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Home , Eleanor Alberga, Martin Boykan, Praemium Imperiale

2006-07 Season

Earplay:22 Musing Monday, September 18, 2006, 7:00 PM

Earplay 22: Exploring Monday, March 12, 2007

Pre-concert talk 6:15 pm Richard Aldag, James H. Carr, Christopher Wendell Jones, and Kurt Rohde

Earplay 22: Visioning Monday, May 21, 2007 as part of the San Francisco International Festival Galina Ustvol’skaya, Trio, (1949) Laurie Radford, Portals/Portails (2001) Eleanor Alberga, Suite from Dancing with Shadows (1991) Sunji Hong, Impetuoso (2002) • Mirtru Escalona-Mijares, Cinco Transfiguraciones Llanas (2004) (Winner 2006 Earplay Donald Aird Memorial Composition Competition

March 12, 2007 Tickets: Free (Donations appreciated)

Special Performances:

Guillermo Galindo, Post-colonial Discontinuum (2005) Central Valley Tour Summer 2007 elcome to an Earplay performance. Our mission is to nuture new --composition, Wperformance, and audience--all vital components. Each concert features the renowned members of the Earplay ensemble performing as soloists and ensemble artists, along with special guests. Over twenty-one years, Earplay has made an enormous contribution to the bay area music community. The Earplay Earplay ensemble has performed hundreds of works by more than two Donald Aird hundred composers. Earplay has commissioned an average of two new works per season, and has presented more than one Memorial hundred world premieres. Composers Competition This year the concerts are free to encourage more people to listen to new music. We appreciate your donations to Downloadable application at: make this possible. We look forward to meeting you and hearing www.earplay.org/competitions your responses.. Deadline: March 31, 2007 Stephen Ness President, Board of Directors

Special Thanks To: Earplay Earplay Staff Board of Directors Dennis Wadlington, Sherman-Clay San Francisco Girls Chorus Stephen Ness, president Aislinn Scofield Jennifer Burke, Industry May Luke, secretary executive director Jeff Byers Dan Scharlin, treasurer Scott Koué Sheri Greenawald, Director, San Francisco Opera Center technical director/stage manager Scott Koué Terrie Baune Alexander Ness Richard Aldag scheduling coordinator Steve Ness Kurt Rohde Terrie Baune, musician representative Bill Beckerman Karen Rosenak Mary Chun bookkeeping services Christopher Wendell Jones SAN FRANCISCO WAR MEMORIAL AND PERFORMING ARTS CENTER Monday Evening, March 12 at 700 p.m. HERBST THEATRE

Owned and operated by the City and County of San Francisco The Herbst Theatre through the Board of Trustees of the War Memorial of San Francisco The Honorable Gavin Newsom, Mayor ARPLAY 22: Exploring TRUSTEES E Wilkes Bashford, President Thomas E. Horn, Vice President Nancy H. Bechtle Mary Chun, conductor Bella Farrow Mrs. Walter A. Haas, Jr. Tod Brody, flutes Terrie Baune, violin Claude M. Jarman, Jr. Peter Josheff, clarinets Ellen Ruth Rose, viola Chrysanthy Leones Mrs. George R. Moscone Karen Rosenak, piano Thalia Moore, cello Paul F. Pelosi Paul E. Reynolds Charlotte Mailliard Shultz Eleni Takopoulos-Kounalakis Guest Artists Elizabeth Murray, Managing Director Gregory P. Ridenour, Assistant Managing Director Katharine Tier, mezzo Dan Reiter, cello Kurt Rohde, viola

Featured Soloists Ellen Ruth Rose Kurt Rohde

Earplay is funded in part by the Alice M. Ditson Fund of , Ann and Gordon Getty Foundation, The Amphion Foundation, the Fund for New Music, the Bernard Osher Foundation, the James Irvine Foundation, Meet the Composer, the Ross McKee Foundation, the San Francisco Foundation, the San Francisco Grants for the Arts, the William and Flora Hewlett Foundation, and Generous Donors.

