Patricia Adkins-Chiti Fondazione Adkins-Chiti: Donne in Musica

In this issue: Patricia Atkins-Chiti James Bicigo Carolyn Bremer Cora Cooper Tsippi Fleischer Cynthia Folio Yen-Lin Goh Katherine Hoover Margaret Lucia Migiwa Miyajima Mona Lyn Reese Sarah Reid Christina Rudnak Chaowen Ting Margaret Lucy Wilkins Reviews Reports IAWM News Awards In Memory of Members’ News Patricia Adkins-Chiti Fondazione Adkins-Chiti: Donne in Musica

9ROXPH1R Table of Contents Volume 24, Number 2 (2018) Articles Memories of Patricia Adkins-Chiti...... James Bicigo, Margaret Lucy Wilkins, Tsippi Fleischer...... 1 New Interfaces, New Sounds: On Electronic Musical Instruments and Controllers...... Sarah Reid...... 3 Oh, the Places You’ll Goh...... Yen-Lin Goh...... 7 The Poetic Muse: Piano Compositions by Spanish Women...... Margaret Lucia...... 11 Women Composer Representation in the College Orchestra Repertoire, 2016-17...... Chaowen Ting...... 14 Landscape Music: Rivers & Trails...... Christina Rusnak...... 19 New Initiatives The Young Women Composers Camp: Amplifying the Voices of Young Women...... Cynthia Folio...... 21 A New Force for Advocacy in the United States: The Boulanger Initiative...... Cora Cooper...... 22 Meet Two New IAWM Members Migiwa “Miggy” Miyajima ...... 23 Mona Lyn Reese...... 24 In Memoriam: Carolyn Bremer and Katherine Hoover...... 25 Reviews: book, concert, compact disc Denise Von Glahn: Libby Larsen: Composing an American Life...... Robert Black...... 26 Speaking Her Truth: Three Vocal Works by Jessica Rudman...... Elizabeth R. Austin...... 27 “Mademoiselle,” Lili Boulanger, and Louise Talma...... Deon Nielsen Price...... 27 Eleonor Bindman and Jenny Lin: The Brandenburg Duets: Bach’s Brandenburg Concertos...... Krystal J. F. Grant...... 28 Violeta Dinescu: Dialog: Wünsche, Ängste, Träume (Wishes, Fears, Dreams)...... Monica Buckland...... 29 Four Women: Music for Solo Piano by Price, Kaprálová, Bilsland, and Bonds ...... Judith Mabary...... 30 Elena Ruehr: Six String Quartets...... Tamara Cashour...... 31 Recent CD Releases...... 32 Reports Brazil: The Encontro Internacional de Cordas Festival...... Rain Worthington...... 33 Canada: Kelly-Marie Murphy: Winner of Canada’s Largest Composition Prize...... 33 The Association of Canadian Women Composers...... Diane Berry...... 34 The Kapralova Society...... Karla Hartl...... 34 China: China Goes Global Conference...... Susan Cohn Lackman.... 34 Italy: A World Premiere by Giovanna Dongu...... 35 Switzerland: The frauenkomponiert Music Festival 2018...... Karla Hartl...... 35 United Kingdom: BBC Proms Survey 2018...... Jenny Fowler...... 36 The Hellenic Institute Performs Lydia Kakabadse’s Odyssey...... 36 IAWM News Winners of the IAWM 2018 Search for New Music Competition...... 37 Meet IAWM’s New Membership Chair and Three New Board Members...... 39 Awards and Honors...... 40 IAWM 2018 Annual Concert Competition...... 41

Members’ News...... Anita Hanawalt...... 41 The International Alliance for Women in Music (IAWM) is a global network of Journal of the IAWM Staff women and men working to increase and enhance musical activities and opportunities EDITOR IN CHIEF and to promote all aspects of the music of women. The IAWM builds awareness of Eve R. Meyer women’s contributions to musical life through publications, website, free listserv, in- 8355 Sunmeadow Lane ternational competitions for researchers and composers, conferences, and congresses, Boca Raton, FL 33496 concerts, the entrepreneurial efforts of its members, and advocacy work. IAWM ac- [email protected] tivities ensure that the progress women have made in every aspect of musical life will continue to flourish and multiply. PRODUCTION MANAGER Lynn Gumert IAWM MEMBERSHIP INFORMATION Members’ News MEMBERS’ NEWS EDITOR IAWM membership includes a subscription Please send your news items to the Members’ Anita Hanawalt to the Journal of the IAWM (issued twice a News Editor, Anita Hanawalt, at anita@ [email protected] year), participation in the optional IAWM e- hanawalthaus.net. Submissions are always REVIEW EDITOR mail list, eligibility to participate in IAWM welcome concerning honors and awards, Kimberly Greene competitions, and eligibility to apply for par- appointments, commissions, premieres, [email protected] ticipation in the IAWM congress and annual performances, publications, recordings, and concert. For information on joining, please other news items, except for radio broad- EDITORIAL BOARD see the IAWM website at iawm.org or con- casts. We recommend that you begin with Kimberly Green tact the membership chair at membership@ the most significant news first—an award, Ellen Grolman iawm.org a major commission or publication, a new Lynn Gumert JOURNAL: BACK ISSUES position—and follow that with an orga- Anita Hanawalt nized presentation of the other information. For information on purchasing back issues, Deborah Hayes Please note that Anita does not monitor the contact Deborah Hayes at membership@ Eve R. Meyer listserv for members’ activities. iawm.org. Reports and Announcements IAWM Board of Directors GUIDELINES FOR CONTRIBUTORS Reports on women-in-music activities from PRESIDENT Articles our sister organizations and IAWM commit- Carrie Leigh Page (USA) Before submitting an article, please send an tees as well as reports on music festivals and abstract (two or three paragraphs), the ap- other special events should be sent to the VICE PRESIDENT proximate number of words in the article, and editor in chief, Dr. Eve R. Meyer, by e-mail: Klaudia Pasternak (Poland) a brief biography to the editor in chief, Dr. [email protected]. Announcements Eve R. Meyer, by e-mail at evemeyer45@ of future events and of recently released CDs TREASURER gmail.com. Most articles range between 1,500 and publications should also be sent to the Christina Rusnak (USA) and 4,000 words. The subject matter should editor in chief. SECRETARY relate to women in all fields of music, either Deadlines contemporary or historical. If the proposal is Kelly Vaneman (USA) approved, the editor will send detailed infor- Reviews: March 1 and September 1 SUPPORTING MEMBERS mation concerning the format, illustrations, Articles: March 15 and September 15 and musical examples. Musical examples and Members’ news, reports, advertisements: Elizabeth Blair (USA) photos should be in high resolution (300 dpi March 30 and September 30. Beth Denisch (USA) minimum) and must be sent in separate attach- Lee Hartman (USA) IAWM WEBSITE ments. Use JPG or TIFF format. For questions Jenn Kirby (UK) of style, refer to the Chicago Manual of Style. Please visit the IAWM Website at www. Victoria Petro-Eschler (USA) Authors are responsible for obtaining and pro- iawm.org. viding copyright permission, if necessary. Dana Reason (Canada) PUBLICATION Angela Slater (UK) Reviews Copyright © 2018 by the International Megan Steller (Australia) Compact discs and books for review should Alliance for Women in Music. All rights Ingrid Stölzel (USA) be submitted to Kimberly Greene, Review Editor. Scores will be considered for review reserved. ISSN 1082-1872 Kathryn Woodard (USA) if accompanied by a recording. No part of this publication may be repro- Kimberly Greene duced or transmitted in any form or by any 6237 Peach Ave. means without permission. Any author has Eastvale, CA 92880-8909 the right to republish his or her article in whole or in part with permission from the Please contact Dr. Greene if you wish to be IAWM. Please contact the editor. included on her list of reviewers, and indicate your areas of specialization. The Journal of the IAWM is printed by E-mail: [email protected] Cheetah Graphics, Sevierville, TN. articles Memories of Patricia Adkins-Chiti James Bicigo, MARGARET LUCY WILKINS, TSIPPI FLEISCHER

By James Bicigo: she could to make them comfortable and Rome, but this time ventured out to smaller This past June 12th, Patricia Adkins- keep their minds off the events at home. cities in the Lazio Region as well. Patricia Chiti passed away. She was an extraordi- Suzanne and Kathy told this story many told us that she really appreciated brass nary woman, a musicologist who dedicated times expressing their never-ending grati- players in Italy at Christmastime because her life to the promotion of women musi- tude to dear Patricia. They were looking we could play if the church wasn’t exactly cians through the work of her Fondazione forward to a visit with her and her husband warm, and we were willing to bring our own Adkins-Chiti: Donne in Musica. Patricia sometime next winter in Charleston, after stands with us to enable performances in was awarded the title of Commander of Patricia’s scheduled UN event concluded. churches and towns that didn’t necessarily the Republic for Cultural Merit by the I first met Patricia in person at the Ba- have the equipment. So much so that when President of Italy, Carlo Azeglio Ciampi. silica Santa Maria Sopra Minerva in Rome, one of our players tripped over one of the She served on the UNESCO Music Coun- where we were to perform our Jubilee con- wire stands as we exited the stage, knocking cil and, in 1978, created the international cert. I remember her as very much in charge over the whole row, she took it in stride and foundation of women in music, recognized of the undertaking, which became clearer encouraged the young player by saying that by the Italian government, UNESCO, and clearer, and more and more impressive these things happen—the audience loved it. EUC, Arab Academy, and International as our rehearsals progressed. The concert While every performer enjoys playing in Music Council UNESCO. She wrote more was near the end of the yearlong series and prestigious venues to large audiences, Pa- than 300 essays on the history of music was to be televised nationally on RAI SAT. tricia understood the importance of bring- composition and performance that sought As rehearsals progressed, we could see all ing the music of women composers, indeed to recognize the role of women, so often that was involved in this production. music, to everyone regardless of the size of ignored by official histories. Her founda- At one point, Patricia wanted us to sit their town. These were some of our most tion, each year, put out several calls for in three chairs upholstered in red velvet that memorable performances. scores to women composers around the were in the sanctuary of the basilica. The In 2005, we joined Patricia and the world and gave professional performances rector objected strenuously, telling her to Foundation in Los Angeles for the first of the accepted scores in prestigious ven- use the wooden chairs. After some discus- UNESCO World Forum on Music. Again, ues, as well as in smaller communities, to sion, he left. Patricia informed us of the situ- Patricia was impressive, capably planning bring the music of women composers to ation, and then went on to what we thought and executing a plenary session and a gala audiences that would not otherwise hear it. was other business. She soon returned with concert celebrating women in music. The In 1998, my colleague at the University a bottle of good wine in hand and went to performers, composers, and compositions of Alaska Fairbanks, Suzanne Summerville, find the rector. After some discussion, this at that concert were of the highest qual- asked me if I, as a trombonist with the Bo- time with smiles and laughter, she informed ity and represented a worldwide variety of realis Brass, would perform the music of us that we could indeed use the red chairs. styles in a seamless and exiting program women composers. My answer was, “Of Later, after we had run the program that ended with people dancing in the aisles course I will.” Shortly after that Suzanne several times and were ready to rest, she to the music of Alice Gomez played by Bo- presented our ensemble to Patricia, and we corralled us and insisted we have a block- realis Brass from the balcony. were invited to submit a proposal and an ing rehearsal to practice our bows. As con- The year 2006 found Borealis Brass audition CD to be included in the concert cert musicians, we were a bit taken aback, back in Italy for another Contra-Canto series Donne in Musica: Il Paradosso del as we thought we were well versed in bow- series of Christmas concerts. Every time amore. This concert series was a joint ven- ing etiquette. As usual, she was right. The we performed for Patricia, she impressed ture between the Foundation and the Vatican timing of our entrances and bows as well me with her understanding of performers, in celebration of the year of Jubilee, 2000. as our path to the front of the stage had to composers, and audiences. Patricia knew Susanne and Kathy Vaupel, another be planned and timed just so for the televi- what pieces would play well for which of Patricia’s many friends, are deeply sad- sion cameras. After several runs, we were audiences and would monitor the audi- dened by her passing. They remember the ready, and I am sure we never looked more ence’s response throughout the program. first time they met her in Spain, where they professional! If she had an audience that wanted a more were performing. Suzanne recalls that “Pa- In 2003, the foundation asked Borea- traditional program, we would play those tricia always made everyone feel impor- lis Brass to return to Italy for a series of works based on more familiar carols. If tant, no matter who they were or what role Christmas concerts in their Contra-Canto she had an audience seeking a new take they were playing.” In 2001, Suzanne and Series. As with our first concert, we worked on the music of Christmas, other more in- Kathy were with Patricia in Rome on 9/11. with Patricia on literature, but we also had ventive and progressive works would be When the news reached them of the terror- a call for scores. We collaborated with programmed. In this particular series, she ist attacks on the U.S., Patricia took the rest composers from Israel, Lebanon, Cyprus, would discreetly pass me notes during the of the day off to spend it with them, shop- Ukraine, and Italy as well as Alaska. We performance with instructions to play one ping and touring Rome. She did whatever performed in several prestigious venues in piece instead of another or change the or-

Bicigo, Wilkins, Fleischer, Memories of Patricia Atkins-Chiti 1 der of the program to better suit the audi- Music Festival of 1996; she was the mez- sion. Her boundless energy led her to work ence for whom we were performing. zo-soprano soloist in the world premiere of tirelessly on many projects such as the In another example of her personal Gubaidulina’s Galgenlieder. Since I was establishment of the Fiuggi-based Donne kindness, one of our performers was just be- Composition Leader in the Department of in Musica Foundation Archive, which has ginning his career as a professional hornist Music at the University of Huddersfield, become the heart of the organization. The and could not yet afford his own tux coat. I attended all the concerts along with my archive holds about 43,000 scores of mu- Patricia kindly lent him one of her hus- students. I recall that Patricia was anxious sic by women composers from all over the band’s coats for the duration of the series. that the damp northern climate might affect world, both past and present. It is a store The last time I saw Patricia was on her voice. Indeed, she did catch a cold on house for researchers and musicologists. Boxing Day 2013. We once again had that visit, but her performance was excel- The International Honor Committee been to Italy to perform. Our concert at lent. She was susceptible to chest infec- drew up a Treaty of Fiuggi embodying the the Chiesa del Jesu was listed as one of the tions, and for that reason, she moved from demands made by women in music to be top things to do in Rome that evening. We Britain to the warmth of Italy early in her given equal opportunities with men. Some performed immediately following a ser- career to protect her voice. of the articles in this Treaty were later in- vice celebrating St Ignatius of Loyola on Patricia had been working in Fiuggi, cluded in the “European Parliament Reso- his feast day to an audience of nearly 1,000 Italy since the 1970s to promote concerts lution of 10 March 2009 on the equality of people. Equally memorable was my sitting of music by women composers, and by the treatment and access for men and women with Patricia in her kitchen and deciding to 1990s, her vision had enlarged to the es- in the performing arts (2008/2182(INT)).” play carols for Midnight Mass at a small tablishment of an international festival of Patricia realized that to proceed further Catholic parish in Fiuggi. Although this women in music: Donne in Musica. Fiuggi with the women in music cause, it was was a church that performers rarely con- Città is an ancient Roman fortress town necessary to engage with law-making bod- sidered for a performance, we decided that at the top of a hill, about 40 miles outside ies. She took the bold step of entering the this was the right place because the con- Rome. At the foot of this hill lies the mod- world of politics at the highest level. As a gregation deserved special music as much ern spa town of Fiuggi, favored by Italians result, she was able to fund several proj- or more than the more popular venues. We for its health-giving properties. ects. She established the organization’s were not disappointed! The first Donne in Musica: Gli Incon- links with the European Parliament and My wife, Karen Gustafson, and I had tri al Borgo: 1 Symposium e Festival In- was recognized by the Italian government the good fortune of celebrating Christmas ternationale was held in September1996. I and the International Music Council of with Patricia and her husband, Gian Palo, still have the program book for that event; UNESCO. and a few other close friends. Again, we I presented a paper entitled “Breaking the Applying for funding to intra-govern- experienced her great kindness and hos- Bough” and had a work performed, Burnt mental bodies is very difficult and is really pitality; everyone contributed to our meal, Sienna: Etude for String Trio. I remember a job for professional fund raisers. Patricia and Patricia brought a special gift for each that was played superbly by Il Quartetto acquired the necessary skills. One project of us: a recipe book for me, an Italian cof- Hyperion. that the EU Culture Program funded was fee pot for another, etc. It was a truly spe- For the second Donne in Musica in WIMUST (Women in Music: Uniting cial time with a dear friend. September 1997, Sofia Gubaidulina was Strategies for Talent). This involved con- Patricia Adkins-Chit was an accom- persuaded to attend and was honored with vincing several European countries to hold plished performer, musicologist, cultural a concert of her works. Patricia was the so- conferences in their capital cities on ways ambassador, and champion of women in loist in Ein Engel, thus she appeared not of advancing the above-mentioned “Euro- music. She was also an unfailingly kind only as the festival president but also in pean Parliament Resolution” through na- friend who loved her husband, cats, Alas- her professional role as a mezzo soprano. tional women in music groups. In London kan puffins, and many other ordinary The festival and symposium provided op- WIMUST Day was celebrated in Europe things. This amazing and accomplished portunities for women musicians from House on September 12, 2013, and Patri- woman brought that simple loving human- many countries to meet each other. At one cia was one of the panelists. It has taken ity to her great work—to me that is the key memorable symposium, for which I served a long time for EU member states to act to her success. My colleagues, friends in as moderator, composers from the USA, upon the Resolution. In the UK, for exam- Borealis Brass, and I will miss her dearly, Europe, the Near East, and the Far East re- ple, major cultural institutions—the BBC, and we will strive to continue her work. ported on the status of women musicians in Huddersfield Contemporary Music Fes- their own countries. tival, Cheltenham Music Festival, Alde- By Margaret Lucy Wilkins: The Donne in Musica Festivals and burgh Festival, and others—have agreed Patricia Adkins-Chiti and I first met Symposia continued for a number of years to treat new music equally between men at a conference on women and music held until the Fiuggi Town Council decided to and women by the year 2022. in Vienna at the Wittgenstein House. A discontinue its financial support. Naturally, Patricia continued to expand the reach paper I presented impressed her, and she this was a blow to Patricia, who overcame of the Donne in Musica Foundation to 113 invited me to become a member of the her disappointment and turned her atten- countries. Clearly, there have been prob- International Honor Committee of her tion to other ways in which she could pro- lems in most countries with regard to the Foundation, Donne in Musica, which I ac- mote the cause of women in music. She recognition of women as creative musi- cepted. We also met in the UK when she had a passionate drive to advance her mis- cians and artists, and there is still great attended the Huddersfield Contemporary

2 IAWM Journal Volume 24, No. 2 2018 need for global co-operation in order to Rome, on November 5, 2018. “Women’s The performance at the Vatican on Ra- overcome this historic injustice. music is an essential part of world heri- dio Vaticana is like in a dream in my mem- Patricia was an impressive figure; her tage. The fundamental role of women in ory. Of course, Patricia would not miss that presence was felt wherever she went. Her the creation and transmission of tangible occasion for an extensive broadcast inter- diplomatic skills, her vision, her dedication, and intangible cultural heritage, and the view with me; she served as the interview- her high standards, her attention to detail, creation and practice of music belongs, not er. She was so kind and treated me almost her empathy and friendship, and her sheer only to a people or a culture, but to all of like a mother, encouraging me to pursue hard work brought her (and with her, the humanity.” my career as a woman composer, despite aspirations of so many creative women) to the difficulties of living in Israel with the By Tsippi Fleischer: the attention of cultural gatekeepers at the constant threat of terrorism and war. As she highest levels. A tall, elegant woman with I met Patricia Adkins-Chiti in Alaska, got to know me better, she initiated and pro- flowing auburn locks, stylishly dressed, she in August 1993, at the wonderful Women duced a film featuring my work using many could not be ignored. Her energy seemed to Composers and Performers Festival orga- of my documentary videos. Those were the be limitless, and her imagination for multi- nized by Suzanne Sommerville. Patricia early days of the Donne in Musica project, national projects was prodigious. Working and I were the only “outsiders,” since we which she discussed extensively with me. right up to the last moment, “Time” even- both lived on the shores of the Mediter- Her players were enthusiastic about tually ran out on June 12, 2018. Her death ranean. We immediately connected. After performing a purely instrumental version of was a shock to all of the members of Wom- hearing my Ballad of Expected Death in Girl-Butterfly-Girl in addition to the original en in Music UK, and they have expressed Cairo, sung in Arabic by the American- vocal work. Once such an idea was raised, their tributes to her. Jewish mezzo-soprano Isabelle Ganz, Patricia would push it wholeheartedly. You To conclude, I am quoting from Patri- Patricia approached me and insisted on may listen to and download these two sepa- cia’s email to me on May 16, just a month performing my music. She invited me to rate versions on my website: (1) I recom- before she died. It is about her most re- Rome, in spring 1996, to work with her on mend listening to Patricia singing the entire cent project: a Global Call for New Mu- my song-cycle Girl-Butterfly-Girl, with song cycle (click on “Discography” and CD sic for Human Rights to be performed and lyrics by Lebanese and Syrian poets, and tract list: “Israel at 50: A Celebration with recorded at the 70th Anniversary of the she insisted on singing it in Arabic. Patri- Music of Tsippi Fleischer.”) (2) For the in- Campaign for the Universal Declaration of cia had a beautiful mezzo-soprano voice, strumental arrangement (flute, bass-flute, Human Rights. The concert is scheduled and her training was in the traditional Eu- piano), see “Girl-Butterfly-Girl ─ A World to be performed in the Teatro Argentina, ropean bel canto style. Journey,” song No. 3 from the cycle. New Interfaces, New Sounds: On Electronic Musical Instruments and Controllers SARAH REID I dream of instruments obedient few examples of such projects and their in- An acoustic piano produces sound to my thought and which with ventors in order to gain a glimpse into this when a series of strings are struck (and their contribution of a whole new fascinating field. This article is the third thereby vibrated) by small hammers. The world of unsuspected sounds, will and final installment in a series discussing body of the piano acts as the resonator for lend themselves to the exigencies the integration of electronic and acoustic the sound. The most common means of in- of my internal rhythm.1 instruments in composition and perfor- teracting with the piano is by playing the This famous quote from Edgard Varèse illu- mance. Previous installments explored the keyboard—pressing a key activates the minates a familiar desire for many perform- development of a performance practice corresponding hammer, which vibrates the ers and composers: to extend one’s per- with electronic instruments, integrating string, and so on. With this image in mind, sonal practice beyond available tools and electronic and acoustic instruments in en- one could say that the keyboard portion of common standards, and to venture toward sembles through improvisation, as well as the piano is the “controller” while the ham- some approaches to notation for primarily mers, strings, and resonating body are the unfamiliar and idiosyncratic sound worlds. 2 3 For some, this may mean pushing the limits sound-based electronic/acoustic music. “instrument.” On the other hand, one might of pre-existing instruments and exploring Initial Thoughts: Instrument and argue that a “piano” is necessarily the sum new sonic territory by adopting experi- Controller of all of these various components, and to mental performance or compositional tech- To some, the terms “instrument” and remove or alter one aspect would result in niques. For others, this desire may extend “controller” may be deeply interwoven, a different instrument altogether. well beyond extant tools and practice into and, indeed, as with many terms and con- When a performer strikes, plucks, or an imaginary world of entirely new musical cepts used to describe creative tools and bows an acoustic instrument, it produces instruments, interactions, and sounds. practice, there is no absolute definition that a sound that comes from the instrument This article presents an introduction will cover all use cases and approaches. itself. The range of sounds produced by to the world of designing and building That being said, it is perhaps worthwhile to a given instrument is also relatively lim- new musical instruments, interfaces, and spend some time considering these words ited—an acoustic piano will always sound controllers for electronic and hybrid elec- and their function in order to provide some more or less like a piano, a trumpet like a tronic/acoustic music. We will look at a context and framing for our discussion. trumpet, and so on. There are, of course,

Reid, New Interfaces, New Sounds: On Electronic Musical Instruments and Controllers 3 exceptional acoustic instrumentalists who puter its own digital instrument, or they construct and “manipulate every subtle nu- have a very wide range of command and might consider the computer itself to be the ance of sound”7 through the precise draw- expression on their instruments. This state- instrument and the programs to be compo- ing of waveforms and other fundamental ment is not intended to devalue their virtu- sitions. Their controller of choice may be building blocks.8 osity, but simply to bring attention to the the keyboard that comes attached to the In the early 1960s, Oram designed relative range of sounds that can be pro- computer, or they may opt to interact with and built a machine called the Oramics, duced by acoustic instruments in compari- the computer using an external MIDI con- which allowed her to accomplish just this. son to most electronic instruments (many troller with sliders and knobs. Similarly, an The Oramics is a large analog audio syn- of which have virtually unlimited sonic ensemble of musicians all playing modular thesizer that produces sound by reading palettes). The black and white keyboard is synthesizers may consider themselves to markings on transparent strips of 35mm a control interface that is used for a large be playing the same instrument while hav- film. The instrument contains ten tape variety of electric keyboard and audio syn- ing completely different modules and con- loops that are passed over photocells (sen- thesizer instruments. But in many of these trollers in each of their setups. sors that detect light). The drawings on the electronic instruments, striking the middle This freedom that Buchla speaks of film cause the light received by the pho- C key may not produce a middle C at all— is something that many have explored in tocells to be modulated, producing volt- the keys are removed from their original performance, composition, and the design ages which in turn control oscillators and functionality of activating hammers and of new interfaces and controllers. Often- various aspect of the sound.9 The strips of instead become neutral sources of control times, the result of these explorations is film that are fed to the Oramics machine data. This data can, in turn, be mapped to something very personal to the artist who are in essence the musical score, contain- virtually any result. creates it—a tool or solution to interacting information about pitch, note duration, So then, what makes an instrument, ing with sound that feels right, and helps timbre, and vibrato. However, instead of an instrument? Is it the way it sounds, the the artist achieve her own creative goals. a five-line staff and traditional Western way sound is produced, the way it’s inter- Electronic instruments that offer relative symbols, Oram’s notation looked more acted with? independence between input and output af- like squiggly lines, irregular shapes, and The goal of this section is not to an- ford the opportunity to use any input struc- dots. For those familiar with digital audio swer these questions in any official capac- ture or control source. So long as data can workstations, there is a striking similarity ity, but rather to simply consider them. be transmitted from the control source to between Oram’s notation and MIDI auto- When approaching the world of electronic the sound source, anything can become the mation lanes and piano roll editors—but and hybrid electronic/acoustic musical in- controller: a cell phone, a custom array of of course, the Oramics pre-dates these struments, these considerations become all buttons and knobs, the performer’s body, a techniques by several decades. the more relevant. In the first article in this coffee cup.… In fact, some electronic in- Laetitia Sonami series, we discussed some fundamental dif- struments may require little to no human Laetitia Sonami built the first prototype ferences between acoustic and electronic input whatsoever, instead, relying on self- of the Lady’s Glove in 1991, as a means of instruments. One of these differences is perpetuating or automated processes. “finding a more fluid way to perform with the instrument’s means of control (input) In the next section, we will look at a the computer.”10 (See Figure 1.) The La- and sound production (output). As briefly few examples of how different artists have dy’s Glove went illuminated above, many electronic instru- chosen to design and build their own cus- through numer- ments have completely independent means tom instruments and interfaces as a means ous iterations and by which to control and produce sound. by which to interact with sound in entirely 5 designs, even- This means that the same key or button can unique ways. tually evolving be used to trigger or control any number Daphne Oram into a nuanced of sounds, or that the same type of sound “Imagine yourself a ‘painter in sound’. and flexible ges- can be produced using a large number of Your blank ‘canvas’ is a piece of magnetic tural instrument methods and tools. In a 1983 interview with recording tape….The whole evolves just with which Son- Polyphony magazine, pioneering electronic like an oil painting….You can use any ami performed musical instrument designer Don Buchla colour of sound that you can imagine, for for many years. refers to this independence when he says: “I any duration, with any rhythm, and at any Embedded in the like to regard the instrument as consisting pitch.”6 glove are numer- Fig. 1. Laetitia Sonami of three major parts: an input structure that Daphne Oram was a British composer, ous sensors to with the Lady’s Glove we contact physically, an output structure electronic music pioneer, and instrument detect subtle fin- that generates the sound, and a connection inventor, born in 1925. From a very young ger bends and wrist movements, as well between the two. The electronic family of age, Oram was fascinated by the possibil- as the overall speed and movement of the instruments offers us the limitation, if we ity of being able to draw sound—to cre- performer’s hand in space.11 Instead of be- approach it traditionally, and the freedom if ate markings on a piece of paper and have ing restricted to performing from behind a we approach it in a new way, of total inde- 4 them translated into audible frequencies. computer, the Lady’s Glove enabled Son- pendence between input and output.” To Oram, this interest was not centered ami to explore a freer, more physically Laptop musicians may consider each upon being able to graphically represent a engaging means of interacting with her in- individual program they run on their com- sound in an abstract form, but being able to strument and audience.12

