The Year BeforE Yesterday Los Angeles Percussion Quartet

FORE! - William Kraft 1. First Round - 7:12 2. Second Round: Farnsworth Park at Twilight - 2:48 3. Third Round - 2:45

4. THE YEAR BEFORE YESTERDAY - Shaun Naidoo - 9:16 Give us this day - Erik Griswold 5. Rise Up - 4:05 6. Breathe - 5:22 7. Cold Steel - 4:39 8. Alone - 3:18 9. Punch the Sky - 3:32 10. Mallet Quartet - Joseph Pereira - 8:23

11. blindnesses - Isaac Schankler - 8:07

12. Lullaby 5 - Nicholas Deyoe - 12:52

Total Time: 72:19 FORE! - William Kraft Mallet Quartet - Joseph Pereira The title “Fore!” was first put on the title page as a temporary title, but the alliteration in the different spellings: I have always found it fascinating to discover ways to manipulate sound--how notes are played and more fore, for, four, gradually gained prominence in my thinking. “Fore for Four” engaged my sense of humor and importantly what happens after you play them and how they resonate or speak in different ways. My Mallet wouldn’t let go. Quartet (2013), written for the Los Angeles Percussion Quartet, for two vibraphones and two marimbas, attempts to consider all elements of sound on these instruments. Each pitch is considered on its own as a Since so much of the emphasis was in the keyboard instruments – vibraphone, marimba and chimes – I scale, of many timbral particles waiting to be examined. For the most part the focus is on the resonances, thought of the piece as chamber music rather than one for percussion. With the wealth of pitches and the huge the attacks, and the overtones. Whether it’s the playing technique used or simply the natural sounds of the range of pitches, I was able to explore large extended harmonics. Much of the chordal aspect can be traced instrument, these can all be exposed and manipulated in different ways, depending on the register they are to pianists from the “progressive” of “Bebop” era, e.g., Bill Evans, Bud Powell, and more recently, Miles Davis, in. For example, an sfz chord played with a sharp attack has two distinct elements to its fundamental sound. as well as to those sophisticated pianists we find in upscale cocktail lounges. Of course, Ravel is the ultimate The first is the percussive unpitched attack, which on marimba in the lower register may have a sound similar to a wood plank or a woodblock in the upper register. On the vibes, there are more obvious metallic spectral source. overtones, which with hard mallets can be as obvious as the fundamental pitch, especially at louder dynamics. The first movement features a solo percussionist playing on a set of graduated drums, from bass drum to A sharp attack becomes a dead stroke, and/or a muffled tone, naturally implying some sense of space between bongos, supported by the three keyboard instruments, marimba, vibraphone and chimes. The part for the solo sounds, and can be filled by a particular resonance or even the use of silence. A fast run can be given shape in percussionist is made up of short ideas placed within individual cells. Thus, the resultant structure is created the traditional melodic way, but can also be echoed by different kinds of glissing. One of the timbral techniques FORE! - William Kraft by the soloist. Fortunately on this recording, the soloist, Cory Hills, is also a composer. requires the player to play a “ricochet” on the frame of the instrument with the rattan handles of the mallets- producing an echo effect of unpitched glissando from low to high. Some other notable devices are the use 1. First Round - 7:12 “Farnsworth Park at Twililght,” the second movement, refers to the park of that name near my home. The idea of hand muffling, which naturally bends the pitches to quarter tones and then with more pressure, transforms 2. Second Round: Farnsworth Park at Twilight - 2:48 reflects my affection for the short, attractive work “Central Park in the Dark” by Charles Ives and, indeed, there pitches into unpitched sounds. There is also the use of harmonics on the vibraphone as part of the normal is a short quote from that work. That quote is a chord made up of four notes separated from each other and playing technique and the use of bass drum mallets to expose the vibrato “beats” of the lowest notes of the 3. Third Round - 2:45 moving in parallel motion. An identical fragment is found in the second movement of Bartok’s Second Piano marimba. Concerto. By constantly drawing parallels between all the particles of sound, I was able to develop multiple scales of 4. THE YEAR BEFORE YESTERDAY - Shaun Naidoo - 9:16 material to structure the piece as a whole. The introduction contains all the elements of the piece. From here Drums dominate the third movement. A short two-note figure begins the movement and is passed around the on, all sections are to be developed, layered and woven onto and over each other. They often appear either four players. These two notes are the seed that informs the entire movement. clearly developed or completely disguised, dependent on the varied dimensions applied to their appearance. Give us this day - Erik Griswold This idea of using a 3 dimensional approach to sound, which on one hand goes towards unpitched sounds, and on the other hand digs deeper beyond the fundamental tones into the natural overtones, constantly creates 5. Rise Up - 4:05 THE YEAR BEFORE YESTERDAY - Shaun Naidoo a shifting focus of tension. Pivoting between this axis of sound appearance creates an endless spectrum for 6. Breathe - 5:22 While composing this music, Shaun kept the software’s default title of “song” at the top of the score, and chose each pitch used, relating back to all the elements of creating structure though a total consideration of sound. 