John Cage Centennial
Festival Washington, DC
Friday, September 7, and Saturday, September 8, 2012
Katzen Arts Center, American University
All of the music was composed by John Cage unless noted.
Featuring Percussion Group Cincinnati and red fish blue fish.
about the cage festival
John Cage stands – in relation to American Arts in the second half of the Twentieth
Century – as a uniquely productive and influential figure. He was, of course, primarily
a composer, but his idiosyncratic diversity and daring as an artist led him into theater,
writing, visual art, and cooking as well. He was an accomplished chess player and an
admired mycologist. His thinking had a wide and pervasive impact, and not only within
the arts. Though the American public has long recognized him as a challenging, and
often disconcerting creator, the actual range of his musical work is less well known.
It is the aim of the John Cage Centennial Festival Washington, DC, to offer a panoramic
representation of Cage’s work. The music, of course, but also the visual art, the writing,
and the theatrical dimensions. Our success in drawing such a distinguished list of participating institutions and performers into our Festival plans was, from the beginning, a
strong indicator not only of the timeliness but also of the shared significance of such an
undertaking. Cage’s work will be contextualized, to some degree, by musical (Schoenberg, Satie, Cowell) and artistic (Tobey, Graves, and Johns) influences. But center stage
will belong to John himself.
Learn more about the festival at www.johncage2012.com.
The use of cameras and recording devices is strictly prohibited. Please turn off cell phones and pagers.
There will be one 15-minute intermission during the 7:30 performance.
from the dean
American University’s College of Arts and Sciences is honored to join with so many
great arts organizations in Washington, DC, to celebrate the centennial of the great
visionary artist, John Cage. Cage’s contributions to Western music in the post-war era
were immense. Perhaps more than any other composer of his time, he helped us to
experience sound in new and different ways. His genius was inspiring to us all, and perhaps to those of us who educate our students to master, then reach beyond, their chosen
fields. We are here tonight for Cage’s music, but he was also an astonishing visual artist.
I invite you to linger in the American University Museum during the reception that
follows tonight’s performance here in the Recital Hall to see Cage’s “STEPS” and other
visual work, including the original manuscript of “4’33”.”
Peter Starr
Dean, College of Arts and Sciences
John Cage’s “STEPS”: A Composition for a Painting, Selected Watercolors, and Ephemera,
will be featured in the museum through October 21. The exhibition includes seven enormous
watercolor works resulting from Cage’s STEPS project, and a room showing the progression
of graphically inventive musical scores – from original manuscripts through publication (including never-before-exhibited items from the archives of Cage’s publisher, C.F. Peters Corporation, New York). There is also a room featuring continuous video showings.
program
4:00 p.m.
Abramson Family Recital Hall
ILLUMINATIONs 3
“Organic Structure in John Cage’s Early Percussion Music,” a lecture by Thomas DeLio
Composer, Theorist, and Professor of Music at University of Maryland, College Park
5:00 p.m.
Katzen Arts Center Rotunda
“Solo for Voice No. 15” from Song Books (1970) performed by Steven Schick
5:30 p.m.
Studio Theatre
“Quartet for Snare Drums” performed by Dustin Donahue [a realization of “Variations
II” (1961) and “Variations IV” (1963) by Dustin Donahue (2012)]
“51’15.657” for a Speaking Percussionist” performed by Bonnie Whiting Smith
[“45’ for a Speaker” (1954) + “27’10.554” for a Percussionist” (1956) realized by Bonnie
Whiting Smith (2010)]
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6:30 p.m.
American University Museum
“WGBH-TV for Nam June Paik” (1971) realized and performed by Ross Karre and
William Brent
“Cartridge Music: Duet for Cymbal” (1960) performed by Ross Karre (mics), Dustin
Donahue (cymbals), and William Brent (audio treatment and spatialization)
“Child of Tree (Improvisation I)” (1975) performed by Steven Schick
“Branches” (1976) performed by Percussion Group Cincinnati
“One4” for Fritz Hauser (1990) performed by Ross Karre
7:30 p.m.
