FESTIVAL OF AMERICAN CONTEMPORARY MUSIC at Rice University

November 2-7, 1986 FESTNALOF 2 A Message from Michael Hammond AMERICAN Dean, Shepherd School of Music CONTEMPORARY 3 A Message from Nancy Clarke MUSIC Executive Director, AT American Music Center RICE UNNERSilY

4 Schedule of Concerts and Events November 2-7, 1986 tO Biographies of Composers and Performers

18 Performing Organizations

25 A Partial List of Twentieth Century American Compositions Performed from 1975-1986 by the Shepherd School of Music

28 Acknowledgements A Message from Michael Hammond Dean, Shepherd School of Music

This week's activities at the Shepherd School constitute one of the most ambitious festivals of new American music in the nation. We are proud to offer these seven programs in observance of American Music Week, and we are grateful to the many colleagues and collaborators who have worked with us over the past year in bringing all these concerts into being. A mutual devotion to fine music by living composers has inspired these efforts.

Indeed, a number of the composers heard in this Festival are living among us here in Houston or elsewhere in Texas. We celebrate this fact and look to our own with special pride during this week. The myriad ways in which the music of these composers is woven into the rich fabric of Twentieth Century American writing will be apparent to our audiences. So will the endless links and family resemblances between these pieces and the unbroken tradition of European (and now Asian) music as well.

We extend our gratitude too to the performers from beyond the Shepherd School who have joined us in these events. Most of them have had long and distinguished associations with various composers and works of our own time.

Music continues to live because it continues to claim the full attention of living compositional imaginations and living artists who will labor to under­ stand and project the offerings of those imaginations. But equally, the tradi­ tion lives because there are listeners who wish to hear what is being said in their own time. May this Festival of American Contemporary Music at Rice University be an adventure for us all. Welcome.

2 A Message from Nancy Clarke Executive Director American Music Center

On behalf of the American Music Center, I congratulate the organizers of the Festival of American Contemporary Music at Rice University. We are particularly pleased that the Festival is taking place in conjunction with American Music Week 1986.

During American Music Week, all of America celebrates our living compos­ ers and performers of our country's contemporary music. American Music Week represents a continuing effort by the American Music Center and others throughout the nation to focus attention on the work of America's composers, to celebrate the quality and diversity of our music, and to stimu­ late performances of contemporary music. Through the work of all of us involved in American music, the music of America's composers will be heard.

To be successful, American Music Week must involve the talents and exper­ tise of activists working locally and statewide. The fine work of Mary Duren and Robert Rodriguez of the Texas Composers Forum and Tom Littman of Rice University have made the success of American Music Week assured in Texas this year.

3 Schedule of Concerts and Events

SUNDAY, NOVEMBER 2 4:00 p.m., Hamman Hall CAMBIATA .SOLOISTS

PAUL COOPER Winter Poems Text by C.E. Cooper I. Dull sky drop your blinding soothing blanket II . Old tree men .. . Ill. Naked before my mirror in the morning IV. Even the broken fences are beautiful V. The wonder of this icy splendor world SUMIYO ENDER, soprano AMY WINN, flute MARTHA BURWELL, harp ANITA LEMON, dancer/choreographer MARVIN FEINSMITH No'ach (text from Genesis) I. Chapter VI, Verses 5-9, 14-15, 17 II. Chapter VII , Verses 11-12,18, 21-23, Chapter VIII, Verses 1-4 Ill. Chapter VIII , Verses 6-12 IV. Chapter VIII , Verses 15-17, 21-22, Chapter IX, Verses 1, 9-11, 13, 16 ISABELLE GANZ, mezzo-soprano AMY WINN, piccolo and alto flute MARTHA BURWELL, harp RICHARD BROWN, percussion DAVIDCOLSON, percussion DEAN DALTON, narrator ARTHUR GOTTSCHALK, technical advisor

INTERMISSION

ARTHUR GOTTSCHALK Ragtime (World Premiere) * Text by Anal's Nin ISABELLE GANZ, mezzo-soprano DAVID TEASDALE, clarinet STEVE ESTES, cello CHRISTINE SCHAFFER, piano ARTHUR GOTTSCHALK, technical advisor RUSSELL PECK Liftoff RICHARD BROWN, percussion DAVID COLSON, percussion RIELY FRANCIS, percussion

*Commissioned by CAMBIATA SOLOISTS. This concert is funded in part by a grant from the City of Hou·ston through the Cultural Arts Council of Houston.

4 SUNDAY, NOVEMBER 2 8:00 p.m., 60th Floor, TEXAS COMPOSERS FORUM Transco Tower 2800 Post Oak Blvd. Benefit concert for "Meet the Composer" Grant Program

KARL KORTE The Birds of Aeroratoa I. Song - The Kokako II. ·Dance- The Bellbird

CHARLES SEPOS Breathless LAURA HUNTER, soprano saxophone

RICHARD LAVENDA The Weary Man Whispers DAVID PELTON, tenor PIERROT PLUS ensemble DAVID COLSON, conductor

INTERMISSION

CINDY McTEE Chord (Solo flute music in five movements) MARILYN MEAD, flute

MARK WARHOL What's With Sam? (Shirley's Aria from the opera Sam) LYNN GRIEBLING, soprano HENRI-PAUL SICSIC, piano MARK CLINTON, piano

ROBERT XAVIER RODRIGUEZ Tango di Tango ROBERT XAVIER RODRIGUEZ, piano MARY DUREN, accordian BRIAN DEAN, violin

5 55~ '3£_/(_3 S50

MONDAY, NOVEMBER 3 SHEPHERD SCHOOL 8:00 p.m., Hamman Hall SYMPHONY ORCHESTRA HAROLD FARBERMAN, guest conductor

PAUL COOPER Symphony in Two Movements I. Largo II. Molto allegro

INTERMISSION

GUSTAV MAHLER Symphony No. 1 I. Langsam Schleppend II. Kraftig Bewegt Ill. Feierlich und gemessen, ohne zu schleppen IV. StOrmisch bewegt

6 TUESDAY, NOVEMBER 4 SYZYGY: 8:00 p.m., Hamman Hall New Music at Rice

ARTHUR GOTTSCHALK Heavy Metal SHEPHERD SCHOOL HONORS BRASS QUINTET

DAVID COLSON Intaglios I. (to William Hibbard) II. (to Charles Owen) Ill. (to Thomas L. Davis) IV. (to George Burt) DAVID COLSON, vibraharp

HAROLD FARBERMAN Shapings 1: J = 60 II. J = 104 Ill. J = 76 IV. J = 96 PIERROT PLUS ensemble HAROLD FARBERMAN, guest conductor ROBERT OLSON, English horn

INTERMISSION

GEORGE BURT Exit Music Ill PIERROT PLUS ensemble DAVID COLSON, conductor

ELLSWORTH MILBURN Spiritus Mundi Text by C.E. Cooper I. Pluto II. Venus Ill. Mars LYNN GRIEBLING, soprano PIERROT PLUS ensemble DAVID COLSON, conductor

7 WEDNESDAY, NOVEMBER 5 ROBERT WARD, piano 4:00p.m. Lecture Recital Shepherd School Rehearsal Hall

"East Meets West: The Gamelan Music of John Cage" Origins of an Idea Philosophy and Aesthetic The Gamelan Orchestra The Prepared Piano Performance JOHN CAGE Sonatas and Interludes· (1946-1948)

) s N\ THURSDAY, NOVEMBER 6 8:00 p.m., Hamman a6 ~ !1.~ Hall /() } r RICE JAZZ ENSEMBLE lJ\ t KEN DYE, director LARRY SLEZAK, saxophone THEA MARTIN, vocalist MALCOLM HARRIS, trumpet

JOHN LA BARBARA Doodlin' MATT HARRIS Mira Mira BILL HOLMAN Flirt SAMMY NESTICO 88-Basie Street LES HOOPER Killer Joe Arranged by MALCOLM HARRIS Don't Rain on My Parade TOM DOSSETT Never Ending Blues

8 FRIDAY, NOVEMBER 7 8:00 p.m., Hamman Hall LAURA HUNTER, saxophone

M. WILLIAM KARLINS Impromptu (World Premiere)* Giocoso con abbandono Luttuoso Con energia PETER MALEITZKE, piano

RODNEY ROGERS The Nature of This Whirling Wheel*t PETER MALEITZKE, piano

PAUL COOPER Variants IV (World Premiere)* Tema: Molto adagio Tempestoso Tranquillo Semplice Dramatico Tranquillo diventando tempestos Tema: Molto adagio BRIAN CONNELLY, piano

INTERMISSION

HENRY BRANT Concerto for Alto Saxophone and Nine Instruments I. Con brio II. Sostenuto Ill. Ritmico, ironico PIERROT PLUS ensemble HENRY BRANT, guest conductor

*Commissioned by the National Endowment for the Arts Consortium Commissioning Program. tSimultaneous World Premiere witr1 Lawrence University New Music Ensemble, Appleton, Wisconsin.