7. Cold Steel - 4:39 to officially title the piece only when it was time to print and hand us the parts. He remarked that song was The playing techniques, the pitch structure, and the timbres are all of equal importance, not one dominating indeed a fair reflection on how directly and clearly the music came to him. This work was one of the last that the other. 8. Alone - 3:18 Shaun, our longtime friend and collaborator, completed, and we remember him fondly with each performance. 9. Punch the Sky - 3:32 blindnesses - Isaac Schankler Give us this day - Erik Griswold Knowing someone well can mean agreeing not to see parts of them, and in some sense Blindnesses is about 10. Mallet Quartet - Joseph Pereira - 8:23 Give Us This Day (GUTD) combines orchestral percussion, found objects, and toy instruments in an exploration the absences that this mutual understanding contains. Four vibraphonists perform a delicate choreography that of deep grooves, driving rhythms and meditative sound textures. requires each performer to be intimately, meticulously aware of the actions of the other players around them. Here, the vibraphone acts almost like a synthesizer at times, incorporating techniques like pitch bending and 11. blindnesses - Isaac Schankler - 8:07 There is an ebb and flow throughout the five movements: interlocking patterns and syncopations in “Rise Up” envelope shaping through bowing. Meanwhile, the electronic accompaniment, at times barely present, other give way to slow pulsing cycles in “Breathe;” hypnotic rhythms and biting metallic tones in “Cold Steel” yield to times aggressively glitchy, reflects back distorted shards and discarded fragments of the live performance’s the plaintive mood of “Alone;” while “Punch the Sky” combines drums, tamborines, cymbals and toy melodicas musical material. 12. Lullaby 5 - Nicholas Deyoe - 12:52 in an exuberantly funky romp. The musical ideas for GUTD came together quickly. I was focused on creating a sense of immediacy, of being Lullaby 5 - Nicholas Deyoe “inside” in each sound texture, and also creating a seamless flow from one idea to the next. The immersive We can’t change the world around us. recording approach of Sono Luminus captures these qualities perfectly. We can never truly change ourselves. As I was composing, the phrase “give us this day” popped into my head. I was intrigued at the way in which - We can only learn to tune the relationship we have with our surroundings. taking the phrase out of context – it seemed to suggest not only a prayer, but a call to action. Lullaby 5 (composed for Los Angeles Percussion Quartet) is the final piece in my series of Lullabies, each GUTD was commissioned by the Los Angeles Percussion Quartet and Early Warning System, with generous of which explores a different aspect of memory, nostalgia, confused emotions, and changing perspectives. support from the Australia Council for the Arts. It was my great privilege to work with LAPQ and the Sono Each player’s setup in Lullaby 5 is a modified imitation of the other three in the quartet. This is designed to Luminus team on this recording. Their creativity and professionalism made this project a pleasure from create a homogeneous ensemble sound, but with subtle individual differences. Each player is given material beginning to end. to differentiate himself while also blending into the whole. As energy is dispersed through the ensemble, it transforms itself, eventually becoming a flawed memory of its origins. No thought or gesture between two people is truly understood in the same way by both parties. Even identical material is inevitably different, down to the two vibraphones that are slightly out of tune with each other. Since 2009, the Los Angeles Percussion Quartet, or LAPQ, has forged a distinct identity as a world-class contemporary chamber music ensemble who is dedicated to commissioning and presenting new works for percussion quartets. Originally, members Nick Terry, Matt Cook, Justin DeHart, and Cory Hills joined together to create a classical that would Los Angeles Percussion Quartet champion the important contributions of 20th century West Coast composers while collaborating with local artists to continue the tradition of innovation and exploration. Today, the group continues their mission while broadening creative output through recordings, performances, and educational outreach.