Program Donors 2005-06 & 2006-07 Seasons

György Ligeti Cello Sonata (1948/53) $10,000 + Andrew W. Imbrie Helen Krumboltz Thalia Moore Argosy Foundation Yoshi Kakudo Paul & Ellen McKaskle Contemporary Music Fund Richard & Patricia Taylor Lee Nancy & Howard Mel I. Dialogo. Adagio, rubato, cantabile The James Irvine Foundation $100 + Samuel Nichols & Laurie San II. Capriccio. Presto con slancio Meet the Composer, A Meet the Richard Aldag Martin Composer Commis- William Beck & Yu-Hui Chang Pablo Ortiz sioning Music/USA Seth Brenzel & Malcolm Gaines Neva Pilgrim Christopher Wendell Jones Fictions (2000) Commission Raymond & Mary Chun Patricia Plude Tod Brody The San Francisco Foundation Chen Yi & Long Zhou Kurt Rohde The San Francisco Grants For Jane Galante Mathew Rosenblum the Arts Clarinet Quartet (1993) Mark Haiman & Ellen Ruth Rose Laurie San Martin The William and Flora Hewlett Kenneth Johnson Allen Shearer & Claudia Stevens Peter Josheff, Terrie Baune, Foundation Christopher Wendell Jones Phyllis Sutherland Ellen Ruth Rose, Dan Reiter $5,000 + Antoinette Kuhry & John & Kate Swackhamer Anonymous I. Notturno: Adagio Thomas A. Haeuser Ushio Torikai The Aaron Copland Foundation Alfred Lerdahl Up to $50 II. Scherzo: Vivacissimo Amphion Foundation Amy Miller Levine Frances L. Bennion III. Serenade: Tempo di Valse Ann and Gordon Getty Linda Bouchard Foundation Florence Neuhoff IV. Abschied: Larghetto Patricia Bourne The Clarence E. Heller Charitable Nora Norden Foundation Wayne Peterson Renae Breitenstein Intermission The Ross McKee Foundation Michael Richards Kenneth Bruchmeier The San Francisco Arts William Schottstaedt Ernestine S. Cohn Commission Donald and Phyllis Sutherland Alice Berg Cronin James H. CarR Four Wilde Aphorisms (1991) $3,000 + Olly Wilson Lori Dobbins (West Coast Premiere) Alice M. Ditson Fund of Columbia Mark Winges Barbara and Sanford Dornbusch Katharine Tier and Peter Josheff University Dan & Rachel Winheld Jeff L. Dunn The Bernard Osher Foundation $50 + Shinji Eshima I. To Look Wise $1,000 + Mark Appelbaum Donald & Stephanie Friedman II. One’s Real Life Accenture Herbert W. Bielawa Konstantin Gavrilov and H. Cross III. Anybody Carol & Brooke Aird Ann Callaway Ellinor Hagedorn IV. I Couldn’t Help It May Luke John & Mary Caris Alice Hannah John Mugge & Ronald Caltabiano Kitty Brody Stephen J. Harrison Bari & Stephen Ness James & April Carlson John and Lee Hause Kurt Rohde DoubleTrouble (2002) The Zellerbach Family Foundation John Chowning Bud Hazelkorn Mary Chun, Tod Brody, Peter Josheff, $300 + Jeff Dunn Arthur Kreige Terrie Baune, Ellen Ruth Rose, Kurt Mary Chun Hal Fischer Joshua Law Rohde, Thalia Moore, Karen Rosenak Margaret Dorfman Guillermo Galindo Irving Lind I. Obsessive Compulsive Richard Felciano John and Lee Hause Amelie C. Mel De Fontenay Valerie Herr Patricia Moy II. Double Richard Festinger Ruth Knier Scott Jacobson Manya Nelson III. Spazoid Karen Rosenak Kenneth Johnson & Nina Grove Wendy Niles $200 + Louis Karchin David Tanenbaum Patti Noel Dueter William Kraft Arthur Kreiger Earplay Composers: Twenty-Two Years Notes on the Program