Photographing and sound recording are prohibited. We further request that audible paging devices not be used during the performance. Paging arrangements may be made with the ushers.

9 •HENRY BRANT. one of the pioneer com­ American Academy and Institute of Arts posers of 20th century "spatial music", was and Letters in 1968, and to the American born in Montreal in 1913. In 1929 he moved Academy of Arts and Sciences in 1978. He to New York and for the next 20 years he has been a Fellow of the Centers for Ad­ composed and conducted music for radio, vanced Studies at Wesleyan University and films, ballet and jazz groups, also compos­ at the University of Illinois, and Composer­ ing experimentally for the concert hall. In in-Residence at the University of Cincinnati 1950 he began to write spatial music of a and the University of California at Davis. He particular kind, in which the positioning of was Regent's Lecturer at the University of the performers throughout the hall, as well California at San Diego (1980). Recent com­ as on stage, is an essential element in the missions include Thirty Pieces for Five Orches­ composing plan. This procedure, which tras (1981) for the Orchestra de Lorraine and limits and defines the highly contrasted the Centre Europeen pour Ia Recherche music assigned to each performing group, Musicale, and Dance/4 Orchestras (1981) for derives from concepts of Charles lves. the.19_82 Cabrillo Festival, Aptos, California. Brant's principal works since 1950 are all Cage is the author of Silence (1961 ). AYear spatial; these comprise over 50 composi­ from Monday (1968), M (1973) , Empty Words tions, each for a different combination of (197-9), all published by the Weslayan Uni­ instruments/ voices, and each requiring a versity Press; Notations (with Alison Knowles, different spatial arrangement of the per­ 1969) published by Something Else Press; formers in the auditorium. Brant's music Writings through Finnegans Wake, published has been widely performed and recorded in 6.GEORGE BURT. who was born in 1929 in by Printed Editions (1979) ; For the Birds this country and abroad, and his long San Francisco, received degrees in compo­ (Conversations with Daniel Charles) (1981) career has been recognized by numerous sition from the University of California in published by Marian Soyars; Another Song awards and honors, including two Guggen­ Berkeley, Mills College and Princeton. His (accompanying photographs by Susan Bar­ heim Fellowships, the Prix ltalia (which he teachers have included Andrew Imbrie, Dar­ ron) and Mud Book (with illustrations by Lois was the first American composer to win), ius Milhaud, Leon Kirchner and Milton Bab­ Long), both published by Callaway Edi­ election to the American Academy-Institute bitt. However, he worked most extensively tions; and Themes and Variations. published of Arts and Letters, the American Music with Roger Sessions. In addition. a grant by the Station Hill Press, 1982. Center's Letter of Distinction, and Mayor from the University of California enabled His graphic works include Not Wanting to Kevin White's official proclamation making him to live in Vienna for a year where he Say Anything about Marcel with Calvin Sum­ March 7 through 11, 1983 a Henry Brant Week composed and studied with Gyorgy sian (1969), Mushroom Book with Lois Long in Boston, devoted to concerts, seminars, Ligeti. He has taught at Smith College and and Alexander Smith (1974), Seven-Day Diary, interviews and broadcasts of Brant's spa­ the University of Michigan. George Burt is Signals. 17 Drawings by Thoreau, Changes and tial music. In 1984 the Holland Festival on the faculty of the Shepherd School of Disappearances, and On the Surface-etchings presented a special week of ten all-Brant Music at Rice University. :nade at the Crown Point Press, Oakland, retrospective concerts, during which 35 George Burt composes concert music as California, (1978-1982). A Praeger Documen­ orchestral and chamber works were per­ well as music for film. He has scored six tary Monograph in Modern Art, edited by formed . In recent years Brant's spatial feature-length films, including two scores Richard Kostelanetz, is devoted to his work. music has explored wider areas and larger for Robert Altman: "Secret Honor" (1984) His music is published by the Hen mar Press performing forces, in works such as Orbits which received outstanding awards in film of C. F. Peters Corporation. Recordings are (1979) for 80 trombones and organ; Meteor festivals throughout Europe and was con­ available on Columbia, Nonesuch, Folk­ Farm (1982) for expanded orchestra, two sidered by the press as a superior film, and ways, Everest, Time, Cramps, Tomato, and choirs. jazz band, gamelan ensemble and "Fool for Love" (1985) written by and star­ other labels. African drummers/singers; Western Springs ring Sam Shepard . Both films are currently He prepared an event, A House Full of (1984) for two orchestras, two choruses and in worldwide release. George Burt's cham­ Music, for Radio Bremen, May 1982. Roara­ two jazz bands; and Fire on the Amstel (1984), ber, orchestral and choral works have been torla, an Irish Circus on Flnnegans Wake (1979), a 3-hour work for four travelling barges, published and performed in the United co-produced by the West German Radio, the each carrying 25 flutists and a jazz drum­ States and Europe. South German Radio, and the Dutch Catholic mer-plus four church carillons, three Radio, and realized in collaboration with brass bands and four hand-organs, these John Fullermann in the IRCAM studio in additional forces deployed at various points Paris, was awarded the Karl Sczuka prize in throughout the center of Amsterdam . Henry 1979. Brant now makes his home in California.

..,.JOHN CAGE was born in Los Angeles in 1912. He studied with Richard Buhlig, Henry Colwell, Adolph Weiss, and Arnold Schoen­ erg. In 1949 he received a Guggenheim Fellowship and an Award from the National Academy of Arts and Letters for having extended the boundaries of music through his work with percussion orchestra and his invention of the prepared piano (1940) . In 1951 he organized a group of musicians and engineers to make music on magnetic tape. In 1952, at Black Mountain College, he pre­ sented a theatrical event considered by many to have been the first Happening. A twenty-five-year retrospective concert of his compositions was presented at Town Hall in 1958. He is Musical Advisor for the Merce Cun­ ningham Dance Company, having been associated with Merce Cunningham since 1943. Cage was elected to the Institute of the