4 IAWM Journal Volume 24, No. 2 2018 More recently, Sonami developed a a persona (Rosie the Riveter), and expresses The unique challenge of this design is one new instrument called the Spring Spyre. that the “limb-to-limb choreography” re- of parsing and mapping the data in compel- (See Figure 2.) The Spring Spyre incorpo- quired in performance “conveys strength ling ways, such that the integrity and play- and subjectivity.”15 ability of the original acoustic instrument Akiko Hatakeyama is maintained while new sonic control is Myaku is an instrument developed added. Since the completion of the initial by Akiko Hatakeyama that uses candle- prototype in 2015, a large number of com- light as its main input source. A series of positions have been created for MIGSI, inten light sensors are placed on a table sur- cluding a recent piece in which data from rounding small candles, which are lit and the trumpet controls an ensemble of mecha- repositioned during performance. The light tronic drums and percussion instruments. from the candles is used to control loud- Final Thoughts and Next Steps ness of various audio samples, creating an Electronic instruments are unique in undulating and flickering texture. Candle their ability to provide independence be- flames emit strong light compared to elec- tween input control and output. As we have Fig. 2. Laetitia Sonami performing tric lights, and the dancing motion of the seen above, working with these types of in- on the Spring Spyre flames is visual as well as audible in this struments affords a wealth of possibilities piece. Hatakeyama says that she makes for designing customized means of con- rates a series of intersecting springs attached “compositional decisions by consider- trolling and interacting with sound. With to a circular metal frame. In performance, ing the light intensities and movements these new tools, performers can define the the springs are plucked, rubbed, and tapped of different candles to place them to cre- nature of interaction with their instrument: to generate control information for real-time ate a desired yet autonomous sound envi- they can create a controller that outputs audio synthesis. Sonami uses a machine ronment.”16 Compared to some electronic precise data for highly repeatable perfor- learning software called Wekinator, de- instruments, Myaku is relatively simple mances and traditional development of veloped by Rebecca Fiebrink, to teach the in terms of technical design, but the ap- virtuosity; they may create a controller that computer physical gestures and how they 13 plication of this instrument in performance uses their input to initiate processes that should be mapped to musical output. yields a truly compelling, mesmerizing au- yield unpredictable results; they may even Kristina Warren diovisual experience. devise a system that enables input control Composer, improviser, and researcher Sarah Reid and Ryan Gaston to directly alter the relationship between Kristina Warren created a full body, wear- input and output, in effect creating an in- 14 The work of the individuals mentioned able instrument called Exo-Rosie. (See above has greatly inspired my practice as a strument that changes behavior depending performer-composer. In fact, the world of on how it is played. instrument-building and new musical in- The work shared in this article may terfaces was what initially piqued my in- seem advanced—indeed, each project out- terest in music technology altogether, com- lined above is the result of many years of pelling me to learn the basics of electrical research and iteration—but that should not engineering and computer science in addi- discourage you from exploring this field if tion to my musical studies. Coming from a you have interest. My hope in presenting classical background as a trumpet player, this work is to spark interest and curiosity, I became very interested in the possibility and perhaps even to compel a few readers of integrating new, custom electronics with to venture into new territory with their per- my acoustic trumpet. sonal creative practice. One of the projects that emerged from Perhaps the most important conclud- Fig. 3. Kristina Warren presenting this work is a wireless interface for trumpet ing remark to make is this: Every project Exo-Rosie called MIGSI (Minimally Invasive Gesture begins with an idea and a simple prototype. (photo by Gregory Taylor) Sensing Interface).17 I developed MIGSI In Sonami’s case, the prototype was fabri- Figure 3.) The instrument is a “wearable in collaboration with Ryan Gaston. It fea- exoskeleton”—a jumpsuit covered in resis- tures a number of sensors embedded on tors and other electrical components, con- the trumpet to capture gestural information nected with wire and conductive thread. during performance. The sensors detect When the performer connects different parts valve displacement, instrument tilt, as well of her body together (e.g., touching the right as hand tension and pressure while holding wrist to various points along the left arm), the instrument. (See Figure 4.) different circuits are closed, resulting in the One of the goals behind MIGSI was to activation of various analog oscillators and extract data from gestures that are inherent the output of digital control information. In in playing the instrument (such as pushing describing the project, Warren mentions that valves and holding the trumpet) instead of Exo-Rosie is not just an instrument, but also adding new buttons, switches, and knobs. Fig. 4. Sarah Belle Reid playing MIGSI

Reid, New Interfaces, New Sounds: On Electronic Musical Instruments and Controllers 5 cated from a pair of yellow rubber kitchen ough step-by-step guides and code exam- Resource List gloves.18 Almost all of the technical proj- ples. For those curious about how to start or Adafruit: an online resource for open ects I have created start with brown card- where to go next, a brief annotated resource source hardware, electronic parts, and board and tape. This is important to real- list is included at the end of this article. DIY project kits. They have a number of ize because often it can be challenging for When Varèse dreamed of new, strange excellent, free learning resources includ- someone—especially someone new to this instruments, he did not have access to af- ing a community blog, tutorials, guides, field—to see the steps involved in progress- fordable, pocket-sized computers and on- and demos for all of their products. https:// ing from initial idea to completed musical line retailers specializing in parts needed www.adafruit.com instrument. However, getting started and for DIY technology projects. But the cre- Instructables: a very wide range of taking those initial steps is actually sim- ative dreamer of today does. This opens community-submitted DIY project guides pler than one might realize. The availability a world of possibilities for sonic explo- and instructions, often including useful of open source microcontrollers, electri- ration and new modes of interaction that snippets of code to help jumpstart your cal components, sensors, and project kits are rich with potential—a merging of es- project. https://www.instructables.com/ makes it easier than ever for individuals to tablished practices with new curiosities, Kadenze: for those looking to dive begin learning the necessary skills to pro- traditional instruments with those not yet into some serious studies, Kadenze is an totype new ideas. Many of these tools are invented, acoustic and electronic, bizarre online course provider that offers classes accompanied by informative tutorials, thor- and beautiful. in topics ranging from introductory audio

6 IAWM Journal Volume 24, No. 2 2018 synthesis to advanced machine learning 5 This article will introduce just a few art- Bovermann, et al. (eds), Musical Instruments in and audio/visual programming. https:// ists and their work. A more thorough (yet still the 21st Century (2016), 137-151. 14 www.kadenze.com/ far from comprehensive) list of works in this http://kmwarren.org/ Accessed Septem- Make Magazine: an online maga- field can be found in S. Reid, S. Sithi-Amnuai, ber 10, 2018. A. Kapur, “Women Who Build Things: Gestural 15 http://kmwarren.org/exo-rosie.html. Ac- zine with extensive DIY projects ranging Controllers, Augmented Instruments, and Musi- cessed September 10, 2018. from e-textiles to 3D-printing to robotics. cal Mechatronics,” Proceedings of the Interna- 16 http://akikohatakeyama.com/v_chi.html. https://makezine.com/ tional Conference on New Interfaces for Musi- Accessed September 14, 2018. NIME: an annual conference on cal Expression (Virginia, 2018). 17 S. Reid, R. Gaston, C. Honigman, 6 New Interfaces for Musical Expression, D. Oram, “Electronic music, the present and A. Kapur, “Minimally Invasive Ges- where artists and scholars come together and the potential,” Musical Events XV (Decem- ture Sensing Interface (MIGSI) for Trum- to share new developments in the field of ber 1960): 20. 7 “End or Beginning,” BBC Radio 3, pet,” Proceedings of the International instrument and interface design. The entire Conference on New Interfaces for Musical proceedings archive for this conference is September 26, 1972. Presented by Thea Mus- grave, with Tristram Cary and Daphne Oram. Expression (Brisbane 2016), 419–424. available free and is a wonderful resource 18 National Sound Archive. http://sonami.net/ladys-glove/ Ac- and source of inspiration. http://www. 8 D. Oram, An Individual Note: Of Music, cessed September 10, 2018. nime.org/ Sound and Electronics (London: Galliard Pa- Sarah Belle Reid has presented and performed perbacks, 1972). NOTES with MIGSI at institutions and festivals around 1 9 J. Hutton, “Daphne Oram: innovator, E. Varese, “The Liberation of Sound,” ed. the world, and her compositions have been writer and composer,” Organised Sound 8.1 Chou Wen-chung, Perspectives of New Music 5, performed by renowned musicians. In 2017, (Cambridge University Press, 2003), 49–56. No. 1 (1966): 11–19. Flux, for amplified percussion quartet, won the 2 10 http://sonami.net/ Accessed September S. Reid, “Approaching Electronic/Acous- Grammy-nominated Los Angeles Percussion 10, 2018. tic Performance Practice Through Improvisa- Quartet’s Next Wave Composer Initiative. She 11 T. Rodgers, Pink Noises: Women on tion,” Journal of the International Alliance for has premiered over 40 works for solo trumpet Electronic Music and Sound (Duke University Women in Music 23, No.1 (2017): 2–7. as well as multiple chamber and performance 3 Press, 2010). S. Reid, “Notation Strategies for Sound- art pieces, and she is a founding member of the 12 E. Karp, “Artist Interview: Laetitia Son- Based Electronic/Acoustic Music,” Journal of trumpet/modular synthesizer duo Burnt Dot. ami.” Available at: http://www.somarts.org/la- the International Alliance for Women in Music Reid has published technical and theoretical pa- etitiasonami/ 23, No.2 (2017): 10–16. pers on the subjects of interdisciplinary process 4 13 R. Fiebrink, “Machine Learning as Me- J. K. Diliberto, “An Interview with Don- and collaboration, musical interface design, and ta-Instrument: Human-Machine Partnerships ald Buchla,” Polyphony 8.5 (1983): 14–17. alternate methods of musical notation. Shaping Expressive Instrumental Creation,” T. Oh, the Places You’ll Goh YEN-LIN GOH Congratulations to Yen-Lin Goh! She was Malaysia. Although I was born on Penang ability as a composer after creating a piece recently selected as a 2018 OneBeat Fellow Island in Malaysia where my parents lived, for the improvisation ensemble inspired by by the U.S. Department of State’s Bureau we moved to the capital Kuala Lumpur be- Malaysian culture. This was also a period of of Educational and Cultural Affairs from a cause of better job opportunities. But were social adjustment for me. Living in a large pool of more than 1,500 applicants. One- there opportunities for musicians? When I country and attending a large school meant Beat is an international music exchange was young, I was told that my career op- that I was no longer a prominent student, as that celebrates musical collaboration and tions would be very limited if I chose the I was in the small Yamaha music school in social engagement through innovative peo- arts, so I majored in science, like most oth- Malaysia. I also had to adjust to the Ameri- ple-to-people diplomacy. Musicians (ages er “good” students, even though I was not can education system, which was quite dif- 19-35) from around the world come togeth- especially interested in science. ferent from the one I grew up with in Asia. er in the U.S. for five weeks to collabora- I was anxious to travel and continue In Malaysia’s exam-oriented educational tively write, produce, and perform original my education in America. Since Malaysia system, students focused on doing well in music, and develop ways that music can is a tropical country, where it is summer the final exams, whereas in my experience make a positive impact on our local and all year long, I wanted to go where I could in American universities, coursework and global communities. Yen-Lin’s residency experience the four seasons and snow, and performance throughout the semester took was for September/October 2018. I was accepted at the University of Wiscon- precedence. In other words, there was much The IAWM is delighted to welcome sin-Madison, majoring in communication more emphasis on the learning process. Yen-Lin, our first member from Malaysia. arts/radio-TV-film and piano performance. For financial reasons, I had expected to I invited her to tell us about her unusual That was a milestone in my musical jour- return as quickly as possible to Malaysia, career and her experiences in three very ney and probably one of the most important but my planned two-and-one-half years in different countries. decisions I have made. I enjoyed my music the U. S. extended to ten years. I was for- From Malaysia to the United States classes the most, and through my participa- tunate to receive a full scholarship to Okla- As a pianist, composer, and teacher, tion in an ensemble I re-discovered my love homa City University for graduate study. It I have traveled widely and lived in three of improvisation, became fascinated with was a fruitful two years; I could focus on different countries, starting and ending in contemporary music, and realized that I had piano playing and music making at a small

Goh, Oh, the Places You’ll Goh 7 private university that provided a nurtur- unique experience of working with the lo- Graduate Student Award for 2011-12 ing and safe environment, exactly what cal students who were from a completely at BGSU. I needed. Being able to focus better also different background broadened my out- In addition to my toy instruments, I enabled me to do well academically and to look on teaching and reminded me of what became more interested in works for piano achieve success as a musician. Fantasia on it means to be a teacher. and electronics (fixed tape or live interac- a Vendor’s Folk Song: Any Wine Bottles for The same year marked the beginning tive) as well as improvisation. Throughout Sale?—my first work for solo piano, which of my “toy story.” Dr. Satterlee forward- my four years at Bowling Green, I was also included a choir in the audience and ed me a New York Times article about Ge involved with two improvisation ensem- an off-stage cello—was a success when Gan-ru’s (known as “China’s first avant- bles: the Combustible Arts Ensemble and premiered in a Project 21 concert. This was garde composer”) Wrong, Wrong, Wrong! a The Black Swamp Underground, formed my first fully-written-out composition. monodrama for voice and toy orchestra. In by a collective of musicians active in the Another significant work was a three- 2010, I included Wrong! in my first recital, worlds of free improvisation, jazz, new movement concerto for piano and orches- which resulted in commissioning (through music, composition, electro-acoustic mu- tra entitled Jigsaw Concerto. The moti- crowdfunding) the composer to write the sic, and other sonic areas. We performed vation for completing this concerto was sequel, Hard, Hard, Hard! The discovery in cafes, libraries, and art galleries in the to enter the Oklahoma Israel Exchange of the unlimited potential of toy instruments black swamp area (Northwest Ohio). I (OKIE) Young Artists Competition, which also led me to include toy piano and toy worked with dancers, actors, theater direc- required a piano concerto for the final instruments in many of my performances. tors, visual artists and other types of art- round. I performed a two-piano version Wrong! also marked the beginning of my ists on various improvisation projects in and won second place. use of my voice with piano/toy piano com- venues such as the Toledo Art Museum. I When I graduated, I was not yet ready positions and improvisation performances had the opportunity to collaborate with the to return to Malaysia, and in 2008, I was ac- (Figure 1). Works for a vocalizing pianist renowned Chinese artist Huang Shenchen, cepted into a new doctoral program in con- seemed to make sense since I have always who demonstrated the liveliness and spon- temporary music at Bowling Green State been interested in the voice. taneity of calligraphy while I improvised University (BGSU) in Ohio as a on Chinese toy instruments. Through teaching assistant with a full-tuition the MidAmerican Center for Con- scholarship plus a stipend to cover temporary Music (MACCM), I had living expenses. My four years at the exceptional experience of work- BGSU were critical in shaping who ing with notable composers from I am today as an artist. The down- around the world, including Mayke side was that I did not feel ready for Nas, John Harbison, and Robert what was coming, unlike my peers Morris at the annual Bowling Green with more years of experience be- New Music Festivals. I also started to fore entering a doctoral program. present more papers at different types I remember struggling through my of conferences, including the interna- first year: balancing life as a student, tional Music and Moving Image con- a teacher, and a performer along ference (MAMI) in New York City. with a number of other challenges After graduation, however, I final- along the way. But the professors, ly understood what the words “starv- acting as mentors, never gave up ing artist” meant. To survive, I worked on me even when I felt that I was as a freelance piano teacher and ac- disappointing them, especially my Fig. 1. Yen-Lin Goh playing a toy piano companist and choir director and piano teacher, Dr. Robert Satterlee, keyboardist at a community church in and my composition teacher/DMA advisor, There were some unexpected surprises Bowling Green. I was asked to be the inter- Dr. Marilyn Shrude, who kindly accepted during my years at BGSU. I was the Col- national coordinator and pianist for the Ge me as her non-composition-major student. lege of Musical Arts winner of the 2011 Gan-ru Ensemble, committed to works by I am forever indebted to their mentorship, Winifred O. Stone Development Fund Ge Gan-ru. I helped promote international support, and unfailing commitment. Award and the Pro Musica Graduate Music engagements and organize concerts and The year 2009 was a memorable one Scholarship, which enabled me to do more workshops. I also worked for Faber Piano marking my first artistic engagements in traveling for professional development. In Adventure by assisting with proofreading, Europe and North Africa, including partici- 2012, I received the Phi Kappa Phi Na- editing, and translating English-to-Chinese pating and performing in music festivals in tional “Love of Learning” Award and the language editions. Needing additional in- Switzerland, Italy, and Greece. I received Graduate Scholar Award at the 2012 Inter- come, I also worked as interpreter and trans- the Tunisian/American Embassy Piano national Conference on the Arts in Society lator for a real estate company. Fellowship Award, which took me to Tu- (Liverpool, UK). It was hard to believe From the United States to Tanzania nisia, assisting pianist Thomas Rosenkranz when I heard my name announced for the A random encounter with a job posting in teaching and performing at the Higher Jill Carr Outstanding Graduate Student for a piano/voice teaching fellow took me Institute of Music in Sousse, Tunisia. This Award and Outstanding International to Tanzania in East Africa in August 2013.

8 IAWM Journal Volume 24, No. 2 2018 I remember having to look on the map to lack of instruments, resources, and facili- for solo piano) and several other pieces make sure I knew where I was going (Fig- ties. For the Umoja final concert, my most with the choir and orchestra. One piece ure 2). I arrived in Tanzania ten years to the advanced piano group did a number en- was a choral and chamber orchestra ver- month from when I moved from Malaysia titled “Celebrations Around the World” in sion of Amazing Grace that did not have to the U.S. (August 2003), when everything which I arranged a twelve-hand version of a piano part. I had to create my own part looked so foreign and fresh to me. The U.S. six different songs from different countries and add a piano solo improvisation in the had become a second home for me after a with three pianists on each keyboard. middle, as requested. decade. The move was not easy, having to Approached by Randall Stubbs, Amer- Another opportunity I was grateful say goodbye to many friends and families ican missionary and head of the music for was the invitation to participate as a who had become a big part of my life. department at Tumaini University Maku- Tumaini University Makumira faculty rep- mira, a Tanzanian local university, I started resentative at the 4th Bi-annual GLOMUS teaching part-time at the university despite (Global Music) Camp, founded by the Si- my full-time schedule with Umoja. After belius Academy, Royal Academy of Music, finishing the contract with Umoja, Ide- and Lund University. It was a beautiful co- cided to stay and expand to full-time with incidence that the GLOMUS camp in 2015 the university. In addition to piano lessons, was held at the Sarawak Cultural Village in I taught theory classes, Asian and Middle East Malaysia (my first time to East Ma- Eastern Music Traditions, and Composi- laysia!). We collaborated with international tion/Arranging. Composition/Arranging, artists to explore intercultural communi- a class that I especially enjoyed, was de- cation and musical interaction for mutual signed to explore elements of composition inspiration and innovation. The small en- Fig. 2. Tanzania in a global context, with an emphasis on semble I was a part of, which incorporated I started teaching at the Umoja Music integrating local cultures. Chinese and Malaysian styles, was selected School in Arusha, Tanzania. What struck Working at a local university is very to perform at the Kuching State Legislature me immediately was that in the U.S. I was different in many ways compared to an in- Hall for the governor of Sarawak. one of countless numbers of piano teach- ternational school setting as in Umoja and In August 2015, I was invited as one ers, but in Tanzania, I felt as though I the United States. One of the differences of eight artists (one of two musicians) for was the only piano teacher in town. This was, unfortunately, gender discrimination. a one-month residency at the Brush Creek was the only community music school in It is difficult for Tanzanian girls to get any Foundation for the Arts in Wyoming. While the country at the time, and the supply of kind of education, not to mention higher there, I gave my first multicultural-themed music instruction could hardly meet the education. The number of female students solo recital at the end of the residency, and demand. My studio quickly expanded, in all classes at Tumaini was always sig- I included a Chinese song I wrote when I and I soon found myself with thirty-six, nificantly lower than the number of male was fourteen years old. and sometimes more, students, while also students. This was true even though more Goh-ing Back to Malaysia teaching four group classes of different scholarships were offered to female stu- After ten years in the U.S. and two in levels. I worked six days a week. This was dents to have a more balanced ratio in the Tanzania, I finally moved back to Malaysia my first time running a full studio, andI department, and especially in the choir and at the end of 2015 because of a problematic learned more about effective private and dance ensembles. work visa situation; I also had some job of- group teaching than ever before. While at Tumaini, I toured around Tan- fers from Malaysia. Since December 2015, Having students from different coun- zania with the university choir as singer and I have been teaching as a senior lecturer at tries, of different ages and backgrounds, accompanist, as choral music is huge in the Sultan Idris Education University in a small with different levels of interests, I chose country. It was also a privilege that inter- town, Tanjong Malim, in the state of Perak. to embrace and adopt the school’s Suzuki national lecturers were strongly encouraged Apart from teaching and administrative du- tradition, the “mother tongue” approach, to be part of the African drumming and Af- ties, senior lecturers are required to apply which focuses on learning by ear. Believ- rican dance ensemble, and I learned how to for research grants and to publish in aca- ing that it is just as important to introduce drum and dance with the local instructors demic journals. It can be a struggle to gain music reading early in the learning pro- and students. This certainly added a lot to academic recognition by public institutions cess, I supplemented with reading materi- my cultural and musical experience. in Malaysia for performance and creative als separate from the familiar Suzuki piec- By invitation, I started leading music activities. Unlike my experience in the es, such as pieces from the Faber methods regularly at the Arusha Community Church United States, performance/creative activi- and other methods from America. Suzuki that I attended, where I enjoyed working ties are fully recognized as research only training places importance on group les- with both local and international musicians if they fall into a scientific or educational sons. With only one acoustic piano and one from different backgrounds. One memo- framework and/or involve a research grant. full-size keyboard in the studio (unlike a rable highlight throughout my two years in Recently, I developed an interactive class piano lab with several keyboards that Tanzania was when I was invited by the di- teaching model based on multisensory we would have had in the other parts of the rector of the Dar Choral Society to Dar Es learning using game-like activities. I con- world), my creative energy was stretched Salaam to perform a work by Luciano Be- ceived the model as the result of my ex- in making the ensemble work despite the rio (he specifically requested a Berio piece perience conducting group piano classes as

Goh, Oh, the Places You’ll Goh 9 a teaching assistant at BGSU and teaching with an underground improvisation com- performer, I have been described as a clas- fellow at Umoja, and, for a few semesters, munity in Kuala Lumpur, which resulted sical pianist specializing in 20th-21st-cen- as a senior lecturer at my current univer- in performances with various local and tury works, a toy pianist/toy instrumental- sity. I noticed that learning by ear and im- international artists at the Serious Play Im- ist (a term coined by Margaret Leng Tan), provisation are not generally part of the prov Lab (SPIL) series, Soun(d)ance series, a vocalizing pianist, a pianist who impro- classical music curriculum outside aural Kuala Lumpur Experimental Film, Video & vises, and a pianist who occasionally plays skill classes in Malaysian higher educa- Music Festival (KLEX), and other Goethe- her own compositions. In the improvisation, which can cause students to rely too Institute sponsored events. I have been tion world, I am an avant-garde artist who heavily on scores and written instructions. fortunate to have had opportunities to col- improvises with my toys and voice in ca- Since gamification (the application of laborate with well-known performers such fes, black box theaters, libraries, and out- game-design elements and game principles as Frank Gratkowski, Kok Siew Wai, Yong door venues—especially where an acoustic in non-game contexts) and game-based Yandsen, Max Riefer, and Ignaz Schick. piano is not available (Figure 3). learning (GBL) have recently become im- I am grateful that I was invited to portant new trends in education, I applied join my composition colleague Wesley for and received a research grant to study Johnson’s research grant project, which multisensory game-based learning in class enabled my piano colleague, Tham Horng piano teaching—my first non-performance Kent, and me to form the piano duo that grant. (Two of my colleagues, Associate we named Tham 2 Goh. We toured around Professor Mohd Hassan bin Abdullah, an Malaysia from May to September last year expert in music education, and Associate to premiere and perform Johnson’s Sedap Professor Wee-Hoe Tan from the Faculty Cycle, a six-movement work for four- of Art, Computing & Creative Industry, hands piano inspired by Malaysian cuisine. joined me on this project. Tan is also the Tham recently received a research grant Vice Chair of Serious Games Asia Society that has supported our West Malaysia tours based in Singapore.) that feature lecture/recitals of piano music For this project, I designed a class plan by the renowned Malay composer Tazul Fig. 3. Yen-Lin Goh playing toy instruments that consists of six core game-like activities; Izan Tajuddin. Early this year, I joined the each activity focuses on the use of a differ- Nakasari ensemble (a research team led by What are my plans for the future? ent sense. The implementation of competi- Karen Lonsdale, an Australian colleague), While I have always enjoyed teaching, I tive GBL in each class session has resulted and we presented a recital entitled Admiral hope to do more performing (and maybe in a much livelier classroom dynamic. Stu- King of the Sea, featuring Malay and Asian even composing!) in the coming years. It dents seem to be more motivated to par- music, at the BrisAsia Festival 2018 held is interesting how teaching and preparing ticipate, whereas previously many of them in the Brisbane City Hall in Australia. my students for various types of perfor- felt challenged. The GBL method enabled One of the highlights of my artistic en- mances has stimulated my desire to per- them to make more cognitive connections gagements was a surprise invitation by the form more often, despite my very packed with each new musical concept. I presented Evangelical Lutheran Church of America schedule and routine at the university. our research findings at the Asia-Pacific (through the director for the Mission For- Some of my students said they were in- Symposium for Music Education Research, mation, whom I met in Tanzania) to be a spired by my performances. As a result, a which was held in the historic city of Ma- keynote speaker and music trainer for their new master’s degree student and two PhD lacca, Malaysia last year. This year, I was 2016 Annual Musicians Training Event in students requested that I supervise their invited to be the keynote speaker at the 3rd Chicago, and subsequently, an invitation graduate research projects. International Conference on Arts and Hu- by Augustana College in Illinois to provide I have missed collaborating with mu- manities, in Chengdu, China (July 25-27), masterclasses, a performance, and lectures sicians from different cultural backgrounds and my paper was entitled “Music Games to the music students. That year I also gave and performing in the U.S. (where contem- and Fun Learning in Higher Education.” a multidisciplinary recital at the “Arts With- porary music is met with such openness), As to my artistic development in Ma- out Borders?” International Conference so I look forward to the few weeks of laysia, I felt I had to start over, since all in Helsinki, Finland, which included col- residency in the U.S. as a OneBeat Fellow, my networking and connections were laborations with a Finnish musician and a touring with like-minded artists for music overseas. Thankfully, choreographer Lau dancer from the Sibelius Academy. Another diplomacy and community outreach. Beh Chin saw my performances online and highlight was my recent performance of Since 2007, music has brought me invited me to join the Where 2 Seas Meet the first movement of the Jigsaw Concerto, to many places and cities and has opened production at Damansara Performing Arts “Puzzled Jigsaw,” with the ASEAN youth doors for me as an artist, scholar, and teach- Centre (DPAC), where I acted as compos- orchestra under the baton of Kevin Field. er. This to me has been a huge blessing, and er, dancer, and music performer utilizing To summarize my career thus far: to I am so grateful to many individuals along toy instruments for three official shows. the academic world, I am a senior lecturer the way. I do not know where I will be in I was impressed by how the arts scene in (equivalent to an assistant professor) at the future, but I trust that through music I Malaysia has evolved over the years I was a university. To the artistic world, I am a will continue to be led to the right place at away. I was surprised to find and connect performer, improviser, and composer. As a the right time and meet the right people.