Eliane Aberdam Fredrik Fahlman David Lang Virginia Samuel Sarah Aderholdt Richard Felciano Massimo Lauricella Laurie San Martin Thomas Adès John Felder Richard Lavenda Carlos Sanchez-Gutiérrez until 1983 for its concert debut and Donald Aird Morton Feldman Mario Lavista Marc Satterwhite Cello Sonata (1948/53) Richard Aldag Richard Festinger Anne LeBaron Eric Sawyer another seven years before being Alexis Alrich Irving Fine Yinam Leef Ralph Shapey published. Allen Anderson Tom Flaherty Fred Lerdahl David Schiff ...I did not choose the tumults of my Robert Basart Andrew Frank Peter Scott Lewis György Ligeti, from the “Ligeti Project David Schober life. Rather, they were imposed on Ross Bauer David Froom Jorge Liderman Philippe Schoeller CD”-Teldec Classics Bruce Christian Bennett Pablo Furman me by two murderous dictatorships: Guillermo Galindo György Ligeti first by Hitler and the Nazis, and then Jonathan Berger Michael Gandolfi Liza Lim Allen Shearer Guy Garnett Scott Lindroth Sheila Silver by Stalin and the Soviet system. Stacy Garrop David Liptak György Ligeti Christophe Bertrand Reynold Simpson Herb Bielawa John Gibson Zhou Long Common to both of these totalitarian (1923-2006) was an Paul Siskind Susan Blaustein James Giroudonv Jing Jing Luo Ronald Bruce Smith dictatorships was the banning of adventurer in form Stephen Blumberg Glenn Glasow Witold Lutoslawski Linda Bouchard Daniel Godfrey Drake Mabry David Soley ‘modern’ , which both systems and expression and Alexander Goehr John MacDonald Harvey Sollberger considered to be ‘hostile to the Claudio Spies a great visionary Martin Boykan Perry Goldstein people’. Carolyn Bremer Michelle Green Katherine Malyi Jeff Stadelman of contemporary Benjamin Britten Mark Grey Ursula Mamlock Kurt Stallman music. His richly Ann Callaway Stephen Michael Gryc Dorrance Stalvey Ronald Caltabiano Susan Harding David Meckstroth Eitan Steinberg In 1948 all ‘modern’ music was varied output takes a special Frank Stemper Edmund Campion Lou Harrison Marjorie Merryman position in its musical quality and James Carr Ellen Ruth Harrison Olivier Messiaen Mark Stickman banned in Hungary--that is, not Elliott Carter Stephen Hartke Donal Michalsky only Schoenberg, Berg, Webern and uncompromising individuality. Chris Chafe Hugh Hartwell Darius Milhaud Kotoka Suzuki Admired and hugely influential in the Yu-Hui Chang Jonathan Harvey Eric Moe Toru Takemitsu Stravinsky, but even Britten and Eric Chasalow Paul Moravec Bruce Taub Milhaud. Bartok was ‘filtered’ in that profession, the sensual accessibility Yi Chen Martin Herman Gustavo Moretto John Thow of his music has won the hearts of Miguel Chuagui Jennifer Higdon Tristan Murail Leilei Tian his dissonant works were banned, Timothy Vincent Clark Vincent Chee-yung Ho Thea Musgrave Ushio Torikai while his folk-song arrangements audiences everywhere. Steven Clark Martha Callison Horst Hyo-Shin Na Joan Tower were permitted. After all, Bartok Aaron Copland Joan Huang William Neil Christopher Trapani Lee Hyla Olga Neuwirth (who had already died in 1945) Eleanor Cory Bertram Turetzky Born in Transylania, on 28 May 1923, Cindy Cox Igor Iachimciuc Roger Nixon Jason Uechi was considered the great national Ruth Crawford Seeger Victor Ialeggio Joao Pedro Oliveira David Vayo the son of Hungarian-Jewish parents, composer of the People’s Republic George Crumb Shintaro Imai Henry Onderdonk Curt Veeneman he studied at the Klausenburg Beth Custer Andrew Imbrie Pablo Ortiz Caspar Johannes Walter of Hungary. It was particularly Marc-Andre Dalbavie Charles Ives Gabriela Ortiz conservatory and later at the Franz Xi-Lin Wang difficult for young artists; they were Greg D’Alessio Edward Jacobs Jose Antonio Orts Anton von Webern Liszt Academy in Budapest. Very soon Stephen Jaffe David Pereira Daniel Weymouth expected to uphold the norms of David Jaffe Jeffrey Perry he developed the micropolyphony James Dashow Scott Wheeler Mario Davidovsky Ping Jin Wayne Peterson ‘socialist realism’ as dictated by Frances White