists of distinction some of whom will be hearing tonight. The magic of these performances hearing this wonderful music played today as it sounded in its little time has, I believe, significantly enriched our lives. Linda, herself an artist of international renown stature has been an esteemed element when sharing with our community the very best of the traditions of Western and non-Western musical cultures extending our horizons and uplifting our spirits for a quarter of a century she's been doing it So, in closing I'd like to thank the art exhibition for honoring Linda as the artist of the year but mainly I wish to thank Linda for the joy that she brought to me and to thousands of other appreciative listeners whom she has reached and profoundly touched through her art. Thank you, Linda. And it was 26 years ago that I met Linda I was a man half of the friend Paul Ward until if you know and he said, how much do you mean Linda that you drove down to Princeton and found Linda immersed in the library at the time? That was my first meeting with Linda we went and had some leech out of the open some subterranean cafe in Princeton I knew I would have a long relationship with Linda She showed up about 6 or 8 or 10 months later in the Santa Cruz where I was then living I moved here in 1969 and she came along and came to visit Paul and myself and ended up staying in the Santa Cruz which all of you know now is a great lesson Linda's and I have been an associate for all these long time and I was on the board director for the first year of the Festival of Living Music Linda lived over on Knight Avenue with her assistant Charles Hall who I think I might have had something to do with me I knew Charlie, I knew Linda I knew Charlie, Linda and Linda Linda and Charlie and maybe about Knight Avenue which was right out of the loom between the beautiful natural setting which was the beginning place for the festival players who met there to play and became the Festival of Living Music I sat on the first year of the board and after the following 10 years I was the general manager for the Festival of Living Music which then became Santa Cruz so eventually I have a long relationship with Linda She's a phenomenal person to work with she has an extraordinary focus and it's inspiring to work with somebody who has penetration and persistence and determination and you see that and everything that she does she's an extremely prolific artist and as a witness she has her own home she has a lot of rabbits she collects rabbit motifs kind of a symbol of her you see but so one of the things I love about Linda is that she hasn't had a sense of humor and we often don't see that because she's a performer on stage seriously conducting her business but of course the brokery is full of birth and joy and frivolity and she's right I always want to have audiences know Linda from that sense of humor that she has because she is pervasive and also inspiring I'm obviously didn't really prepare for this but my love for Linda and the gratitude I feel towards the community for supporting her as an artist of the year it's overwhelming thanks very much Linda various things this evening goes on now so I'll be back and I'd now like to introduce Ken Calvin the Dean of Division of Arts and University of California Senator it brings to add my voice to the court's appreciation for Linda for all this evening my own personal voice and the voice from my perspective as a Dean of the Arts at UCS City and it stressed my appreciation and commendation for Linda's work and having the initial vision for the Sanctuary's Burlick Festival for her efforts in sustaining it over the years and for her artistic contributions to the festival music in our community and to her efforts to reach out beyond your American culture to other cultures in the world pictorial pieces of Indonesia I think the other speakers have addressed quite effectively the richness which this activity has brought to our community with the chance of diversity and the area of experience wonderful achievements of Burlick music and Indonesia music at first hand I also want to express the appreciation of myself and my colleagues for the opportunities they have had to participate in these activities in the concerts of the festival in the recordings that were made and the chance to bring to you the public the results of our studies on the ill somewhat theoretical and private I also want to point out that Linda exemplifies an ideal which we all all very view both all of my colleagues in the arts and especially my colleagues in music are strongly in the integration of scholarship and performance that they are both mutually informative that the performance of music especially the music that gets farther and farther removed from our own culture and is developed very, for example requires intellectual preparation in order to achieve performance and that the performance gives perspective to the scholarly endeavors the results from the scholarly endeavors and that individually performance by itself can tend to wander off into areas of technical brilliance and flesh and that scholarship by itself can wander off into avenues that become perhaps indulgent and curious but increasingly distant from the serious questions that we want to answer about the music in music education and university we are seeking to to form the educational development of our students to understand the achievements of our culture to understand music as a language to understand how it can allow us to experience to know to express to communicate a whole range of ideas from the fairly light ideas of entertainment and amusement to the most profound issues of human existence so I kind