Rūpa-Khandha, LAPQ’s seminal album recorded at Skywalker Ranch in Marin, CA, pioneered a new level of sonic achievement in 2012 as the first 7.1 surround-sound high-fidelity recording of percussion chamber music. The quartet’s recorded performance was praised by Neue Musikeitung for presenting “the entire color-spectrum of global percussion instruments intelligently and with great competency,” while Percussive Notes hailed LAPQ’s commitment towards “championing composers of thought- provoking and uncompromisingly intelligent music”. The album received multiple nominations in the 55th GRAMMY® Awards, including the prestigious category of Best Chamber Music/Small Ensemble Performance.

LAPQ’s performances range in scope from living room salons, art museums, and warehouses, to appearances in distinguished concert series, including Festival Moziac, Laguna Beach Music Festival, Percussive Arts Society International Convention showcases, Southern California Marimba Competition, Monday Evening Concerts, Music and Conversations, People Inside Electronics, Morrison Artists, Fullerton Friends of Music, April in Santa Cruz, L.A. Composers Project and a concerto with the South Dakota Black Hills Symphony Orchestra. Equally committed to outreach and education, the quartet currently presents workshops and masterclasses to young musicians at middle schools, high schools, and many universities, such as the San Francisco Conservatory of Music, University of Southern California, California Institute of the Arts, Chapman University, Stanford University, CSU Sacramento/Bakersfield/East Bay/Long Beach, and Occidental College. The individual members of the group are all active freelance performers and educators residing in Southern California. Collectively, they are graduates of America’s leading music institutions, including USC, UC San Diego, California Institute of the Arts, Oberlin Conservatory, and Northwestern University. The Los Angeles Percussion Quartet are proud Yamaha Performing Artists and endorsers of Innovative Percussion, REMO, Black Swamp Percussion, and Sabian Cymbals. Justin DeHart Justin DeHart is an avid performer and dedicated teacher of a wide range of musical styles - from classical to pop, and from world to electronic. DeHart’s musical resume includes performances with the San Diego symphony, pipa master Wu Man, and various pop legends, including Cheap Trick. In addition to his activities with LAPQ, he is a founding member of the DC8 Contemporary Music Ensemble and is in demand as a freelancer in Southern California. His debut solo percussion CD entitled Strange Paths featuring works by Brian Ferneyhough, Iannis Xenakis, Michael Gordon and Stuart Saunders Smith was lauded as “mesmerizing” by Percussive Notes for his “palette of sounds and intricate weaving of lines.” DeHart was awarded a Fulbright Scholarship for percussion studies in India (2001-2002) and his talents have been featured at concerts and festivals throughout the United States, Canada and Asia. As a California native, he holds a B.M. from CSU Sacramento, a M.F.A. from California Institute of the Arts, and a D.M.A. from UC San Diego. DeHart currently teaches music at Chapman University Conservatory of Music and UC Riverside. Matt Cook Matt Cook performs in a variety of projects from classical art music to Middle Eastern, Jazz and popular music ensembles. He has recently performed with the Robin Cox Ensemble, California E.A.R. Unit, Sonic Generator, Ensemble Green, PARTCH Ensemble, the Cabaza de Vaca Arcestra, Loud Objects, Tehachapi Symphony Orchestra and the United Musicians Symphony Orchestra of Los Angeles. He has worked closely composers Roger Reynolds, Sofia Gubaidulina, Philppe Manoury, Olga Neuwirth, Tristan Perich, David Johnson, and Lewis Nelson. As a drummer and world percussionist, Matt has performed with singers Claudia Vasquez, Coco York, Anthony Starble, Joanna Lemle, indie-pop band Artichoke Heart Souffle, and various musical theater companies in Los Angeles. Cory Hills Cory Hills thrives on breaking down musical barriers through creative, interdisciplinary projects. He has received degrees from Northwestern University, Queensland Conservatorium, and the University of Kansas, and was awarded a research fellowship in contemporary arts exploration to Institute Fabrica. Hills has commissioned and premiered over 75 new works for percussion, and