Abramson Family Recital Hall
“Amores I and II” (1941)
“Tribute 1: volare” (2012) [Composed by Ryan Bridge]
“Amores III and IV” (1941)
Performed by Percussion Group Cincinnati
“Quartet, I” (1935) performed by Percussion Group Cincinnati and red fish blue fish
“Third Construction” (1941) performed by Percussion Group Cincinnati and Ben Toth
- Intermission -
“Credo in US” (1941)
“Story from Living Room Music” (1940)
Performed by Percussion Group Cincinnati
“In Preparation for the Storm” movement III: Hey Rain (2012) [Composed by Tamzin
Elliot] performed by Dustin Donahue, Ross Karre, and Bonnie Whiting Smith
“Imaginary Landscape No. 1” (1939) performed by Percussion Group Cincinnati with
Steven Schick
“Imaginary Landscape No. 2” (1942) performed by Percussion Group Cincinnati
“Imaginary Landscape No. 3” (1942) performed by Percussion Group Cincinnati, Ben
Toth, Dustin Donahue, and Bonnie Whiting Smith
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9:30 p.m.
Reception and Performance in American University Museum
“Inlets (Improvisation II)” (1977) performed by Ross Karre, Steven Schick, Bonnie
Whiting Smith, and Dustin Donahue with William Brent (audio treatment and spatialization)
“But what about the noise of crumpling paper which he used to do in order to paint
the series of “Papiers froisses” or tearing up paper to make “Papiers dechires?” Arp was
stimulated by water (sea, lake, and flowing waters like rivers), forests” (1985) for the Percussionists of Strasbourg performed by Russell Burge, James Culley, Dustin Donahue,
Ross Karre, Steven Schick, and Ben Toth
“Music for Four (by Two)” (1984 – 87) performed by Allen Otte and Bonnie Whiting
Smith
“Six” for Percussion Group of the Hague (1991) performed by Russell Burge, James
Culley, Dustin Donahue, Ross Karre, Steven Schick, and Ben Toth
“Variations II” interactive installation by William Brent
Saturday, September 8 Percussion Workshop
Abramson Family Recital Hall
This percussion workshop features Steven Schick of red fish blue fish and Allen Otte of
Percussion Group Cincinnati. Registration begins at 9:00 a.m. in the Kreeger Lobby.
10:00 a.m.
Performance of “Amores” followed by hands-on investigation of “Amores” instruments
and performance practice with Percussion Group Cincinnati
10:30 a.m.
Allen Otte leads a lecture-discussion on his many years of working with Cage
11:00 a.m.
Steven Schick discusses premiering new works and Cage’s influence on the commissioning process
11:30 a.m.
Question and answer with all performers and participants
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12:00 p.m.
Instructional seminar on potential interpretation strategies for “Variations IV” and “But
what about the noise of crumpling paper which he used to do in order to paint
the series of “Papiers froisses” or tearing up paper to make “Papiers dechires?” Arp was
stimulated by water (sea, lake, and flowing waters like rivers), forests” by Ross Karre
12:15 p.m.
Group performance (all participants are invited) of “But what about the noise of crumpling paper which he used to do in order to paint the series of “Papiers froisses” or tearing up paper to make “Papiers dechires?” Arp was stimulated by water (sea, lake, and
flowing waters like rivers), forests”
12:40 p.m.
Bonnie Whiting Smith: talk on John Cage, simultaneous performance, creative realization, and the speaking percussionist
1:30 p.m.
Go to Steven Drury piano recital or stay at AU for additional opportunities
biographies
Percussion Group Cincinnati was founded in 1979 and consists of members Allen
Otte, James Culley, and Russell Burge, all of whom are faculty members and ensemblein-residence at the College-Conservatory of Music of the University of Cincinnati. Their
daily rehearsal schedule is supplemented with the teaching and coaching of young musicians, many of whom have gone on to professional careers in creative music, in teaching,
and with major symphony orchestras. Appearances in their national and international
touring schedule have included the major cities, festivals, concert halls and schools of
America, Europe and Asia. In addition to community concerts, workshops, and master
classes, the group regularly appears as concerto soloists with symphony orchestras and
has presented their program “Music From Scratch” to hundreds of thousands of children across North America. Percussion Group Cincinnati is particularly respected for its
knowledge of and experience with the entire range of the music of John Cage, having
made tours and festival appearances with him on a number of occasions in Europe and
in America and having had pieces created by Cage especially for the group. More recently, the group has developed similar special relationships with John Luther Adams, Qu
Xiao-Song, Russell Peck, and with Larry Austin on the Charles Ives Universe Symphony
project. Recent performances include the Shanghai International Spring Music Festival,
a tour of Japan, and the premiere of a new concerto in Singapore with the Singapore
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Chinese Instrument Orchestra. Over the past 25 years, many young composers from
the United States, Latin America, Europe, Africa, and Asia have created a large body of
new and often experimental music for the unique talents of Percussion Group Cincinnati. The group’s work appears on various CDs, including their own ars moderno label;
their recording of John Luther Adams’s evening-length “Strange and Sacred Noise” was
released in surround-sound by Mode this year. They are currently working on their contribution to the series of Mode Records’s integrated set of the complete music of John
Cage, and on a 25-year retrospective multi-disc set including performances from the
group’s entire history.