of wanted from my topical are you still with me I wanted to emphasize that Linda embodies in her work the work of her own music and the work of Indonesian music this idea which we hold all of us so far here the integration of scholarship and performance thank you I would like to express wonderful to be here to my capacity all of you and to be able to perform a variety of things I've never tried to change years like this to go from a work to contemporary to dominant so it's something very unique as well as something in a way familiar I'd like to express gratitude to the Care and Guards Commission and to those who nominated selected me for this special honor and especially to staff members for their generosity and support in their inter-particular energy including this event we've been through a lot together the Community of Santa Cruz County should also be thanked that's you all of us here tonight to all those who have supported the Santa Cruz World Festival I'm very grateful and it's been a constant recording project for the past 21 years I've seen many of your faces during this time the festival has been able to achieve national and international recognition but it could never have achieved any recognition without you and the audience I'd also like to express gratitude to all those who brought the inclusion of Performing Arts and all the richness to this region and the local enthusiasts and the great agencies who've helped traditional and contemporary forms of certain needs and modernism and dance and theater thriving around the Santa Cruz area special thanks to my next secretary of America for her work in preparing all of these initial offerings for tonight I'd like to thank the UCSC for its occasional partnerships with both the Baroque Festival and Banja Baroque Santa Cruz including co-sponsored for tonight's event a special thanks to my musical colleagues in California New York and Indonesia who have really enriched my life by making music with me I'd also like to express all of my appreciation to my students who've taught me so much and I'm sure that many of my musical colleagues, students and faculty are future artists of the New York area to be and last but actually first the importance I'd like to offer special thanks to my mother for teaching me to make music and to my husband Charlie for his constant encouragement and support of my artistic life even with my business as an artist he's really been there for me I'd like to say a few words about Baroque music because that's where we began tonight on our live performance element which is from the 17th and 18th century and I'd like to say a bit about what the 20th century musician who used to play Baroque music needs to do first I'd like to ask my colleagues John and Michael who will perform with me to come on up and take their instruments first of all the Baroque music she replaced a particular instrument from the time and the place of the music John has played in the Old Agamba which is different in many ways from the modern instruments that you might see that look at this and while it's certainly different from the cello I'm going to explain a little bit about it John I hope you can hear me after hearing the microphone I'll be quite soft in comparison it has seven strings and it's a bit lighter than the cello but it's the same sort of body size the string length is about the same but I think you'll notice it has a fret at neck at this part not above on the frets it's tuned very much like a guitar or a lute the other major difference would be the bow which I hold underhand I've had to learn to control each note by pressure on the string with my middle finger that's completely different from the violin family that plays overhand thank you and Michael will be pointing over a violin which is very different from the modern violin although it officially looks pretty similar in the sense it suffers from looking so much like the modern violin with the exception of the chin rest which is missing but the sound represents sort of the same contrast with modern violin as my voice in an unamplified way perhaps compares with an amplified voice that when you begin to hear it your ears have to focus down a little bit to get into the parameters of the instrument when we talk about the violin this is the thing that was made by Stradivarius and Amadeus and so forth with the great names and their instruments were changed in the course of the 19th century basically in order to make them louder so what has happened in a kind of revolution of the last 30 years or so is that these instruments, violins and cellos and so forth have begun to be restored to the specifications of their original makers so that this violin that I'm playing tonight was built around the year 1720 and because it was a good instrument an instrument of quality it was changed in the 19th century I won't go into all the details but the neck primarily and some of the things inside in order to make it project more because the circumstances of performance the places of performance have become larger to the instruments that have been louder but this has been restored to its original specifications in order to make it more fit suited to a performance space of this kind of size Thank you Michael The harpsichord is an 18th century French style instrument and it's on loan previously from UC Sanctus The baroque musician Nadeus leads to tune at the pitch that seems most appropriate to the music that she wants to play and in our case we're tuned around 415 about how to step to practice and perform the 18th and 17th century ways of playing the instrument and playing it in positions that are familiar from modern instruments that are similar