given solo and chamber recitals across Europe, Australia, The United States, Mexico, and China. He is the creator of Percussive Storytelling, a program that has brought classical music and storytelling to more than 20,000 children in eight countries. The Lost Bicycle, his debut solo CD of percussive stories was released in the spring of 2010 and received four national awards: a gold medal from the NAPPA Parent’s Awards, a silver medal from the Parent’s Choice Awards, a World Storytelling Honors Award, and a Creative Child preferred choice award. An advocate for percussion as an artistic discipline, Hills has been artist-in-residence at Rocky Mountain National Park, Conservatorio de Las Rosas, and a fellow at the OMI international artist’s colony. Nicholas Terry Nicholas Terry is a percussionist specializing in contemporary classical music. In 2005 he cofounded Ensemble XII, an international percussion orchestra to which asserts, “…represents the next generation in the evolution of modern percussion.” He is a five-year alumnus of the Lucerne Festival Academy, where he performed alongside members of Ensemble Intercontemporain, Peter Eötvös, Harrison Birtwhistle, Sofia Gubaidulina, and Fritz Hauser. In California, Terry has worked with Chinary Ung, Gavin Bryars, Steven Schick & red fish blue fish, Eighth Blackbird, the California E.A.R. Unit, XTET, the Los Angeles Master Chorale, Fairouz, and Miroslav Tadic. He is a graduate of the University of Southern California, the California Institute of the Arts, and Eastern Illinois University. Terry is currently an Assistant Professor in the Hall-Musco Conservatory of Music at Chapman University’s College of Performing Arts, where he additionally lectures on non-Western and improvised music. William Kraft Erik Griswold William Kraft (b. 1923, Chicago) has had a long and active career as composer, Eclectic composer-pianist Erik Griswold fuses experimental, jazz and world music conductor, percussionist, and teacher. In the summer of 2002, he retired as chairman traditions to create works of striking originality. Specializing in prepared piano, of the composition department and holder of the Corwin Chair at the University percussion and toy instruments, he has created a musical universe all his own of California, Santa Barbara. From 1981-1985, Mr. Kraft was the Los Angeles that is “sincere” (neural.it), “playful” (igloo magazine), “colourful and refreshingly Philharmonic’s Composer-in-Residence. During his residency, he was founder and unpretentious” (Paris Transatlantic). director of the orchestra’s performing arm for contemporary music, the Philharmonic Since the late 1980s he has composed solo and chamber works for many adventurous New Music Group. Mr. Kraft had previously been a performing member of the Los performers including Margaret Leng Tan, Steven Schick, Thomas Buckner, Ensemble Angeles Philharmonic for 26 years – eight years as percussionist, and the last 18 Offspring, Decibel, Either/Or Ensemble, Southern Cross Soloists, The Australian Voices, as Principal Timpanist. For three seasons, he was also assistant conductor of the red fish blue fish, Speak Percussion, Early Warning System, Continuum Saxophone Philharmonic, and, thereafter, made frequent appearances as guest conductor. Quartet, Soundstream Collective, and many others. During his early years in Los Angeles, Mr. Kraft organized and directed the Los Angeles Percussion Ensemble, Griswold has received grants, commissions, and/or fellowships from the Australia Council for the Arts, Arts Queensland, a group which played a vital part in premieres and recordings of works by such renowned composers as Ginastera, Brisbane City Council, Melbourne City Council, Asialink Foundation, Queensland Music Festival, Melbourne Jazz Fringe Harrison, Krenek, Stravinsky, Varèse, and many others. As percussion soloist, he performed the American premieres of Festival, Civitella Ranieri Foundation, and the InterArts Consortium of the University of California. His work can be heard Stockhausen’s and Boulez’s Le Marteau sans Maître, in addition to recordingHistoire du soldat under Stravinsky’s on Mode Records, Room:40, Listen/Hear Collective, Einstein Records, Accretions/Circumvention, Move, Clocked Out, and direction. Innova. Mr. Kraft has received numerous commissions and awards, including two Kennedy Center Friedheim Awards; two His