10 ..,. DAVID COLSON received the Bachelor of T BRIAN CONNELLY is a modern virtuoso Music Degree at the University of Michigan who has received outstanding acclaim for where he studied percussion with Charles his commanding and communicative perfor­ Owen and composition with George Balch mances. He is currently on the faculty of the Wilson; he received the Halik Composition Shepherd School of Music as Artist Teacher Award and the Earle V. Moore Scholarship. of Piano, Accompanying , and Vocal Coach­ He was also the founder and conductor of ing. He has taught chamber music for sev­ the Current and Modern Consort, a new eral summers for the University of Michigan music ensemble based in Ann Arbor, Michi­ at Interlochen. Widely recognized as a gan. He received a Masters of Arts from the chamber musician of rare accomplishment, University of Iowa where he was a member Mr. Connelly performs with internationally­ of the Center for New Music; he studied renowned violinist Sergiu Luca and with composition with William Hibbard and re­ award-winning concert saxophonist Laura ceived the University's Philip Greeley Clapp Hunter. Composition Award . At Rice University, where he is studying for a Doctorate of Musical Arts, he and his teacher, Paul Cooper, formed "Pierrot Plus", the Univer-. sity's contemporary music ensemble. In 1986, he was awarded the Sallie Shepherd Perkins prize for highest achievement in music at Rice University. T PAUL COOPER. born May 19, 1926, was Mr. Colson has performed and taught educated at the University of Southern Cali­ extensively. He has been a member of the fornia, Los Angeles, and at the Conser­ Music Faculty at Coe College, Cornell Col­ vatoire National and the Sorbonne in Paris. lege and has taught at the University of His illustrious teachers included lngolf Dahl, Iowa and Rice University. In addition, he Ernest Kan itz, Roger Sessions, Halsey Ste­ was a member of the Toledo Symphony and vens, and the famed Nadia Boulanger. He the Northwood Orchestra. In 1982, he was a has received virtually every award and winner of the Percussive Arts Society Com­ honor offered in the United States: A Ful­ position Contest. bright Fellowship to Paris, two Guggenheim Fellowships to London, and awards or grants from the National Endowment for the Arts, Ford, Rockefeller, Rackham , and the National Academy and Institute of Arts and Letters, as well as yearly awards from ASCAP since 1966. His list of compositions T KEN DYE is Director of Bands at Rice Uni­ includes six string quartets, six concertos, versity. He holds a Doctorate in Music Edu­ four large oratorios, five symphonies (the cation and a Master of Business Admin­ last of which was commissioned by the istration from the University of Houston, a Houston Symphony) and an appreciable Master of Arts in Music from California amount of chamber and vocal music. He is State University and a Bachelor of Music in recorded on CRI , Crystal , and Lyrichord Trombone Performance from University of labels and is published exclusively by Edi­ Southern California. tion Wilhelm Hansen/Chester Music, New Dr. Dye's professional activities include York. W. L. Taitte has written: "He seems to Producer /Director for the Opening Ceremo­ heed Debussy's dictum that a composer can nies of the U.S. Olympic Festival-'86 and better spend his time looking at the world Band Director for the Liberty Weekend than listening to music of other composers; Celebration in 1986. Past projects include his works are filled with air and light, per­ the 1984 Olympics in Los Angeles, the 50th ceived freshly with the sense of a poet." Presidential Inauguration and director of Paul Cooper is presently Lynette S. Autry the Disneyworld All-American College Band. Professor of Music and Composer-in-Resi­ He is currently active as a musical arranger .& C. E. COOPER was educated in Switzerland, dence at the Shepherd School of Music . and clinician throughout the United States. Turkey, and England . She studied violin with the noted pedagogue, Gilbert Back, and singing with the famed Nadina de Sanctis. Daughter of the world-renowned opera pro­ ducer Carl Ebert, she had access, at an early age, to the great opera houses of Europe and America, and to musicians, writers, painters, and designers during and after World War II. Although she is fluent in five languages, her writing has been exclusively in English. Her initial works included short stories, novella, and opera libretti; after 1968, however, Cooper has devoted herself entirely to poetry and and to commissioned texts for vocal , choral , and theater works. Her catalogue includes more than 200 po­ ems, several of which appear in anthologies published in Eng land .

11 -.HAROLD FARBERMAN has conducted many of the world 's leading orchestras, among them the London Symphony Orchestra, the Royal Philharmonic, the Philharmonia, the BBC Symphony, the English Chamber Orches­ tra , the Stockholm Philharmonic and the Sydney Symphony. After graduating from the Juilliard School of Music in New York , Farberman joined the Boston Symphony Orchestra as a percussionist/timpanist, but resigned in 1963 to devote his energy to conducting and composing . In 1966 he was appointed principal guest conductor of the Denver Symphony Orchestra, subsequently becoming the music director and conductor of the Colorado Springs Symphony from 1967 to 1970, and the Oakland Symphony Orchestra from 1971 to 1979. As a recording artist Mr. Farberman has recorded more of Charles lves's works than any other con­ ductor and is the only one .A SUMIYO ENDER was born in Osaka, Japan so far to have . recorded all four of that At the age of ten she was singing regularly composer's sym­ .A MARVIN FEINSNIITH is a New York City phonies. As a result he was native with NHK Radio , Osaka. Ms. Ender was honored with and a graduate of the Mozarteum of the lves Award from the Academy Salzburg chosen as a soprano soloist for Tokyo's of Arts , the Juilliard and the Manhattan much celebrated and Letters. In 1980 he began a project to Schools of Music. He has also done grad­ annual presentation of record Handel's "Messiah all of the Mahler symphonies with uate work towards a Ph .D. at New York ". Upon her graduation the London with a bachelor's degree Symphony Orchestra and the University and at the University of Colorado. from Tokyo Uni­ complete symphonies versity of Arts, she was invited of Michael Haydn with Feinsmith has played as Principal Bassoon by UCLA to the Bournemouth Sinfonietta study opera in the USA , all for MMG with the Juilliard and Manhattan School . She also studied Records ; oratorio at the and his recording (1979) of Gliere's orchestras, ttle Indianapolis Symphony Boston Conservatory of llya Murometz Music. Ms. Ender received with the Royal Philharmonic Orchestra. the Mozarteum of Salzburg, and a Master's degree on the Unicorn from Rice University. She label received Belgium 's the Brooklyn Philharmonia; bassoon with was winner of the highest recording Metropolitan Opera Regional award, the Saint Cecilia the Symphony of The Air, the Little Orches­ Auditions Award . A three times, once in prolific composer, Harold Farber­ tra Society and Co -Principal Bassoon with Boston and twice in San man Francisco. Her US debut counts orchestral works, chamber the Israel Philharmonic Orchestra under was with "Madama music Butterfly" at the , concertos , ballet music, film scores, Leonard Bernstein and Zubin Mehta. He Inverness Music Fe_stival in song California. cycles and two operas among his was Solo Bassoon in 1972 for the "Mass" compositions. His last opera, The under the Ms. Ender sang "La Traviata", " Losers, direction of Leonard Bernstein; Fidelio", written in 1970, was commissioned the "Carmen" and "Don Giovanni " in by the same year he joined the Denver Sym­ Boston , Juilliard School of Music and phony and "Faust", "Rigoletto ", "La Boheme premiered at Orchestra, as Assistant Principal " and the Lincoln Center the following Bassoon, "Die Zauberfli:ite" in San Francisco. year. where he played for 13 years . Mr. In the Feinsmith south she sang "Le Nozze di Figaro is presently playing contrabas­ ", "Der soon Rosenkavalier" and "La Perichole" and bassoon with the Israel Philhar­ with the monic Houston Grand Opera and "Cosi Orchestra at the invitation of Maestro Fan Tutte" Zubin with the Texas Opera Theater. Mehta. Mr. Feinsmith Ms. Ender presented art songs has written No'ach, as a in several commissioned appearances as the featur0d soloist at work by the Piccolo Society the for mezzo Round Top Music Festival in Texas. soprano voice, piccolo and alto She has flute performed for many international , harp and percussion. No'ach was pre­ events miered offering her broad repertoire in fourteen in Carnegie Recital Hall on December languages. 5, 1984, to a fine review by the New York Times.