The New York Times calls red fish blue fish a “dynamic percussion ensemble from the
University of California.” Founded fifteen years ago by Steven Schick, the San Diegobased ensemble performs, records, and premieres works from the last 85 years of western
percussion’s rich history. The group works regularly with living composers from every
continent. Recent projects include the world premiere of a Roger Reynolds’s “Sanctuary” and the American premiere of James Dillon’s epic “Nine Rivers” cycle with the
International Contemporary Ensemble (ICE). In the summer of 2011, red fish blue
fish collaborated with George Crumb, Dawn Upshaw, and Peters Sellars to premiere
the staged version of “The Winds of Destiny.” Eighth Blackbird invited red fish blue
fish to join them in performances of works by American icons such as John Cage and
Steve Reich at the Park Ave Armory’s Tune In Festival in New York City. The New York
Times called their “riveting” performance of John Cage the “highlight” of the program.
Recordings of the percussion chamber music of Iannis Xenakis and Roger Reynolds on
Mode Records have been praised by critics around the world. Recordings to be released
in the 2012-13 season include the works of Karlheinz Stockhausen, Giacinto Scelsi, and
rare works of Iannis Xenakis. Red fish blue fish will present four concerts of percussion
music alongside the Percussion Group Cincinnati at the John Cage Centennial Festival
in Washington, DC, where they will perform highlights from the soon-to-be-released
10-disc box set of the complete percussion works of John Cage on Mode Records.
Thomas DeLio is a composer and theorist, internationally renowned in both fields. His
compositions are recorded on numerous labels including Wergo, 3D Classics, Neuma,
Centaur, Capstone, ERMMediaand Spectrum. He is published in the U.S. by Silent
Editions and Sonic Art Editions, and in Italy by Semar Editore. DeLio has published
essays in such journals as The Journal of Music Theory, Perspectives of New Music, Interface,
Artforum, Contemporary Music Review, Revue d’Esthetique, and MusikTexte. A number
of his essays have been anthologized, and translated into German, French, and Italian.
His books include Circumscribing the Open Universe, The Music of Morton Feldman, and
The Amores of John Cage. A book about his work, entitled Essays on the Music and Theoretical Writings of Thomas DeLio was published by The Edwin Mellen Press (2008). It
contains essays by leading composers and scholars from Europe and the United States.
A companion volume entitled Thomas DeLio: Collected Essays Vol. I (1980-2000) will be
published by the Mellen Press in 2012. In 2011, the Special Collections Division of the
University of Maryland Library established and archive, The Thomas DeLio Papers.
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special thanks
Dean Peter Starr, Roger Reynolds, Karen Reynolds, Steve Antosca, Fernando Benadon,
Jim Merrifield, Mary Schellinger, Jack Rasmussen, Jason Lurie, Ethan Hicks, Matthew
Weiner, Thomas Meal, Emily Schmidt, Ross Karre, William Brent, Violet Morris, Sarah
Wedgewood, and Nancy Jo Snider.
upcoming events at the
katzen arts center and greenberg theatre
Erev Shel Shoshanim:
A Celebration of Israel in Poetry and Song
September 13, 7:30 pm
Abramson Family Recital Hall, Katzen Arts Center
New Student Showcase
September 21 and 22, 8 p.m.
Harold and Sylvia Greenberg Theatre
The Good Doctor
Wednesday, September 26, 11:45 a.m.