music has been performed at major festivals and venues throughout Australia, the U.S., Asia, and Europe, including: Guggenheim Fellowships; two Ford Foundation commissions; fellowships from the Huntington Hartford Foundation and Carnegie Hall, Asia Pacific Festival (Wellington), Bang on a Can Festival (New York), Big Sur Experimental Music Festival, the National Endowment for the Arts; the American Academy and Institute of Arts and Letters Music Award; and numerous Chengdu Arts Centre, El Cruce (Madrid), Green Umbrella Series (Los Angeles), London Jazz others. Mr. Kraft’s works have been performed by orchestras throughout the United States and around the world, including Festival, Queensland Music Festival (Brisbane), Shanghai International Festival, Sydney Opera House, Roulette and Tonic in Europe, Japan, Korea, China, Australia, Israel, and the former Soviet Union. In November 1990, Mr. Kraft was inducted (New York). into the Hall of Fame of the Percussive Arts Society. Together with Vanessa Tomlinson, Griswold directs Clocked Out, which produces innovative concert series, events and In 2005, Mr. Kraft’s Concerto No. 2 for : The Grand Encounter, commissioned by the tours. Clocked Out received the APRA-AMCOS “Award for Excellence by an Organisation” for their 2009-10 programs. Orchestra, was premiered under Maestro Michael Tilson Thomas with David Herbert as soloist. A significantly revised version of the concerto was premiered in the spring of 2007 by the Hong Kong Philharmonic, conducted by Xian Zhang, Griswold has lived in San Diego, Los Angeles, New York, Melbourne, Adelaide, and now calls Brisbane home. He is with soloist James Boznos; later the same year, David Herbert gave the first U.S. performance at the annual convention of currently adjunct professor at Queensland Conservatorium, Griffith University, and holds a PhD from University of California, the Percussive Arts Society in Columbus (Ohio), with the Akron Symphony, under Guy Victor Bordo. Red Azalea, an opera San Diego. commissioned by the Modern Music Theater Troupe (London), was premiered in 2002 at the University of California, Santa Barbara’s New Music Festival, followed by its European premiere in London. Albums completely devoted to and featuring Mr. Kraft’s music can be found on numerous record labels. Mr. Kraft received Joseph Pereira his bachelor’s degree cum laude (1951) and his master’s degree (1954) from Columbia University, where he was awarded In 2007, Joseph Pereira (1974) was appointed Principal Timpanist of the Los Angeles two Anton Seidl Fellowships. His principal instructors were Jack Beeson, Seth Bingham, , , Erich Philharmonic by Esa Pekka Salonen. Previously he was the Assistant Principal Hertzmann, Paul Henry Lang, Otto Luening and Vladimir Ussachevsky. He received his training in percussion from Morris Timpanist/Section Percussionist of the New York Philharmonic, from January 1998 to Goldenberg and in timpani from Saul Goodman, and studied conducting with Rudolph Thomas and Fritz Zweig. September 2008. He currently runs the percussion studio at USC’s Thornton School of Music and also taught at the Juilliard School from 2005-2013. Pereira received his master’s degree in percussion from The Juilliard School and a double bachelor’s Shaun Naidoo degree in performance and composition/theory from Boston University. Born in South Africa in 1962 Shaun Naidoo composed extensively for cabaret, As a composer Joseph Pereira’s commissions for the 2013/14 season are from the musical theater, and modern dance in the late 1980s. During that period a series of Los Angeles Percussion Quartet, pianist Joanne Pearce Martin, pianist Vicki Ray, Colin collaborations with Warrick Sony and the Kalahari Surfers culminated in the Found Currie, and The Manhattan School of Music. Last season he wrote a new work for Opera Season of Violence, which received an Honorable Mention at the Prix Ars the Miro Quartet and percussionist Colin Currie, which was premiered as part of their US tour. This piece will have it’s Electronica in Linz, Austria in 1990. His cabaret troupe, “Shaun Naidoo and the Panic European premiere in Hamburg on Feb 13, 2014, by the Pavel Haas Quartet and Colin Currie. His string trio “Blur”, was Attacks” received the Fringe Award at the South African National Festival of the Arts selected as a winner of the 2013 American Composers Forum LA, String