which later was to become one of Adriana Verdié de Vas Betsy Jolas Alexander Post Stalin and Zhadanov, which meant Romero Peter Josheff Laurie Radford Beth Wiemann the most significant features of his Olly Wilson accepting the aesthetics of the ‘petit Tamar Diesendruck Louis Karchin David Rakowski music. In December 1956, after the Lori Dobbins Arthur Keiger Shulamit Ran Mark Winges bourgeois’. Hi-Kyung Kim Bernard Rands Walter Winslow Hungarian Revolution, he fled to the Kui Dong Earl Kim Maurice Ravel Stefan Wolpe west, for artistic and political reasons. Jérome Dorival Jerome Kitzke Belinda Reynolds Jacob Druckman Barbara Kolb Steve Ricks Iannis Xenakis The authorities allowed the Cello Working at the West German Radio Edwin Dugger Anthony Korf Andrew Rindfleisch Pagh-Paan Younghi Sonata (first movement 1948), second electronic studios in Cologne he Joel Durand Paul Kozel Jody Rockmaker Isang Yun David Dzubay William Kraft Kurt Rohde Eric Zivian movement 1953 to be recorded made an intensive study of the Jason Eckardt Meyer Kupferman Mathew Rosenblum Ricardo Zohn-Muldoon for public radio (it was broadcast music of , George Edwards Gyorgy Kurtag Morris Rosenzweig Ellen Taafe Zwilich Leo Eylar Bun-ching Lam Chris Roze once). The piece would have to wait Mauricio Kagel and Pierre Boulez, which found its musical expression the tonal language of his fellow in Artikulation (1958). This work, with countryman Béla Bartók to his own Atmosphères, the orchestral work he cosmos of sounds. The mentor of a Mission: created in 1961, made Ligeti instantly whole generation of composers, he well-known. In this piece, he worked wanted to ‘fuse the fear of death with almost completely without traditional laughter’. Ligeti was honoured with melodic, harmonic and rhythmic all the world’s major musical awards, arplay nurtures new chamber music. EARPLAY links parameters and concentrated on including the Grawemayer Award, the audiences, performers, and composers through concerts, sounds with constantly changing Praemium Imperiale, the Ernst-von- ecommissions, and recordings of the finest music of our time. textures. ‘Micropolyphony’, he once Siemens Music Award, the Sibelius described, ‘means such a dense tissue Prize, and the Kyoto-Prize. He died that the individual parts become on 12 June 2006 in . Founded in 1985 by a consortium of composers and musicians, inaudible and only the resulting EARPLAY is dedicated to the performance of new chamber music intermingling harmonies are effective offering audiences a unique opportunity to hear eloquent, vivid as a form’. performances of some of today’s finest chamber music. Earplay concerts  feature the Earplayers, a group of seven artists who, as a group, have developed a lyrical and ferocious style. EARPLAY has performed over After his intensive work in Cologne and CHRISTOPHER WENDELL JONES 400 works in its 22-year history including 107 world premieres and the development of micropolyphony (2000) eight pieces for solo 47 new works commissioned by the ensemble. The 2006-07 season in the 1960s, Ligeti’s personal style Fictions flute reinforces EARPLAY’s unwavering track record of presenting exceptional became simpler and more transparent music in the 21st century. in the 1970s. And as if wanting to withdraw from the predominating I first encountered Jorge Luis Borges’ musical tendencies, he began to use labyrinthine short stories while I was tonal sounds again. He said: ‘I no writing this piece. Borges establishes longer listen to rules on what is to be intricate but fragmentary networks regarded as modern and what as old- of relationships in many of these fashioned.’ His only full-length stage stories, implying worlds extending far work Le Grand Macabre was inspired beyond the confines of a few pages of by the theatre of the absurd and is prose. I found this technique to be teeming with operetta-like wit and an extraordinarily compelling way to black humour. The composer wanted solve some of the problems inherent to communicate more directly with in working with small forms. Just as audiences: ‘Stage action and music Borges’ stories reveal individual facets should be dangerous and bizarre, of much larger fictional domains, I absolutely exaggerated, absolutely attempted to create brief musical crazy.’ forms through the implication of musical processes rather than Individual donations are vital to Earplay’s success. We hope you will consider comprehensive realization. making a contribution. If your company has a matching policy, that will be György Ligeti travelled a long road: an additional benefit. See our website for information on making donations: ---C. W. J. from Romanian folk music and www.earplay.org. working with India’s master musician Exchange: Documentary as the Art of Christopher among musicians. He burst upon the Ali Akbar Khan and has recorded two Collaboration, Kent State University. W e n d e l l scene in 1959 when, as a 26-year-old CDs (Garden of Dreams and Legacy) Scott’s formal training includes Jones (b. 1969) just out of the Krakow Conservatory, with Khansahib. In addition, Dan Theatrical Design at U.C. Davis. Christopher Jones he entered three compositions in a produced Cello and Harp, a CD of his Aislinn Scofield (executive has presented his Polish competition and won the three own compositions for cello and harp director) has extensive experience music in North top prizes. In the works that followed with his wife, Natalie Cox. with a wide range of Asian performing America. been Penderecki decisively abandoned . arts from her sixteen years at the presented by traditional melody and harmony. Asian Art Museum (final position NewWorks Calgary, Ignoring also the then Kurt Rohde dominant in the West, he developed was Manager of Cultural Programs). (Calgary, Alberta) and L’Orchestre (see composer bio) an immediately accessible musical She has received awards for her vent de l’Ecole Cure-Mercure (St. language based on a dramatic and work including The Bernard Osher Jovite, Quebec). In 2001, Christopher coloristic use of blocks, masses, and Cultural Award, a special Izzy Award worked with the Ictus Ensemble at planes of sound. By the mid-1970s, (Isadora Duncan), travel awards from the Ictus International Composition Penderecki, to critical skepticism the Korea Foundation, the Republic Seminar in Brussels, and has also and continuing popular acclaim, of (Taiwan), and the East-West participated in festivals such as had begun to leaven the austerity of Center in Honolulu, Hawaii. Formal Darmstadt Ferienkurse and Centre his established style with elements studies include a B.A. in Theater, Acanthes. Currently, Christopher of melody and harmony. His turn Washington State University, a B.A. is pursuing a DMA in composition toward melodic expression and tonal in Studio Art (Photography and at Stanford University where he reference brought with it an increased � Textiles), and an MA. Interdisciplinary has studied with Jonathan Harvey, interest in absolute music: in recent Art, San Francisco State University. Brian Ferneyhough, Chris Chafe and years symphonies, concertos, and Jonathan Berger. He has completed chamber music have become more Scott Koué (technical director/ a Master of Music in composition at prominent in his output. He counts stage manager) is a sound recordist, the University of Calgary, a Master of Quartet for Clarinet and Piano Trio editor and designer with thirty years Music in piano at Indiana University, (1993), inspired by Schubert’s late of experience in film, advertising and and a Bachelor of Music in piano at and otherworldly String Quartet the theater. His work can be heard the New Conservatory. in over thirty films including The (1828), among his most significant Legend of Drunken Master (starring works. Here Penderecki has chosen the most inward, subtle, and flexible Jackie Chan) and the award-winning � KRZYSZTOF PENDERECKI of the wind instruments, the one to Titanic. His credits on these and other (1993) clarinet, projects include sound