Presents

Artist Series
The Ghost of Autumn Winds (秋風の霊)

Kojiro Umezaki, shakuhachi

Guest Artist
Johnny Gandelsman, violin

Special Guest
Mathias Kunzli, percussion

Production Team
Alyssa Wixson
Rebecca Larkin
Xuanqi Liu

Associate Production Manager of the xMPL
Micah Sechler

The Ghost of Autumn Winds is sponsored by UC Irvine Illuminations with generous support provided by the Marjorie and Robert Rawlins Endowment Fund.

Friday, May 16, 2025 and Saturday, May 17, 2025
8 p.m.
Experimental Media Performance Lab (xMPL), Contemporary Arts Center
University of California, Irvine
Dr. Tiffany López, Claire Trevor Dean of the Arts
UC Irvine Claire Trevor School of the Arts

PROGRAM NOTES

It’s hard to imagine one living through that year 2020 without stopping to contemplate the act of breathing, and the struggle to do so freely, without obstruction. During this period, countless artists and creatives surely produced works similarly or even identically titled “Breathe.” Movements in American social justice and protests against systemic racism rallied around and indelibly memorialized those deliberately and forcibly denied breath and therefore life. Raised were deep questions on how best to elevate the human condition; amplified was the rhetoric fueling the dynamics of similarity and difference. All of this against the backdrop of the world being indiscriminately and repeatedly brought to its knees by an inconspicuous peril replicating exponentially (and paradoxically) through the life-giving/sustaining act of breathing.

The twenty modules in “Breathe” (each on average loosely around one minute in duration) are designed to be resequenced and reordered. Any number of them can be played/omitted, depending on the occasion. With the exception of two modules (#12A and #12B)–intentionally written to reflect whatever the opposite of breathing might be–all focus on open strings and natural harmonics of the violin. As if the instrument were an organism, perhaps. Performers are welcome to compose their own 21st module, but by using only pitch-duration materials already in the score, from anywhere and in any combination (keeping the total module duration close to one minute). An electronic part is an optional yet critical element of the work. Specifically, it is an “intelligent” delay (“id” for short) that echoes in its output, not repeating/fading identical copies of the input, but previously played and captured passages that lie on the continuum between most similar and most different.

I am truly grateful to The Hopkins Center for the Arts at Dartmouth College for commissioning and supporting this work. And, equally so to Johnny Gandelsman–a dear friend–to and for whom this work is dedicated and written.

— Kojiro Umezaki, June 2021

The title of this performance was stolen from two sources around the time of its first performance at the Oberlin Improv Fest in early 2023: three performances that year with the Houston Symphony of Toshio Hosokawa’s (細川俊夫) Autumn Wind (秋風) for shakuhachi and orchestra and ongoing work with Antonin Fajt on his Ph.D. dissertation examining what he calls “ghost structures” in improvisatory music. It is a dialog between shakuhachi and electronics, using an evolving custom system (working title: simerent), first used on a 2021 piece titled “Breathe” for violinist Johnny Gandelsman’s epic This Is America project—a series of 20+ new commissions which resulted in an album recording of more than 4 hours of new solo violin works! At its core, simerent employs pattern matching—arguably a foundational area of AI—to recall phrases from the past, from most similar to most different, or both. What is most attractive personally is that in music (as with other forms of open-ended human exploration and inquiry) one always has opportunities to hold both similarity and difference in the same space and to let them be in dialog with one another as contrasting, yet congruous equals. Locating oneself simultaneously at multiple points on the similarity-difference continuum in this performance is set up to be a kind of metaphor with respect to the evolving relationship and co-dependence in our times between sentient and machine intelligence.

— Kojiro Umezaki, February 2023

The story of If You Shall Return… started when tabla player Sandeep Das whispered a repeating musical theme characteristic of Bhatiali boat songs from the Bengali-speaking regions of the Brahmaputra River. As in a game of musical telephone, the whispered theme quickly transformed in the ears and instruments of other Ensemble members, changing in musical mode and rhythmic emphasis, and evolving with the addition of a new melody inspired by Jiangnan Sizhu (Silk and Bamboo Music of the lower reaches of the Yangtze River). Emerging from those core elements is a form that is steps away from an archetype common to jazz charts, a foundation that welcomes anyone to express themselves through various degrees of improvisation.

Once out of sight of the shores of the river, once beyond the threshold, once transformed, what will have changed if you — the boatman, the lover — shall return?