Trio Competition. In 2012, the Los Angeles in 1988 for the revue Everything but the Shower Scene. Collaborations with the City Philharmonic commissioned and premiered his percussion concerto for soloist Colin Currie. Pereira performed the work Theater and Dance group as composer and musical director resulted in the acclaimed again in the 2013 season with the Los Angeles Philharmonic and Gustavo Dudamel in Los Angeles and in London at the musicals Hotel Polana (1989) and Sunrise City (1988). The latter work incidentally Barbican. In 2012, the LA Phil members premiered his new piece for amplified double bass quartet as part of the LA Phil became the last work to be banned by the apartheid regime in South Africa. Chamber Series. The Los Angeles Percussion Quartet, recorded his piece Repousse’, on a Sono Luminus release which was nominated for two 2013 GRAMMY® Awards. In the summer of 2010, he conducted the premiere of his new piece for In 1990 he was awarded a Fulbright Fellowship and settled in Los Angeles, where he received Masters and Doctoral degrees seven percussionists at The Music Academy of the West in Santa Barbara. In 2007, his first orchestral piece, Mask, was in composition at USC. His output during the 1990s include numerous electro-acoustic works, which can be heard on selected by the American Composers Orchestra’s annual new music readings for top emerging composers. At the New many different record labels York Philharmonic, he conducted the premiere of his Quintet for Winds in 2005 on the Chamber Ensembles series at Merkin .Over the past twenty years or so he composed for ensembles and artists around the world. His music has been heard most Concert Hall. The New York Times said, “it is a restless yet lucidly textured work with an astringent harmonic language.” recently at Carnegie Hall, Dartington Castle (England), Walt Disney Concert Hall, REDCAT Theater, the Lincoln Theater in In 2006 chief music critic Anthony Tommasini featured Pereira’s work as a composer and percussionist in The New York Miami Beach, the Bang on a Can Festival at MassMoca in Massachussetts, and in Brisbane, Australia. Recent performances Times Arts section article. All of his percussion works are published by Bachovich Music Publications. include premieres in Germany and Taiwan. Pereira has also performed with the New York Percussion Quartet, the New York New Music Ensemble, Alea III, the Boston Symphony Orchestra, the Robert Shaw Festival Singers, and the New Zealand Symphony Orchestra as principal timpanist. He can also be heard on Telarc, Teldec, and Deutsche Grammophon/Itunes recordings and has recently been part of recording the soundtracks to major motion pictures. He regularly performs on the LA Phil’s Green Umbrella series, of which he has performed solo works, and has premiered many pieces. His custom line of timpani mallets are manufactured and sold by JG Percussion. When not performing, writing, or teaching, Pereira likes to spend time with his wife, violinist Minyoung Chang, and their new daughter Sophia. Isaac Schankler Isaac Schankler is a composer, pianist, accordionist and electronic musician living in Los Angeles. Lauded as “extraordinarily eclectic” and “masterfully composed” (Boston Musical Intelligencer), his music is inspired by improvisation, indeterminacy, spoken language, narrative, and puzzles. Schankler’s recent honors include awards and grants from Meet the Composer, the National Opera Association, the American Composers Forum, the Atlantic Center for the Arts, and the American Prize. He is a past winner of the USC Sadye J. Moss Composition Prize and the ASCAP/Lotte Lehmann Foundation Art Song Competition, as well as a finalist in the ASCAP/SEAMUS Commission Competition. Recent commissions include works for the Los Angeles Percussion Quartet, wild up, Lorelei Ensemble, Juventas New Music Ensemble, bass-baritone Nicholas Isherwood, pianist Aron Kallay, and violinist Andrew Tholl. As a composer for collaborative works, Schankler has worked with poets Amaranth Borsuk (The Familiar Spirit) and Jillian Burcar (Light and Power); video game designers Christine Love (Analogue: A Hate Story), Zoe Quinn and Patrick Lindsey (Depression Quest), and Mitu Khandaker (Redshirt); filmmakers Quintan Ana Wikswo (Sonderbauten) and Christopher O’Leary (Blocking the Exits); and computer scientists Elaine Chew and Alexandre