Abramson Family Recital Hall, Katzen Arts Center
Guys and Dolls: A Musical Fable of Broadway
October 18-20, 26-27, 8 p.m.
October 20, 21, 27, 2 p.m.
Harold and Sylvia Greenberg Theatre
The Gorenman Piano Project: Schubert Edition
October 27, 8 p.m.
Abramson Family Recital Hall, Katzen Arts Center
For more information and tickets, visit american.edu/auarts.
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we applaud you
The Department of Performing Arts would like to thank the following individuals
for their generous support of the performing arts at American University
during the 2011 calendar year:
Susanne R. Baker ’72
Jennifer M. Bognar MA ’96 
Marla Boren « MA ’99 
Vera Borkovec MA ’66 
Brenda M. Brody ’87, MA ’91
Felicity A. Brown « ’04
Robert Burgin P ’12
Martha A. Chidsey MA ’77
Adell H. Claypool MS ’81
J. Gary Dontzig ’67
Driggs Foundation
Joanna M. Driggs ’60 and
John A. Driggs
Patricia S. Erickson P ’15 and
Michael D. Erickson P ’15
Brian E. Forst «
Joanne Francis P ’15 and
Raymond Francis P ’15
Michelle Frederick « P ’12 and
David E. Frederick «
Susan B. Gordon « P ’11 and
Keith C. Gordon P ’11
James S. Grant MA ’70 
Milton Greenberg « H ’93 and
Sonia B. Greenberg 
Sylvia Kay Greenberg 
Beth A. Haely P ’13
John W. Hancock MA ’89 
Janet L. Hartman-Thuot P ’11
and Clifford G. Thuot P ’11
Christopher Hest
Peter C. Hill


«
H
P
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Caleen Jennings « and
Carl Jennings «
Martha A. Johnson MA ’96 
Sandra Y. Johnson MA ’07
Marjorie M. Kellner ’66 
Kathleen M. Kennedy-Corey «
’73, MBA ’80 and
Chadwick E. Wyatt

Cornelius M. Kerwin « ’71,
P ’05 and Ann L. Kerwin
’71, P ’05 
Jean E. Kirsch MA ’79
Monica D. Kramer ’89
Eric Lamar
Susan E. Manus MA ’85
Alison Martyn and
James T. Banks 
Rosina B. Mason-Whitfield
’77 and Daniel Whitfield
Judith W. Maxfield ’55 and
David W. Maxfield
Susan S. McConnell MA ’84
Catherine Menninger
Edward Menninger
Sara S. Naphtali-Krumbein
P ’14 and Herb A.
Krumbein P ’14
Daniel A. Nuzzi P ’11
David Orange
John S. Patton PhD ’63 and
Mary Miller Patton «

Michele M. Porter P ’14
Michael R. Purcell «
MFA ’10, P ’11
Diana M. Rael and
Christopher B. Rael « 
Elizabeth F. Reed
Audrey Ricketts Schinkel ’55,
MA ’59 
Wendy B. Rieger ’80
Vincent A. Russo ’02
Maureen J. Salamack P ’10 and
Donald J. Salamack P ’10 
Pamela Schonberger
Miriam A. Schulman P ’12 and
Howard Schulman P ’12
Gregory A. Shelton ’82,
MA ’85
Bernard Shire P ’89
Geraldine S. Shire and
Mark J. Shire
Elizabeth A. Sinclair P ’16 and
Matthew F. Sinclair P ’16
Nancy J. Snyder P ’10 and
Hans Morsink P ’10
Stan Sroka
Peter T. Starr « and
Alice C. Hill
Carolyn Tucci and
Thomas Tucci
Paula J. Warrick « 
Anne Wildrick P ’12 and
Maurice Wildrick P ’12
Damon Wilson
Ruth L. Zetlin ’79
The President’s Circle recognizes contributions of $1,000 or more to American University by individuals, estates, foundations,
corporations, and other organizations.
Helen Palmer Kettler Society recognizes individuals who have named the university as beneficiary of their charitable estate
plans and have made their intentions known to us.
The 1893 society recognizes the commitment of loyal donors with five or more consecutive years of giving and the significant
role they play in sustaining university life.
Current or former faculty or staff
Honorary degree recipient
AU parent