12 ~Lyric mezzo-soprano ISABELLE GANZ, winner of the classical vocal competition at the International Eisteddfod in Wales, has appeared with some of the country's most prestigious ensembles. She holds a Doctor of Musical Arts degree in voice and music literature from the Eastman School of Music, where she was a student of Jan DeGaetani , and presently teaches voice and contem­ porary music workshops at the Manhattan School of Music Extension Division, and voice and Sephardic music at the Abraham Goodman House. She is the Cantor of the Rossmoor Jewish Congregation, Jamesburg, New Jersey, and teaches voice at Houston Community College, Westchester Campus. A champion of contemporary music, Ms. Ganz has premiered numerous works, in­ cluding John Cage's Ryoanji for Voice and Per­ cussion. just released by Mode Records. Her recent solo appearances have ranged from tours of Israel and Roumania to the Vermont .&ARTHUR GOTTSCHALK is Associate Pro­ Mozart and Grand Teton Music Festivals. fessor of Music Theory and Composition, Last spring Ms. Ganz was soloist in James and Director of the Rice University Electronic Sellars' Chanson Dada with the Brooklyn Music Facilities, at the Shepherd School of Philharmonic, Lukas Foss conducting, and Music. Educated at the University of Michi­ appeared with the New York City Symphony gan , he studied composition with Ross Lee in the Folksongs of Luciano Serio, David Finney, Leslie Bassett, and William Balcom, Eaton conducting. At the 1985 Aspen Music and electronic music composition with Mario Festival she was the soloist in Serio's "EVo ", Davidovsky and George Wilson. A recipient the composer conducting . of the Charles lves Prize of the American Ms. Ganz has recorded the Folksongs of Academy and National Institute of Arts and Luciano Serio for "Second Hearing, Ltd .", a Letters, he has received numerous national compact disc label, Judeo-Spanish Roman- awards and honors, and was Composer-in­ .&Saxophonist LAURA HUNTER made her for "Spectrum Records", two albums Residence at the famed Columbia-Princeton ., ceros York debut in Carnegie Recital Hall folk songs for "Prestige/In­ Electronic Music Center in 1982. New of international in 1981 and her Houston Symphony debut in Records", as well as John Cage's ternational 1982. She was awarded Pro Musicis Spon­ Ryoanji for "Mode Records ". sorship in 1983 which has resulted in recitals in New York, Boston, and Los Angeles . In 1984 she was selected to join the roster of Affiliate Artists. She was the recipient of a Solo Fellowship and two Consortium Com­ missioning Grants from the National Endow­ ment for the Arts . Ms. Hunter is a graduate of the University of Michigan where she studied with Donald Sinta. While at school , she joined with pian­ ist Brian Connelly to form the chamber ensemble Duo Vivo . As soloist and with Duo Vivo she has performed throughout the Uni­ ted States and Europe and participated in Chamber Music Northwest, Eurotreff, and Oregon Coast Music Festivals. She teaches at the University of California, San Diego and at the University of Redlands. Laura Hunter is committed to bringing an exciting and expanding saxophone repertoire to a wider audience .

.&. Soprano LYNN GRIEBLING, Artist Teacher of Voice, earned her Master's degree from the University of Wisconsin and spent the next few years there as both artist and teacher. Her career took her to England where her concerts for the BBC, the London Bach Festival , and Les Musiciens du Roi were widely acclaimed by both press and public. Her programs have encompassed art songs in many languages and much contemporary and avante-garde music. Since moving to Houston in 1979, Ms. Griebling has appeared with the Opera, the Ballet, and the Symphony, in addition to other recital appearances.

13 ..._ KARL KORTE was born in Ossining, New ,. RICHARD LAVENDA is Assistant Professor of York , and spent most of his early years in Composition and Music at Texas Wesleyan Englewood, New Jersey. His first musical College in Fort Worth. A New Jersey native, influences came from his father, a sculptor he received a Doctor of Musical Arts degree born and trained in Germany, who had a from the University of Michigan in 1983. He love of classical music and considerable also holds a Master of Music degree from knowledge of it. Although the young Korte's the Shepherd School of Music, Rice Univer- initial activity as a musician was mainly as sity, and a Bachelor of Arts degree, in Phi­ a trumpet player in jazz and popular music, losophy, from Dartmouth College. Lavenda he later played in the First Army Band for has composed music for a wide variety of several years and then attended the Juilliard instrumental and vocal ensembles, and has School of Music, where he studied with Peter frequently collaborated with poets, chore­ Mennin, William Bergsma, and Vincent Per­ ographers, and theatre directors on multi­ sichetti. Other composition teachers included media projects. Goffredo Petrassi , Otto Luening, and Aaron Copland. Over the years his music has attracted both national and international attention through publication, performance, record­ ings, and a number of significant prizes and awards: a Fulbright Grant to Italy, a George Gershwin Memorial Award , two Guggenheim ,. M. WILLIAM KARLINS. born in New York Fellowships, two Young Composer Grants City, received his Bachelors and Masters from The Ford Foundation. Fellowship/ degrees in composition from Manhattan Grants from the National Endowment for School of Music and his Ph .D. from the Uni­ the Arts , a gold medal from the Belgian versity of Iowa. He is presently composer Government in the 19691nternational Queen and Professor of Theory and Composition Elizabeth Competition, and first prize in the at Northwestern University. Mr. Karlins has 1979 Missouri Contemporary Music Compe­ an extensive compositional output which tition. Most of 1985 was spent in New Zea­ embraces all forms: from large orchestral land where the composer held a Fulbright ensembles and chamber groups to solo and Lectureship. choral works. He has also written many Korte has taught at the Emma Willard pieces for saxophone, combining it with School, Arizona State University, The State orchestra, brass quintet, string quartet, University of New York at Binghamton, and percussion, piano and organ. The University of Texas at Austin , where he Karl ins' music has been performed by the is currently Professor of Composition. Chicago Symphony Orchestra, Chicago After the first public performance of his Chamber Orchestra, American Chamber music in New York during the 1950s, a critic Symphony, Chicago Saxophone Quartet, wrote, "Here is a man with a good ear and Music of Our Time, Bertram Turetsky (bass) , something to say." Of his first published Joel Krosnick (cello). Joseph Wytko and compositions (Four Blake Songs) a reviewer Frederick Hemke (sax), Fine Arts String wrote, "Korte is an eclectic whose harmonic Quartet and many others. and rhythmic resources produce something Karlins has been the recipient of grants quite fresh , new and personal. " Public per­ and awa ~ ds from the NEA, Illinois Arts formances of his music continue to elicit Council , Meet The Composer, Princeton highly favorable responses . Seminar in Avanced Studies, MacDowell Colony and others. He is a member of Amer­ ican Composers Alliance.

..._ANITA LEMON studied at Goddard College and has done post-graduate work at the University of California in Idyllwild. Her teachers have included Bella Lewitzky, Bill Evans, and Fred Strobel. Ms. Lemon has performed as a member of the Roberta Stokes Dance Company, Houston Contem­ porary Dance Company, and as guest artist with various groups, including Space Dance Theatre and the Primitive Dance Society. She has taught at the Houston Ballet Acad­ emy and currently teaches for Houston Community College and Chrysalis Repertory Dance Theatre. Ms. Lemon continues to devote time to the development of her solo repertoire, presented in concert and "in­ formance," and to her own choreography. Ms. Lemon has been with Chrysalis since its inception and is currently choreograph­ ing a work for the company's February 14 concert at the Jewish Community Center's -' Festival of Dance.