10 IAWM Journal Volume 24, No. 2 2018 The Poetic Muse: Piano Compositions by Spanish Women Part 1 of a Two-Part Series MARGARET LUCIA My first significant introduction to Spanish ture), was performed in Madrid’s famous cedes Zavala, Anna Bofill Levi, Consuelo women composers and their music came, Royal Theater,3 it was only the third that a Díez Fernandez, and Marisa Manchado surprisingly, in Cuba, at the Festival In- work by a woman had been performed in Torres. Both Zavala and Díez are currently ternacional de Música Contemporanéa de that prestigious hall. In addition, while the professors at conservatories in Madrid. La Habana, October 29 to November 9, Spanish government sponsors concerts and Two of the composers have developed 2011.1 The festival organizers invited me music education, composers are only able strong ties to contemporary music practice to perform music by Cuban women (Mag- to apply for commissions from the govern- in the United States. Díez earned a doctor- aly Ruiz, María Álvarez Ríos, and Gisela ment every few years. On the other hand, ate in composition from the Hartt School Hernández Gonzalo) on one of the evening Spain has a vital and adventurous con- of Music, and Zavala’s works have been concerts. I spent the remainder of the week temporary music scene. Contemporary featured in performances in New York attending the other concerts and lectures, music festivals are frequently held in all City, Illinois, Pennsylvania, and Califor- meeting Cuban musicologists, doing re- the city centers and conservatories.4 Spain, nia. Taken together, the music of these four search at the National Music Library, and a country about the same size as Texas, composers reveals a broad range of styles, getting to know the participants—a truly has sixty-one conservatories; the greater from chromatic, virtuosic romanticism to international group. Madrid region has fourteen, encompassing the use of varying degrees of tonality and I met Mercedes Zavala Girónes at an music education at all levels. Each of these atonality, pointillistic or impressionistic informal gathering, and we immediately has a robust program in music composition sounds, and extended techniques. Many found common ground. Although none of and frequent concerts of music by students, Spanish composers also reveal deep con- her extensive solo piano repertoire was faculty, and other professionals. nections to natural phenomena as well as performed at the festival, I heard two of When I was in Madrid, I was especially finely nuanced interpretations in sound of her other works, a recording of El hilo y la pleased to learn about a series of concerts a variety of poems. trama (1999), for flute orchestra, and a live held in one of the most prominent venues Mercedes Zavala Girónes performance of Bestiarium (2006, revised, in the center of Mercedes Zavala Girónes (b. 1963) 2011), for soprano, mezzo soprano, and Madrid, the Au- is the Head of Composition at the Teresa percussion. I found these works compel- ditorio Caja de Berganza Conservatory in Madrid, where ling: viscerally appealing, extremely well- Música in Centro- she has taught since 1990. She first stud- crafted, and unique. I should add that Bes- Centro Cibeles. ied piano, theory, and composition at the tiarium, performed entirely from memory They sponsored Madrid Conservatorio Superior and then in by the singers, was met with the only stand- a series of four London with Malcolm Singer (a Guildhall ing ovation during the festival. After the concerts of music 2 School teacher and headmaster of Yehudi festival, I invited Zavala to Shippensburg by women, with Menuhin School), who was a main figure University (PA) for a week-long residency, accompanying in her development as a composer. She and I asked her to direct a performance of lectures on music Fig. 1. Margaret Lucia traveled to Senegal in 1996 to conduct Bestiarium at the university. This, in turn, by contempo- research on African music, studying per- led to my five-month residency in Ma- rary women entitled Límites de la Identidad cussion with professor N’Diaye, and she drid, in spring 2017, thanks to a Fulbright (Identity Limits). The first of these concerts earned additional degrees in philosophy Senior Scholar Grant. During that time, featured the music of Germaine Tailleferre and aesthetics. Since that time, she has tak- I performed music by Zavala and other (“Memory”); the remaining three, entitled en a leading position among her colleagues Spanish women (plus works by American “Conflict,” “History,” and “Body,” were in her activities as a composer and profes- women) on several concerts in Madrid and devoted entirely to music by living compos- sor and in the preservation and promotion elsewhere in Spain, met with other composers, many of whom were present. And the of music by women in Spain. ers, and conducted research. I am happy to generous-sized auditorium was nearly full Since 2002, Zavala has been an ac- say that I will return to Spain this coming at every concert! tive member of the Institute for Feminist spring on a sabbatical from Shippensburg Compositoras Españolas, a 2008 pub- Research at the Complutense University to continue my research and performances. lication by the Spanish government, lists in Madrid and was president of the Aso- Music Sponsorship and Education in the names of 199 women composers past 5 ciación Mujeres en Música from 2007 to Spain and present. But this catalog, already ten 2010. Her music has been performed at As is the situation nearly everywhere, years old, is by no means complete, since numerous festivals in Spain and at venues women composers in Spain have difficulty it leaves out an entire younger generation in Italy, Australia, New Zealand, England, gaining access to the most famous concert of women. Nevertheless, the volume is in- Denmark, and the United States. Two of venues for performances of their work. valuable; all the composers I met are in- her recent solo piano compositions were For example, on July 4, 2017, when Sonia cluded, along with their known works up performed at major events. Sansueña (Ex- Megías and Eva Guillamón’s children’s to 2008. In this article, I will focus on the ile), written in 2016 for the commemora- cantata, Somos Naturaleza (We Are Na- music of four remarkable composers: Mer- tion of the death of Miguel Cervantes, was

Lucia, The Poetic Muse: Piano Compositions by Spanish Women 11 performed on January 24, 2018 in a spe- intense way, other times suggested, but al- a five-note group occurring within the 4/4 cial concert at Lincoln Center, sponsored ways avoiding the explicit use of the text.”9 meter. As the movement proceeds, a variety jointly by the New York Women Compos- Jardines Lejanos is dedicated to Con- of sounds, reminiscent of bird calls or chil- ers and the Asociación.6 Play the Piano suelo M. Correcher, a prominent landscape dren playing/chanting, swirls both above (after the poem by Charles Bukowski)7 was designer who wrote the text for the pho- and below, increasing the density and in- premiered at a concert in Madrid in Octo- tography book The Gardens of Spain.10 The tricacy of the music. The mood changes at ber 2017, celebrating the 80th birthday of score includes references to the poem of the the start of the third movement; a dream- Tomás Marco Aragón, Spain’s most hon- same name by Juan Ramón Jimenez (1881- like state is achieved at the beginning by a ored composer and musicologist. 1958), a famed Spanish poet who won the rising figure repeated over and over with Zavala is the author of a blog8 and 1956 Nobel Prize in Literature. Although slight alterations. The entire movement is many articles on aesthetics, feminism in there are no specific titles, each of the three played with the damper pedal depressed music, and contemporary trends, and she is movements of Jardines Lejanos reflects (there is only one change about two-thirds sought after throughout Spain for her mu- Jimenez’s different images of the garden. through); thus, the pianist must calibrate sic and as a lecturer, commentator, and ad- One might also interpret the whole piece as dynamics and touch within a constant, yet judicator. (See mercedeszavala.blogspot. a portrayal of the garden at various times ever changing “cloud” of sound. com, for a complete listing of Zavala’s of the day as it reveals itself in sound. The Anna Bofill Levi compositions, performances, and articles.) first movement, marked “soft, crystalline, Anna Bofill Levi (b. 1944) maintains Jardines Lejanos (2009), for solo pia- iridescent,” begins with crystal-like shim- three successful careers: composer, archi- no, illustrates some of the most salient as- mering “points” of sound (seconds or clus- tect, and mathematician. Her accomplish- pects of her compositional style. The most ters in the upper registers), which “cut” the ments in these disciplines have been ex- prominent include a free atonal style, a silence. Zavala gradually adds layers of traordinary. Her early music studies were in multi-layered textural approach and rhyth- repeated short, rapid motifs. The opening piano and music theory in her native Bar- mic complexity, emergence of key harmo- motif returns at measure 33, ornamented celona. She then studied music composition nies and melodies as the structure unfolds, with additional layers and a poetic quote with Xavier Montsalvatge, but at the same and, most important, an intense focus on appears at the end of the movement: “Rain 11 time, she was also studying with the mathe- imagery that emanates from poetic or prose of water stars.” The second and third matician Eduard Bonet. In 1974, she earned texts. Her propensity for, and nuanced ren- movements have no initial instructions, a doctoral degree and wrote her thesis on the dering of, these texts is well-known. For other than metronome markings; however, geometric generation of architectural and example, in July 2016, the art, music, and different lines from Jimenez’s poem, ap- 12 urban forms. In 1983, she attended a semi- literature magazine Sibila dedicated its en- pear in the score. nar with composer Luigi Nono, and, in that tire issue (No. 49) and an accompanying The second movement is more animat- same year, translated Iannis Xenakis’s book recording to Zavala’s music. They cited her ed and has increased rhythmic and textural Music and Architecture into Catalan.13/14 “instrumental works…that are supported complexity. Here a repeated interval/cluster She also studied with Xenakis in Paris at the by poetic references, sometimes in a very pattern is presented as a sort of ostinato of Center for Studies of Mathematics and Mu- sic Automation (CEMAMU). Delving further into interdisciplinary areas, Bofill has designed sets for the theater, collaborated in works—and served on juries—for both art and theater, coordinated music for dramatized lectures, and organized concerts of her works with staging. One example was pianist Jean Pierre Du- puy’s concert, which included several of Bofill’s solo piano works (Andata e ritorno, Artifici marí, En un Chassaigne Frêres negre de mitja cua, El blanc del blau, and Poema per pianoforte) plus staging, poetry readings, and acting. A list of her writings is extensive, ranging from a tribute to Montsalvatge to essays on the relationship between music and cartography, and biology and music. However, she is particularly known for supporting the greater dissemination of works by women composers. Her most recent book is entitled Los Sonidos del Silen- cio: Aproximación a la historia de la cre- ación musical de las mujeres. (The sounds

12 IAWM Journal Volume 24, No. 2 2018 of the silence: Approach to the history of In her capacity as a pedagogue, Díez auspices of the Madrilenian Association of women’s musical creation, Aresta Edito- has taught composition and electronic mu- Composers (formed in 1998). rial, Aresta Mujeres No. 9, 2015.)15 sic at the Ferraz Conservatory of the Com- Manchado’s music spans all instru- In addition to the solo piano works munity of Madrid since 1988 and served mental and vocal genres, and she complet- listed above and those for other instruments as Director from 1992 to 1996. She has ed her third opera, La Regenta, in 2015. or voice, Bofill has composed two series of also directed programs on electronic music Several of her works are for piano or in- compositions entitled Itineraris I and Itin- for the Radio Nacional de España, and she clude piano. Much of Manchado’s music is eraris II (1999). Each work in the series is founded the Laboratory of Computer Sci- deeply reflective of poetry, especially that dedicated to a famous woman writer, includ- ence and Electroacoustic Composition of of the mystic poets of the late Middle Ages ing, among others: Anne Sexton, Adrienne the Community of Madrid in 1988.19 and early Renaissance. When I was in Rich, Sylvia Plath, Simone de Beauvoir, Díez has written music for orches- Spain, I performed Mystericorum (2015), a Amalia Domungo, Alejandra Tizarnik, and tra, works for solo instruments and piano, work in several movements for solo piano Calamity Jane. The first piece in the first se- songs, chamber music, and works for in- and speaker, based on the poetry of two ries, Onades I Roques (Olas y Rocas, Waves struments and electronic sounds. Her solo of the most famous historical Spanish po- and Rocks)16 was written in homage to Vir- piano piece Sein und Zeit was recently heard ets: Jorge Manrique (1440-1479) and San ginia Woolf, and, in the composer’s words, on the same pair of concerts as Zavala’s in Juan de la Cruz (1542-1591). In this work, “was inspired by her personality, which I Madrid and NYC, sponsored by the New individual musical movements alternate understand [as being] very related to the sea, York Women Composers. Díaz’s music can especially with the movement of water, with take many forms—tonal, atonal, dance- the continuous play of the foam.”17 In the like, meditative. But she is consistent in the opening passage of the piece, the water im- vividness of her imagery, whether express- agery is immediately apparent in the linear ing the poignancy of loss or paying homage sweep of sixteenth notes, moving upward to one of Spain’s greatest composers. continuously higher and higher. Bofill has Like many other composers, she was shown her own interest in water as an in- inspired by poetry, and her music reflects spiration for works prior to this one. In her both the passion and intimacy of the vers- preface to Andata e ritorno, for example, es. One of her most attractive works is Ru- she describes the piece—a representation mores del Puerto (Rumors of the Port). In of the water cycle—“as a metaphor of the contrast to the personal expression in her cycle of life.”18 poetic works, Rumores is a joyful reminis- Fig. 2. -Left to right: Marisa Manchado, cence of the Spanish dance. Díez wrote the Mercedes Zavala, Margaret Lucia, and Consuelo Díez Fernández Consuelo Díez. The photo was taken at the Consuelo Díez (b. 1958) has earned piece in 2009 for a concert in the National Pauline Oliveros memorial concert, Nicho- a high profile in the community of wom- Auditorium commemorating the 100-year las Salmerón Cultural Center in Madrid on en musicians in Spain and in the Spanish anniversary of the death of Isaac Albeniz. March 16, 2017. cultural community at large. She studied For this occasion, she deftly wove ele- music at the Royal Conservatory of Mu- ments of the music of two of the celebrated with extended poetic texts by these poets. sic of Madrid, earning the highest degrees Spanish composer’s pieces into her own, Here is a short excerpt from San Juan de la in composition, piano, and music theory; “El Puerto” from Iberia, and “Rumores de Cruz’s Coplas del alma que pena por ver a her teachers there included Spain’s most la caleta” from Recuerdos de viaje, op. 71. Dios (Verses of the Soul that Pines to See notable composers (particularly from the Díez has also written a two-piano version God), which is spoken after the first piece: group named Generación del 51). Díez of this composition. “I live and do not live in myself/ and so also has a degree in Art History from the Marisa Manchado Torres strong are my hopes/ That I am dying of Complutense University of Madrid and a Maria Luisa Manchado Torres (b. not dying.” Later, the composer quotes the master’s degree in computer composition 1956) is one of the most prolific of the lines of Manrique’s elegy on the death of and electroacoustic music plus a PhD in contemporary composers in Spain, with his father—a poem known to all Spaniards. musical arts from the University of Hart- over one hundred works to her credit and Here is a short excerpt: “Let the sleeping ford. Last year, the Hartt School com- numerous prizes, commissions, and pre- soul/ arouse its senses and awake/ to con- template/ how life passes, how death ap- missioned a work for a series of concerts mieres throughout Europe as well as in 21 honoring renowned composition professor Cuba and Mexico. Her oeuvre reveals the proaches/ so silently….” James Sellars, who died in 2002. broadest incorporation of contemporary Manchado connects music to words Díez served as a cultural officer for the techniques and influences, a reflection using a wide variety of sounds made inside Spanish government: from 1997 to 2001 of the fact that she has studied or taken the piano: plucking, glissandi, and tapping she was director of the Center for the Dif- courses in most of the major centers for or striking with mallets on the strings as fusion of Contemporary Music and the In- contemporary music in Europe.20 Her mu- well as recurring series of dense chords, ternational Contemporary Music Festival sic can be found on twelve discs, and she moving slowly, heavily from one to the of Alicante (Culture Ministry), and she was is the subject of many monographs. She next, changing slightly each time. Short Spain’s representative at UNESCO and the continues to advocate for women in music melodic riffs are followed by quick caden- International Contemporary Music Society. and recently instituted a festival under the za-like passages, slowly rolled chords and

Lucia, The Poetic Muse: Piano Compositions by Spanish Women 13 sharp, short high repeated notes. The com- ernment-sponsored musical concerts in Spain the afternoon, like in a violet dream). http:// bined effect is one of great expressivity— are announced to the music community, and a mercedeszavala.blogspot.com/2010/09/jar- rapid changing of emotions, from intense, thick book advertising each concert is distrib- dines-lejanos-2009.html 13 even fierce, to extended meditative passag- uted. (www.cndm.mcu.es) There is no shortage Catalan is the language of Catalonia. of women performers, but only a single concert 14 The English translation by Sharon es. I particularly enjoyed working with her was devoted to women composers in the 2017- Kanach of Xenakis’s book was published in on these pieces—we shared conversations 18 edition’s 442 pages. 2008 by Pendragon Press. about our favorite American composers, 5 Josemi Lorenzo Arribas, et. al, Composi- 15 http://www.accompositors.com/compos- chief among them George Crumb and Pau- toras Españolas: La creación musical feminina itores-curriculum.php?idComp=18 line Oliveros. When I arrived, in January desde la Edad Media hasta la actualidad (Ma- 16 The title is given in Catalan, then in 2017, Manchado had not heard that Pau- drid: Centro de Documentación de Música y [Castilian] Spanish, and finally in English. line had died—she immediately organized Danza, Gobierno de España, Ministerio de 17 See, for example, Anna Dowling’s arti- a commemorative concert, which took Cultura, 2008). cle, “‘What the Water Gave Me’: Woolf and Wa- 6 place the next month at the Nicholas Salm- This concert, which I attended, also inter,” http://annadowling.blogspot.com/2012/12/ cluded works by Spanish composers Diana what-water-gave-me-woolf-and-water.html erón Cultural Center in Madrid. Pérez Custodio and Rosa María Rodriguez 18 Anna Bofill Levi, preface to the solo As I became more and more immersed Hernández, and American composers Alexa piano work, Andata e Ritorno. in the music of these composers, I was Babakhanian, Mary Ann Joyce, Marga Richter, 19 http://digital.march.es/clamor/es/fedora/ struck by their intensity, their deep devotion Pamela Sklar, Madeline Schmidt and Cassandra repository/atm%3A973 to their own culture, and yet, at the same Stevens (the latter two are members of the New 20 Beyond her music studies (Royal Con- time, the universality of their general out- York Philharmonic’s Very Young Composers servatory of Music in Madrid), Manchado has look and their broad knowledge of contem- program). Performers included Isabel Pérez also done post-graduate work in music therapy porary music trends throughout the world. Dobarro, piano; Anna Tonna and Nan-Maro Ba- (Universidad de Alcalá de Henares) and clinical Before I left, Mercedes and I exchanged bakhanian, mezzo soprano; and Pamela Sklar psychology (the Pontifical University in Ma- and Laura Falzon, flute. drid). As Deputy Director of the Teresa Bergan- gifts: mine to her—A Spanish translation of 7 Charles Bukowski, Play the Piano Drunk za Conservatory for fourteen years, Manchado The Handmaid’s Tale; hers to me (which I Like a Percussion Instrument Until the Fingers instituted courses in music therapy, among her will treasure)—a volume of Spanish poetry, Begin to Bleed A Bit (New York: Harper Collins other accomplishments. with side-by-side translations into English. Publishers, 2003 edition). 21 Recuerde el alma dormida/ Avive el seso y 8 NOTES mercedeszavala.blogspot.com despierte/ Contemplando/ Cómo se passa la vida, 9 1 I was sponsored by composer Magaly http://www.mujeresenlamusica.es/sibila- how life passes, Cómo se viene la muerte/ Tan Ruiz Lastres as the result of correspondence dedica-su-disco-monografico-a-mercedes-zav- calando…. Translations of these two poems were with Liane Curtis, Resident Scholar, Women’s ala/ taken from The Penguin Book of Spanish Verse, 10 Studies Research Center Music at Brandeis Michael George, The Gardens of Spain, introduced and edited by J. M. Cohen (Middle- University. Special thanks to Dr. Curtis for her text by Consuelo M. Correcher, translated by sex, England: Penguin Books, Ltd., 1956). Wayne H. Finke (New York: Harry N. Abrams, help in introducing me to Cuban women com- Pianist Margaret Lucia has performed at festi- posers and their music. Inc., 1993). 11 vals and has presented recitals and lecture-recit- 2 Mercedes Zavala, Jardines Lejanos (Bar- After the first iteration of a Spanish name, als in Europe and Japan as well as throughout celona: Periferia Sheet Music, 2009). Poem: I will designate the person only by the first of the United States and Canada. As a Fulbright her two last names, according to custom. Llueven estrellas de agua. 12 scholar in 2017, she spent five months in Spain 3 Movement 2, m. 72: solloza el agua Teatro Real Madrid website: https://www. collaborating with women composers and per- gragante, agua de música y lágrima (sobs the teatro-real.com/es/temporada-16-17/otras-ac- forming their music. In 2011, she was a featured fragrant water, water of music and tears). End: tividades/cantata-somos-naturaleza June 2017. soloist at the Festival de Música Contemporánea por los parques…luz de estrellas, alas de ánge- (Accessed 9/3/2018) in Havana, Cuba. She earned a Ph.D. from the 4 les (for the parks… starlight, wings of angels). Each year in late May a major public University of California, San Diego and is Pro- Movement 3, end: Estoy envuelto en la tarde, relations event is held in the National Audito- fessor of Music at Shippensburg University in como en un sueño violeta (I am wrapped up in rium in Madrid in which all the Spanish gov- Pennsylvania. Women Composer Representation in the College Orchestra Repertoire, 2016-17 CHAOWEN TING Introduction researchers understand past and ongoing available. The League discontinued the Programming and repertoire selection aesthetic trends. survey in the 2012–13 season, but the Bal- play an essential role in the development The League of American Orchestras timore Symphony Orchestra (BSO) took of any ensemble. An orchestra’s repertoire started collecting annual repertoire reports1 up the task, conducting its first repertoire choices manifest the personality and vision from its member orchestras in the 2000–01 survey of the 21 largest American orches- of its music/artistic director, the artistic season. In addition to an overview, the re- tras in the 2014–15 season.2 The study was goals and accomplishments of the ensem- port is also organized by composers and expanded to include 89 orchestras in the ble, and most importantly, the core values by orchestras, broken into nine groups re- 2015–16 season3 and 85 orchestras in the cherished by the organization. While it is flecting the size of each ensemble’s annual 2016–17 season.4 impossible to measure an ensemble’s artis- operational budget. Information such as While the League’s repertoire re- tic achievements quantitatively, a thorough soloist appearances, premieres, and perfor- ports functioned mostly as a statistical data analysis of repertoire choices helps mances of works by U.S. composers is also archive, the studies done by BSO’s Ricky

14 IAWM Journal Volume 24, No. 2 2018 O’Bannon focused on underrepresented concert information from official school completed, unless a concert program spe- groups in the symphonic world—women websites except for that provided by the cifically denoted a certain revision, such composers, living composers, and Ameri- concert offices at the San Francisco Con- as the 1947 version of Stravinsky’s Pe- can composers. Citing statistics, O’Bannon servatory of Music and the University of trushka. The survey included only concerts has called out issues of gender equity and Southern California. In cases where the performed by the above list of orchestras. the imbalanced repertoire selection favor- complete repertoire of the concert was not Fully-staged operas or ballets were not in- ing deceased German, Austrian, and Rus- listed on the website, the concert was not cluded in the survey; operatic excerpts pre- sian composers. included in the survey. sented as gala concerts were included. These surveys show clear trends in The survey included 56 orchestras Survey Results American professional and regional or- from 20 academic institutes. In selecting During the 2016–17 year, the 56 sur- chestral programming, but I wondered the surveyed participants, I compiled three veyed orchestras performed 532 pieces by about the sta- Top-20 U.S. Music Schools lists from dif- 213 composers in 140 concerts. Although tistics for col- ferent years and chose 20 institutes that ap- the average year of composition was as late lege orchestral peared in most if not all of them. The 20 as 1899, Mozart, Beethoven, and Brahms programs. Are surveyed institutes (in alphabetical order) were the most popular composers. About young musi- are Arizona State University, Boston Con- half of the concerts featured works by Ger- cians trained servatory at Berklee, Cleveland Institute of man, Austrian, or Russian composers. Ap- mostly in the Music, Curtis Institute of Music, Indiana proximately one out of every ten pieces classical sym- University, Peabody Institute of The Johns was written after 2000, and 2016 marks the phonic canon Hopkins University, Manhattan School of year in which most of these pieces were prepared for the Music, New England Conservatory, North- completed. Living composers represented “real” world? western University, Oberlin College, Rice 14.23% of the performed repertoire, but Are conserva- University, San Francisco Conservatory of Chaowen Ting only 2.6% of all the performed pieces were tory and music Music, The Juilliard School, University of written by women. school students exposed to a wide variety Cincinnati College-Conservatory of Mu- of genres, styles, and musical languages? sic, University of Illinois at Urbana-Cham- The Trends How inclusive or diverse is the music stud- paign, University of Michigan, University A comparison of the statistics of the ied in higher education institutes? How of North Texas, University of Rochester 2016–17 college orchestra repertoire and often do college orchestras program works Eastman School of Music, University of O’Bannon’s three-year survey of Ameri- by living composers, women composers, Southern California, and Yale University. can orchestra programming indicates that and American composers? Repeated performances of the same American orchestras share similar values To answer these questions, I surveyed concert were not included in the survey. when it comes to symphonic literature, the 2016–17 college orchestra concert rep- When analyzing the data, the calculations regardless of the educational, regional, or ertoire from 20 leading academic institutes, of the initial finds were weighted by the professional levels. Figure 1 shows the including universities, conservatories, and number of concerts in which a piece of mu- percentage of works performed during a music schools. The findings show that the sic was performed. The composition date given season organized by composition college orchestra repertoire generally con- was based on the year in which a piece was year and composer groups. The data dem- forms to the trends of professional orches- onstrate that the majority of works played tras: works by German, Austrian, and Rus- sian composers form the majority of concert Women Composers: Music for Orchestra programs. However, college orchestras are As part of a new initiative to increase the number of performances of music by women more likely to program pieces by living and composers, the Philadelphia Orchestra has announced that in the 2019-20 season more American composers than are professional than half of the subscription concerts will feature works by women, starting with a new orchestras, yet women composers remain commission for Valerie Coleman. Canadian composer Stacey Brown’s Perspectives drastically underrepresented. will receive its U.S. premiere in November; Philadelphia Orchestra’s music director, Below, I first introduce my research Yannick Nézet-Séguin, presented the work’s world premiere with the Orchestre Mét- methods followed by a general comparison ropolitain in Montreal last year. English composer Anna Clyne’s Masquerade will be between the data collected from college featured in June 2019, and Gabriela Lena Frank will hold the title of composer-in-res- orchestras and professional orchestras. idence through the 2020-21 season. The orchestra, in collaboration with the American Later, I discuss possible reasons for the Composers Orchestra, offered a reading of scores by six women on September 6, and low representation of women composers the orchestra has started a new mentoring program for emerging women composers— and review several initiatives that aim to their works will be premiered in the 2019-20 season. promote and advocate women composers’ The New York Philharmonic included a work by Ashley Fure in its 2018-19 sea- orchestral output in concert halls. son-opening gala concert and presented Unsuk Chin with one of the largest awards in Methodology contemporary music: the Marie-Josée Kravis Prize for New Music, which includes I used the following methods in col- an award of $200,000 and a commission for a new orchestral work. There is also lecting data for this survey. Between Feb- good news from the Metropolitan Opera Company, which is commissioning operas by ruary and May 2017, I gathered all the Jeanine Tesori and Missy Mazzoli.