it may not be the right balance to use for the particular culture that is being performed Today's musician interested in our music also needs to study the culture to be honest to music to try to apply knowledge to have culture to music documents, study paintings architecture even other arts, particularly dance theater, literature and ascetics many of our compositions don't even want to analyze them they're just trying to understand the structure before performing it and of course because we are in an experimental situation we can't simply sit back through the tour and we find out for sure we have to do a lot of rehearsal a lot of experiments with speed sound though and ornamentation trying to communicate something even more than a personal image of the piece to the modern audience about the local samples they tend to be treble based on and if we do see treble based right up here, violin and viola the high-pitched my instrument is the one that tends to stitch in between these two poles shaping the performance by accenting and decorating each phrase as it's going to be spontaneously delivered the high-pitched works makes up a part based on the bass line and on a written notation in the chords it's called finger bass a bunch of Arabic numbers that have to be translated into actual keys the high-pitched works is thus constantly improvising within this game structure always responding to what's just in the play and what just might be played and listening to the other students trying to find a way to support what they do with the bass in some respects, this type of music resembles the modern medium of jazz or in some cases other kinds of folk music that might be very familiar to today's audience every performance, therefore, is unique about our piece La Soma Réve it's an 18th century piece associated with the grandeur and majesty of the summer king Louis XIV in France before the 20th century around churches which called for great bells to announce the births, deaths, ceremonies and special events La Soma Réve, the character on that of the church saint Genevieve upon the head of Paris is based on a three-note tower bell relative since its composer was his famous player the instrument John plays tonight the piece is very well known for its very colossal fireworks for the ball some might recognize this piece but we tutored that town too long which is a way of reference anyway, without further ado, I'd like to tune which certainly happens everywhere across it and move right back to the music we draw on many of the colleagues who are equally talented I'd like to introduce one of those people who really works with this colleague in the university I'll experience my first play of his I think and we've been performing regularly ever since it's always not only a joint play of Linda but an honor as well normally when we perform together we're playing sonatas for flute and continuo now several people tonight have alluded to continuo I was afraid Stephen was going to steal my little parent remarks but he talked about playing notes that worked on the page and Linda makes a reference to the big red base what is this mystery that Linda performs of a harpsichord in fact, when you have a sonata a brode sonata for flute and continuo the composer has written two lines a flute line and a bass line which is played by the left hand the harpsichord under the bass line are often figures, numbers that indicate in kind of a short hand what the harmonic structure is that it's going on above it is up to the harpsichord to improvise a right hand part based on reading these numbers first of all it's a very difficult task as you can imagine but there is also an enormous amount of improvisation at the simplest form one can just play block chords in the right hand but one can improvise little melodies and you can play chords of two notes even for that creating different volumes of sound and of course this is done instantaneously with nothing in it on the page I've played with many harpsichordists I have never played such a master of this art that has Linda not only technically I have watched her be in those unbelievable scores I've watched people put in front of her manuscript of the featured bass in a brawl in a strange clef very legible and I've watched her read them no perfect it's quite incredible but in addition to that she is the most inventive continual player you never know what she's going to do in the right hand and the first few times she performed that was a little taken back because sometimes at the concert I hear things that I had never heard before but I've seen a word in the right hand and her flights of fancy were fabulous she was always also attuned to what the other players were doing I can remember one incident in particular when I made a small error in my part and she immediately imitated me in her right hand this is quite amazing accomplishment that's why I say it is a joy and an honor to work with Linda we've made quite a few recordings and performed a lot of drum music but the last couple of years we've started to do something different to perform some the temporary was written for early instruments and that's what we want to play for you tonight please don't be scared by the fact that this piece was written a little more than in 1982 so 12 years ago that should not frighten you I'm going to give you a little introduction to my drill here the composer of the work and Bob are you here tonight? yes there he is also the follow-up which is a two-member release written in memory of a man Jason Paris who played the viola to gondola which you've just seen and Jason died in a freak grounding accident in the Rhine when he was in his 20s and he was a friend