ARTIST BIOGRAPHIES

Kojiro Umezaki, shakuhachi

Noted by The New York Times as a “virtuosic, deeply expressive shakuhachi player and composer” and the LA Times as one of the “better kept secrets of Southern California music,” Kojiro Umezaki (梅崎康二郎) continues to seek new musical homes for the shakuhachi, an end-blown bamboo flute with centuries of history in Japan. He performed regularly with the Silkroad Ensemble for over 20 years, and appears as performer/co-composer/Associate Producer on Silkroad’s Grammy Award winning album Sing Me Home (2016). Other recordings and appearances with Silkroad include A Playlist Without Borders (2013), the Grammy-nominated album Off the Map (2009), and the Grammy-nominated 2015 documentary film, The Music of Strangers, directed by Morgan Neville. As a soloist and (co-)leader, In a Circle Records released a distance intertwined… with Hub New Music (2024), 流芳 Flow with pipa virtuoso Wu Man (2021) and (Cycles) with Joseph Gramley, Dong-Won Kim, Faraz Minooei, and Brooklyn Rider (2014). Other notable recordings as performer, composer, and/or producer include 2023 Grammy-nominee Brooklyn Rider’s Dominant Curve (2010), DownBeat Magazine Critics Poll’s perennial “Top Flutist of the Year” Nicole Mitchell’s Mandorla Awakening II (2017), Miles Davis’s keyboardist Kei Akagi’s Aqua Puzzle (2018), and the internationally renowned/world music trailblazers Huun Huur Tu’s Ancestors Call (2010). His appearances in a number of films, TV, and games include Ghost of Tsushima from Sony Interactive Entertainment (2020); Paper Lanterns (2016) directed by Barry Frechette and Max Exposito on the story of atomic bomb survivor Shigeaki Mori and American POWs who perished in the bombing of Hiroshima; Words Can’t Go There directed by David Neptune (2019) on the life of the great shakuhachi innovator John Kaizan Neptune; and The Vietnam War by Ken Burns and Lynn Novick (2017). Born to a Japanese father and Danish mother, Umezaki grew up in Tokyo. Currently Professor of Music at the University of California, Irvine, he is a core faculty member of the Integrated Composition Improvisation and Technology (ICIT) doctoral program where his practice-based research explores global and hybrid practices in music.

Johnny Gandelsman, violin

Johnny Gandelsman is a violinist and producer reimagining classical works and nurturing the creation of new music across genre and stylistic boundaries. In solo performances, collaborations and ensembles, and commissioning of new work, Gandelsman builds connections among diverse musical cultures and global artistic threads. He uniquely synthesizes past and present, making the experience of listening to music wholly new and fresh for audiences. Gandelsman is deeply versed in the traditional violin repertoire. He reinvigorates well-known works through experimenting with the instrument and incorporating different techniques and styles. In two solo recordings—J. S. Bach: Complete Sonatas & Partitas for Violin (2018) and J. S. Bach: Complete Cello Suites Transcribed for Violin (2020)—Gandelsman uses a distinct bow hold and draws inspiration from folk fiddling. His effervescent renditions of the cello suites endow them with an improvisatory air and draw out their dance qualities. Gandelsman is a founding member of two notable ensembles. As a member of the Silk Road Ensemble (2002–2020), he immersed himself in the musical practices of composers and artists from a variety of non-Western cultures. With Brooklyn Rider, a string quartet, Gandelsman performs a broad repertoire that spans the eighteenth to twenty-first centuries. Their recordings and performances, often with musicians outside of the Western classical tradition, illuminate the connections between classical and contemporary works. For example, Healing Modes (2020) presents Beethoven’s String Quartet Opus 132 alongside five new works from contemporary composers. Each of the pieces explore the subject of healing, and the album as a whole brings a different range of historical and cultural contexts into conversation with one another. Gandelsman’s This Is America: An Anthology (2022) showcases his tireless exploration of musical territories and commitment to elevating living composers. The project is comprised of 28 commissioned pieces by American and U.S.-based composers, a recording, and a performance series. Gandelsman conceived, raised funds for, and created the project during the COVID-19 pandemic, inviting composers to create works for violin that reflected their perspective on the cultural and political upheaval of 2020–2021. The contributing composers come from a variety of religious and ethnic backgrounds and together speak to the strength of America’s diverse talent during a time of deep division. With a wide-ranging set of endeavors and an unfettered sense of adventure, Gandelsman is redefining the artistic possibilities for classically trained musicians. Gandelsman was awarded a MacArthur Fellowship in 2024.