François (MIMI: Multimodal Interaction for Musical Improvisation). Schankler is the current West Coast Regional Editor for NewMusicBox, the multimedia publication of New Music USA. In 2013 he was a winner of the ASCAP Deems Taylor Award for excellence in music journalism. His writing has also LOS ANGELES PERCUSSION QUARTET appeared in the International Journal of Arts and Technology, Computer Music Journal, and the proceedings of international conferences including MCM (Mathematics and Computation in Music), ISPS (International Symposium of Performance exclusively endorse the following: Science), and ICME (International Conference on Multimedia & Expo). Schankler is an artistic director of People Inside Electronics, a concert series for live electroacoustic music, and a resident artist with the interdisciplinary arts organization Catalysis Projects. Schankler holds a Doctor of Musical Arts degree in composition from the University of Southern California, as well as Master of Music and Bachelor of Music degrees in composition from the University of Michigan. He currently teaches music technology at the University of Southern California and music theory at Chapman University. Nicholas Deyoe Nicholas Deyoe is a composer, conductor, and guitarist born in Colorado and currently living and working in Southern California. Drawn to sounds that are inherently physical, Nicholas strives to create music that engages listeners intellectually and emotionally by appealing to their inner physicality. His compositions make use of noise, delicacy, drama, fantasy, brutality, and lyricism to create a diverse sonic experience. As a guitarist, Nicholas strives to further the already vast sound world of the electric guitar by experimenting with microtonal tunings, preparation, bows, and beer cans. He has received commissions from Carnegie Hall, USINESONORE Festival, The La Jolla Symphony, Palimpsest, and several soloists. His music has been performed in Germany, Switzerland, France, Spain, The Netherlands, Iceland, Japan, and throughout North America. As a conductor, Nicholas has performed with The La Jolla Symphony Orchestra, Red Fish Blue Fish, Ensemble Ascolta, The Darmstadt Preisträgerensemble, Noise, The University of Northern Colorado Symphony Orchestra, and many ad-hoc ensembles in the United States and Germany. He holds a Ph.D. in composition from UC San Diego where he studied with Roger Reynolds. Deyoe’s compositions and improvisations can be heard several record labels. Los Angeles Percussion Quartet would like to express our gratitude and thanks to the following people, places, and companies for their continued support during this project: Dan Shores, Dan Merceurio, and Sono Luminus, Erik Griswold, Shaun Naidoo, William Kraft, Nicholas Deyoe, Isaac Schankler, Joe Pereira,YAMAHA Percussion - John Whittmann, Jennifer Vierling, and Doug Steinmetz, Innovative Percussion – Carol Carpenter, REMO – Bruce Jacoby, Black Swamp Percussion – Tim Church, Sabian Cymbals – Nick Petrella, Chapman University Hall-Musco Conservatory of Music & College of Performing Arts, John Bergamo, Michael Burritt, Swapan Chaudhuri, Jeff Crowell, Matthew Darling, Matthew Duvall, Randy Gloss, David Johnson, Ji Hye Jung, Daniel Kennedy, Johnny Lee Lane, Don Parker, Steven Schick, Vanessa Tomlinson, and Dallas Cummaro for assisting LAPQ and Sono Luminus throughout the recording session.

DSL-92180 — The Year Before Yesterday - Los Angeles Percussion Quartet

Recorded in Oliphant Hall. Chapman University, Orange CA - January 27-30, 2014

Producer: Dan Merceruio Recording, Mixing & Mastering Engineer: Daniel Shores Editing Engineers: Daniel Shores, Dan Merceruio Assistant Engineer: Dallas Cummaro Blu-Ray Authoring: MSM-Studios GmbH

Cover Photography: Nicki Rosario Photography

Session Photography: Daniel Shores, Los Angeles Percussion Quartet Photo of Los Angeles Percussion Quartet (p. 7), : Nicki Rosario Photography Photo of William Kraft (p. 12): Lefteris Photography Photo of Nicholas Deyoe (p. 17): Jonathan Piper p& m2014 Sono Luminus LLC All Rights Reserved. P.O. Box 227, Boyce, VA 22620, USA Graphic Design: Daniel Shores www.SonoLuminus.com • [email protected] Mixed and Mastered on WARNING: Unauthorized reproduction is prohibited by law Legacy Audio speakers Recorded at 24bit, 192kHz in 7.1 Surround Sound and will result in criminal prosecution. www.legacyaudio.com