supervisor, Clarinet Quartet which Mozart, Brahms, and Reger violin, viola, cello sound editor, creator of specialized also entrusted their most personal sound effects and Foley recordist. K r z y s z t o f utterances. Industry awards include the SILVER Penderecki’s (© 1994 Fenwick Smith) HUGO, New York Festival, the (b. 1933) music has International Advertising Award and been as fascinating Golden Reel (Titanic, Best Sound). He to the general also collaborated with photographer public asit has  David Waldorf in Experience & been influential concert at a fund raising event for the early music at Stanford University. She Opera’s Adler Young Artist Program. JAMES H. CARR Illinois Valley Symphony Orchestra has found the balance between old Her awards include the prestigious Four Wilde Aphorisms (1991) in Danville, Illinois. Jennifer was and new music, and between old and Marianne Mathy Scholarship at the mezzo, clarinet West Coast premiere) unhappy with most of the works she new pianos, to be an ongoing, most 2002 Australian Singing Competition, had located for voice and clarinet satisfying pursuit. Since 1990, she has the 2004 Barilla Opera Award for Four Wilde Aphorisms duo, and suggested to her Mother been on the faculty at UC Berkeley, study at the Rome Opera Company, texts by Oscar Wilde that I might supply something on where she teaches musicianship and and the 2006 Vocal Workshop commission, and Mrs. Lane agreed. contemporary chamber music. Award from the Neue Stimmen (New Voices) international singing I. To Look Wise Little time remained, so the four competition in Germany. Other “To look wise is quite as good as songs were composed very quickly in awards include the Encouragement understanding a thing, and very a period of about 3 days. I found the Award in the McDonald’s Operatic much easier.” texts in an illustrated book of Wilde’s Aria Competition, the Operatic Voice aphorisms entitled “The Importance Award in the McDonalds Performing II. One’s Real Life of Being Oscar.” The illustrator had Arts Challenge, the Mezzo Award in “One’s real life is so often the life selected quotations that applied to � the 2005 Sydney Opera Awards, the that one does not lead.” her cat, Oscar, who was the subject of Joan Sutherland Society of Sydney the illustrations. We had joked about Scholarship. III. Anybody this book for sometime, because my little grey cat, Moskar, very “Anybody can be good, in the much resembled the grey cat in the Dan Reiter country.” Guest Artists illustrations, and Jennifer had artfully (cello) is principal cellist with the altered the book’s cover title to “The K a t h a r i n e Oakland East Bay IV. I Couldn’t Help It Importance of Being Moskar,” before (mezzo) Tier Symphony (OEBS), “I couldn’t help it. I can resist giving it to me as a birthday gift. A u s tralian-born Festival Opera Or- everything Katharine Tier chestra, Diablo everything! I recall these songs were partially graduated with a Ballet Orchestra and Fremont Except temptation composed by extravagantly Bachelor of Music .” Symphony. His solo work has expanding a few filched 3 or 4 note from the Sydney included ’s Three licks from ’s Vier Stücke für Conservatorium in 2003, studying Meditations (OEBS, 2000) and Robert Klarinette und Klavier, Op. 5. The basic voice with Dr. Rowena Cowley. She My are Schumann’s Cello Concerto (Fremont Four Wilde Aphorisms musical ideas endeavor to support the subsequently enrolled in the Diploma four short songs for mezzo soprano Symphony, 2002). Dan is also a former wit of the text. There is even a section of Opera course, during which she voice and Bb clarinet on texts of Oscar Earplay member (1989-90). Wilde’s. They were composed at the in “One’s Real Life,” where the mezzo performed the role of Amaranta in is instructed to insert a brief excerpt of Haydn’s Fedelta Premiata. request of Patricia Lane in 1991 while I As a composer, Dan has written varied was a doctoral candidate at Columbia. an opera aria of her choice, in effect, “performing” the