Mathias Kunzli, percussion

Hailing from Switzerland, multi-disciplined drummer/percussionist and composer Mathias Kunzli has become ubiquitous in the New York City and Los Angeles music scenes. He currently resides in Pasadena, CA. As a teenager he became the drummer for the Swiss Youth Jazz Orchestra, received two scholarships from Boston’s prestigious Berklee College of Music and moved to the United States. Kunzli’s desire and ability to adapt to a wide range of musical styles have enabled him to tour extensively in six continents and he has appeared in some of the world’s most prestigious concert halls, arenas, and festivals including Carnegie Hall, Royal Albert Hall, Sydney Opera House, Royal Festival Hall, Avery Fisher Hall, Alice Tully Hall, Boston Symphony Hall, Outside Lands Festival, Montreal Jazz Festival, Montreux Jazz Festival, Monterey Jazz Festival, and many more. National TV appearances in the U.S. include: Late Show with David Letterman, The Tonight Show with Jay Leno, The Colbert Report, Late Night with Jimmy Fallon, Good Morning America, Late Late Show with James Corden, The Late Show with Stephen Colbert and Late Night with Seth Meyers. Besides having recorded on over one hundred and fifty albums and countless film scores, Mathias released “Playground” and “A Lyrebird’s Wish” under his own name. Kunzli’s original compositions have been licensed to multiple TV shows. As a drummer and percussionist he has had the chance to collaborate with artists as varied as Regina Spektor, Moby, Lauryn Hill, Yo-Yo Ma, John Zorn, Kimbra, Rihannon Giddens, Vieux Farka Toure, Hal Crook, Jamey Haddad, Yanka Roupkina, Theodosii Spassov, Bakithi Kumalo, Savina Yannatou, The Paul Winter Consort, Nadja Salerno-Sonnenberg, Matt Dariau, Frank London, Gina Gershon, Keyhan Kalhor, Mary Wilson, Steve Gorn, Howard Johnson, Brooklyn Rider, Steff La Cheffe, Erika Stucky etc.

Chieh Huang, vibraphone

Chieh Huang is a composer, percussionist, and scholar dedicated to integrating Indigenous Atayal language and heritage into contemporary composition. She is currently completing her Ph.D. in Integrated Composition, Improvisation, and Technology at the University of California, Irvine. Chieh’s innovative compositions blend traditional elements with modern technology, utilizing tools such as Max/MSP and MalletKAT to capture the unique rhythms and sounds of the Atayal language. Her work has gained international recognition, with recent projects including the album “The Weaver” and the single “Chasing Threads.” Chieh has received multiple awards at both the Italy Percussive Arts Society Marimba Competition and the Taiwan National Marimba Competition. Various organizations, including Corcoran and the Google News Initiative, have showcased her commissioned pieces. She is committed to fostering cross-cultural dialogue and safeguarding Indigenous heritage through her music.

MUSIC FACULTY

Michael Dessen, Chair
Irene Messoloras, Associate Chair

MUSIC STAFF

Peter Chang, Department Manager
Esther Chae, Department Analyst
Alex Golden, Associate Production Manager
Yuliya Minina, Principal Musician
Junko Nojima, Principal Musician

THANK YOU!

The Claire Trevor School of the Arts would like to recognize those donors who gave $1,000 or more during the 2023-2024 fiscal year.

Visionaries $1 million+
Mr. J.S. Kim

Ambassadors $100,000–$250,000
Beall Family Foundation
Matthew and Janet Proudfoot

Partners $50,000–$99,999
Susan Hori *+

Investors $25,000–$49,999
Matt Bailey *+
Joseph Huszti ‡
Leo Freedman Foundation
James and Sheila Peterson *+
Richard B. Siegel Foundation
Steven M. Sorenson Foundation *+

Patrons $10,000–$24,999
Anonymous Donors
Dennis and Diane Baker
The Estate of Ann and William Cullen
Farmers & Merchants Bank Foundation
Mary Gilly and John Graham +
Tyler Holcomb
Cloud Hsueh ‡ and Fang Hsu
The Estate of Bobi Keenan
James and Katie Loss
Robert Peirson +
Cheryll and Richard Ruszat *+
The Segerstrom Foundation
The Shubert Foundation

Benefactors $5,000–$9,999
Kimberly Burge
Anthony Chen, M.D. and Yali Chen
Robert Farnsworth and Lori Grayson +
Valerie Glass
Pamela and Carl Lagoni
Helen and Fritz Lin
Goran Matijasevic +
Julia Reinhard Lupton and Kenneth Reinhard +
Kenneth and Helene Rohl
Diane Silber +
Susan and Eugene Spiritus
Socorro and Ernesto Vasquez +
Mary Watson-Bruce *+