Ting, Women Composer Representation in the College Orchestra Repertoire 15 works represented 14.3% of the composers, 14% of the concerts, and 18% of the performed pieces on college programs. Al- though the percentage of works by living composers remains low, it is somewhat encouraging that 19 out of 20 surveyed institutes performed at least one piece by a living composer. The University of Southern California was the only institution that did not include any piece by a living composer or an American composer on its 2016–17 concert programs. In the professional field, the BSO’s 2016–17 survey shows that 82 out of the 85 surveyed orchestras presented 338 pieces by 264 living composers for a total of 1,071 performances.5 Three orchestras did not perform any work by a living compos- Fig. 1. Percentage of Works Performed During a Season, er: Greenville Symphony Orchestra, Long by Composition Year and Composer Groups Beach Symphony Orchestra, and Wichita in concert halls were written by white men, and works in the season, I will focus on the Symphony Orchestra. Additionally, Long and that women composers continue to be most underrepresented composer groups: Beach was the only surveyed orchestra underrepresented in both professional and women and living composers. that programmed no works by an American composer. college orchestra performances. 1. The Favorites Despite the similarities, one notable A comparison of the 2016–17 reper- 2. Women Composers difference in programming is that college toire selection of the professional and col- Among the 532 pieces performed by 20 orchestras are more likely to perform piec- lege orchestras illustrates that just a few surveyed college orchestras, 19 works were es by American composers and living com- composers and compositions appear in written by 16 women composers. Two of posers than are professional orchestras: the both groups. Beethoven’s Symphony No. 9 the composers were historical figures: Ruth 14.23% of pieces by living composers per- was the most popular work among profes- Crawford Seeger and Grazyna Bacewicz, formed by college orchestras is higher than sional orchestras, while Schubert’s “Un- and four were current composition stu- the number performed by professional en- finished” Symphony was well represented dents of the given school, leaving only ten sembles (11-12%). Another distinction is by college orchestras. Also appearing on established living women composers: Kati that concertgoers are more likely to hear an both lists were Beethoven’s Symphonies Agocs, Anna Clyne, Jennifer Higdon, Cindy American work at a college orchestra con- Nos. 5 and 7, Brahms’ Symphonies Nos. McTee, Gabriela Ortiz, Raminta Serksnyte, cert than at a professional concert. Ameri- 2 and 4, Stravinsky’s Petrushka, Dvorak’s Caroline Shaw, Augusta Read Thomas, can composers were the second-most rep- Symphony No. 9 “From the New World,” Joan Tower, and Ellen Taaffe Zwilich. Of all resented on college concert programs and Tchaikovsky’s Symphony No. 5, and Ber- 16 women composers, only three had two the third-most programmed group on pro- lioz’s Symphonie Fantastique. pieces performed during the year: Jennifer fessional performances. John Adams was the only well-repre- Higdon, Hilary Purrington, and Augusta The average composition year (1899) sented American and living composer in Read Thomas; the other 13 composers had for college orchestra programs was later college concerts. His work The Chairman only one piece performed once. than that of professional orchestras: 1886, Dances received the third-highest number In the same year, the 85 surveyed pro- 1882, and 1888, respectively, in the three of performances and was presented by five fessional orchestras presented 57 pieces surveyed years. One explanation is that of the 20 surveyed schools. Adams was by 47 women composers for a total of 119 college orchestras tend to include pre- also among the most frequently performed performances. Four of the composers were mieres of student-composers’ works; of living composers by professional orches- historical figures: Lili Boulanger, Margue- the 76 living composers whose works were tras: his works received performed by college orchestras in 2016– more performances than 17, 12 (16%) were students within the in- Schumann, Bernstein, or stitution. Rimsky-Korsakov during The 2016–17 Data the 2016–17 season. When the analysis is narrowed to one single In the same year, the season (2016–17), the concert repertoire of 56 surveyed college or- both professional and college orchestras chestras performed 96 reveals how the above-mentioned trends pieces by 105 living com- informed programming practice. After re- posers. A total of 104 porting on the most performed composers performances of these 96 Fig. 2. Percentage of works by Living Composer Groups

16 IAWM Journal Volume 24, No. 2 2018 rite Monnot, Ruth Crawford Seeger, and This statement holds some truth to it. In Among 30 disciplines included in her Galina Ustwolskaja. Among the 47 women 2014, only 18% of Ph.D.’s in music com- study, music composition had a high “field- composers, only 12 had more than one position from U.S. universities were wom- specific ability belief,” which exceeds that piece performed. en,6 a much lower rate when compared to of computer science or engineering, and the The underrepresentation of women that of women U.S. Ph.D.’s in other music percentage of women professionals in mu- composers was already seen in Figure 1: fields: 36.9% in general music, 47.9% in sic composition is one of the lowest across in 2016–17, works by women composers musicology, 48.1% in music performance, both humanities and STEM subjects. made up just 2.6% of all the music per- and 52.9% in music education.7 This celebration of an innate ability formed by college orchestras and 1.3% by Even though fewer women choose is a double-edged sword: practitioners in professional orchestras. When one focuses music composition as their profession, the field are more likely to view women as only on music written by living composers, the 14% women representation of concert less gifted, thus are biased against them, women composers accounted for 16.35% repertoire is still lower than that of women and women internalizing such beliefs are of works in college orchestra performanc- earning Ph.D.’s in composition: an average less inclined to enter the discipline.11 This es, and 10.3% by professional orchestras. of 18%.8 Funding sources of professional theory explains why women remain so un- One alarming issue is that, unlike male orchestras have been proven to affect en- derrepresented in composition, and why (living) composers, no woman had more semble programming choices, as shown in orchestras rarely actively seek out living than a handful of pieces performed in the the study led by Lawrence Tamburri: the women composers when programming. As season. In both fields, less than half of the greater an orchestra relies on local govern- compositions by women are often deemed organizations included at least one piece ment funding and endowments, the more less worthy, orchestras spanning from pro- by a woman composer, as opposed to the conservative are the orchestra performanc- fessional, to community, to college levels much higher percentage of ensembles per- es. Two other factors in the orchestral pro- are disinclined to perform their works. forming works by living male composers. fession play an important role: the lack of (See Figure 3.12) Additionally, fewer orchestras performed willingness to program works by women, Interventions and Initiatives works by women composers: nine of the and the lack of awareness of compositions Researchers have proposed and tested 20 surveyed colleges played at least one by women. These two challenges are inter- various intervention tools that can be used piece by a woman, and only 34 out of 85 related in promoting women composers: in early education to improve confidence professional orchestras programmed works the relative obscurity of good composi- in and performance by young girls and by women composers. tions by women leads to a reluctance to measures that can help reduce or eliminate 3. The Diversity Challenge perform works by women, and the resis- implicit bias in labor markets.13 In the or- Several factors contribute to the gender tance to exploring repertoire outside the chestral profession, as in any other field, imbalance in orchestral programing. It can- standard literature contributes to an in- not be denied that very few historic women adequate knowledge of composers received recognition through the lesser-known composers. course of western music history, and only Many scientists have a small number of operatic or orchestral tried to decipher why works by these composers even survived. women’s participation While several orchestral pieces by historic is lower in certain disci- women composers are in print, very few plines in STEM (science, orchestral sets (parts and full score) are technology, engineering, available for purchase. Frequently only the and mathematics) fields, vocal score or the full score is available for and one theory argues purchase, but the orchestral parts are rental that these male-domi- nated subjects are often only. This could result in deterrents such as 9 performance materials difficult to access, or math-related. This hy- associated fees prohibitively expensive for pothesis does not explain some organizations. the low percentage of Women composers are also rare in the women in music compo- contemporary music scene. When college sition and fields such as and professional orchestras program works philosophy. Sarah-Jane by living composers in the surveyed years, Leslie, a philosophy pro- women account for an average of just 14% fessor at Princeton Uni- of all the presented works. Figure 2 shows versity and her research that orchestral ensembles at all levels pre- team found that “women fer American men when selecting contem- are underrepresented in porary repertoire. fields whose practition- Some people might argue that this is ers believe that raw, in- Fig. 3. Field-Specific Ability Beliefs and the Percentage of U.S. Women in 2011 with PhD Degrees. simply a number problem, as there are not nate talent is the main re- 10 (A) STEM and (B) Social Science and Humanities. as many women composers in the field. quirement for success.”

Ting, Women Composer Representation in the College Orchestra Repertoire 17 changes in societal association between orchestral music,” is widely used by schol- have contacted several composers request- gender, talent, and success in careers are ars, orchestra librarians, educators, conduc- ing information, many do not have it readily difficult and slow. Several programs and tors, and orchestra managers. Starting with available, and the others are disinclined to organizations have taken up initiatives to the third edition (1995), Daniels initiated a be included in a list emphasizing their gen- promote women composers, increase their “women composers” category in the appen- der. The existence of such a database based visibility, create role models for musicians dix under the heading “composer groups on the gender of the composers rather than of the next generation, and promote gener- for thematic programming.”16 This section their talents is embarrassing but necessary al awareness of women composers—all of has undergone a few expansions: 22 wom- when promoting gender parity in concert which should encourage and inspire more en composers appeared in the third edition halls. A complete and user-friendly source young girls entering the profession of mu- of the source book; 14 were contemporary saves conductors and orchestra librarians sic composition. at the time of publication. In the fourth edi- time and effort to go through hundreds of To demystify the notion that there are tion (2005), 55 women composers (38 con- individual personal websites to find works no good compositions by women it is es- temporary) were included. The most recent suitable for the ensemble. The recently re- sential that information regarding women fifth edition (2015) included 70 women (50 leased database of “Women Composers of composers’ orchestral output is easily ac- living then) listed among a total of over Wind Band Music,” compiled by Christian cessible for conductors, orchestra manag- 1,200 composers.17 In the decade spanning Folk, is an excellent example.19 ers, and music educators. The Women’s 2005 to 2015, only 17 contemporary wom- Conclusion Philharmonic Advocacy (WPA) website in- en composers were admitted into the presti- When it comes to orchestral program- cludes repertoire information about wom- gious league of great symphonists. Printed ming, I would never advocate completely en composers such as Amy Beach, Louise materials often lack the latest information, abandoning the traditional symphonic lit- Farrenc, and Fanny Hensel. The WPA also but Daniels hosts a monthly-updated online erature, the power and beauty of which has some orchestral materials available for search service expanded from the fifth edi- attracted me to become a classical musi- ensembles interested in performing works tion. As of April 2018, a total of 1,425 com- 14 cian in the first place. But as teachers in by historic women composers. Compos- posers, including 95 women, can be found higher education, we should celebrate, er and arts administrator Robert Deemer on his site. Within the 6.7% representation support, and encourage orchestral pro- started collecting a list of women compos- of women composers, 63 are contempo- grams to nurture young musicians through ers in 2012, and he has now expanded it rary, including a few emerging composers, repertoire beyond the standard symphonic into a database that includes information such as Missy Mazzoli, Helen Grime, Em- literature. We should also ensure that mu- about more than 3,000 women compos- ily Rutherford, and Rebecca Saunders who sic students receive orchestral training in a ers.15 The database contains links to the have been added since the publication of 18 wide variety of styles, genres, and musical composers’ websites and a checklist of the the fifth edition. expression. For instance, the New England genres in which these women composed. Inspired by Deemer’s database but Conservatory (NEC) made a pledge to in- The checklist is not particularly useful for frustrated with its poor functionality in clude one work by a woman composer at orchestral programming, however, as users orchestral programming, I started to cre- every orchestra concert during the 2016– have to go to each individual composer’s ate my own Daniel’s Book, women’s edi- 17 year, and the NEC also performed the website to look for information about her tion—an online database of living women most works by living and women com- orchestral works. The College Orchestra composers’ orchestral output in 2016. My posers during the year among the 20 sur- Directors Association (CODA) recently goal was to create an orchestral source for veyed higher education institutions. Led formed a repertoire committee to research fellow conductors, artistic directors, and by Marin Alsop, both the Baltimore Sym- repertoire choices made by and available orchestra management seeking more inclu- phony Orchestra and the Peabody Institute for its member orchestras. One initiative sive representation in their concert season orchestral programs included quite a few proposed by the committee was to identify planning. The spreadsheet contains all the works by living composers, too. more orchestral works by women compos- information necessary for programming: Overall, diversity remains rare in or- ers suitable for college ensembles. duration, instrumentation, composition chestra concert programs. The way women David Daniels’s Orchestral Music, a date, nationalities of the composers, com- composers are presented in Daniels’ source sourcebook sometimes called “the bible of posers’ personal websites, and links to re- book—as a category similar to nationality cordings, perusal scores, and publishers. Congratulations, lists—demonstrates that “women compos- The project has been growing rather ers” are treated simply as a new genre. Victoria Bond! slowly, with no proper help collecting the When ensembles present a concert that information and, more frustratingly, with Victoria Bond’s opera Clara, about includes works by women, program titles no available information from many com- Clara Schumann, will be premiered in such as “French Concert” or “Russian posers. Some have no website or contact in- April 2019 at the Berlin Philharmonic Night” are often used. After performing a formation known to the public. Many others Easter Festival in Baden-Baden, Ger- piece or two by women composers, the or- have personal websites but lack complete many. Victoria Bond is the first Ameri- chestra can check them off the list, and pat work lists or omit compositional informa- can woman, in the 50-year history of themselves on the back for having fulfilled tion critical to orchestral planning—name- this prestigious festival, to have her the “inclusivity” column in programming. ly, duration, instrumentation, and record- music performed! As decision-makers and their audi- ings or perusal scores. Furthermore, when I ences become aware of this gap in represen-

18 IAWM Journal Volume 24, No. 2 2018 tation, we hope that orchestras will begin to 2015: on average, 18.2% of students earning a 15 Robert Deemer, “Women Composers perform more works by living and women doctorate in music composition were women. Database,” https://goo.gl/65j95x. Drew McMa- 7 composers and that eventually their works National Science Foundation, Survey nus, Are you Aware of the Women Composer will break into the lists of core repertoire. of Earned Doctorates (2014). https://www.nsf. Database Project,” Adaptistration. https://adap- gov/statistics/srvydoctorates/ tistration.com/2017/03/09/women-composer- Only when we reach an era when compos- 8 Certainly, earning a Ph.D. in composition database-project/ ers need no database to publicize their gen- does not guarantee a career as a composer, but 16 David Daniels, Orchestral Music: A der, when women are judged by their talent it is an indicator that those earning a post-grad- Handbook, 3rd ed. (Lanham, MD: Scarecrow as artists, and when many more than 94 uate degree are serious about the discipline. Press, 1995), 555. Daniels, Orchestral Music, women are included in a list of more than 9 Shane Bench, Heather C. Lench, Jef- 4th ed. (Lanham, MD: Scarecrow Press, 2005), 1,425 male composers can we proudly say frey Liew, Kathi Miner, and Sarah A. Flores, 515-516. we have done our work: we have achieved “Gender Gaps in Overestimation of Math Per- 17 David Daniels, Daniels’ Orchestral Mu- inclusivity in the orchestral profession. formance,” Sex Roles 72, no. 11-12 (06, 2015): sic, 5th ed. (Lanham, MD: Rowman & Little- 536-546. doi: 10.1007/s11199-015-0486-9. field, 2015), 720. NOTES 10 Sarah-Jane Leslie, Andrei Cimpian, and 18 The exact number of composers and 1 League of American Orchestras, “Or- Meredith Meyer, “Expectations of Brilliance women composers were provided by David chestra Repertoire Report Archive,” http:// Underlie Gender Distributions across Academic Daniel in the correspondence on April 25 and www.americanorchestras.org/knowledge-re- Disciplines,” Science 347 (2015): 262-265. doi: 26, 2018. See David Daniels, “Daniels’ Orches- search-innovation/orr-survey/orr-archive.html 10.1126/science.1261375. Andrei Cimpian and tral Music Online,” https://daniels-orchestral. 2 Ricky O’Bannon, “The 2014–15 Orches- Sarah-Jane Leslie, “The Brilliance Trap,” Sci- com/composers/ tra Season by the Numbers,” Baltimore Sym- entific American 317, no. 3 (September 2017): 19 Christian Folk, “Women Composers of phony Orchestra, https://www.bsomusic.org/ 60-65. Wind Band Music,” https://goo.gl/ET47gR stories/the-2014-15-orchestra-season-by-the- 11 Ilan Dar-Nimrod and Steven J. Heine, Dr. Chaowen Ting is Assistant Professor of numbers.aspx “Exposure to Scientific Theories Affects Wom- 3 Music and Director of Orchestral Studies at Ricky O’Bannon, “The Data behind the en’s Math Performance,” Science 314, no. 5798 the Georgia Institute of Technology, where she 2016–2017 Orchestra Season,” Baltimore Sym- (2006): 435. doi: 10.1126/science.1131100. conducts the Symphony Orchestra, Chamber phony Orchestra, https://www.bsomusic.org/ 12 Sarah-Jane Leslie, “Expectations of Bril- Orchestra, and Café Momus Contemporary stories/the-data-behind-the-2016-2017-orches- liance.” Music Ensemble. She was a conducting fellow tra-season/ 13 Robert Adler, “The Curse of Being Dif- 4 of the Rochester Philharmonic Orchestra and Ricky O’Bannon, “What Data Tells us ferent,” New Scientist 193, no. 2586 (2007): 17. Conductor and Music Director of Cincinnati about the 2015–16 Orchestra Season,” Balti- Cara Bauer and Boris B. Baltes, “Reducing the Sinfonietta, and she has conducted orches- more Symphony Orchestra, http://www.bso- Effects of Gender Stereotypes on Performance tras internationally. She was the winner of music.org/stories/what-data-tells-us-about-the- Evaluations,” Sex Roles 47, no. 9 (11, 2002): the 2009 International Conductors’ Workshop 2015-16-orchestra-season.aspx 465-476. Céline Bagès and Delphine Martinot, 5 and Competition and the 2013 Bruno Walter In his report, O’Bannon stated that 434 “What is The Best Model for Girls and Boys Memorial Scholarship, and she has received different pieces by living composers were Faced with a Standardized Mathematics Evalu- honors from the National Opera Associa- planned for performance in the 2016–17 sea- ation Situation: a Hardworking Role Model or tion’s Opera Production Competitions. Her son; however, the raw data of his study show a Gifted Role Model?” The British Journal of research projects focus on issues of musical only 338 pieces by living composers WERE Social Psychology 50, no. 3 (September 2011): interpretation, conducting, and gender stud- programmed for the season. 536-543. 6 ies. The author would like to thank Rachel This percentage is consistent based on 14 Women’s Philharmonic Advocacy, Zhu for her assistance in data collection and the survey conducted by the Higher Education “Repertoire by Women Composers,” https:// analysis. Arts Data Services (HEADS) between 2010 and www.wophil.org/repertoire/ Landscape Music: Rivers & Trails Exploring Music Inspired by Landscape, Nature, and Place CHRISTINA RUSNAK “Landscape Music: Rivers & Trails” is the under these two landmark acts. Half the lieve in the stewardship of our natural land- theme of a nationwide series of concerts composers are women!1 scape and are dedicated to advocating for held in the fall of 2018 to commemorate The Landscape Music Composers Net- our nation’s public lands. While the music the 50th Anniversaries of the National work (LMCN) is a group of composers and could broadly be described as “contempo- Trails System Act and the Wild and Scenic musicians from across the United States rary concert music,” or “New Music,” our Rivers Act. Coordinated by the Landscape who devote a substantial portion of their pieces encompass a wide-range of influenc- Music Composers Network and presented creative work to landscape, nature, and es from classical, popular, world, and train collaboration with organizations, ven- place, and for whom inspiration from the ditional genres. The works created, while ues, and performers across the country, natural world is an ongoing focus. I’ve been usually notated and acoustic, may also be this concert series highlighted and cel- a member for over three years and joined improvised and/or electronic. ebrated the significance of our national shortly after its founding by composer Nell Nell Shaw Cohen stated that the “mis- trails and rivers via new music. A dozen Shaw Cohen. I have to admit, I’m not much sion of LandscapeMusic.org is to deepen composers created world-premiere pieces of a “group” person, but when I discovered public awareness and appreciation of the for small chamber ensembles in direct re- LandscapeMusic.org, I felt as though I was natural world by exploring and celebrating sponse to the remarkable places protected joining my family! We all inherently be- the work of contemporary composers and