aphorism’s text on chamber works. In 1999 he won an Mrs. Lane planned to present her She participated in the 2006 Merola several levels. These little pieces hold Izzy Award for his composition Raga daughter (my wife), mezzo Jennifer Program at San Francisco Opera, and a few other silly turns and quotes, the Bach B Minor featuring dancer Robert Lane, and clarinetist Robert Klein in has recently joined San Francisco Moses. He has had the privilege of Thalia Moore Ellen Ruth thing I enjoy most about them is that Written for the Empryean Ensemble (cello), attended the Rose (viola) although a couple of my grumpy old and dedicated to violist Ellen Ruth Juilliard School of relocated to the teachers have scolded me about this Rose, Rohde’s Double Trouble Music as a scholarship Bay Area in 1998 or that textual or expressive failure in resembles a Baroque concerto student of Lynn after having spent the work, audiences usually chuckle. grosso in as its three movements Harrell, and received several years in Four Wilde Aphorisms has structure (fast slow fast) and its her bachelor’s and probably been my most performed exuberant interplay between soloists Cologne, Germany, where she first composition. and chamber group. Though his master’s degrees in 1979 and 1980. became immersed in contemporary –J. H. C demands on the ensemble players Since 1982, Ms. Moore has been musicAs a member of the requires some fascinating and Associate Principal Cellist of the San experimental ensembles Musik . virtuosic teamwork, the concerto Francisco Opera Orchestra, and in Fabrik and Thürmchen Ensemble, and Composer naturally highlights its two viola 1989 joined the cello section of the as a frequent guest with Frankfurt’s James soloists, allowing unusual expressive San Francisco Ballet Orchestra. Ensemble Modern, she toured Harold Carr freedom to an often underestimated throughout , premiering and (b. 1950) was a pupil instrument. recording countless works. She has of that generation performed as soloist with the West of American composers Peter Josheff German Radio Chorus and appeared The composer writes: “Obsessive (clarinet) is active at the Cologne Triennial, Berlin most deeply influenced bySchönberg, Compulsive opens the concerto. As both as a composer Biennial, Salzburg Zeitfluss, Brussels Berg, and Webern. His musical is characteristic of my recent music, and a performer. Ars Nova, Venice Biennial, and language has been described by the movement is thrust along, Based in the San Budapest Autumn festivals. Ms. Rose Charles Passey of New York Newsday propulsive and compulsive in nature. Francisco Bay Area, holds degrees in viola performance as, “at turns, strident and angular, The two instruments play a single he is a founding from The Juilliard School and the reflective and elegiac, but thoroughly melodic line that is divided between distinct and definitely of its day.” Jim member of Earplay, a member of Northwest German Music Academy; the two solo players, adding a has taught theory, music history, and the Paul Dresher Ensemble,the and a degree in English and American rhythmic component that would not composition and at the University Empyrean Ensemble, and the history and literature from Harvard be possible using only a single player. of Kentucky, San Francisco State Berkeley Contemporary Chamber University. As for the title, it reflects one of the University, Stanford, and Columbia Players. He has performed with most few obsessive rituals that I practice: University. of the new-music ensembles in the composition. The fact that the four Karen Rosenak minutes of music which are in this Bay Area, including the San Francisco (piano) is an “almost movement took over thirteen weeks Contemporary Music Players and native” of the Bay to write gives an idea of the type of Composers Inc. Area. She was ‘running in circles’ I tend to do when founding member/ I compose. pianist of Bay Area KURT ROHDE new-music groups Earplay and Double Trouble (2002) the Empyrean Ensemble, and