Fellows $2,500–$4,999
Edward and Janis Carpenter +
Gerald and Veronica DeVries
Albert and Anne Encinias +
Tamara Fabian
Alvin and Rosalie Glasky +
James and Gail Lopes
Tiffany López *+
Chris Mesel
Howard and Ellen Mirowitz +
The Robert and Doreen Marshall Fund for Dramatic Arts and Classical Music
Orange County Community Foundation
Pacific Art Foundation
Hemantha Wickramasinghe +

Advocates $1,000–$2,499
Elaine and Daniel Aldrich +
Brien Amspoker and Ellen Breitman +
Nancy Arnold
Joyce Averna +
Stephen and Michelle Barker +
Haroutune and Lorna Bedelian
Sonja Berggren and Patrick Seaver
Kevin Bossenmeyer and Terilea Wielenga
Gwendolyn and Ian Black
Donald and Toni Bradley
Clinton and Allison Chao
Ralph and Carol Clayman
Joseph Connor
Jaime DeJong +
Thomas and Ainin Edman +
Barbara Finlayson-Pitts
John and Michele Forsyte +
Douglas and Lynn Freeman +
Diana Ghoukassian +
Donald and Pamela Gilmour
Michael and Karol Gottfredson +
Carol Greenwald +
Loreen and Andrew Guilford
Edwin and Norma Henderson
Jamison Judd +
Mary Karyl and John Thorne
Timothy and Pamela Kashani +
Yang-Uk Kim +
Jennifer Klein +
Michael and Elaine Kleinman
Susan and Lynn Lasswell +
Jeff Lefkoff and Mary Gholson
Nancy Locke +
Heather MacDonald and Erich Eichman
Margaret and Mark Marshall
Jared and Kathryn Mathis +
Gary and Maya Matkin +
Anthony and Rachel Maus
Kathleen Mellon
William and Lane Minton
James Nelson
Michael Oppenheim
Karine Rivet +
Carolyn Scheer
Paula and Steve Schwartz
Nina Scolnik
Ronald and Sandi Simon +
Gary and Melanie Singer +
Mitchell and Maureen Spann +
Vina Spiehler
Richard and Alison Stein *+
Thomas and Marilyn Sutton +
The Tigger Fund
Jason and Desiree Valdry
Joel Veenstra and Family +
Irwin and Michele Walot
James White
Lorri and Mike Whitney
S. Ama Wray
Katy Young and Christopher Lee
Shirley Zanton and Michael Whalen

Legacy and Endowment Donors
We are grateful for the trust and foresight of those who have ensured the Claire Trevor School of the Arts’ brilliant future by establishing an endowed fund or have included us in their estate plans.
Anonymous Donors
Diane and Dennis Baker
Edna Beach ‡
The Donald Bren Foundation
Ann Cullen ‡
Robert ‡ and Lorna Cohen
Frank D’Accone ‡
William Daughaday
Kris and Linda Elftmann
Leo Freedman Foundation
William J. Gillespie ‡
Henry W. Bull Foundation
Gunther Holland ‡
Bobi Keenan ‡
Victor Klein ‡
Beth Koehler ‡
Walter Koehler ‡
Michael and Stacy Koehn
Elaine Koshimizu ‡
Lucille Kuehn ‡
Betty C. Leidal ‡
Alice S. Lowell ‡
Fariborz and Azam Maseeh
Meyer Sound
Thomas Nielsen
Virginia and Norman Nixon ‡
Ronald C. Offen ‡
Michael R. Oppenheim
Lois J. Osborne ‡
Matthew and Janet Proudfoot
Marjorie and Robert Rawlins ‡
Sylvia and Frederick Reines ‡
Ryna H. Rothberg
Nancy Ruyter
Helene Santley ‡
Audrey M. Schneiderman ‡
H. Colin Slim ‡
Winifred Smith ‡
Thomas and Elizabeth Tierney
Claire Trevor ‡
Andrew Vacca
Bette Warner ‡
Hal B. Yolen ‡

* Dean’s Arts Board Members
+ Claire Trevor Society Members
‡ In Memoriam

This list represents generous gifts, pledges and pledge payments made between July 1, 2023 and June 30, 2024. Multi-year pledges are recognized for their full amount in the fiscal year they are made, and subsequent payments are recognized for their cash value. Please accept our apologies for any errors or omissions in this list. For questions, please contact ctsadevelopment@uci.edu.