Rusnak, Landscape Music: Rivers & Trails 19 musicians who evoke landscape, nature, ated, promoted, and performed in partner- hen proposed the concert to the Festival, and place through music. We seek to in- ship with the U.S. Forest Service, Visions and the Rivers and Trails concert was the crease the visibility of the works, methods, of the Wild, National Park Service, Sierra grand finale of the Festival’s events. Rep- and philosophies of artists creating in this Club, Cascadia Composers (NACUSA), resentatives from the U.S. Forest Service, arena.” We explore and ponder complex Citywater, Juventas New Music Ensem- Bureau of Land Management and National questions, such as: In what ways can mu- ble, Michigan Technological University, Park Service opened the concert. This lev- sic evoke or relate to experiences of the Atlanta Contemporary Ensemble, and el of understanding about how music can natural world? What are the unexplored Sustain Music and Nature. Many less visi- convey and advocate for landscape was potentials for connecting landscape and ble partners contributed their time, energy, virtually unheard of by government offi- music? How can art and artists have a pos- and referrals to help us along. In music, cials ten years ago. itive effect on society through engagement we don’t usually think of City Planners, All the pieces were composed for a with nature and environment? Several of State Historians, or Watershed Councils as subset of flute, violin, clarinet, cello, pi- us have contributed essays towards these concert partners, but these were among my ano, and percussion. The 30+ musicians questions. For me, this extends further to most helpful collaborators. involved in the five concerts worked hard examining the environmental, cultural, Five rivers (Sudbury River, Klamath to realize the potential of the musical ex- and historical meaning of the landscape. River, Owyhee River, American River, pression of landscape. For the first con- LMCN partners with performers, en- and Chattooga River) and six trails (Juan cert in Vallejo, Sacramento’s premier new sembles, presenters, organizations, and Bautista de Anza Trail, New England Trail, music ensemble, Citywater, set the bar government agencies to coordinate, cu- North Country Trail, Carson Trail, Oregon high. I walked in for the last run-through rate, and promote concerts and other proj- Trail, and Florida Trail) were featured. In before the concert, and it was perfect. The ects that seek to increase appreciation and Portland, through a competitive process diversity of pieces reflected the range of awareness of the natural world. Some of with our partner, Cascadia Composers, we places and perspectives about which we our work takes ideas from ecology, art, added the Deschutes Wild and Scenic River composed. The programs were cohesively and scientific disciplines to create sound in Oregon. Prior to the concert in Portland, tied together with the energy of the vari- worlds that ponder larger questions. Last I gave a presentation followed by a discus- ous rivers and historic and scenic trails. year in Alaska a few of us met a scientist sion at the local community center, The Each composer included a visual element. from NASA who is studying, from space, End of the Oregon Trail Interpretive Cen- For some composers, one picture captured the effects of the thawing permafrost on ter, in which I shared how I compose about everything; for others, additional images our atmosphere. This isn’t everyone’s idea landscape, both in general and specifically were timed to shifts in the music. of landscape, but IT points to ways we can about the Willamette Falls. Willamette is Audience members stayed afterward think about landscape. the second largest waterfall, in volume, in to express their enthusiasm and apprecia- Last October three of us, Cohen, Ste- the United States, and it roars just outside tion. With between 50 and 100 attendees phen Wood, and I, met to discuss the fea- Portland’s proverbial back door.2 at each concert, many in the audience were sibility of the above-mentioned concert I attended two of the Rivers and Trails not new music aficionados nor even nec- series. We were successful, and eleven concerts: the one I coordinated in Portland essarily classical music concertgoers. The months later, concerts were premiered in and the initial concert in Vallejo, Califor- National Parks and Rivers and environ- Vallejo, CA (9/23); Atlanta, GA (9/29); nia. The Visions of the Wild Arts Festival, mental agencies brought additional audi- Houghton, MI (10/4); Portland, OR co-presented by the town’s arts council ence members to these concerts through (10/7); and Boston, MA (11/3). With much and the US Forest Service, aimed to con- their marketing efforts. In Portland, we coordination, the members of LMCN cre- nect people to landscape through art. Co- had a lively Q & A. The MOST interesting question I received was at the Vallejo con- Women Composers Festival of Hartford cert. A woman approached me and said, “You have strings and a piano, but this The 2019 Women Composers Festival of Hartford is scheduled to take place March 29 isn’t classical music; what is it? It’s so ex- & 30, 2019. The Composer-in-Residence for the festival will be Jennifer Jolley. Her citing!” What an opportunity to advocate diverse catalog includes choral, orchestral, wind ensemble, chamber, and electronic for New Music! So, I explained... works. She has been commissioned by ensembles and institutions across the United I firmly believe that if we align our States, including the Vermont Symphony Orchestra, University of Texas at Austin, music making with our values and pas- Bowling Green State University, Quince Contemporary Vocal Ensemble, The Canales sions that we can create magic—magic Project, Left Coast Chamber Ensemble, among others. She is Assistant Professor of that transports through the performers to Composition at Texas Tech University in Lubbock, Texas. our audiences. It has been my privilege to The Ensemble-in-Residence will be the Nouveau Classical Project, a New York- be a part of this concert series—a part of based contemporary classical music ensemble that is “bringing a refreshing edge to the magic. the widely conservative genre.” The ensemble began by collaborating with fashion designers for its concerts and has expanded to creating multidisciplinary performanc- NOTES 1 Guest composer Linda Woody’s work es. Its mission is to engage new audiences and show that classical music is a living, was presented at the Portland Concert. breathing art form. 2 See: http://landscapemusic.org/essays/ composing-the-oregon-national-historic-trail/

20 IAWM Journal Volume 24, No. 2 2018 New Initiatives The Young Women Composers need to reserve dormitories for these stu- performance component to the camp, ap- Camp: Amplifying the Voices dents who came from far away. We ended propriately singing music by women com- of Young Women up hosting eighteen girls who came to the posers. Students spent many hours outside YWCC with various levels of composi- of class attending private composition les- CYNTHIA FOLIO tional experience—some had never com- sons, studying the course materials, and When Erin Busch first approached me with posed a piece before, while others had working on their final composition proj- her innovative idea of creating a summer written chamber or orchestral works. ects. They also had opportunities to take camp for high school girls at Temple Uni- There was a mix of ages as well: our field trips to various sites in Philadelphia; versity (Philadelphia), I was captivated! youngest student was 15 and our oldest was students attended a swing and blues con- My immediate thought was that I wished 19. A few of the older students had already cert, received a private tour of the Phila- this opportunity had been available when been accepted as composition majors at delphia Orchestra music library, and went I was in high school from 1968 to 1972. universities for the fall 2018 semester, so to the Philadelphia Museum of Art, in ad- I had no role models and had no idea that the camp served as preparation for their dition to several night-time activities on women could compose. Even today, most university studies. Some high school ju- campus (craft night, movie night, etc.). niors hoped to develop their skills in order We hosted guest composer Missy music classrooms and ensembles focus on 3 the music written by men, which complete- to apply to universities during their senior Mazzoli for a day. She talked to the girls ly overpowers and diminishes the works year; these juniors now have a high-quality about her experience as a woman com- written by women and sends the message performance of the string quartet that they poser and how she approaches her own to a younger generation that their creations wrote during the camp. Others just came compositional process. The students also are not as important, or not seen as being to explore what it might be like to be sur- took a one-day field trip to attend the Sō equally valid. rounded by other young women who were Percussion Summer Institute at Princeton Erin is from a much younger genera- University (SōSI), where they observed tion, but she also felt isolated as a woman rehearsals of percussion works composed who wanted to compose. She had this vi- by Princeton Ph.D. composers, attended a sion of organizing such a camp for several workshop of a multi-percussion piece by years, and once I agreed that Temple Uni- Sō member Jason Treuting, and partici- versity would be the perfect host institu- pated in an interactive discussion about the field of composition with Sarah Kirkland tion, she immediately took on the awesome 4 5 responsibility as both Founder and Artistic Snider and Caroline Shaw. Getting the chance to meet these incredible musicians Director of what would be called the Young Young Women Composers Camp Chorale Women Composers Camp (YWCC).1 while they were still in high school was As chair of the Music Studies Depart- interested in composition. Regardless of not lost on our students; in an anonymous ment at Temple, I became the facilitator and, age, experience, and musical backgrounds, evaluation, one student wrote: “SōSI was ultimately, one of the teachers at the camp. the girls bonded during this two-week epic! Never knew lamps were percussive Erin and I jointly applied for a grant from camp in a way that we could hardly envi- instruments until this trip!” Temple University’s Vice Provost for Re- sion. This mix of experience and age helped The camp culminated with a recital search, the “Humanities and Arts Program to foster an environment of mutual support of eighteen premieres for string quartet Award,” and received the full amount re- and peer-to-peer learning in a way we never from all the participants (varying in length quested: $10,500. Erin was able to bring in could have imagined. When it was time for from thirty seconds to two minutes) by the more revenue from various sources, includ- everyone to go home, there were many sin- awesome ATLYS string quartet—they re- ing funding from PPA Project Stream, the cere expressions of friendship and camara- hearsed and performed these pieces in one derie, including tears and hugs.2 day. Each piece was part of a set of four or Philadelphia chapter of the American Com- posers Forum, and several private donors. During the two-week camp (July five premieres, which alternated with sev- This money was used to reduce tuition costs 9-20), our students spent more than fifty eral selections performed by the all-partic- from $700 to $350 per student, enabling hours in class, learning about various sub- ipant chorale. the attendance of some of our students who jects related to music composition such as The excitement generated by this come from lower-income households. basic music theory, contemporary com- camp resulted in significant media cover- To our surprise, we not only received positional techniques, writing for specific age. WRTI (Philadelphia’s premiere radio local applications from Philadelphia and instruments, electronic music history and station for classical and jazz, housed at composition, orchestration, jazz improvi- Temple University) featured a news story the surrounding areas, but also from wom- 6 en composers from around the country, sation, songwriting, setting text, notation, by Meridee Duddleston and invited the music publishing, and more. These demon- girls for a Facebook Livestream perfor- including young women in Oregon, South 7 Dakota, Kentucky, Maryland, and Con- strations on various topics were presented mance. This video includes performances necticut. We had not anticipated such a na- by a combination of Temple faculty and of three of the newly-created string quar- tional response, and we suddenly realized local Philadelphia musicians. Our students tets, performed live by the ATLYS quartet, late in the spring of 2018 that we would also sang in a chorale in order to add a along with interviews by the three featured

New Initiatives 21 student composers. It also includes the cho- Creative Achievement Award in 2012 and the the idea that women have composed, and rale singing a Fanny Mendelssohn piece Lindback Award for Distinguished Teaching in do compose, music. accompanied by the ATLYS quartet, under 1994. Her compositions appear on a number Commissions: supporting the com- the direction of Marianne Gruzwalski. of CD’s, including three of her own—Inverno position and performance of new music, Azul; Flute Loops: Chamber Music for Flute; In their evaluations of this camp, stu- to foster awareness, create possibility, and and Portfolio. Erin Busch is a current Ph.D. dent responses were overwhelmingly posi- candidate in music composition at the Uni- inspire creativity. tive, with the girls listing this camp as a versity of Pennsylvania. She previously taught Currently focusing on the first two “life-changing experience,” saying that theory and composition at Temple University, agenda items, the Initiative will celebrate their perspectives on the music industry, where she earned a B.M. in Music Composi- women composers in a major launch festi- community, and their own ability has been tion (’13) and M.M. in Music Composition and val that will take place at multiple venues forever changed. The following excerpts Cello Performance (’15). throughout Washington, D.C. This event are from anonymous evaluations: “I have NOTES is scheduled for March 8-10, 2019, to [improved as a composer] because I’m 1 www.youngwomencomposers.org coincide with International Women’s Day, surrounded by really talented people in our 2 The promotional video created by REC. and will present three days of nonstop class and the teachers, who are exposing TODAY: https://www.youtube.com/watch?v=- musical and educational programming. me to new things I wouldn’t know other- gFA285zY2s&feature=youtu.be&app=desktop In keeping with the mission, there will be 3 wise!” “This is the most challenged musi- http://www.missymazzoli.com/ concerts featuring chamber music groups, 4 https://sarahkirklandsnider.com/ cally (in a good way) I have felt in a long ensembles, and soloists, as well as master- 5 https://carolineshaw.com/ time!” “I learned more about percussion 6 WRTI radio feature by Meridee Dud- classes, demonstrations, panel discussions instruments in that one day [the field trip to dleston (July 16, 2018): http://www.wrti.org/ on inclusion in classical music program- Princeton] than in six years in band! Now, I post/new-summer-program-philly-focuses-teen- ming, and more. While performers and have goals to compose pieces for chamber age-girls-learning-art-classical-composition presenters of all gender identities are wel- percussion ensemble.” 7 The live video broadcast by WRTI on comed and celebrated, the musical reper- Every student answered the question their Facebook Page: https://www.facebook. toire performed will come from the litera- in the evaluation that they would consider com/WRTImusic/videos/2157447790945574/ ture of music composed by women (past coming back (some with the caveat that and present). they will be too old next year). We are now A New Force for Advocacy Each evening of the festival will fea- planning the 2019 camp (check our web- in the United States: ture one “main stage event,” which will site for dates), and we plan to offer several The Boulanger Initiative be a performer or chamber music group of new expansions for the program, including international recognition, in conjunction CORA COOPER a technology track for girls who are inter- with a composer or composers that they ested in electronic music composition and The Boulanger Initiative (www.boulange- have worked with or from whom they have elective opportunities for all students. We rinitiative.org) is a new Washington, D.C.- commissioned works. These main stage also hope to collaborate with local music based organization founded by Joy-Leilani performers will be involved in multiple organizations to help provide year-round Garbutt and Laura Colgate, two young events throughout the day, ending with a opportunities—again, stay tuned to our musicians whose doctoral work with wo- final performance or multi-faceted event website for more updates on those efforts. men composers inspired them to become between performer and composer (a Rob The YWCC would certainly not have advocacy activists for women in music. Kapilow “What Makes It Great”-esque been possible without the efforts of David The Initiative’s stated mission is “to work production) at the end of the day. Daytime P. Brown (Assistant Dean for Administra- towards greater inclusivity, and to enrich festival events will include local perfor- tive Affairs in the Center for the Perform- our collective understanding of what mu- mers and ensembles. Following the festi- ing and Cinematic Arts—CPCA) and Ju- sic is, has been, and can be.” This positive val in March, the Initiative will continue lia Alford (administrative assistant to the message guides them towards imagining its performance series with a full season of chair), and would not have been as suc- and helping to create a future more inclu- concerts for the 2019-2020 season. Every cessful without the valuable instruction of sive of women composers—past, present concert will be dedicated to presenting all of our 2018 teachers and staff members. and future. The group plans to utilize a music composed by women, with an initial This inaugural summer camp also owes three-pronged approach to promote music focus on repertoire for chamber ensembles its success to the unwavering support of composed by women. Activities are divi- and soloists. our Dean of CPCA, Robert Stroker, and ded into the categories of performance, Education and outreach events will the above-mentioned grant from Temple education, and commissions. begin with school visits leading up to the University. We hope that the YWCC will Performance: a concert series de- festival in March. In conjunction with continue to grow and expand each year, voted to presenting music composed by local educators, the Initiative is currently and will contribute, in part, to closing the women, past and present, striving to chal- developing a lesson plan/presentation that gender gap in music composition and cre- lenge established inequalities in concert can be adapted to elementary, middle, and ating more opportunities for young women programming. high school classes. During the months of around the world. Education: lectures, publications, January and February, Boulanger Initiative Cynthia Folio is Professor and Chair of Music workshops, school visits, and masterclasses Ambassadors (experienced musicians and Studies at Temple University, where she won the to help expose students and audiences to educators) will visit schools in the D.C.

22 IAWM Journal Volume 24, No. 2 2018 area and present this lesson plan to stu- The Boulanger Initiative seeks arts presenters. Please contact them at Info@ dents. They are also building a network of and equality enthusiasts who would like boulangerinitiative.org with information. scholars, musicologists, and professional to impact the future through their commit- Joy and Laura chose the name “The musicians who have specialized in music ment to philanthropy, leadership, and ad- Boulanger Initiative” to honor the work of composed by women. From this network, vocacy. If you are interested in becoming two paragons of the 20th-century classical the Initiative will coordinate guest lectures an Education or Performance Ambassador, music world. Nadia and Lili Boulanger and performances at D.C., Maryland, and or a committee member (current com- were not only talented musicians and com- Virginia university music departments, fo- mittees are for fundraising, education, or posers, but they also broke gender barriers cusing on selected topics within the greater research), please fill out the form on this on their way to great musical achieve- theme of women as composers. webpage: https://www.boulangerinitiative. ments. Both sisters were among the first The third area of focus, the commis- org/volunteer-1/. The Initiative is in the few women to enter the prestigious Prix sioning and premiering of new works, is initial stages of a fundraising campaign de Rome competition, and in 1913, Lili still under development and will begin and would also appreciate any help in became the first woman to earn the cove- during our 2019-20 season. identifying potential sponsors, donors, or ted Grand Prix. Meet Two New IAWM Members Migiwa “Miggy” Miyajima the many diverse people, lifestyles, and at- so much so that I am sometimes asked how titudes around the world can coexist and be I incorporated so much variety—and, si- Self-taught Japanese composer, pia- themselves.” The title piece of the album, multaneously, continuity—to the work. I nist, bandleader, producer, educator, and Colorful, was awarded the Search for New reply that I simply transcribed my various lecturer Migiwa “Miggy” Miyajima turned Music 2018 PDX Prize for a jazz composi- life experiences into stand-alone pieces, to a career in music later in life than most tion. She discusses the entire album below. and this was the result. musicians. Although she started playing Colorful by Migiwa “Miggy” Miyajima Captain Miggy’s Age of Discovery has the piano at age three and wrote her first a comical and funky rhythm. I decided to composition at age six, she gave up mu- I was surprised to find that very soon after Colorful was released at the begin- write it after my first year in New York, sic when she entered college. Her passion which had been such a funky and unique for music, however, led her back at age ning of September that it was featured on the cover of Hot House, a well-known free experience. That year was by no means thirty when she left an editorial position at smooth, but making the piece into an up- a popular Japanese magazine and started newspaper distributed in the New York City area. In addition, it climbed to the #1 beat work led me to realize that I can laugh a career as a jazz composer and pianist. It in the face of adversity and turn it into a was a fortuitous decision, since only five slot in some of the Japanese CD shops. I am delighted to see it doing so well. My positive outcome. Year one in New York years after her debut she was invited to was difficult, but it all turned out well in work with the multiple-Grammy-winning the end. Vanguard Jazz Orchestra. In 2012, she In 2011, the Great Eastern Japanese received a scholarship from the Japanese Earthquake rocked the country. Hope for government to study in the United States, Hope, which was inspired by the earth- and she has been active in promoting mu- quake, to this day elicits tears from listen- sic education and international exchange ers who have been through earthquakes between the two countries. and other disasters themselves. They tell Miggy has had remarkable success me the music gives them encouragement leading big bands in both countries. She to go on. Awakening was based on my in- was associate producer for two Grammy ternal struggle when my mother underwent Award-nominated albums by the Vanguard cancer surgery two years ago. People who Jazz Orchestra in 2011 and 2014. She sub- had similarly gone through illness or that of sequently formed her own seventeen-piece Migiwa “Miggy” Miyajima family members shared similar stories with orchestra, called the Miggy Augmented me, and the music made me appreciate how Orchestra, and one of the highlights of her career has been progressing at such a brisk pace that many people have said that I am universal these experiences can be. career was leading her orchestra at New Life is unexpected. There are disas- York’s famous Birdland Jazz Concerts in “a born winner,” but I see myself as the exact opposite. I did not find success through ters and illnesses, and we face the specter 2017. Her latest news concerns her new of death. Yet these experiences, the good appointment as conductor and associate several strokes of good luck. I struggled to make my way and to persevere, which and the bad, are what collectively make producer of the well-known Slide Hampton us who we are, shaping us. This is some- Big Band. evidently drew people to my cause and inspired them to support me. thing that I have learned over the course of Miggy recently released her first al- my career in composition. Creating these bum, Colorful, for big band, performed by Colorful was only possible because of my tumultuous, ever-changing life. This works allowed me to come to terms with the Miggy Augmented Orchestra on the my own life and better appreciate it, which ArtistShare label. She says her message single album incorporates tracks with a range of rhythms, grooves, and leitmotifs, was a self-affirming experience. The title for Colorful is “Creating a world in which track, Colorful, came out of my wanting

Meet Two New IAWM Members 23 to share with others that even if they have The Mitten sessions. We don’t want to waste time and fallen on hard times, there is always a Thirty-two years ago, I wrote one of money, but it took five minutes for us to bright future ahead. my most frequently-performed works, The stop laughing and get back to work. The Another driving reason for this project Mitten. Friends of the Minnesota Orchestra recording was released on December 1, was my desire to sing the song of how fas- commissioned this Kinder Konzert piece in 2017.1 Up next for The Mitten is an ex- cinating the world, with its many cultures, 1986. When it is performed, the children sit panded and choreographed version with ethnicities, and religions, can be. I began on the stage and an ensemble of nine or ten sjDANCEco and the San José Chamber preparing my CD in 2016-17, when Ameri- musicians from each section sits with them. Orchestra. can politics was in a tumultuous time. I They demonstrate their instruments and The Three Fat Women of Antibes pondered long and hard what a better world answer questions from the audience. The (TFW) might be like, finding myself at a unique ensemble then performs short segments I love this opera. It’s one of the few vantage point in New York, a melting pot, from familiar classical pieces followed by pieces that was fun to write. Composing unlike what most Japanese usually experi- The Mitten. It is a Ukrainian folk tale about is satisfying, but most of the time, it’s too ence back home. When I lived in Japan, I a boy who goes into the forest to gather much work to be fun. The opera is based on was considered a bit eccentric and strug- firewood. He drops a mitten in the snow, a short story of the same name by W. Som- gled to find my place, so New York was and a mouse crawls inside it to get warm. A erset Maugham. Here is a summary of the like heaven for me. New York is a place of parade of larger and larger animals follows plot. Three wealthy, middle-aged women acceptance and diversity, which helped me the mouse, but when a tiny cricket squeezes take a house in Antibes, France to pursue discover that even Japan, with its homo- in right after a weight reduction regimen. They are the geneity, is full of unique people and ideas. a bear, POP, best of friends and enthusiastic bridge play- Thinking about this, I was inspired to cre- the mitten ex- ers, but they need a fourth for bridge, so one ate a work in which each of the seventeen plodes. woman invites her recently-widowed cous- members of the band successively take The Min- in, Lena, to join them for several weeks. turns to ad-lib two bars. In a live perfor- nesota Or- Since Lena never had a weight problem, mance, the listener experiences seventeen chestra has she can eat anything she pleases and does. unique and different personalities on dis- performed She wins all their money at bridge, puts play. Even similar instruments surprisingly The Mitten butter on everything, and has wine with her produce different sounds, and the expres- hundreds of meals. This puts an enormous strain on the Mona Lyn Reese sions and stances of the performers widely times. It is three women’s friendship. diverge. This work always “wows” the au- also a favorite of the Atlanta Symphony, Tom Hassing, my husband and long- dience and elicits lots of applause. and it appears regularly on their children’s time librettist, provided the text. We wrote Music is a powerful force in the world. programs. When orchestras play the work the work piecemeal. The first aria, “The I have been through earthquakes, cancer in in their concerts in schools, teachers and Doctor Says I Must Eat,” was for a small the family, and moving to the other side of administrators usually contact me before opera company interested in new works. the world. I see myself as someone creat- the performance to ask for a recording. We wrote the next segment for my college ing “nutritious” music that gives us the en- Unfortunately, the work had never been re- class reunion entertainment at the Univer- ergy to go about life’s work. Women are corded until recently. In 2016, when I met sity of Minnesota Morris, and we wrote the still seldom seen in the world of jazz, and Bob Lord, the CEO of PARMA Record- final thirty minutes for the Kansas Univer- I am a woman from abroad, an even rarer ings, thirty years had gone by since The sity Opera Workshop. I prepared a fully-or- breed. I want to be a champion for those Mitten’s premiere. He listened to the work chestrated score for a San Jose State Opera out there who are struggling, and I want to and remarked, “This is a great piece. Let’s Theater performance.2 The audience loved open the door to more people like me. If record it with the Moravian Philharmonic TFW. They laughed in the right places they are people who have suffered, I hope Orchestra in the Czech Republic.” and were engaged throughout. Additional to heal their wounds. If they are people When I arrived in the Czech Republic, performances were presented at Goat Hall already happy, I hope to make them even I started working with the lead engineer, Theater in San Francisco. happier. I’m hard at work each day perfect- Veet. I explained that an instrument and We were thrilled when we heard that ing my composition and piano skills to cre- specific musical theme portray each animal the opera was a finalist in a competition ate music that can enrich people’s lives. in the story. A clarinet plays the mouse; a sponsored by the London-based compa- trumpet, the fox; and a tuba, the wild bear. Mona Lyn Reese ny Opera Up Close. We learned too late, One of the instructions to the tuba player however, that they expected the singers to I have been a composer for more than is to “snort” into the horn. “How does he go to London to perform a twelve-minute forty years. Reading about every commis- do that?” asked Veet. I cupped my hands selection for the final contest. Since the sion and performance I’ve ever had would around an imaginary tuba mouthpiece and opera company had removed all names be long and boring; therefore, I have de- snorted. Veet looked skeptical but gave and addresses from the scores and re- cided to present brief descriptions of my the instructions. When the player snorted, cordings before the judging, they were experiences in connection with three of everyone in the orchestra and the booth not aware that we were so far away. Of my compositions, and I hope you find burst out laughing! We classical musi- course, none of the performers were able them interesting. cians are very serious and intense during to travel there.