14 .... PETER MALEITZKE has distinguished him­ T CINDY Me TEE. born in Tacoma, Washing­ self as both a performer and teacher. He ton in 1953, received a Bachelor of Music holds both Bachelor of Music and Master of from Pacific Lutheran University; a Master Music degrees in Piano Performance from of Music studying with Krzystztof Pende­ the University of Michigan where he was a recki and Jacob Druckman at the Yale student of Leon Fleisher. Martin Katz, and School of Music; and a Ph .D. under the Gyorgy Sandor. In demand as an accom­ direction of Richard Hervig from the Uni­ panist, he has performed in that capacity and versity of Iowa. She also completed one as a soloist in Europe and throughout the year of study in Poland at the Krakow Con­ United States. A recipient of numerous servatory. She has received a BMI award, awards he was recently the winner of the two grants from the Washington State Arts 1986 San Jose Young Artists Competition. Commission, and a DAAD fellowship. Dr. Mr. Maleitzke is currently Instructor of McTee taught at Pacific Lutheran University Piano at West Valley College in Saratoga, from 1981 to 1984 and subsequently joined California and lives in San Francisco. the faculty of North Texas State University's School of Music where she is currently Assistant Professor of Composition. Chord is about multiple sonorities achieved through the use of extended flute techniques and arranged into patterns which retro­ grade at the work's midpoint. The piece was inspired by the musicianship and virtuosity T ELLSWORTH MILBURN is currently Profes­ of Robert Dick who gave its first perfor­ sor of Music at the Shepherd School of mance in New Haven, Connecticut during Music where he teaches composition and the spring of 1977. theory. He received his musical education at U.C.L.A ., Mills College, and the College­ Conservatory of Music of the University of Cincinnati. From 1963-1968 he was music director for The Committee, San Francisco's improvisational theatre company, and com­ posed music for radio, television, and films. In 1970, he was appointed to the faculty of the College-Conservatory of Music (Cincin­ nati), where he established the Contempo­ rary Music Ensemble and directed Music '71-75, Cincinnati's contemporary series. As a composer, he has received awards from & A native of Texas, MARILYN MEAD is the the National Endowment for the Arts and winner of numerous major awards and commissions from a number of ensembles competitions. She has performed exten­ including the Concord String Quartet, the sively throughout North America, North Montagnana Trio, the Philadelphia Com­ Africa, France, and England as a soloist and poser's Forum, the Houston Symphony, the chamber muslcian. As a "Harriet Hale Springfield (Missouri) Symphony, and the Woolley Scholar", Ms. Mead studied with Concert Artists Guild. Michel Debost, world-renowned flutist of the Orchestre de Paris. Ms. Mead was named a "Young Concert Artist of the Year" by "Hi-Fidelity" magazine. She is also the T ROBERT OLSON, a native of the Houston winner of the Judith Randal Chamber Music area, received his "Bachelor's degree from Award , the National Arts Club Young Artists Rice University. He studied oboe with Ray­ Competition, and the I. Olshan Grand Award . mond Weaver of the Houston Symphony As a first-prize winner in the Artist Interna­ Orchestra and with John Mack of the Cleve­ tional Competition, Ms. Mead was presented land Symphony. He has made solo appear­ in her Carnegie Recital Hall debut. ances in Europe and has performed with Ms. Mead is a graduate of the Manhattan numerous chamber music ensembles. Mr. School of Music in New York City where she Olson presently plays English horn and oboe received her Bachelor of Music and Master with the Texas Chamber Orchestra and with of Music degrees. In chamber music, she the Collage chamber music ensemble. has coached with Marcel Moyse, Gary Graffman, Simon Streatfield, John Cage, and Elliot Carter. Ms. Mead has received fellowships from the Aspen, Waterloo , and Banff Centre music festivals. In 1984 Ms. Mead was featured soloist in the Lincoln Center "Damrosch Park Concerts", and "I.B.M.'s Salute to the Arts Series" in New York City. Ms. Mead was awarded the Fulbright Award to Norway in 1985, and this past summer she was featured with violinist Sylvia Rosenberg in the Brandenburg Con­ certo at the Manchester, Vermont Music Festival. Recently she appeared as concert soloist in Sankyo Prima's "Golden Flutist Concert" at the Merkin Concert Hall in conjunction with the National Flute Associ­ ation Convention in New York City.

15 ~RUSSELL PECK. born in Detroit in 1945, is a ~ROBERT XAVIER RODRIGUEZ was born in magna cum laude graduate of the Univer­ 1946 in San Antonio, Texas . He has studied sity of Michigan where he also received with Hunter Johnson, Halsey Stevens, Elli­ Master and Doctoral degrees in composi­ ott Carter, Bruno Maderna, Jacob Druck­ tion. His teachers have included Leslie Bas­ man and Nadia Boulanger. Rodriquez first sett, Ross Lee Finney, Gunther Schuller, and gaineo international recognition in 1971 with George Rochberg-the latter two through the Prix de Composition Prince Pierre de Monaco. Margaret Crofts- Fellowships for study -at Other honors include the Prix Lill Boulanger. Tanglewood Music Center. and awards from ASCAP, The NEA, the Dit- Among honors he has received are the 5on Fund, the Mobil, Rockefeller and Gug­ Koussevitsky Prize, two Ford Foundation genheim Foundations and The American Fellowships, grants from the National En­ Academy and Institute of Arts and Letters. dowment for the Arts and several states' Mr. Rodriguez has taught at the Univer­ arts councils, annual ASCAP awards, and sity of Southern California and has held commissions from major symphony orches­ Composer-in-Residence appointments from tras. Artist residencies have included a The Los Angeles Chamber Orchestra and position as guest composer at the Gaudea­ The Dallas Symphony Orchestra, with whom mus Contemporary Music Festival in the he is presently serving as Consultant. Mr. Netherlands, and a two year appointment Rodriguez is Associate Professor of Music as composer-in-residence with the Indiana­ at The University of Texas at Dallas and polis Symphony (1971-73) . Mr. Peck has President of Meet the Composer/Texas. also served on the faculty of Northern Illi­ A "richly lyrical" (Musical America) and nois University, Eastman School of Music, "colorful composer with Romantically dra­ and the North Carolina School of the Arts . matic inclinations" (The Washington Post) In addition to his composing activity, Mr. and "an all-encompassing sense of humor" Peck also performs extensively as a narra­ (Los Angeles Times). Mr. Rodriguez has tor of his own orchestral works for young received commissions from conductors such audiences, and has appeared as guest artist as Eduardo Mata, Neville Marriner and Antal with the Detroit, Milwaukee, Buffalo, New 'Dorati. Mr. Rodriguez' music is published by Orleans, and Cincinnati Symphonies, and Galaxy Press and is performed in American f many other orchestras across the country. and European musical centers. His works have been recorded on the Crystal, Orion and Nonesuch labels.

•DAVID PELTON holds degrees from Cornell University, the New England Conservatory of Music and the College-Conservatory of Music, and the University of Cincinnati. He has frequently toured this country and r Europe as a solo performer and conductor and has been on the faculties of Colgate University, Augusta College (Augusta, Geor­ gia), Texas Wesleyan College and Rhode Island College. For the past two seasons. Mr. Pelton has been the Executive Director of the Newport Festival Opera in Newport, Rhode Island . Mr. Pelton's solo vocal repertoire is exten­ sive, ranging from the Troubadour and Trouvere literature of the Middle Ages to such contemporary works as Peter Max­ well Davies' Eight Songs for a Mad King. George Crumb's Songs, Drones and Refrains of Death and Bernard Rands' Canti del Sole. He has performed with professional and colle­ giate contemporary music ensembles in Houston, Dallas, Boston, Rochester, Provi­ dence and Cincinnati and will this coming season perform in Tampa, New Orleans and Chicago.

16 ~ROONEY ROGERS is on the faculty of the Conservatory of Music at Lawrence Uni­ versity (Appleton, Wisconsin) where he teaches composition , theory and counter­ point. Dr. Rogers is the recipient of resi­ dence fellowships at Yaddo and MacDowell Colony, a Composition Fellowship at the Berkshire Music Center at Tanglewood , three BMI awards in composition, the ASCAP IJJo ROBERT WARD is a recent winner of the Foundation Grant to Young Composers (1983) PRIX Dl POSITANO awarded by famed Ger­ and a recent recipient of a Consortium man pianist Wilhelm Kempff for outstanding Commission from the National Endowment performance of Beethoven's piano works. for the Arts for which The Nature of this Whi­ He first won international recognition on a rling Wheel was written. concert tour of Latin America sponsored by His compositions , primarily for various the U.S. State Department, during which he sized chamber ensembles, are published by introduced Samuel Barber's PIANO CON­ Associated Music Publishers/G. Schirmer CERTO to audiences in eleven countries. and Margun Music. Recent performances Since then he has appeared extensively have included the New York premiere of a throughout the United States and Europe. choral work sung by the Gregg Smith Sing­ Robert Ward is recipient of numerous ers, a composition for tenor and instrumen­ awards, including an Austrian Government talists performed by the New York New Scholarship for study at Vienna's renowned Music Ensemble and two commissioned Hochschule fUr Musik, and a Fulbright grant premieres at Carnegie Recital Hall. His for study in Italy. He has studied with such music for wind ensemble, Prevailing Winds, outstanding teachers as Dieter Weber, Carlo has received numerous performances at Zecchi , Stanley Fletcher, Webster Aitken, universities throughout the United States. and most recently with Dorothy Taubman . In 1978 Mr. Ward joined the faculty of the University of Southern California where he teaches piano majors and directs the piano literature courses . A popular lecture-recit­ alist, Robert Ward performs frequently at summer festivals , including the Amherst Music Festival and the AIMS Festival in Graz, Austria. A tour of over 20 music schools this fall will take him to such distinguished insti­ tutions as Oberlin Conservatory,lnterlochen Music Academy, the Universities of Indiana, Texas, Wisconsin , and UCLA. Highlighting his spring '87 schedule will be a lecture­ recital for the Music Teachers National Association convention in New York City.