she “Double is a more exotic movement, � flute, clarinet, 2 solo violas, violin, currently performs with those groups. cello and piano languorous at times. Loosely based She studied modern piano with on the Baroque concept, the double is a separate movement or section which is based harmonically on He is the 2001 recipient of the the previous section or movement. Walter Hinrichson Award from the Performers In the case of this movement, the American Academy of Arts and soloists weave a melody which is Letters. In addition, Rohde has He maintains an active freelance derived from the rapid repeating received a Guggenheim Fellowship career, teaches at the University of patterns that they played in the first and commission awards from the Terrie Baune (violin), in addition to California, Davis, and directs the San movement. Hanson Institute for American Music, being a member of Francisco Bay Area Chapter of the the Barlow Endowment for Music “The work closes with a fast and Earplay, is associate American Composers Forum. Composition, and the Koussevitzky furious finale called Spazoid. The concertmaster of and Fromm Music Foundations. movement is rhythmic and harmonic the Oakland-East A winner of the Lydian String in nature, rather than melodic. It Bay Symphony and Quartet Composition Contest, he features a number of gestures a member of the - and technical displays which pay has participated in the Tanglewood Mary Chun Empyrean Ensemble. Her professional homage to the age old myth that Festival, the Wellesley Composers (conductor) has pre- credits include concertmaster the violist is a ‘lesser’ string player. Conference, and has been in miered the works of positions with the Women’s In this instance, however, the spastic residence at the MacDowell Colony many composers, in- Philharmonic, Fresno Philharmonic, and nearly ‘out of control’ character and Yaddo. Rohde is a graduate of cluding John Adams’ Santa Cruz County Symphony, and of the music requires extreme the Curtis Institute of Music and earthquake romance I Was Looking Rohnert Park Symphony. A member virtuosity, tremendous finesse and SUNY Stony Brook. Kurt Rohde is the at the Ceiling and Then I Saw the of the National Symphony Orchestra technical control. It also requires a Artistic Director of the Left Coast Sky, which she conducted in Paris, for four years, she also spent two little humor.” --- K. R. Chamber Ensemble, based in San Hamburg, and Montreal. In demand years as a member of the Auckland Francisco. Kurt Rohde has taught at as a collaborator for new lyric work and Philharmonia Orchestra of New the University of California, Santa traditional operatic repertoire, she Zealand, where she toured and Barbara, and is visiting composition has worked with opera companies in recorded for Radio New Zealand Kurt Rohde faculty at the University of California, Europe and the U.S. such as Opera de with the Gabrielli Trio and performed Davis. Lyon, La Monnaie, Kosice State Opera, (b. 1966) is an active with the New Zealand Symphony Hawaii Opera Theater, Opera Theater composer whose Orchestra. work is performed of Saint Louis, Opera Idaho, the Texas by numerous Shakespeare Festival, Cleveland Lyric orchestras and Tod Brody (flute) Opera, Pacific Repertory Opera, the music ensembles to has been in the fore- Los Angeles Music Center Opera and critical acclaim. In front of contemporary San Francisco Opera. In Fall 2006 she premieres Every Man Jack, a new addition to his composing career, music activity in northern chamber opera based on the life Rohde is a violist with the Berkeley California through his of writer Jack London, written by Symphony Orchestra, the New performances and re- � composer Libby Larsen and librettist Century Chamber Orchestra and cordings with the San Francisco Philip Littell, and commissioned by other ensembles in the San Francisco Contemporary Music Players, Earplay, the Sonoma City Opera. Bay Area, and artistic director of and the Empyrean Ensemble. the Chamber Music Partnership.