24 IAWM Journal Volume 24, No. 2 2018 Faith Partners Residency ments with poems and texts written by Ho- for women composers, conductors, and The American Composers’ Forum fos- locaust victims and survivors. All my life performers. When the San José Chamber ters programs to develop and promote new I have avoided books and movies about Orchestra recorded Choose Life, most of music. I have received several commis- that horrible time. Writing music means the production and artistic staff were wom- sions through them. One was an interfaith you must immerse yourself in the mate- en. They weren’t chosen because they were sacred music program called Faith Partners rial. Neither Delores nor I wanted to write women but because they were the best. I’d Residency. My 1993-94 residency included about it, but we had no choice. We selected like to thank all the women who’ve helped the Basilica of Saint Mary, Temple Israel, texts that were the “best,” meaning they me in my career, worked with me, gave me and the College of St. Benedict, all locat- were the most atrocious and dramatic. advice, and took advice from me. ed in Minnesota. Faith Partners commis- The result was an hour-long oratorio, NOTES sioned Delores Dufner, OSB, to write the Choose Life, Uvacharta Bachayim, which 1 The recording of The Mitten on Navona text for two of the pieces. My task was to was nominated for a Pulitzer Prize in 1994. Records is available for download or streaming write an anthem or service music for each We, along with the producers and conduc- on most music sites. The score and parts can be organization plus a large work they could tors, have received hundreds of letters from purchased from JW Pepper. Free activities for perform together. When I met with the audience members and performers whose children and schools are available at: https:// Basilica group they said: “We want a fun lives have been touched by the work. Most monareese.com/the-mitten-2/just-for-children- the-mitten/. In the videos, Marie Olofsdotter piece to use during our Feast of St. Francis oratorios assign a male to sing God or Je- and I talk about writing music and painting the Blessing of the Animals Service.” Tom and sus. Delores and I chose a mezzo soprano album cover, Music and Art. I like jolly pieces, and we wrote The World as Adonai (God). The solos and most of the 2 Performance information is available: Is Filled with Creatures. The College of choruses are in English, but the score also https://monareese.com/three-fat-women/. Con- St. Benedict wanted a double SSA choir includes Gregorian Chant in Latin and the tact me at [email protected] if you want a piece to celebrate graduation. Sister Delo- Hebrew song Ani Maamin, sung in Hebrew. vocal or orchestra score. res, a member of St. Benedict’s Monastery, I composed three different accompaniment 3 The World is Filled with Creatures is wrote the text for From My Heart Springs versions: chamber orchestra, chamber en- available at St. James Music Press. From My A Song. The cantor at Temple Israel wanted semble, and keyboard. The vocal forces Heart Springs A Song is available at Santa Barbara Music Publishing. The Choose Life a new setting of L’Chah Dodi for the Fri- include SATB choir plus soloists: soprano, recording is available from the San José Cham- day evening service. mezzo soprano, young (or child) soprano, ber Orchestra. Octavos of Adonai, I Shall When I met with representatives from tenor, solo choir tenor, bass, and narrator. Not Die, Stay with Me, God, All Ye Who Pass all three organizations, the spokesperson The work was recorded with the San José By, and Tender God, Have Mercy are avail- said, “Our communities have been study- Chamber Orchestra and The Choral Project able from MusicSpoke. For more information ing together. We want a new piece about at Skywalker Sound in 2011.3 about Choose Life, see https://monareese.com/ the Holocaust that uses Christian and Jew- I hope my membership in IAWM en- choose-life/. Contact me at mona@monareese. ish musical traditions.” Cantor Abelson ables me to collaborate and connect with com if you want a vocal or orchestra score. handed Delores and me a stack of docu- other women musicians. I am an advocate In Memoriam: Carolyn Bremer and Katherine Hoover Carolyn Bremer (1957-2018) mance was by the President’s Own Marine Katherine Hoover (1937-2018) Carolyn Bremer, a long-time member Band on the steps of the U.S. Capitol. It Composer and flutist Katherine of the IAWM, died unexpectedly at age 60 has been recorded dozens of times. Hoover was born in West Virginia and on September 2, 2018. She was associate Her catalog includes works based on lived in New York, where she died on Sep- director of Cal State Long Beach Univer- feminist symbolism (Athene) and popular tember 21, 2018. She composed for her sity’s Bob Cole Conservatory of Music and culture (It Makes Me Nervewracking), and own instrument as well as for strings, pia- a member of the faculty for almost twenty she had recently started incorporating her no, woodwinds, orchestra, and voice. Her years. She is remembered by her colleagues photography into her multimedia composi- best-known work was probably Kokopeli for her passion for music and the performing tions. Many of her works are for concert (1990), a piece for flute that was inspired arts and for her wicked sense of humor. She band and wind ensemble, and they have by American Indian music and culture, as was especially fascinated by Tibetan Singing been recorded by the El Paso Wind Sym- were a number of her other compositions. Bowls, and she, along with her colleagues, phony, the Heritage of American Band of The work sold more than 11,000 copies performed them at interactive concerts. the U.S. Air Force, the Towson University and won the National Flute Association’s Bremer composed about 100 works Symphonic Band, the Monarch Brass En- Newly Published Music Competition. and was best known for her 1995 composi- semble, and others. Among her other frequently performed tion entitled Early Light. It is a mainstay in Bremer studied at the Eastman School works were the tone poem Eleni: A Greek the wind ensemble repertoire and receives of Music and CalArts, and she earned a Tragedy (performed by thirteen orches- hundreds of performances a year. The Ph.D. in composition from the University tras), Stitch-te Naku, for cello and or- original version was for orchestra, but the of California Santa Barbara. She was Chair chestra, written for Sharon Robinson, and wind version was more popular; it was per- of Composition at the University of Okla- Clarinet Concerto, for jazz virtuoso Eddie formed at Carnegie Hall, Kennedy Center, homa from 1991 to 2000, where she held Daniels. Classical Pulse (January 1997) and elsewhere. The most famous perfor- the O’Brien Presidential Professorship. critic Leslie Gerber selected Hoover’s

In Memoriam: Carolyn Bremer and Katherine Hoover 25 Quintet Da Pacem as one of the five best performed her compositions. Pianists Jo- Bonita Boyd. She taught at the Manhattan recordings of 1996. seph Kalichstein, Anne Marie McDermott, School for many years, was flute soloist at Hoover composed a number of cham- Christopher Taylor, and Mirian Conti also Lincoln Center, and performed with ballet ber works, and the Colorado and Mont- performed her works, as did flutists Julius and opera companies in New York’s major claire Quartets; Dorian, Sylvan and Rich- Baker, Eugenia Zukerman, Jeffrey Kha- halls. ards Quintets; and Eroica Trio frequently ner, Mimi Stillman, Carol Wincenc, and Book Review Denise Von Glahn: Libby verware, rock and roll music on the radio, for flute and piano that conjures the mu- Larsen: Composing an and the rumble of cars. Von Glahn explores sical equivalent of an uncommon celestial American Life the confluence of these factors in an analy- phenomenon. Rather than provide a tradi- sis of Larsen’s 1983 composition Four on tional musical analysis of the piece (ad- Urbana: University of Illinois Press, hard- cover, 368 pages, bibliography, index, the Floor, a piece for piano and strings in- dressing genre, harmony, its place in mu- photographs and drawings, musical exam- spired by joy-riding in the Larsen family’s sical history, and other traditional critical ples, $95.00, e-book $26.96, ISBN 978-0- yellow ’57 Thunderbird car. The author in- categories), Von Glahn uses metaphorical 252-04115-0 (2017) cludes generous score excerpts and, in this and poetic descriptions to connect the mu- case, uses a score segment that provides sical material to human feelings. Instead ROBERT BLACK Larsen’s instruction to the pianist Jerry of citing parallel fourths and fifths, we get Denise Von Glahn commences her new Lee Lewis! Consequently, the contrasting “spins, bends, waves, and weaves.” Von book on Libby Larsen, one of America’s family experiences of dinner-table silence Glahn sometimes seems to refer more to most prolific and eminent composers, and open-road racing to rock and roll mu- literary history than to musical criticism; with a quotation from the Pulitzer Prize- sic were formative influences on Larsen’s for example, she detects in Larsen what winning biographer, Leon Edel, in order to compositional voice. the renowned literary critic R.P. Blackmur frame the essential mission of her biogra- Von Glahn explores two of the stron- called “gesture”: the outward and dramatic phy: “Discover the overlap between what gest influences on Larsen’s musical pro- play of inward and imaged meaning. In this the individual did and the life that made duction: religion and nature. Larsen’s respect, Von Glahn unmasks the “outward this possible.” What Von Glahn discov- profound commitment to orthodox Ca- and dramatic play”—the pitches, rhythms, ers, however, is not so much an “overlap” tholicism is examined in detail. The and timbres—and reveals how these ele- between Larsen’s work and life, but rather composer’s first musical training began ments inform meaning and evoke feelings. a warp and woof: a tightly-woven integra- in her Catholic School, where Sister Col- She also uses the chapter on nature to in- tion where life is work and work is life. lette exposed her to the music of Bartôk, vestigate Larsen’s decision to establish her This is not a typical biography; instead, the Stravinsky, and Japan, rather than the life in Minneapolis, as opposed to more writing style mirrors Larsen’s own musical usual Czerny exercises. The overriding in- typical centers of musical production, such approach—it is idiosyncratic, eclectic, and spiration of Catholicism for Larsen was its as New York or Los Angeles. personal. Von Glahn’s narrative portrays reverence, mystery, and awe, but when the Von Glahn continues through the next Larsen’s artistic journey through feelings Church revised its ecumenical and liturgi- several chapters to explore Larsen’s life and images. It is written in a style that Hé- cal platform in 1962 with Vatican II, Lars- and music as it relates to gender, technol- lène Cixous called the “Écriture féminine” en became disenchanted. Indeed, Larsen ogy, and activism. She spends a generous (The Laugh of the Medusa, 1976): a wom- became an atheist, though she maintained amount of time describing the wide range an writing herself. her own personal sense of the traditional of Larsen’s oeuvre: her troubled operas The book is organized into eight chap- Catholic values. As an example, Von based on Charlotte’s Web by E. B. White ters, with six recurring topics intimately Glahn analyzes Saints Without Tears (premiere, 1973) and A Wrinkle in Time connected to Larsen’s life and values: fam- (1976), a song-cycle on texts by Phyllis (1992); her experimental works: Now I ily, religion, nature, gender, technology, McGinley. Throughout, the composer gen- Pull Silver (recorded, 2005), for ampli- and activism. While Von Glahn manages tly and humorously needles the Church by fied flute; Emergence, String Quartet No. to tell Larsen’s story more or less chrono- her musical depiction of “The Temptations 4 (premiere, 2015); the song cycle Love logically, her personal and professional of St. Anthony,” “The Giveaway,” “Sonnet After 1950 (premiere, 2000); and the mul- growth is tracked in conjunction with these from Assisi,” “Conversation in Avila,” and timedia works. Throughout the book, Von topics rather than dates; for example, in “Paterfamilias.” Glahn is liberal in her use of score samples the opening essay on family, the author Larsen’s passionate and personal re- and photographs, and she deftly manages explores Larsen’s early home life. Nestled lation to nature remains a continuous cur- to cover what is indeed a broad range of in the middle of four sisters, Larsen’s per- rent throughout her music. According to musical output consisting of more than sonality was enthusiastic and expressive, the composer, “I don’t want to look at it or 500 works. but she was instructed to keep quiet, in comment on it. I want to be it. Yes, I want Von Glahn addresses one of Larsen’s other words, to be “seen, but not heard.” to be it. I want to be the wind, the heat, recurring criticisms: that she is a “trend In Larsen’s suppressed childhood, sounds the fragrance.” In her discussion of Larsen hopper,” but by the book’s end, she makes of all kinds spoke to her: horses’ hooves and nature, Von Glahn analyzes Larsen’s clear that Larsen is not a trend hopper and outside in the winter snow, the clank of sil- Ulloa’s Ring (Ring of Glory, 1987), a trio that she is committed to realizing her own

26 IAWM Journal Volume 24, No. 2 2018 vision. The book offers readers a well-re- from Kent State University and a PhD in Brecht, Picasso, Sartre, and Shakespeare. searched glimpse into the contributions of Critical Theory from the University of Wash- He adapted Godard’s film A Bout de Souffle a uniquely American composer. ington (Seattle). Additionally, Dr. Black stud- (Breathless, 1960) for the stage, which he ied music composition at the Oberlin Con- directed at Kent State University. He is cur- Robert Black is an independent scholar and servatory of Music. His portfolio includes rently completing a theatrical song-cycle songwriter. He holds BFA and MA degrees original music for plays by Aristophanes, based on James Joyce’s Ulysses. Concert Reviews Speaking Her Truth: Three Vo- scribes her incessant drive to work in the Grandmougin were printed side by side cal Works by Jessica Rudman lab against the currents of illness and de- throughout the program. Tenor soloist pression. Nicholas Phan next sang three verses of ELIZABETH R. AUSTIN In a series of flashbacks, we are intro- Nadia Boulanger’s strophic hymn Can- On April 28, at Christ Church Cathedral in duced to the young Marie, vividly sung by tique (text by Maurice Maeterlinck), fol- Hartford, CT, The Hartford Opera Theater Elizabeth Hayes, and the man she is to mar- lowed by the chorus repeating the verses sponsored a concert of music by Jessica ry, Pierre Curie (Mark Womack). The strik- in a well-blended angelic unison over the Rudman plus a pre-show lecture by the ing leitmotif, which signifies “radium,” the quiet piano accompaniment. Phan then composer and her librettist, Kendra Pres- subject of the experimentation leading to presented two French mélodies from Na- ton Leonard. two Nobel Prizes, acts as a unifying de- dia Boulanger’s song cycle Les Heures The first premiere of the evening, vice in this episode. Ms. Leonard’s emo- Claires (The Sunlit Hours): “Vous m’avez Four Songs for Lady Macbeth, commis- tive and well-crafted libretto was enhanced dit, tel soir” (You spoke to me) and “C’était sioned and performed by mezzo-soprano by Ms. Rudman’s striking harmonies and en juin” (It was June); the text is by Charity Clark and members of The Hart- unwavering ostinato patterns, which un- Emile Verhaeren. Boulanger collaborated ford Independent Chamber Orchestra, derpin the sturdy and expressive vocal with pianist Raoul Pugno in writing the Daniel D’Addio, conductor, began with lines. This work effectively expresses the elaborate keyboard part. two songs that commend Lady Macbeth as evening’s theme, “Speaking Her Truth.” Phan gave the audience a definitive she is on her way to her death. The work My suggestion for the future would be to performance of Lili Boulanger’s lengthy colored the historical figure in dark, dour provide a little more contrast in the tempi Demain, fera un an from Clairiéres dans musical timbres, with clangorous sounds of arias and recitativo passages. The stage le ciel (Tomorrow, it will be a year, from from the cello. A jazzy clarinet set the sly, director, Kristy Chambrelli, as well as the Clearings in the Sky). This dark, dramat- grim style of the next song. After the final dramaturg and set/costume designers, pro- ic work is a setting of words by Francis lullaby, laced with a nostalgic ritornello, vided the responsive listeners with a well- Jammes, a French poet who evidently lived the sizable audience responded with warm rehearsed and thought-provoking evening. a sad life of retreat in the Basque country. applause. Following the tenor soloist’s high pianissi- Next on the program was a dramatic “Mademoiselle,” Lili Bou- mo falsetto for the final sorrowful and mel- monologue, Trigger, sung by soprano Jen- langer, and Louise Talma ancholic “Plus rien. Plus rien” (Nothing left, I have nothing left), the chorus, which nifer Sgroe, about a victim of domestic DEON NIELSEN PRICE assault reading a current newspaper story had been sitting on the risers, partially fac- about sexual harassment as she unravels The Grammy Award-winning San Fran- ing the soloist, suddenly stood and 16 of her own experience. Ms. Sgroe rose to the cisco Girls Chorus, conducted by Valerie them moved quickly to form a semi-circle occasion with a powerful interpretation of Sainte-Agathe, opened its 40th anniversary at the front of the stage, a veritable madri- the maligned woman, having been dispar- season on October 18 at the historic Herbst gal ensemble. aged by the investigating policeman who Theatre in San Francisco with a choral Three Madrigals by Louise Talma had asked, “But did she deserve to get program that salutes the influential French have not been performed since their pre- hit?” Ms. Rudman’s penchant for describ- composer and teacher Nadia Boulanger, miere in 1930 in New York City, and the ing such distress in melodic bends, curves, referred to “Mademoiselle.” The program music is so charming that I hope the work and cries was most effective, with the un- featured works by both Nadia and Lili Bou- springs to life with multiple performances. relenting pianistic undercurrent doubling langer and Louise Talma as well as Aaron The chorus members radiated joy as they the intensity. Copland, Leonard Bernstein, Samuel Bar- sang. Each madrigal is through composed, The second premiere was operatic: ber, and David Conte. (The review is lim- as in Renaissance madrigal style, and the Marie Curie Learns to Swim finds us on a ited to the works of the women composers.) settings begin mostly homophonic. As the beach with the famous Marie Curie (Susan Honoring the 100th anniversary of madrigals continue, the texture varies from Yankee) and her daughter Irene (Claudia Lili Boulanger’s death, the concert opened monophonic to polyphonic depending Rosenthal), who listens to her mother’s with her famous work Les Sirènes (The Si- upon the message of each couplet or verse. words, hoping she will have at least a few rens), a most beautiful example of French The imitative passages are wonderfully in- days’ respite from the laboratory. The bril- Impressionism with its scintillating tex- triguing with their fresh-sounding expres- liant metaphor of “Marie learning to swim tures of treble voices and piano. The cho- sivity. I would love to be able to study the [and] pulling herself through the water,” rus is well-trained in French diction, and scores, but I could see the dark brown mu- deepens with her recollections. Marie de- it was gratifying that the French lyrics and sic on the piano stand from where I was English translation of the text by Charles sitting. After the concert, I met the excel-

Concert Reviews 27 lent pianist, Taylor Chan, whose sensitive by photographing the originals in the ar- Composer/pianist/author/conductor Deon ear for balance, style, and tone quality was chives of the Library of Congress’s Per- Nielsen Price is President Emerita of the Na- an integral part of the success of the eve- forming Arts Reading Room. Who will tional Association of ComposersUSA and the ning’s performance. She acknowledged to publish these fine madrigals to make them IAWM. She is looking forward to the concert performance of her opera Ammon and the King: me that she could barely read the notes; widely available for today’s choruses and An Immigrant Speaks Truth to Power on March the copies of the scores had been obtained audiences to enjoy? 17, 2019. Please visit www.Culvercrest.com CD Reviews Eleonor Bindman and Jenny Unlike Reger, Bindman does not con- thematic material equally with the primo Lin: The Brandenburg Duets: centrate on romantic displays of the piano’s part, and Bindman and Lin choose to em- Bach’s Brandenburg Concertos power and dense voicing; for example, phasize the middle register rather than the Bindman uses bass octave doubling rarely upper register voices. Eleonor Bindman and Jenny Lin, piano; Dan Merceruio, producer; Grand Piano and only when the dynamics or character Concerto No. 3: Composed for Records GP777-78 (2018) requires fortification as in the in the first strings and continuo, the second movement movement of Concerto No. 3, which origi- demands consistent register changes in or- Krystal J. F. Grant nally featured three cellos. Throughout der to enhance the entrances of the four- Arranging orchestral works for piano du- her transcription, the bass lines are mostly part canon. Through the use of distinctly ets is a long-established tradition, stem- single notes that more closely resemble contrasting articulation, Bindman expertly ming from the early-nineteenth century, the balance of a bassoon, cello, violone or achieves the effect of a Bach invention but to succeed in arranging the complex harpsichord. in the third movement. Questionably, the and diverse ensembles of J.S. Bach’s Bran- Bindman and Lin take full advantage brief harpsichord cadenza is transcribed as denburg Concertos (1721) is an especially of the duet configuration to dynamically a duet instead of a solo. notable achievement. For her recording of shape and balance each line and maintain Concerto No. 4: Sustained tones in The Brandenburg Duets, IAWM member dynamic control throughout the concerti. In the first movement emerge beautifully Eleonor Bindman arranged all six concer- the first movement of Concerto No. 4, for amidst the lighter, somewhat detached, tos and performed them with Jenny Lin. example, the voicing of the melodies makes notes. The Andante is distinguished among Which pianist plays primo or secondo var- the sudden shifts between the solo lines and these movements with excellently shaped ies throughout the recording. The two-CD the full ensemble material seamless. I was bass lines, rhythmic freedom in the unac- set (2018) does not present the concertos especially impressed with their dynamic companied melodies, and matching articu- in order, but instead creates an emotive control in the soft minor-key sections of the lation when upper parts echo the lower and harmonic arc. The score for the duets third movement of Concerto No. 5, which parts. According to Bindman, the “soaring is not yet published, and this brilliant re- truly sound misterioso, and in the long cre- virtuoso violin part, set against two record- cording decidedly increases the anticipa- scendos that emerge in the major-key sec- ers,” remained pivotal to her treatment of tion for its release. tions. Below are a few additional comments this concerto. In this respect, her adjust- Max Reger’s celebrated four-hand ar- about each of the concertos. ments included “slower tempos for proper rangement of the Brandenburg Concertos Concerto No. 1: The rapidly flow- execution of the 32nd notes and the vigor- was first published in 1850, and Teresa ing legato melodies of the third movement ous closing fugue.”1 and Filippo Trevisan recorded the works contrast with the biting articulation of the Concerto No. 5: Bindman states that on the Velat Luna label (2001). There are countermelodies. Through the elimination “Concerto #5 required the greatest skill in a number of problems with both the score of neighbor notes, the parts are empha- integrating the wide-ranging harpsichord and their performance, which is overly sized, especially the corni di caccia (hunt- solo part between two pianists, while pre- romantic. As Bindman notes, Reger’s ar- ing horn) part. In the fourth movement, the serving the framework.” In this context, in rangement is weighed down by the bass. horn’s repeated-note motive comes through the tutti sections, it was necessary to regu- The primo part is so complex that many of clearly with a sharper articulation than the late the harpsichord down an octave in the the Allegro movements falter and lack en- other parts. In the same movement, the first movement. Similar to the interaction ergy. Furthermore, too much pedal mud- soft touch of the Polacca section stands in between violins and recorders in Concerto dies the low-register melodies, although direct contrast to the stately tenuto of the No. 4, the semi-detached articulation for it does provide meaningful color in the Menuetto. Finally, contrasting articulation the harpsichord part is accompanied by adagio and andante movements. In addi- is skillfully employed in the trio sections of more legato for the flute and violin parts tion, the dense articulation and voicing of the fourth movement. Octave displacement in the first and second movements. The the tutti sections sometimes come across clarifies the distinction between the oboe gentle tone used for the orchestral chords as overbearing chords rather than a pow- and violin melodies, while silence between in the third movement keeps them from erful forte. Frequently, the melodies lack the final chords adds drama. overpowering the soloists. As in Concerto dynamic shaping, and the many middle- Concerto No. 2: The second con- No. 3, “great precision is required by the register lines are lost. Understandably, certo exemplifies the concerto grosso partners as they share the virtuosic caden- Bindman notes that playing Reger’s ar- structure. Throughout the concerto, the za.” Noticeably, the ornamentation is well- rangement is not satisfying. secondo plays the ritornello and episodic executed.

28 IAWM Journal Volume 24, No. 2 2018 Concerto No. 6: The stately opening Violeta Dinescu: Dialog: Wün- response to the Romanian revolution oc- of Concerto No. 6 employs a gentleness, sche, Ängste, Träume (Wishes, curring at that time. which contrasts with the more detached Fears, Dreams) The CD opens with Lytaniae für Britt passagework in the solo sections. The touch Gun, in which Violeta Dinescu adapts ma- Trio Contraste: Ion Bogdan Ştefănescu, also brilliantly imitates the sound of the flute; Sorin Petrescu, piano; Doru Roman, terial from a litany in the Codex Caioni, a harpsichord in this movement. In the fourth percussion; Charisma Musikproduktion, collection by the 17th-century monk and movement, a slightly detached legato con- Gutingi 255 (2016) composer Ioan Căianu (1629-87), who inte- trasts the violin solos with the very legato grated Transylvanian folk melodies into his responding flourishes of the two recorders. MONICA BUCKLAND sacred music. In this instance, the synthe- The dynamic shaping and dialogue between Dialog: Wünsche, Ängste, Träume com- sized “voice” parts are set against a piano parts is exquisite throughout. Bindman con- bines the forces of three composers—Vio- prepared to sound like a cimbalom (a Hun- siders the alterations in this concerto as the leta Dinescu, Myriam Marbé, and Roberto garian dulcimer) or perhaps a zongora (a greatest achievement of the transcription. Reale—who share much in terms of back- Romanian guitar-like instrument) combined In the original version, the canon of the vi- ground and approach. The works in this with flute and drum. Set against an ethereal olas in the first movement is written in the collection possess enough contrast in terms choral background, the flute emerges spo- same register as the harpsichord part, and of their structure and musical language to radically throughout the piece with melodic thus the music decidedly lacks brilliance. keep surprising and delighting the listen- motifs and increasing dissonance. Birdman separates the voices by an octave er, and they have just enough elements in Towards the end, a folk-like melody and therefore allows “the lovely outline of common to avoid being an indigestible emerges, which provides a conceptual the theme to reveal itself and render a grav- smorgasbord. Trio Contrast’s performance and musical connection to the next piece, ity almost reminiscent of Brahms, dictating throughout this CD is not only virtuosic, Pensée en Creux (Empty Thoughts) by Ro- a slower tempo.” but also versatile and rich in color and so- berto Reale, written for and inspired by the Bindman’s transcription of Bach’s nority. Through the use of extended tech- talents of Trio Contraste. The composition Brandenburg Concertos is a significant niques and electronics, we often perceive a introduces fragmentary motifs and weaves accomplishment. It reflects Bach’s writ- much larger ensemble. them into melodies, then concludes by di- ing more than Reger’s romanticized ar- The composers represent three differ- minishing the melodies into fragments. rangement by preserving the interaction ent generations and styles of composition, According to Reale, the components “wan- between the varied soloists of the origi- while sharing a similar musical approach der from one instrument to another, then nal pieces and by reserving the force of and language that communicates their de- finding their way back together in surpris- the piano’s bass for interpretive impact. votion to Romanian music. The featured ing combinations….Various forms of su- Bindman also achieves her goal of mak- composer, Violeta Dinescu, has lived in perimposition let the melodies appear in ing both piano parts equally engaging to Germany since 1982 and has been teach- constantly new constellations, which act play. Debuting The Brandenburg Duets ing applied composition at the University like figures in an imaginary drama.” In through this exceptional recording, rather of Oldenburg (1996-present). Although addition, the flute artistically enters and than through a published score, not only Dinescu studied for only one year with evolves repeatedly while using a variety of exhibits the insightfulness of Bindman’s Myriam Marbé (1931-97), she credits her flutter tonging, glissando, and pitch bend- decisions in preparing the arrangement, with having a far-reaching influence on ing techniques, which are off-set by the but also serves as an excellent vehicle to her music. Without her, Dinescu states: piano’s convergent accompaniment. promote this much-needed contemporary “I would never have become a composer” Marbé’s Haikus I-VII, a series of char- transcription. (liner notes). Correspondingly, as a stu- acter pieces, begin with an improvisatory- NOTES dent of Dinescu, Robert Reale developed like passage for flute, employing tech- an extremely close engagement with Ro- niques that produce sounds reminiscent of 1 This and other quotes are from Eleonor manian music by selecting Oedipe (pre- the Japanese shakuhachi (end-blown bam- Bindman, “The Brandenburg Duets: The Tran- scriptions (2018),” https://eleonorbindman. miere 1936) by the eminent composer boo flute). Each musical Haiku adheres to com/projects/brandenburg-duets. George Enescu for the subject of his doc- the strict Japanese poetic form. Some ap- toral dissertation. pear to be completely without meter, while Composer-pianist Dr. Krystal J. F. Grant’s ca- The themes of lamentation, memory, others, such as Haiku II, are homorhyth- reer has broadened from giving lecture-recitals in elementary schools of her hometown, Bir- and the distance of time and space are mic, which the composer equated with the mingham, Alabama, to presenting multimedia present in several pieces. The two works sense of rigidity experienced during the installations in New York City. Besides college composed in memoriam by Dinescu, Lyta- Communist regime in Romania. Originally classrooms, she has taught in after-school pro- niae für Britt Gun (2014) and Zeitglocken composed for flute with sparing use of pi- grams, a homeless shelter, and a senior center. für Myriam (2000), begin and conclude ano, discreet percussion has been added by With degrees in piano performance and Span- the CD. Lament is also a central theme Trio Contraste to several of the Haikus. ish from Vanderbilt University, she earned her of Reale’s two works: Pensée en Creux At the center of this CD are the ten Ph.D. in composition at Stony Brook Univer- (2007-13) and Passaggio (2013). In a simi- short movements of Dinescu’s Schlachtfeld sity. She currently lives in Richmond, Virginia, lar manner, Marbé’s work, Dialogi—nicht von Marathon (Battlefield at Marathon). where she teaches and shares diverse music to reckon with society’s brokenness alongside art- nur ein Bilderbuch für Christian Morgen- Composed in 2011 for the Klavierfieber ists and audiences. https://arsarvole.com/ stern (1989), stands as a sad and anxious Festival, the work was soon adapted for