IJJ>CHARLES SEPOS is Visiting Assistant Pro­ .&.MARK WARHOL attended the School of fessor of Composition and Theory at Shep­ Music, University of Tennessee, after gra­ herd School of Music, Rice University. He duating from Purdue University in Electrical has taught theory at the University of Colo­ Engineering . He designed and built the first rado , and composition and theory at the electronic music studio and installed the College-Conservatory of Music, University first digital music synthesis program at the of Cincinnati, at the Boulder Free School, as University of Tennessee . His studies at the well as in private classes. School of Music included composition les­ Dr. Sepos is past Trustee and past Direc­ sons under David Van Vactor. tor of Public Relations of the Cincinnati Mr. Warhol 's piano composition Pavane Composers' Guild. He is a member of Pi won 1st Place in the Keyboard Category in Kappa Lambda, National Music Honor Soci­ the 1984 Composers Guild Contest held in ety, and the recipient of numerous composi­ Salt Lake City while his horn duet July's tion prizes including a BMI Award . December was recorded through a 1985 He earned Bachelor of Music, Master of Demo-Taping Project grant from the Minne­ Music, and Doctor of Musical Arts degrees sota Composers Forum. He is currently col­ from the College-Conservatory of Music, laborating with playwright James Swindell University of Cincinnati. He did additional on a chamber opera entitled Sam. graduate work at the University of Colorado at Boulder. The circular breathing etude Breathless was commissioned by flutist Satoshi Okada, who gave its premiere in February 1986. 1t is intended to be playable on most woodwind instruments notated in treble clef.

17 The Cambiata Soloists is a group of professional chamber musicians founded in 1971 by mezzo-soprano Isabelle Ganz. Ms. Ganz, along with several outstanding Houston musicians, began bringing little-known works of great value to Texas audiences.

Cambiata Soloists draws on the many fine university faculties and performing organizations in Houston for the remainder of its membership. The personnel /-I of each concert is dependent on the programming for that concert.

Cambiata has to its credit many Houston premieres of important contempo­ rary works such as "The Windwife" by Yvar' Mikhashoff (1974), an entire program of little-known works by Ravel (1975), "Revenants" by Ellsworth Milburn (1978), and "Songs of Antigone" by Paul Cooper (1980). In 1983 the group gave Houston premieres of "Ancient Voices of Children" by George Crumb, "Serenade" by Schoenberg and an entire program of Houston pre­ mieres of American music in February, 1984, including works of Crumb, Carter, Cage and Fennimore.

Though Cambiata Soloists performs many contemporary works, the group is equally at home with standard repertory. In this area the group enjoys performing forgotten works or those with unusual combinations of voices and instruments which would not otherwise be heard in this part of the country. Works such as the "Introduction and Allegro" by Ravel, an entire program of 16th and 17th century madrigals accompanied by viols, recorder, lute and viola da gamba and "Duet ('with two eyeglasses obligato')" by Beethoven written for viola and contrabass are regular components of Cam­ biata programs.

Cambiata Soloists has performed in San Antonio, Austin and Houston, its home base. In addition, the group has appeared in Albany, Buffalo, and i Rochester, New York. They have received critical praise for their innovative I programming, as well as for their high standards of musical performance and 1 have delighted audiences wherever they have appeared.

~I i I

18 Texas Composers Forum was founded in 1985 to promote the music of American composers. The fund-raising event of November 2 at the Transco Tower will help support the statewide programs of Texas Composers Forum, a non-profit organization best known for its sponsorship of personal appear­ ances by composers through the "Meet the Composer" Grant Program.

All styles of music, including jazz, classical, folk/ethnic, electronic and others, are supported in a variety of concert settings such as concerts, dance, theater and film, throughout all regions of the state. Recent grant recipients include the New Music America Festival 86 and numerous musical institutions (such as the Dallas Opera and the Fort Worth, San Antonio, Houston and Dallas Symphonies) and schools (such as SMU, NTSU and UT) as well as a variety of churches, theaters and community arts organizations.

TEXAS COMPOSERS FORUM SUPPORTERS

City of Dallas Cultural Arts Program The David W. Guion Educational and Religious Trust II Meet the Composer, Inc. The National Endowment for the Arts The Texas Commission on the Arts

Benefactors: Mr. and Mrs. John Freiberger Mr. and Mrs. Thomas H. Neuhoff Mr. and Mrs. Charles Schwartzkopf

Donors: Mr. and Mrs. Robert Y. Evans Mrs. Jane M. Holahan Mr. Robert L. Nelson, Jr. Mr. and Mrs. John G. Penson Rev. Terence Roper

Contributors: Mrs. Billie Cook Mrs. Sandra Sanderson Prof. Lawrence Weiner

The Texas Composers Forum concert of November 2 is made possible in part by the Foundation for Modern Music, Berry Bowen, President.

19 Syzygy, as a term used in astronomy, refers to the conjunction or opposition of two heavenly bodies. The Greek word from which it is derived means union J or conjunction. In poetry it was a combination of two feet, frequently of different kinds, implying a union of opposites, or at least of differences. The term appealed to those of us at the Shepherd School who are interested in new music because it suggested a number of facets of the current state of the art which contribute to its vitality: unity/diversity, synthesis/analysis, action/ reaction, conjunction/opposition. It also suggested, to those who adhere to the idea of a musical-philosophical continuum, one aspect of th"e Harmony of the Universe. The concert series called "Syzygy" began on April6, 1977 with performances of works by Thea Musgrave, George Crumb, and Peter Maxwell Davies. The establishment of a series of concerts of new music was made possible by the attitude of the administration, faculty, and students of the Shepherd School, and their enthusiasm can be illustrated by former faculty member Ronald Patterson's comment: "If the ink is dry, we shouldn't play it." Originally, two concerts per year were produced from the internal resources of the school, with a budget that would accommodate only the procurement of music and an occasional guest composer or performer. Once established, the series expanded, and approximately six concerts per year are currently produced. While the core of the performing personnel continues to be Shepherd School faculty, students, and Houston-area musi­ cians, many guest artists have been presented, including David Burge, the Concord String Quartet, Sonanza, Jan DeGaetani, Laura Hunter, the Mon­ tagnana Trio, and others. In addition, composers such as Witold Lutoslawski, John Cage, Charles Wuorinen, and Leonard ·Rosenman have been invited to participate in the performances of their music. Historically, Syzygy has attempted to represent the vanguard of composed music of the second half of the twentieth century, while occasionally paying homage to some of the major figures of the period 1900-1950.1t has eschewed "minimalism" in favor of "maximal ism", although there are no rules to deter­ mine this; it has striven for a catholicity of taste and a broad international representation, while emphasizing American music, but has made no claim to total impartiality; it has reflected the strong, sometimes passionate, esthetic convictions of its programming committee; it has also produced concerts which have featured music that was in complete opposition to those convic­ tions; when the situation called for it, pieces and/or whole concerts have been cancelled or postponed. Ultimately, it has provided a medium for the profes­ sional performances of new works, in the belief that the great music of our time is being created in our own time.