of Bob and the piece was written as well and this piece was written in his memory the piece has three movements but they are continuous but let me tell you some things to listen for the opening movement is a portrait of Jason and presents the musical styles that interested him of course the primary one a couple of parts of this that they can listen for one is a broken chord style that you hear in a hundred-part playing chords that are played one minute at a time this was a typical baroque style and of course it keeps the sound from dying away because it's sustained by breaking the chord for a long period of time and you just play it in a kiln a second baroque reference is a canon section there's one part in the beginning where Linda begins a melodic line and I give that paper exactly one measure later but Jason was also interested in number of music and there is a jazz rock section where she plays a series of repeated chords and I do a kind of improv over it and there's also a blues section which I think you'll recognize the second movement and again both continuous movements are separate by the cadenza passages in the food of a harpsichord the second movement is the actual drum and bass every time you play this piece you feel like you're killing Jason over an overwhelming experience in any case he will hear the drowning introduced when the actual drum and bass plays Linda plays a fearsome set of right hand chromatic why is he doing that show them a little about waves of water a swirling of waves over which the flute screams out in a series of overblown pitches with low one note and then overblown to get higher harmonics to speak which is undoubtedly the drowning man reaching for some type of self-help but finally six down was lowest possible note after which the third movement has a quote from a piece that you just heard I'm hoping you'll remember we've heard about 500 times the opening three note devoted this is repeated again in the last movement of this piece but at a tempo much much slower than you've heard in the previous piece and over into the bells of Paris China in memory of Jason this is the tombo and it's performed on the Baroque which of course differs from the modern flutes made of wood, it has only one key instead of the elaborate key system of the modern flute I can finally remember quite a bit artists in our community we will now introduce about the novel of Lou Harris the art of nice harmony within the Bermond Hall but as I watch her and think about her career I find myself astonished we know from reading and hearing that she's been at this for about 25 years and still it seems to me that her loneliness is about that 25 year old woman I don't start from zero delight through artistry I have had the great pleasure of enjoying in her recording of my six hearts of chord sonatas and I was delighted and I heard the quick dove made of the beginning reverses and I was on a vacation and she tried to date me to take with me and I had just one or two small suggestions to make when I called her she was already far from me we're looking forward to the recording now there's going to be a shift both of local and musical style you have been hearing music from what I call Northwest Asia and now you will be hearing music from Southeast Asia the role of music which you have been hearing is part of a large indoor repertoire and as you can see the streamed instruments would suffer in a profitable climate so with the sound boards of the hearts chords I remember the agony with which I watched a hearts chord in the Jose Mercedes home in Manila simply spreat used properly because of the tropical heat in the swelling in the tropics however many people have set it for metal and so we have typically outdoor music in the tropics the gap line which you will hear is from Bali and I believe it's made of bronze which is a preferred metal though iron is a second better in the tropics bronze does not really deteriorate and truth to tell most of the streamed instruments in the tropics too have metal wires or strings instead of silk or gut or even plastic which tends to melt under such conditions again typically of Indonesia is more or less out of doors yes there are beautiful porches in the palaces and there are ruins in which quiet music is playing but generally it's out of door music and the gap line which you will hear tonight is I think mostly played out of doors it is important also I think to remember that in her advocacy of contemporary music she also advocates contemporary Indonesian music and two of the pieces that you will be hearing are by the colonies in the Oman Sagana she was a distinguished head of department in the Indonesian conservatory as a Dalabung and head of that department and later part of the faculty of Dalam University the two pieces which you see listed are and a slug climbing a redwood tree which I understand is somewhat of an anthem for UCS and how we moderate in which I think a new corporation is pleased to our interests of the composer UC students and members of the Banjar Valley will play this will be followed by two dancers dancing dances which I think that Linda herself will explain more about to you because I'm unfamiliar with her they will have a group dance by Nima just to charity and Imade Surya that's on your program so you'll be able to follow incidentally the pie which is pronounced E indicates that it's a map and if it's Nhi or me it's a little bit, it's very simple so do the gathering outdoors in the tropics the fun about all of this culture is that it does travel very well to our own culture in a special way and surprises us when we just are leaving it for us so I think I really love the justice system