Compact Disc Reviews 29 Trio Contraste, exploiting the expansion of am), is a lament written in memory of her completed an insightful recorded perfor- texture and the sharp contrasts of the move- mentor, role model, and friend. The appar- mance of a delightfully varied collection ments. The composer was inspired by the ent detachment from a musical fixed time of pieces for solo piano. For the title of the 1847 painting by Carl Rottmann, which, al- at several places in the piece corresponds CD, Ege was inspired by Nina Simone’s though it refers to the Battle of Marathon in directly to Marbé’s tendency to work day song called “Four Women” (1966). Ege 490 B.C. romantically, depicts a landscape, and night to the point of exhaustion, which brings to light several nearly forgotten devoid of any carnage. Another source of took its toll. In addition, Dinescu refers to works from four talented women whose inspiration was the short story Found in a the intensity of what she calls the “psy- compositions, because of their creators’ bottle (1833) by Edgar Allen Poe, in which chogram of a musician with extraordinary gender, historical time, and race or ethnic- a sea voyage becomes increasingly disas- inner strength” (liner notes). The two solo ity, have remained more or less unknown. trous and causes the ship to plummet to parts represent the dialogues between (An interview with the pianist in which the bottom of the ocean. Dinescu’s work memories, hopes, and dreams realized by she introduces the viewer to each of the is not a tone painting—it reflects the dif- the music, which resembles the musical composers featured on this CD is available ferent moods of the painting and the poem language of Marbé. on YouTube at: https://www.youtube.com/ as a symbolic battle between resonant tim- It is rare to find a CD project as well watch?v=h6PogeE-dCI.) bres with different instrumental textures. organized as this. The arrangement of The first selection, Sonata in E Minor Within the movements, there are surprising works is intelligent: placing Violeta Di- by Florence Beatrice Price (1887-1953), moments, such as a birdsong in “Wie aus nescu’s Schlachtfeld von Marathon at the is considered her most substantial compo- weiter Ferne” (As if from afar) and the cry center, surrounding it with pieces by both sition for solo keyboard. The large-scale, of a goose in “Umhüllt von Schwärzester her teacher and her student, and bracketing three-movement sonata, completed in Nacht” (Cloaked in blackest night). These the whole program with the two laments 1932, earned Price first prize and a cash moments end quickly, with the longest last- by Dinescu. The lengths and proportions award of $250 in the Rodman Wanamaker ing just over three minutes, yet they display of the pieces have also been clearly consid- Music Contest (piano composition cat- an extensive emotional range. ered in deciding the order so that the over- egory). Price favored the key of E minor The CD continues with Reale’s Pas- all balance remains effective. in works inspired by African-American saggio, a piece about and made up of More care should have been taken in spirituals. The first movement, which transitions. “Some transitions,” he writes, the accompanying booklet. The German begins with a fanfare-like introduction, “take place unconsciously and unobserved texts are detailed and informative, but the presents spiritual-style melodic lines set and others seem to be able to be called English translation is disappointing. Other- against Romantic harmonies shaded with forth and steered by the force of will” (lin- wise, the overall standard of this CD is ex- brief and relatively infrequent passages er notes). The piece unfolds gradually, and tremely high: the exceptional compositional of dissonance. The second movement, the combination of piano and tuned and quality of each piece, the sensitive and com- andante, also reflects the lyricism of the untuned percussion increases the inten- pelling performance, and the clarity of the spiritual and uses the second theme from sity. Although the thematic constituent ele- recording. In summary: the CD is gripping, the first movement as a cantus firmus. In ments remain fixed, they vacillate between fascinating, and thoroughly satisfying. the concluding scherzo, syncopation and dramatic control and violent chaos. Monica Buckland is Music Director of the New moments of lyricism, reminiscent of spir- Marbé composed Dialogi during the Tyneside Orchestra, and an Associate of Newn- ituals, intervene between straightforward 1989 revolution in Romania. Her use of ham College, Cambridge. She is currently based returns of the opening theme à la rondo. absurd Dadaistic humor represents the com- in the UK after many years in Switzerland and (For an excellent article on Florence poser’s response to the events in Romania at Germany. A particular focus of her performing Price, her remarkable life, and the racial that time. She originally conceived the com- career—and of her three CDs to date—has al- prejudice to which she was forced to re- position as a work in seven sections for clar- ways been music by living composers. spond, see Samantha Ege, “Florence Price inet, piano, percussion, and narrator. The Four Women: Music for Solo and the Politics of Her Existence,” The version on this CD, however, has only four Kapralova Society Journal 16/1 [Spring of the movements (numbers 2, 5, 6 and 7): Piano by Price, Kaprálová, 2018]: 1-10.) “Introduzione” briefly references Mozart’s Bilsland, and Bonds The second selection, The Birthday C major Sonata, K.545 (1788); “Scherzo” Florence Price: Sonata in E Minor; Eth- Party (1918) by Ethel Edith Bilsland quotes from Christian Morgenstern’s Gal- el Edith Bilsland: The Birthday Party; (1892-1982)—a world premiere record- genlieder (Gallows Songs, 1905); and “Pas- Vítězslava Kaprálová, Dubnová preludia ing—presents a perfect contrast to Price’s (April Preludes), op. 13; Margaret Bonds: sacaglia” evokes a deep sense of contempla- Troubled Water. Samantha Ege, pianist. sonata. The six miniature movements are tion. In this respect, the “conversation of a Wave Theory Records WT2018006D dedicated to the composer’s young neph- snail,” in which the snail considers whether (2018) ews, and they present typical activities of to dare leave its house, may well have been a British child. From “Friends to Tea” to a question the composer asked herself while JUDITH MABARY “Tin Soldiers” to “Sleepy Song,” the col- she was living in Germany at the time of the In an effort to bring a greater number of lection, and the style in which it is written, bloody upheavals. musical works by women of color—and offer a welcome respite from the chaotic The final composition, Dinescu’s women composers in general—to pub- pace of adult life. Games and imaginative Zeitglocken für Myriam (Bells for Myri- lic attention, pianist Samantha Ege has scenes of play permeate the child’s day

30 IAWM Journal Volume 24, No. 2 2018 until, exhausted, it is time to sleep. Child- dogs cannot follow. The New Testament Elena Ruehr: Six String hood action songs—“Peep-bo” (peek-a- text from John 5:4, as well as the plight Quartets boo), “Ring o’ Roses” (referencing the of those who sang the spirituals, justifies Cypress String Quartet; Borromeo String traditional round dance), and “Battledore the transformed title: “For an angel went Quartet; Stephen Salters, baritone; Cecily and Shuttlecock” (a forerunner of badmin- down at a certain season into the pool, and Ward, Producer. AVIE, 2 CD set, AV 2379 ton)—are intertwined with tea parties and troubled the water: whosoever then first (2018) military skirmishes. Bilsland’s music proj- after the troubling of the water stepped in TAMARA CASHOUR ects the naïveté and simplicity her subject was made whole of whatsoever disease he demands and offers an engaging few mo- had.” The six string quartets by Elena Ruehr on ments of reminiscences from childhood. The liner notes to the CD describe this CD encompass her work of 21 years The two selections from Vítězslava Bonds’s compositional style as filling (1991-2012) and reveal a progressive ma- Kaprálová (1915-1940) reveal an unusu- “European forms with spiritual melodies, turity of style, while retaining a cohesive- ally high degree of compositional matu- blues harmonies, and jazz rhythms.” Add ness of form and content that marks this ef- rity for such a young composer. She com- the lushness of late Romanticism and the fort distinctly “from the pen of Ruehr.” The posed Sonata appassionata (1933) when result is the recipe realized in “Troubled quartets make numerous thematic referenc- she was eighteen and a student at the Brno Water,” the last of three movements in es to historic events and early music; in this Conservatory. (She claimed the distinc- her Spiritual Suite, completed during the respect, she stands in contrast to so many tion of being its first woman graduate.) 1950s. Although the music is, at times, contemporary composers. Ruehr provides Written to fulfill a school assignment, the overtaken by syncopated jazz rhythms and detailed, explanatory program notes, which sonata is an ambitious and virtuosic work advanced harmonies that call on the blues greatly assist the listener in making the sein two movements. The first movement, for inspiration, the simple yet powerful miotic connection to her seed material. maestoso, in sonata form, opens with a “Wade in the Water” theme soars over any Winner of an ASCAP Award, String slow, chordal introduction that explores diversions to assert its dominance in the Quartet No. 1 (1991) looks to the past. the entire keyboard. The second move- final chords. The first movement, “Patterns,” incorpo- ment is in variation form with a straight- Bonds called Chicago home and grew rates a bouncy motivic cell (D, B, F, E, G, forward, folk-derived theme plus six vari- up there in a household that served as a C, A) from Perotin’s Viderunt omnes and ations, the last of which is an extended modern-day “camerata” with the likes of also resembles Appalachian Spring in its and difficult fugue. Will Marion Cook and Langston Hughes in sparse tiering of instrumental entrances and Dubnová preludia (April Preludes), attendance. In 1927 Florence Price moved subsequent buildup of texture. Ruehr uses op. 13, was completed four years later to the city with her family to escape ra- traditional devices such as a pizzicato ac- in 1937 and was written for Czech pia- cial tension in Arkansas and became close companiment under and/or over a beautiful nist Rudolph Firkušný. Although the title friends with both the young Margaret and soaring melody, an asymmetrical ostinato suggests a programmatic basis, Firkušný her mother. (Bond’s biography as well as a running rampant over the barline, and a said it was so named because Kaprálová list of her works and their publishing and weaving contrapuntal line within changing decided to compose the preludes in April. recorded history are provided at: https:// harmonic fields. The second movement, The four movements are loosely united by chevalierdesaintgeorges.homestead.com/ “Interlude,” displays minimalist rhyth- various forms of a five-note melodic mo- Bonds.html#23.) mic intricacy and showcases the cello as tive. Each prelude has a different formal Samantha Ege is to be congratulated, the principal voice. In the next movement structure, ranging from ternary to toccata, not only for her insightful interpretation, (“Let’s Sit Beneath the Stars”), Reuhr cre- with a harmonic language that has grown particularly in the works of Bilsland and ates a moment of poignancy by setting a progressively more complex since 1933. Bonds, but for her goal to bring the music slave song, a reminder of her ancestors who World events and the actions of an increas- of these composers to better public aware- provided safe haven along the Underground ingly powerful Nazi regime may have left ness. Their works make for an interesting Railway. The jocular finale, “Estampie,” their mark on the preludes in terms of and balanced program. The greater benefit employs “sliced” double stops, nagging their moments of harsh dissonance. The of this collection, however, is to bring to slap-pizzicati, melodic repetitiveness, and final prelude (vivo) takes on the character life a representation of the diversity of aggressive off-beat rhythms to keep this of a grotesque dance—not surprisingly, a compositional efforts by women compos- medieval dance humming along. quick polka—that accelerates to a forceful ing during the first half of the twentieth String Quartet No. 2, “Song of the conclusion. century and to recall the political and so- Silkie” (2000), presents a revised version Ending as the disc began, with a work cial environments in which—and in spite of the traditional folk song “The Grey Sel- based on an African-American spiritual, of which—they were driven to express kie of Sule Skerry,” from the Shetland and the single movement Troubled Water by their unique artistic identities. Orkney Islands. In the original, the selkie (or silkie) can transform itself from a male Margaret Allison Bonds (1913-1972) is a Judith Mabary is Associate Professor of Musi- comparatively unsettled version of “Wade cology at the University of Missouri, Columbia. seal into a human. He visits his earthly in the Water,” a song of the Israelites’ es- Her research interests center on Czech music wife, who is nursing his son, and takes the cape from Egypt and the African-Amer- of the nineteenth and early twentieth centuries, child back into the sea; he forecasts that the icans’ correlative hope to escape from and she is currently working on a book on the mother will marry a gunner whose harpoon slavery by means of the river where the history of Czech melodrama. will kill him and his son. In the version by

Compact Disc Reviews 31 Laura Harrington, who wrote the text used sounding falsetto is insufficient to convey minimal source material spins heterophon- in this work, the sexes are reversed, and the Sula’s emotions; a female soprano or mez- ically in and out-of-sync between the first violent ending is eliminated. The emphasis zo might be more effective. (The score of- violin and the viola, with quartal double- is on the relationship of the lovers. fers several alternatives.) The theme of des- stops in the second violin, while the cello The Borromeo Quartet provides an perate loss is mitigated by using one person keeps steady time. The second movement, expressive performance that captures the to represent both characters, and telling the “The Abbey,” is based on the prosody of shadowy and sensitive tone colors, the tale in third person also lessens the emo- the Sicut erat Latin prayer and features a sharpness of articulation, and the trenchant tional impact. legato nineteen-bar melody treated ca- dynamic modulations; the quartet provides In String Quartet No. 3, “How She nonically at the unison, with the fifth over a foundation that emotionally complements Danced” (2001), the first movement, a double-stop drumbeat. About a third of but never competes with the textual intent. “Clay Flute,” simulates the capabilities of the way through, the melody goes rogue, The excellent baritone Stephen Salters in- an actual instrument by using a four-note fragmenting and then expanding. The terprets both characters, using falsetto for melodic cell and exploiting the upper- third movement, “How She Danced,” uses Sula’s voice, but the vibrato-less, weak- neighbor sixteenth-note triplet turn. This a sub-Saharan triadic melody to imitate Ruehr’s toddler child dancing. “Bell Call” Recent CD Releases functions as a cumulative meta-text of the previous three movements, employing Katy Abbott’s new disc, Punch: the Brass Music of Katy Abbott, featuring a mix of complex West African rhythms, countered chamber and large brass ensemble works, was released through ABC Classics and is by the ostinato in the lower three strings. available on iTunes; a hard copy is available through the composer’s website. The In String Quartet No. 4 (2005), Ruehr CD features Australia’s Ensemble Three and members of the Melbourne Symphony plays with material drawn from both Mo- Orchestra Brass and MCM Brass. zart’s “Dissonance” String Quartet No. 19 In February 2018, Sophia Agranovich released her seventh CD album, Chopin and in C Major, K. 465 and Beethoven’s “Rasu- Liszt: Piano Works, on the Centaur label. She performs Chopin’s Polonaise-Fantaisie movsky” String Quartet No. 9 in C Major, and Nocturne, op. 48, no.1; Liszt’s Après une Lecture du Dante: Fantasia quasi So- Op. 59, No. 3. Rheur’s Quartet No. 4 is the nata, the complete Sonnetti del Petrarca and Hungarian Rhapsody no. 14. The CD most classically-reminiscent of all the quar- is available at all the major retailers. Read reviews, listen to tracks, and purchase at tets on the CD, as harmonies and motivic http://sophiagranovich.com/discography. themes are inextricably linked and tossed about throughout the four movements. The EntArteOpera Festival: Violin Concertos and Double Concertos strings tend to “move as one” or in comple- Disc 1 contains Ethel Smyth: Concerto for violin, horn and orchestra, and Vitezslava mentary fashion to one another much more Kapralova: Concertino, op. 21, for violin, piano and orchestra. The second disc in- than in the other quartets. Sonata Allegro cludes concertos by Karl Amadeus Hartmann and Bohuslav Martinu. The soloists are form is employed, and the material cre- Thomas A. Irnberger, violin; Milena Viotti, horn; Reinhard Wieser, clarinet; and Mi- ates a darkly brooding effect from the first chael Korstick, piano. The orchestras are the Wiener Concert-Verein, Israel Chamber downbeat to the final double-bar. Orchestra, and Georgisches Kammerorchester Ingolgstadt. Gramola 99098 (2018) No. 5 (2010) is a string quartet for op- EntArteOpera Festival: Chamber Music era lovers. Titled “Bel Canto,” it depicts Vitezslava Kapralova: Ritornel for Violoncello and Piano and the song cycle Navždy, a hostage crisis involving an opera singer Liebesliedchen. The CD also includes works by Henriette Bosmans, Vally Weigl, and named Roxanne Coss during a foreign em- Charlotte Schlesinger. Gramola 99183 (2018) bassy assault. The ten movements receive In the Theater of Air full operatic treatment: each presents a The Marsyas Trio (Helen Vidovich flute, alto flute, piccolo; Valerie Welbanks, cello; careful, well-drawn portrayal of a charac- Zubin Kanga, piano) presents works for trio by women composers of multiple genera- ter or multi-character scena. Themes from tions: five of them living British composers and one American: Thea Musgrave, Judith the operas Tosca and Rusalka and from Weir, Georgia Rodgers, Hilary Tann, Laura Bowler and Amy Beach. The album cel- Schubert’s Doppelgänger, as mentioned ebrates the 100th anniversary of more than eight million women getting the vote in the in Ann Patchett’s 2001 novel of the same UK. NMC Recordings D248 (2018) name, are barely disguised here as quasi- parlor tunes. In addition, Samuel Barber’s Parts to Play “The Crucifixion” (No. 4, Hermit Songs, Violinist Moonkyung Lee’s new album, Parts to Play, with pianist Martha Locker, 1953) is used as the art song sung by Coss includes three works by women composers: Rain Worthington’s Jilted Tango, Ju- at a gala for a Japanese business man in dith Lang Zaimont’s Grand Tarantella, and Libby Larsen’s Blue Piece. Navona NV the novel’s opening scene, which boasts a 6165 (2018) Japanese koto-like accompaniment and a Set No Limits : Music by Women Composers for Clarinet and Piano prominent, recurring grace note. Music by Katherine Hoover: Ritual (1989); Marga Richter: Sonata for clarinet and String Quartet No. 6 (2012) hits the piano (1948); Lauren Bernofsky: Solitude (1992); Ruth Schonthal: Sonata Concertante ground running with its first movement, (1976); Barbara Kolb: Related Characters (1982). Jessica Lindsey, clarinet; Christi- “Restless,” another sea piece, whose jar- an Bohnenstengel, piano. Liner notes by Deborah Hayes. Albany Records, 2018 ring dotted eight- and sixteenth-note theme

32 IAWM Journal Volume 24, No. 2 2018 is juxtaposed against moto perpetuo six- idée fixe, an eighth-note triplet figure that sampling of string quartets, Ruehr’s mas- teenth-note figures. Jagged leaping inter- obsessively roils and rants throughout the terful command of the wealth of historical vals and chromatically biting cluster fig- movement in various contexts. The finale compositional methods, coupled with her ures predominate throughout the quartet. compresses the foregoing themes in one ability to intermingle her individual musi- On the evening of its world premiere by fell swoop, and the quartet ends as it began. cal language, has truly forged a new aes- the commissioning Cypress String Quartet The Cypress String Quartet, which thetic for this genre. (crisp and savvy to a fault in this record- commissioned Ruehr’s String Quartets Tamara Cashour is an award-winning NYC- ing), Ruehr sadly learned that Cypress’ ex- Nos. 4 to 6, demonstrate their artistry and based composer of vocal and instrumental ecutive director, Todd Donovan, had brain impressive precision in interpreting the chamber music, incidental music, sacred organ/ cancer, and she subsequently dedicated complex language of Ruehr’s composi- choral music and opera/musical-theatre hybrid the second movement to Todd. It features tional style and the expressive range exhib- works. Her works have premiered nationally a falling (weeping) two-note dramatic ges- ited throughout the quartets. The Borromeo and in international venues. Cashour is a col- ture, with wispy, fluttering 32nd-notes. String Quartet delivers an accomplished laborative pianist at The New School College The piece is a clear expression of grief and performance of String Quartet No. 2, imbu- of Performing Arts, Assistant Conductor of the Bronx Concert Singers, and Music Director/Or- tragedy, although, it closes hopefully in E ing the challenging music with astonishing ganist/Composer in Residence at the Presbyte- major. Movement 3 is based on a nine-note passion and artistic polish. Throughout this rian Church of New Rochelle. Reports both students and master professors, this Jewish experience with the utmost creativ- Reports: Brazil 1 was a first-time opportunity to perform ity, artistry and musical excellence.” The The Encontro Internacional de works written by women. The appreciation $50,000 prize is the largest music composi- Cordas Festival the performers have for contemporary tion prize offered in Canada, and it is open classical music and their interest in women only to Canadian composers. RAIN WORTHINGTON composers is genuine and encouraging. In Kelly-Marie’s new work, a double In June 2018, I traveled to Brazil to attend turn, all the performances drew enthusiastic concerto for cello and harp, explores Se- the fifth annual, week-long classical string responses from sizable audiences. phardic folk and liturgical music and how music festival, “Encontro Internacional The final festival concert was held in it impacted other cultures as the diaspora de Cordas,” in Limeira, Brazil, two hours a beautiful 19th-century baroque church. settled in Morocco, Tunisia, and parts of northwest of São Paulo. I was there in a The event provided a thrilling opportunity Europe. She said: “What fascinates me is dual role—as a featured composer and as for three female students to lead the how music travels, and how it can subtly 2 a representative of the New York Women orchestra in their conducting debuts before influence cultures throughout its journey.” Composers organization. Festival Director a rapt audience. It was quite an experience She was especially interested in sources to hear the South American premiere of my from the Bulgar- work In Passages beautifully performed ian Sephardic by master teacher and soloist Sylvia Ah- community, and ramjian and the festival string orchestra she integrated under the direction of a wonderful student the Ladino folk conductor, Paula Sant’ana. songs, lullabies Rodrigo Müller, founder of the music and melodic or- school and conductor of Limeira’s sym- namentation into 3 phony, deserves special recognition for his her music. The educational initiatives. The warmth and concerto was dedication of the musicians as well as the premiered at a Gala Concert on Kelly-Marie Murphy L to R: Rain Worthington, comradery of the professional staff made Sylvia Ahramjian, Paula Sant’ana this a memorable experience. Brazil’s repu- October 15, 2018 at Maison symphonique tation for being one of the most courteous de Montreal by the McGill Chamber Or- and violinist Rafael Torralvo founded the and cordial countries is well deserved. chestra with guest conductor Yoav Talmi festival and this year was awarded a NYWC and soloists Erica Goodman, harpist, and Seed Money Grant. The grant marked an Reports: Canada Rachel Mercer, cellist. In addition to the Azrieli Prize, Kelly- exciting connection between the festival Kelly-Marie Murphy: and women’s music and represented one Marie was the winner of the 2017 Maria of a number of significant “firsts” for the Winner of Canada’s Anna Mozart Award, a $10,000 prize. festival’s fifth anniversary. Largest Composition Prize The award was created by Jane Gordon in Several of the concert programs Dr. Kelly-Marie Murphy was awarded the conjunction with Symphony Nova Scotia. presented a mix of contemporary and 2018 Azrieli Commission for Jewish Mu- Gordon was inspired by Maria Anna (Nan- traditional repertoire, but this year there sic. Established in 2014, the Azrieli Foun- nerl), Mozart’s older sister, who was a child was a special focus on music by women dation grants a biennial commission for a prodigy. Her career ended, however, when composers. For many of the musicians, new work that “expresses an aspect of the she reached a marriageable age, and none

Reports 33 of her compositions have survived. Gordon meetings every two or three months, and The Kapralova Society initiated the prize in an effort to preserve both the June and September meetings saw and promote the music of women compos- the highest attendance yet. KARLA HARTL ers. The prize will be awarded “tri-annually While we are still in the process of be- Cellist Steven Isserlis performed Vitezsla- to a Canadian woman composer in the spirit coming a charitable organization, with the va Kapralova’s Ritornel for Violoncello of recognizing and supporting the creation ability to give tax receipts for donations, and Piano with pianist Connie Shih on of new orchestral works by women.”4 our increasing numbers have resulted in September 29 at Wigmore Hall, London, Kelly-Marie Murphy was the first re- more funds being available for our activi- and he will perform the work on his up- cipient of the award. Her prize-winning ties. Up to this point, we have been support- coming 2019 tour of the U.S. in Princeton work, Dragon, Unfolding, was “inspired ing concerts that feature the works of our on February 28 and in Washington, D.C. by an ancient Japanese legend that any- members or other Canadian women com- on March 14. Recordings of three works one who folds one thousand paper cranes posers. In response to our growing funds, by Kapralova have recently been released will be granted a wish.” She explained that the association is embarking on a pilot by Gramola, in partnership with the EntAr- “in Japanese mythology and folklore, the project entitled the New Initiatives Fund. teOpera Festival, and two of her works are dragon was believed to signify wisdom, This new grant will support one or two on pianist Samantha Ege’s CD, reviewed success, and strength.” The energetic, sin- projects such as a multimedia or dramatic in this issue. The Kapralova Society provi- gle-movement work depicts “the dragon collaboration, travel to an international des a number of resources for performers being formed, rising, and taking flight.”5 festival, creative networking via compo- and scholars: The work was premiered in Halifax by sitional means, producing CDs and online (1) http://www.kapralova.org/ Symphony Nova Scotia, directed by Jean- recordings, or other opportunities for new INTPROJECT.htm Claude Picard, on March 8, 2018, Interna- music to be taught or workshopped. A (2) “The Woman Composer Ques- tional Women’s Day. straightforward application has been creat- tion Bibliography” by Eugene Gates (The Kelly-Marie has won numerous prizes ed online and a three-person, in-house jury Kapralova Society: http://www.kapralova. over the years, and her music has been per- will be responsible for choosing one or two org/BIBLIOGRAPHY.htm) formed around the world. The IAWM is de- grant winners. Applicants will need to have (3) The Kapralova Society Journal: A lighted to welcome her as a new member. been members for two years and to have Journal of Women in Music: http://www. NOTES completed the member page on the ACWC kapralova.org/JOURNAL.htm 1 https://azrielifoundation.org/.../kelly-ma- website. Priority will be given to those who (4) The Woman Composer Database rie-murphy-wins-largest-composition-prize have shown some commitment to the or- (in two parts) by Karla Hartl (The Kapralo- 2 Ibid. ganization through attendance at meetings, va Society: http://www.kapralova.org/DA- 3 https://azrielifoundation.org/2018/04/19/ involvement in concerts, or other activities TABASE.htm) the-azrieli-music-prizes-gala-concert-soloists- that help to promote and grow the ACWC. announced/ Reports: China 4 As this is a pilot project, its future will de- https://symphonynovascotia.ca/award/ pend on the level of interest and the avail- 5 China Goes Global Conference Ibid. ability of funds. The Association of Canadian The ACWC continues to work on con- SUSAN COHN LACKMAN Women Composers necting and promoting members through I was honored to be invited to perform two the monthly e-notice the SoundBox, the of my China-inspired piano compositions at DIANE BERRY bi-annual journal, meetings, and other the 12th annual China Goes Global Confer- The ACWC has continued to grow with activities. Keep up-to-date with ACWC’s ence in Shanghai, China, in June 2018. The new members joining throughout the year. activities on the website: http://acwc.ca/. China Goes Global Society was formed for Our increasing membership, including ac- Visit the very active Facebook page: As- charitable, scientific, and educational - pur tive, student, and associate members, has sociation of Canadian Women Composers poses, and the society regularly holds con- resulted in more participation in all of the (ACWC/AFCC) or follow on Twitter @ ferences in America, Asia, and Europe. association’s activities. We hold Skype ACWComposers 2. I performed Ghosts on the Bund (a memory of the 1920’s in Shanghai) and Admiral of the Endless Sea, a profile of Creative Interactions: Dynamic Processes in Group Music Activities Zheng He (1371‒ca.1433). Zheng He was The Creative Interactions conference will be held in Munich, Germany, May 30-June a great Chinese explorer and fleet com- 1, 2019. The aim of the conference is to gather together researchers, teachers and stu- mander during the early Ming Dynasty. dents to share ideas on collaborative creativity in music learning and on various modes He went on seven major expeditions to of dynamic processes that take place when two or more people invent something new explore the world for the Chinese emperor in music together. The importance of creative learning and teaching for creativity as a and to establish Chinese trade in new ar- fundamental theme in education and music education cannot be overestimated. We are eas. Both of my pieces use Chinese music looking forward to enjoying three days of inspiring presentations, debates, workshops theory for their basic core, but the latter and concerts with you and reflecting on how we collectively create our art and our also uses the “raga nalimbari,” a lullaby future! The call for participation deadline is January 15. For additional information, raga, for the central section, which touches please see: www.creativeinteractions.edu on Zheng He’s travels to India. The raga,