1986-1987 SYZYGY COMMITTEE: George Burt, Chairman David Colson Arthur Gottschalk Ellsworth Milburn Paul Cooper Tom Littman, ex officio Charles Sepos 20 Pierrot Plus, the Shepherd School New Music Ensemble David Colson, Music Director

FLUTE HARP Beatriz Bonnet Laura Witt* Marilyn Mead PIANO OBOE Henri-Paul Sicsic Adam Shapiro John Hendrickson*

CLARINET VIOLIN Philip May* Brian Dean Wayne Baze William Chandler Bernard Stephan* Amy Chang Sheila Patterson Connie Sunday Denise Couch BASS CLARINET Jennifer Leshnower Margaret Beard Kimberly Robertson* Tamara Vance* VIOLA BASSOON Penelope Meitz John DeGruchy James Alexander

ALTO SAXOPHONE CELLO Richard Nunemaker*t Laurie Reisig-Riss Sara Ullman TRUMPET Jennifer Bales* DOUBLE BASS Kenneth Harper HORN Robert Nuttall

TROMBONE Ken Clark

TUBA Sam Griggs

PERCUSSION Gabriel Dionne Guilla Rodriguez Christopher Rose *Guest performer Richard Skains tMember of the Houston Symphony Orchestra

21 1!!1

Shepherd School of Music Honors Brass Quintet

Kevin Tarrant, trumpet Jeffrey Cooper, trombone Susan Purcell, trumpet Samuel Griggs, tuba Luke Sellers, horn

22 Shepherd School Symphony Orchestra Harold Farberman, guest conductor

TRUMPET FIRST VIOLIN CONTRABASS Michael Cox Brian Dean, concertmaster Rebecca Sellon Diane Hilbert Deirdre Ward Jonathan lmsande Bobby Moss Stefan Wagner Kenneth Harper Susan Purcell Carol Laube Jackie Schimmel Kevin Tarrant Benedict Goodfriend Josee Deschenes Jennifer Leshnower Tracy Rowell TROMBONE Klingensmith Kristina LaCombe David Kenneth Clark Couch Denise FLUTE Jeffrey Cooper , Pagliarini Shawn Mark Estes Patrick Corbett Chang Amy LaNelle McDowall Preisinger TUBA Elizabeth Kiran Murty Roy Philip Burke Todd Jennifer Wittman VIOLIN TIMPANI SECOND OBOE Watts Matthew McCarthy Justine Rubena Buerger Kimura Christopher Rose Rosemary Amy Cooper Fung Richard Skains Wong Alan Juza Chandler William Adam Shapiro PERCUSSION Hsu Aileen John Siano Gabriel Dionne Sunday Connie Eileen Whalen J. Riely Francis Jerry Wang David Murray HORN Fiona Lofthouse ENGLISH Guillo Rodriguez Hsin Juza Ming-Feng Alan Daniel Smith Tanya Schreiber CLARINET Jane Wang CELESTE Wayne Baze Teodor Tetel Michael Carlyle Sharpe Margaret Beard VIOLA Susan Moore HARP Penelope Meitz Sheila Patterson Constance Slaughter John Randolph Marisa Wei CLARINET Wendy Gauntt Eb Wayne Baze ASSISTANT CONDUCTOR Renate Vaughn Michael Patterson Blanton Alspaugh Ben Feigert Sheila James Alexander BASS CLARINET ORCHESTRA MANAGER Julia Davis Sheila Patterson Martin Merritt CELLO BASSOON STAGE TECHNICIANS Cao Min John DeGruchy Philip Burke Amy Begg Renee Landers Lisa Hollibaugh Laurie Reisig-Riss Kristina LaCombe Sara Ullman CONTRABASSOON HoAhn Shelly Unger LIBRARY TECHNICIANS Carter Penelope Meitz Suzi HORN Lisa Hollibaugh Elizabeth Preisinger Pamela Glasser Nelsen Rebecca Sellon Brett Beth Lazzerini Starn bier Aaron Michael Miller Michael Morris Robert Nuttall Luke Sellers J. Eric Williams 23 i

Rice jazz Ensemble Directed by Ken Dye and Larry Slezak

SAXOPHONE RHYTHM Craig Biggerstaff Mary Finch Piano: Kristina Gardner Phillip Hall Ben Jenkins Michael Brantley Syd Polk Bass: Ken Richardson Anna Cone TRUMPET John Harman Jim Bateman Chris Madland Brad Cope Drums: Eric Krukonis Jason Brown Darryl Stephens Matt McCarthy TROMBONE David Murray David Gutierrez Bobb Head Mike Hickey Alan Kendall

24 SEASON 1975-1977 Ellsworth Milburn A PARTIAL Sonata for Violin OF Elliot Carter Soli Ill LIST Recitative and Improvisation Robert Nagel Elegy Brass Trio No. 2 lWENTIETH Barney Childs Walter Piston Quartet No. 8 Three Pieces for Flute, CENTURY Michael Colgrass Clarinet and Bassoon Variations for Four Drums and Elliot Schwartz AMERICAN Viola Divertimento for Number Three Paul Cooper Dorrance Stalvey COMPOSITIONS Variants for Organ Celebration Sequent I String Quartet No. 5, Robert Wykes PERFORMED "Umbrae" Sonata for Flute and Piano George Crumb FROM Vox Balaenae SEASON 1978-1979 Ross Lee Finney 1975-1986 String Quartet No. 4 Edmund Cionek Samuel Jones Abracadabra BY THE Spaces Thomas Clark Barbara Kolb Space Hold SHEPHERD Homage to Keith Jarrett and Paul Cooper Gary Burton String Quartet No. 1 SCHOOL Ellsworth Milburn Sonata for Piano String Quartet Variants for Viola and Piano OF MUSIC Michael White Silences Prelude and Ostinato Soliloquies String Quartet No. 6 SEASON 1977-1978 George Crumb Songs, Drones, and Refrains William Albright of Death Beulahland Rag Mario Davidovsky Edward Applebaum Synchronisms V The Face in the Cameo Jacob Druckman George Burt Animus Ill Exit Music I Eugene Kurtz Paul Cooper The Last Contrabass in Quartet No. 6 Las Vegas Concert for Three Peter Klausmeyer Requiem for Organ and Teddy Bears Picnic Percussion William Kraft Jacob Druckman Encounter II In Centers Barton Mclean Donald Erb Dimensions II Three pieces for Brass Edgar Varese Quintet and Piano lntegrales Alvin Eller Jack Waldenmaier Quintet for Brass Instruments Leit Mirrors for Two Amplified Irving Fine String Basses, Electronics, Partita for Wind Quartet and two Dancers Pia Gilbert George Balch Wilson Tri Exigencies Arthur Gottschalk The Sophisticates Charles lves Sonata No. 3 for Violin and Piano

25 SEASON 1979-1980 SEASON 1980-1981 SEASON 1981-1982

Warren Benson Samuel Barber John Baur Rondino Mary Haynes (from Four Miniatures Charles Boone Reincarnations) Chester Biscardi Lines Meridiana The Cooling (from Mestiere Paul Chihara Reincarnations) Jane Brockman Willow, Willow Reflections on the Old Year Metamorphosis Paul Cooper Allyson Brown Paul Cooper Songs of Antigone Tropes Four Intermezzi Aaron Copland George Burt Sonata for Flutes and Piano An Outdoor Overture Improvisations II Requiem for Organ and Ross Lee Finney Elliot Carter Percussion Sonata No. 2 for Viola Pastoral Aaron Copland and Piano Paul Cooper El Salon Mexico Alan Houhaness Canti for Viola and Piano John Corigliano October Mountain Aaron Copland Elegy for Orchestra Charles lves Threnody I and Threnody II Paul Creston Tone Roads No. 1 Paul Creston Concertina for Marimba From the Steeples and Sonata for Saxophone Mario Davidovsky the Mountains and Piano Synchronisms No.6 for Piano Tone Roads No. 3 George Crumb and Tape The New River Makrokosomos, Volume II Jacob Druckman Down East Ross Lee Finney St-ring Quartet No.3 West London Sonata No.2 Ross Lee Finney The Cage Sonata No. 2 for Viola Variations on a Theme by The Side Show Arnold Fronchetti Alban Berg The Childrens Hour Sonata for Organ Two Studies for Saxophones Soliloquy or a Study of the Steve Galante and Piano 7th's and Other Things Diminishing Returns Arthur Gottschalk Old Home Day Scott Gehman Quartet: Ontogeny Invention Fantasy for Violin and Charles lves Scott Joplin Orchestra String Quartet No.2 Maple Leaf Rag Radio Galaxies Kerry Jones William Kraft Charles T. Griffes Sketches of Elegy and Praise Suite for Percussion Sonata for Piano Samuel Jones Heni Lazarof Arthur Gottschalk Elegy for String Orchestra Concertazione Slide Show Barbara Kolb Phillip Lindsey Barbara Kolb Appello In the Quiet Saffron Hour Tobar Klus Karl Korte Kyrie II Eugene Kurtz Matrix Walter Piston The Last Contrabass in Priscilla Mclean Passacaglia Las Vegas Invisible Chariots Frank Proto Otto Luening Ellsworth Milburn Doodles Gargoyles Character Pieces Roger Sessions Ellsworth Milburn Sylvia Pengilly Concertina for Chamber Menage Incantations Orchestra from My Diary Robert Morris George Rochberg Thunder of Spring over String Quartet No. 4 Distant Mountains Robert Xavier Rodriguez Stephen Paulus Trio I Spectra Rawslyn Ruffin Vincent Persichetti Concerto da Camera lnforta Mariana, op. 147 Gunther Schuller Halsey Stevens Symphony for Organ Suite for Viola and Piano Gary Smart Phil Winsor After Schumann The Bride Stripped Bare Paul Smiley Keelgosa "Wheels" Trip David Ashley White Lamentations Yehudi Wyner Three Short Fantasies

26 SEASON 1984-1985 SEASON 1982-1983 SEASON 1983-1984 Claus Adam Milton Babbitt Milton Babbit String Quartet String Quartet No. 5 Partitions - in %±8 Miles Anderson Samuel Barber Minute Waltz Improvisation, Poem(s) and First Essay for Orchestra My Compliments to Roger Americana Adagio for Strings Playing for Time David Baker William Bolcom William Bergsma a Sonata for Cello and Piano Graceful Ghost Rag Fantastic Variations on and Leslie Bassett Leonard Bernstein Theme from Tristan Triform Sonata for Clarinet and Piano Isolde William Bolcom John Cage William Bolcom Litlith The Perilous Night Sonata for Violin and Piano George Burt Paul Cooper Debra Chang Four Studies Canti for Viola and Piano Parallax John Cage Concert for Three Time Slice Solo for Sliding Trombone Tomorrow's Songs Paul Cooper Herbert L. Clarke Sonata for Piano Canons d'Amour The Bride of the Waves- Aaron Copland Equinox Polka Brillante From "Twelve Poems of Emily Aaron Copland Cooper Dickenson" Appalacian Spring Suite Paul Four Impromptus Fanfare for the Common Man George Crumb Aaron Copland George Crumb "Apparition" The Promise of Living from Ancient Voices of Children Gnomic-Variations for "The Tender Land" Donald Erb Piano Buckaroo Holiday The Last Quintet Stephen Dembski Red Pony Suite Ross Lee Finney Alta Mario Davidovsky Second Sonata for Viola Arthur Gottschalk Synchronisms No. 1 and Piano Strange Loops Synchronisms No. 3 George Gershwin Charles Griffes Synchronisms No. 5 Song in Spring Poem for Flute and Synchronisms No. 6 Arthur Gottschalk Orchestra Electronic Study No. 2 Jeu de Chat (Game of Tag) Richard Hageman Electronic Study No. 3 Howard Hanson The Rich Man Electronic Suite No. 1 Symphony No. 2, "Romantic" Roy Harris Romancero for Soprano op. 30 Symphony No. 3 and Four Instruments Alan Hovhaness Richard Hondley Ellwood Derr Symphony No. 2, "Mysterious Maiden Snow I Never Saw Another Mountain" Charles lves Butterfly Charles lves Songs David Diamond Trio Donald Keats Sonata Samuel Jones Piano Sonata Jacob Druckman Fanfare and Celebration Ellsworth Milburn Valentine for Solo Karl Korte Two Love Songs on Contrabass Trio Sonnets by Edva St. Robert Erickson Ernst Krenek Vincent Millay General Speech String Quartet No. 8 Douglas Moore George Gershwin Andrea Martin The Ballad of Baby Doe Preludes Shadow in Light Pauline Oliveros Three Arthur Gottschalk Ellsworth Milburn Gathering Together Slides Entendre for Viola and Piano George Rochberg Stations Mel Powell Ricordanza Harbison String Quartet Ned Rorem John Rain Five Songs of Experience George Rochberg Poems of Love and the Kirk Hughes Sonata for Violin and Piano Roger Sessions Jerald Symphony in G Robert Xavier Rodriguez Sonata No. 3 Isle Favola I Randall Thompson Ray Trianed William Schuman Velvet Shoes lves New England Troptych Phil Winsor Charles George Washington's Roger Sessions Muzak Bridge Second String Quartet Str. Gam Missa Brevis Robert Jager Charles Wuorlnen Variations on a Theme by Variations Wagner Horn Trio Capriccio Robert Wykes Sonata for Flute and Piano

27 SEASON 1984-1985 Cont. SEASON 1985-1986

Kerry Nelson Jones William Albright Michael Farley Requiem Terrae The Dream Rags Insinuations Thomas Oboe Lee Sphaera Alfred Fisher Quartet No. 3 William Bolcom Fantasy Pieces John A. Lennon Graceful Ghost Rag Arthur Gottschalk Distances Within Me Samuel Barber Motet Ellsworth Milburn Knoxville, Summer of 1915 Sometimes I Feel Like a Dog Prologue: Venosa from George Burt on Linoleum Psalm 88:4, Sa String Trio Kamran lnce Vincent Persichetti David Colson The Blue Journey Parable for Solo Tuba Word Music? .. . perhaps Kerry Nelson Jones Daniel Pinkham For Piano alone Episodes Ill for String Quartet Christmas Cantata Paul Cooper Samuel Jones Walter Piston Celebration Fanfare and Celebration Sonata Sonata for Piano Karl Korte Mel Powell Tomorrow's Songs Demiola Cantilena for Trombone and Songs of Antigone Eugene Kurtz Tape Winter Poems Conversations Bernard Rands From the Sacred Harp Peter Tod Lewis Memo 2 for Solo Trombone Aaron Copland Gestes Ill George Tsontakis Appalachian Spring Andrea Martin String Quartet "Emerson" (orchestral version) Symphony (Glimmer of Night) James Waterson Appalachian Spring for Steven Medley Morceau de Concert 13 players Stiadow Chaser Martin Wesley Smith Henry Cowell George Rochberg Pat-a-Cake for Trombone Hymn and Fuguing Tune No. 7 Sonata for Viola and Piano and Fairlight CMI Ballad for String Orchestra Leonard Rosenman Doodles for Trombone and George Crumb Six Songs on texts of Lorca F!}irlight CMI Gnomic V&riations Chamber Music V Scott A. Wyatt Pastoral Drone Charles Ruggles Three for One Mario Davidovsky Four Evocations George Zgourides Synchronisms No. 1 Randall Thompson Two Sym!)honic Robert Erickson Loveli-Lines Movements Summer Music Robert Ward Alvin Etler The Crucible Elegy

Acknowledgments

The FESTIVAL OF AMERICAN CONTEMPORARY MUSIC AT RICE UNIVERSITY gratefully acknowledges the support of radio stations KLEF and KUHF in publicizing the events of the festival.

92.1 and 104.9 FM STEREO HOUSTON PUBLIC RADIO

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