34 IAWM Journal Volume 24, No. 2 2018 in 6/8 meter, creates an appropriate wave- tures two female singers: one has a strong, that offered fine performances by the solo- like accompaniment. energetic, and powerful personality and is ists, L’anima giusta orchestra, and conduc- I next visited Chengdu and contin- not afraid to speak out, while the other has a tor Jessica Horsley, one of the masterminds ued my research into Sichuan Opera (also humble, quiet and gentle personality.” Gio- behind the festival. Her unique, diverse known as Chuan Ju), a form of traditional vanna wrote both the libretto and the music. program included several premieres by Chinese sung-drama found in the south- The one-hour work is subdivided into four both historical and living women compos- western province of Sichuan as well as in sections: the first features the ebullient iden- ers. The evening opened with a long-over- certain regions of the neighboring prov- tity, the second presents the ethereal identi- due revival of the Overture to the oratorio inces. It resembles Beijing Opera, but it in- ty, and the third provides a comparison of Die Könige in Israel, from c.1880, by Ag- corporates “magic” tricks and offers a great the two. In the final section, when the identi- nes Tyrrell (1846–1883). The work, which deal of entertaining acrobatics. Chuan Ju is ties interact, they join together and are trans- attested to Tyrrell’s penchant for drama as having a revival and composers are writing formed. The notation for the work is graphic, well as her considerable skill in orchestra- and the signs and symbols allow the perfor- tion, had been performed only once before: mers to improvise and provide their own in the nineteenth-century in Brno, Tyrrell’s interpretation of the action in both a person- hometown. Heidi Baader-Nobs’ Evasion al and collective way. The instrumental en- for violin and orchestra, from 2017, fol- semble, which includes strings, winds, and lowed as a world premiere; it was given an a variety of percussion instruments, plays a excellent performance by the orchestra and major role in the production. In addition to the soloist, Mariana Doughty, and earned performing the music, they act, sing, whis- a standing ovation for the composer who per, and move around the concert hall as was present and called to the podium after “global artists.” the performance. The last composition before the inter- Reports: Switzerland mission was a piece eagerly awaited by a The frauenkomponiert teenage group in the audience; the young Music Festival 2018 people had come to listen to the Swiss premiere of Violin Concerto No. 1 by Alma KARLA HARTL Deutscher, a thirteen-year-old British prod- The frauenkomponiert Music Festival 2018 igy who truly shined in her classical-style took place on March 7–11, 2018, in Basel, concerto as both composer and soloist. It Switzerland (with some programming also was heartwarming to see the pride and de- in Bern and Zürich). Organized by the light on the faces of her peers, not to men- Swiss organization frauenkomponiert (lit.: tion that it was a clever way of rousing the “women-composed”) under the patronage interest of the youngest generation in clas- Susan Cohn Lackman in Costume of Elisabeth Ackermann, the second edi- sical music. tion of the five-day festival of women’s The centerpiece of the evening (and new operas in the Sichuan dialect; the op- music featured chamber and symphonic of the festival), however, was the Gaelic eras are somewhat similar to Western grand works by both historical and contemporary Symphony by Amy Beach (1867-1944). opera. When I went backstage and asked a women composers.1 Arguably one of the finest American sym- large number of questions, the performers The festival offered a good variety of phonies of the nineteenth century, the work insisted on dressing me in one of their col- concerts and recitals as well as artist talks received an outstanding performance by the orful, elaborate costumes. I am playing the and panel discussions. Most performances orchestra. The players were attentive to ev- pipa (a Chinese lute). (Ed. note: We regret were well attended and well received by ery detail pointed out by their director, who that we cannot print the color photo of the the festival audiences, especially in Basel, not only had an excellent command of this brilliant, ornate costume.) which has a long tradition of concertgoing repertoire but was also able to offer new in- sights into Beach’s monumental work. Reports: Italy and where audiences appreciate diversity in music. The festival gave them the op- The chamber concert on March 11, at A World Premiere by Giovanna portunity to do just that. Among the many Ackermannshof, was a unique recital of two-piano repertoire composed by Mere- Dongu fine festival performances, I would like to highlight two of the most outstanding: dith Monk (Ellis Island), Germaine Taille- Giovanna Dongu’s musical play Identità a symphonic evening on Saturday, March ferre (Jeu de plain air), Nathalie Laesser received its world premiere on October 19, 10, at Basel’s Theodorskirche, and the Zweifel (Brazileira and Long Ago), Esther 2018 at the “Giovanni Pierluigi da Pale- closing festival session on Sunday, March Flückiger (Desert in Mood and Ligetissi- strina” Conservatory in Cagliari, Italy; the 11, at Basel’s Ackermannshof. mo), Anita Baker (Sweet Love), and Fabi- work was performed by the Scisma Ensem- The symphonic concert on Saturday enne Ambühl (Sea Son). This was a rarely ble. Giovanna explained that “the theme of evening was presented to a capacity au- performed but important repertoire, which the work is ‘identity,’ which each of us must dience in a church venue with excellent was impeccably rendered by Duo Dyp- treasure, express and protect. The play fea- acoustics. It was a truly impressive event tichon: Tomas Dratva and Nathalie Laesser

Reports 35 Zweifel. The recital, well received by the Karla Hartl is founder and chair of the Kapralo- Analysis capacity audience, was a perfect way to va Society, a Canadian society dedicated to pro- These figures are substantially bet- close this unique music festival. moting the music of Czech composer Vitezslava ter than they have ever been. The previ- The two concerts I highlighted provide Kapralova and other women in music. ous best for composers was in 2015, when excellent examples of how to present wom- Reports: United Kingdom there were twelve women composers in the en’s music. Programming women compos- Proms season. The number of women con- ers is an uphill battle, often hampered by BBC Proms Survey 2018 ductors is down from last year, but that was low expectations and lack of interest on an all-time high. Last year, when I looked JENNY FOWLER the part of typical audience members; so at the duration of the works by living com- less than excellent performances may eas- For some years Women in Music (UK) posers, I found that only one woman com- ily damage the cause. I am therefore happy has been doing a survey of the number poser had a substantial work (15 minutes to report that the 2018 frauenkomponiert of women represented in the BBC Proms or more), and the work was not performed Festival met my highest expectations. Let’s London concert season (July 13 to Septem- in a main evening concert at the Royal Al- hope that this festival will become yet an- ber 8). The Proms is the largest classical bert Hall. That was compared to seventeen other long tradition in Basel. music festival in the world. This year there substantial works by male composers in were 57 main evening orchestral concerts, NOTES the main evening concerts. To have five 1 The composers included Barbara Strozzi, as well as chamber music concerts, day- substantial works by women this year is Antonia Padoani Bembo, Elisabeth Claude Jac- time events, and late-night concerts. The unprecedented. quet de la Guerre, Helena Tulve, Susanne Doll, audiences in the Royal Albert Hall were of It does seem that there is a marked Louise Farrenc, Clara Schumann, Esther Flück- many thousands, and all the concerts were improvement regarding the proportion of iger, Fanny Hensel, Mel Bonis, Jeanne Demes- broadcast, many on television. women composers in the 2018 BBC Proms sieux, Vítezslava Kapralova, Amy Beach, Alma This year Proms Director David Pick- season, with a promise of this continuing. I Mahler, Isabelle Aboulker, Caroline Charrière, ard publicly proclaimed that he intends take it that this is, in part, a response to the Agnes Tyrrell, Alma Deutscher, Heidi Baader- to redress the balance between men and -Nobs, Amy Beach, May Aufderheide, Julia publicity generated by Women in Music women. As far as composers are concerned Lee Niebergall, Sadie Koninsky, Adeline She- (my survey started in the 1980s) and was perd, Irene Giblin, Meredith Monk, Germaine he said his aim is to increase the number of taken up by other music journalists and Tailleferre, Anita Baker, Fabienne Ambühl, BBC commissions to women until half of publicists. Results! and Nathalie Laesser Zweifel. The performers the new commissions for the Proms season I have never implied that the BBC included David Blunden, Nicoleta Paraschi- are for women by the year 2022. Proms season is any worse than any other vescu and Susanne Doll (organ), Maya Boog 2018 BBC Proms: Figures for Women substantial classical music season or fes- (soprano), Kathrin Bürgin (flute), Jiří Němeček Composers: 19/133 (14%) [2017: tival—only that it is representative. I will and Alma Deutscher (violin), Mariana Doughty now have to decide whether to continue the (viola), Ludovic van Hellemont, Adrian Oeti- 9/120] ker, Simon Bucher, Kirsten Johnson, Marcus Living composers: 17/43 (40%) Proms survey, or maybe switch attention to Schwarz, Tomas Dratva and Nathalie Laesser [2017: 8/36] other seasons elsewhere. Zweifel (piano), Els Biesemans (pianoforte), BBC Commissions: 12/19 (63%) NOTE: Anyone is welcome to quote Aria Quartet, Musica fiorita (leader Daniela [2017: 4/13] these statistics, but please mention the Dolci), and L’anima giusta orchestra (leader Jiří Conductors: 4/58 (7%) [2017: 7/57] source. The figures for past Proms seasons Němeček), conducted by Jessica Horsley. This year I have made a new category for are also available on the Women in Music (UK) website: www.womeninmusic.org.uk Alliance of Women in the number of living composers whose works are substantial (more than 15 min- Media Arts and Technology The Hellenic Institute Performs utes) and are featured in the main evening Lydia Kakabadse’s Odyssey Conference 2019 concerts. This is because many of the new The AWMAT “Impact!” conference commissions this year are for short pieces The Royal Holloway University of London will be held at the University of Cali- in chamber concerts or “family” concerts. commissioned Lydia Kakabadse to write a fornia, Santa Barbara, February 7-9, Substantial works by living composers: choral work, Odyssey, with harp accompa- 2019. The conference will explore how 5/14 (36%) niment to mark the 25th anniversary of The Hellenic Institute at the university. Odyssey the creative and innovative works of Women Composers was premiered on October 27, 2018 by The women in media arts and technology Kerry Andrew, Lili Boulanger, Tansy Choir of Royal Holloway, which is consid- influence the community. New forms Davies, Bushra El-Turk, Suzanne Farrin, ered to be the finest mixed collegiate choir of artistic representation in multimedia Lisa Illean, Hannah Kendall, Anna Mere- in the UK. Odyssey is representative of an art will be highlighted through inter- dith, Isobel Mundry, Thea Musgrave, Laura epic journey through centuries of Greek active installations, virtual reality, and Mvula, Olga Neuwirth, Roxanna Panufnik, history and culture. The lyrics are a synthe- sonic arts. Emphasis will be placed Eve Risser, Nina Senk, Caroline Shaw, Eth- sis of selected Greek poetry from Homer on how these new forms work in con- el Smyth, Jessica Wells, and Agata Zubel. junction with technology to shape our and the Classical period, through Hellenis- Women Conductors culture. For additional information: tic and Roman times to Byzantium, post- Marin Alsop, Karina Canellakis, Sian https://awmat2019.wordpress.com Byzantium and Modern Hellenism. Edwards, and Jane Glover.

36 IAWM Journal Volume 24, No. 2 2018 IAWM News Winners of the IAWM 2018 Search for New Music Competition Special thanks to Dr. Ingrid Stölzel, who Born in Seoul, Korea, Ahn holds de- formance practices at Oberlin Conservatory served as chair of the competition; to the grees from Yonsei University, Eastman and the Schola Cantorum Basiliensis. She judges: Dr. Jennifer Jolley, Dr. Amelia School of Music, and Indiana University counts medievalist Thomas Binkley, violin- Kaplan, and Dr. Seunghee Chrissy Lee; to (DM in composition). Her compositions ists Jaap Schroeder and Elaine Richey, cho- Alan Baylock and Ayn Inserto, who judged include orchestral, chamber, and theatrical reographer Paula Josa Jones, and composers the PDX Prize; and to the sponsors of the works that have been widely performed in Ron Perera and Lou Harrison as important prizes, without whom the SNM would not South Korea, the United States, Europe and mentors. Hailed by the be possible. South America. She is an Assistant Profes- Boston Globe for her “su- Christine Clark/Theodore Front Prize sor of Music at Anderson University, where premely joyous artistry,” ($500) sponsored by Christine Clark of she teaches composition and music theory. Maiben performs music Theodore Front Musical Literature, Inc.: Miriam Gideon Prize ($500) sponsored from the twelfth century to a composer who is at least 22 years old by Lucille Field Goodman: to a composer to the twenty-first and for a chamber or orchestral work. Win- at least 50 years of age for a work for solo conducts opera and orato- Dana Maiben ner: Caroline Ahn for Summer Sketches voice and 1-5 instruments. Winner: Dana rio. She has earned inter- for orchestra. Maiben for The Green House for contralto, national recognition for her performances of wind-chimes, flute, bassoon, viola, piano. seventeenth-century music. Her discogra- Caroline Ahn’s music is inspired by phy as a violinist includes sonatas by Fran- the natural world and has been described as Composer, conductor, medieval fid- cesca Danzi Lebrun (Dorian) and Elisabeth “delicate and lyrical” yet powerful enough dler, violinist, and violist Dana Maiben is Jacquet de la Guerre (forthcoming). Maiben to grab the audience’s attention. Her recent a Resident Scholar of the Women’s Stud- teaches at the Longy School of Music of music tends toward a more minimalistic ies Research Center of Brandeis Univer- Bard College in Cambridge, Massachusetts. approach, but the focus remains on tim- sity, where her prize-winning composition, bre. Her works have received a number of The Green House, was premiered in 2013. Libby Larsen Prize ($300) sponsored by awards and hon- Scored for contralto, pentatonic wind- Libby Larsen: to a composer who is cur- ors: Excellence chimes, flute, bassoon, viola, and piano, rently enrolled in school for a work in any in Composition The Green House was composed for con- medium. Winner: Lydia Dempsey for Prize at the IBCF tralto Elizabeth Anker, the Mockingbird Pas de Deux for oboe and piano. (International Trio, and guest performers. The work gives Lydia Dempsey is a composer and Brass Chamber musical voice to a set of six poems by Cam- oboist based in Iowa City, Iowa. Since her Music Festival, bridge, Massachusetts-based poet Martha completion of a collaborative ballet project, KY); honorable Collins. The poems explore the tensions The Wishing Well, her music has been in- mention for the and communications between the different creasingly shaped by the concepts of move- Caroline Ahn IAWM SNM realities of the world of dreams, memories, ment, gesture, and texture. In 2017, oboist Libby Larsen Prize; finalist for the presti- imagination, and everyday life, as dream or Nermis Mieses and pianist Xavier Suarez gious Respighi Composition Competitions fairy-tale elements enter lived experience, commissioned Pas de Deux and premiered of 2014; a finalist in the Sioux Symphony and waking life seems to enter the world it at the International Double Reed Soci- Orchestra Composer of the Year competi- of myth. The musical settings of the po- ety Conference in Appleton, WI. The work tion (2014); winner of the Donghak Civil ems form a through-composed work about was recently performed War theme song competition in Korea seventeen-minutes long, with musical ideas on the Society of Com- (2014); and selected for New Music Days and motifs that appear and reappear and are posers, Inc. Student in Miami, Florida. developed throughout the work. The musi- National Conference at Her award-winning work Summer cal materials range from pentatonic melody the Indiana University Sketches (2017) is a four-movement or- to fifteenth-century chanson style, early se- Jacobs School of Music chestral work that was commissioned and rial techniques, jazz style accompaniments, and at the 2018 Midwest performed by the Anderson Symphony and episodes of polytonality, but the text is Composers Symposium Orchestra, conducted by Rick Sowers. always guiding the compositional process. at the University of Cin- She has received recent commissions from Maiben’s compositions include a Lydia Dempsey cinnati College-Conser- Cramped Spaces and Indiana State Uni- chamber opera, Look and Long, based on vatory of Music. Additionally, Dempsey’s versity, Mirus Trio, Inspirare Trio, pianist the play by Gertrude Stein, instrumental work has received readings by the JACK Jooeun Pak, and Providence College Or- chamber music, music for solo voice(s) Quartet and the Toledo Symphony Orches- chestra. She is an Artist in Residence for and instrument(s), for a cappella voices, tra (Ohio). She was awarded honorable both The Classic Art and the Thegenbals and for dance and theater. Maiben holds de- mention in the 2014 IAWM Search for New Music Society in Korea. Her album enti- grees from Smith College and the Univer- Music competition. tled Classical Ballad is available on Ama- sity of Massachusetts at Amherst, and she Dempsey graduated summa cum laude zon, iTunes and other streaming sites. studied early European repertories and per- from Bowling Green State University with

IAWM News 37 a B.M. in Music Composition and Oboe the North Atlanta Church of Christ, and is the Oklahoma Haydn Festival, and the Or- Performance in 2016. She is currently a graduate of the University of Georgia. egon Bach Festival Composer Symposium, completing an M.A. degree in Music Com- Alex Shapiro Prize ($500) sponsored by as well as many up and coming perform- position at the University of Iowa, where Alex Shapiro: for a work of any duration ers. She was a finalist for the Morton Gould she teaches musicianship and serves as a for large ensemble wind band requiring a Young Composer’s Award in the years research assistant the composition area. conductor, with or without soloist, acoustic 2016-2018 and won USC’s 2017 New Mu- She is on the board of the student chapter or electroacoustic, published or as yet un- sic for Wind Ensemble Contest with her of the Society of Composers, Inc. published. The prize also includes mentor- piece Bonehead Fizzix. Ojakangas is a doc- PDX Prize ($300) for a jazz composition ship consultation with Alex Shapiro. Win- toral candidate in music composition at the of any duration for small ensemble to big ner: Janice Macaulay for Kaleidoscope University of Southern California, where band (4-17 instruments). Winner: Migiwa for Wind Symphony. Honorary Mention she also works as a teaching assistant in Miyajima for Colorful for big band. (See Prize ($100). Winner: Celka Ojakangas theory and aural skills. the article about her and her music in the for Bonehead Fizzix for Wind Ensemble. As an undergraduate, Ojakangas New Member section, pp. 23-24.) played viola professionally with the Drury Janice Macaulay holds a D.M.A. from Civic Orchestra, Springfield Symphony, PatsyLu Prize ($500) sponsored by Patsy Cornell University. She was Associate Pro- and Fort Smith Symphony, and she also Rogers and Lucille Field Goodman: for fessor and Music Department Coordinator at regularly played viola for southwest Mis- classical art music in any form by a black Anne Arundel Community College in Mary- souri’s new music scene and for many local woman and/or lesbian. Winner: Lauren land. She also taught at rock bands. She is currently a member of McCall for A Spark and a Glimmer for Brown University, Cor- two new music groups—the 417 Duo Proj- violin, cello and piano. nell University, Wells ect and the pENTAMET Ensemble. When Lauren McCall is a composer and College, St. John’s Col- she is not performing someone else’s new musician from Atlanta, Georgia. Among lege, and the University piece, she can be heard playing her own her compositions are song cycles, cho- of Maryland, Baltimore works, performing in a film studio, or play- County, where she is ral works, chamber music, and electronic Janice Macaulay ing in the string section of a jazz ensemble. music; she has also participated in the At- a visiting lecturer. She Upcoming collaborations include working lanta 24-hour Opera Project. Her compo- has had more than thirty years’ experience with the Boston New Music Initiative, the sitions have been performed in Germany teaching music history, theory, and keyboard USC Saxophone Studio, and musicians and coast to coast throughout the United performance as well as conducting the cho- Erin Cameron and Jonathan Morgan. rus, orchestra, and chamber ensembles. Ma- caulay has also served as Vice President of Judith Lang Zaimont Prize ($400) spon- the Maryland-area Council for Higher Edu- sored by Judith Lang Zaimont: for an ex- cation in Music. She has lectured on a wide tended instrumental composition—large variety of musical topics at the Peabody In- solo or chamber works—by a composer at stitute of Johns Hopkins University. least 30 years old whose music has not yet Macaulay has received awards from been recorded or published. Winner: Yi- the International Delius Composition heng Yvonne Wu for Dreams of a Young Competition, Meet the Composer, the In- Piano for solo piano, two percussionists, ternational League of Women Composers, and ensemble. the National Women’s Music Resource Yiheng Yvonne Wu studied composition Center, and the Cornell Center for the Cre- at the University of California, San Diego ative Arts. Her music has been performed (Ph.D., M.A.) Lauren McCall at the Charles Ives Center for American and Yale Uni- States including Morehead State Univer- Music, at regional and national conferenc- versity (B.A.). sity’s Contemporary Piano Festival, the es of the Society of Composers, Inc. and She has received Oregon Bach Festival Composers’ Sym- the IAWM, and at colleges and universities commissions posium, and Florida Southern College for across the country. from the La the Grady Rayam Prize in Sacred Music. Celka Ojakangas is a Los Angeles- Jolla Symphony After her arrangement of the spiritual I’m based composer and violist who gets in- conducted by Steven Schick, Troubled won the Rayam Prize in 2013, spiration for her piec- Yiheng Yvonne Wu she started her Spiritual Project, which in- es from her family’s Arraymusic, Pa- volves arranging and writing spirituals in diverse musical and sci- limpsest, Michael Mizrahi and the Wiscon- the hope of inspiring others to explore the entific backgrounds. Her sin Music Teachers Association, Figmen- beauty and creativity of this music. McCall compositions have been tum, Bonnie Whiting, Jessica Aszodi, Carla enjoys mentoring fellow composers, ex- performed and commis- Rees, Rachel Beetz, and Dustin Donahue. ploring ethnomusicology, and playing clas- sioned by USC Thorn- Her music has been performed by MIVOS sical and jazz compositions on the clarinet, ton’s Wind Ensemble, string quartet and Ensemble SurPlus and was featured in the WasteLand concert se- saxophone, and piano. She is the pianist at Celka Ojakangas the Posthaste Reed Duo, ries, at New Music on the Bayou, Sound-

38 IAWM Journal Volume 24, No. 2 2018 SCAPE Festival, Aspen Music Festival, eck Karis for UC San Diego’s ensemble piano could simply “become” these other Schloss Solitude Summer Academy, and Palimpsest and was premiered by pianist instruments? In the opening, the piano and the University of Tennessee Contemporary Kyle Adam Blair. The piece was inspired two percussionists are a trio, exchanging Music Festival. Her string quartet Utter- by the contradictory limitations and capa- pointed attacks, while the ensemble ex- ance, released on Carrier Records, won the bilities of the piano. Pianists make it their ists in a separate world. The trio’s sounds 5th Mivos/Kanter String Quartet Compo- business to turn a hammered instrument gradually lengthen, and the piano enlists sition Prize. She teaches composition and into a singing voice, capable of evoking the ensemble to join them. Ultimately, the music theory and leads the InterArts En- an orchestral palette. Despite this versatil- ensemble becomes an extension of the pi- semble at Beloit College in Wisconsin. ity, a piano, alongside other instruments, ano, and all instruments on stage resonate Her award-winning work, Dreams of can still sound relatively percussive. This together as one body. a Young Piano, was commissioned by Al- piece is a playful exploration: What if a Meet IAWM’s New Membership Chair and Three New Board Members Kelly Vaneman, A firm believer in “have oboe, will City Fringe Festival, University of Cen- Membership Chair travel,” Kelly has performed with rock tral Missouri New Music Festival, and the bands at CBGBs, improvised solo under- Society of Composers, Inc. Numerous en- Kelly Vaneman is Professor of Oboe and scoring for theatrical productions, and resembles including Orquesta Sinfónica Na- Musicology and Music Freshman Mentor corded tracks for a variety of popular musi- cional del Paraguay, Project 60/40, UMKC at the Carroll McDaniel Petrie School of cal genres. She is Past President of the Rho Wind Symphony, California E.A.R. Unit, Music at Converse College in South Caro- chapter of Pi Kappa Lambda and a member Schlaginstrumentengruppe, UMKC Wind lina. She holds DMA, MMA and MM de- of Alpha Chi and has written for The Dou- Ensemble, UD Symphonic Band, itch, grees from the Yale University School of ble Reed, the journal of the International Pittsburgh State University Percussion Music. As a soloist, Kelly has been active Double Reed Society. Her innovative com- Ensemble, Rice University Percussion En- in the new mu- position Play, for Solo Oboe and Audience, semble, Musica Nova, and Still Breathing sic scene and is published by Trevco. For more informa- have performed his works. Lee has also has over thirty tion, visit www.vanemanmusic.com. If you presented his research at the Music and premieres to need help with your membership, contact Nature Symposium sponsored by Syracuse her credit. She her at [email protected] (or kelly. University and at the Midwest Association has appeared as [email protected]). for Latin American Studies. His Six Etudes soloist with or- for Solo Vibraphone is published in Vol- chestras in Gua- Lee Hartman, Board Member ume 44 of the SCI Journal of Scores. temala, Texas, Lee Hartman, a composer, conductor, and Recent commissions have come from and South Caro- educator, is currently Professor of Music at Kelly Vaneman trombonist Karen Zawacki, pianist Keith lina and is As- the University of Central Missouri in War- Kirchoff, the Kemper Museum of Con- sociate Principal oboist with the Spartan- rensburg, MO. He also serves as Editor-in- temporary Art in Kansas City for a col- burg Philharmonic Orchestra, frequently Chief for KCMetropolis. Lee holds degrees laborative, live performance, film score to performing on their community series from the University of Missouri-Kansas accompany the 1920 silent film Dr. Jekyll called Music Sandwiched In. City (D.M.A., M.M.) and the University and Mr. Hyde as a part of its Silent Cinema Kelly is, above all, committed to of Delaware (B.M.). An avid proponent series, and from the Nelson-Atkins Muse- chamber music and the expansion of its of new music composi- um of Art to accompany the special exhibit repertoire. As oboist of Ensemble Radieuse tion, performance, and George Segal: Street Scenes with original she has performed on four continents, education, he had his choreography by Paula Weber. premiered countless new works and ar- professional conducting rangements, and recorded the CD Inbox. debut in 2008 with new- Angela Slater, Board Member Ensemble Radieuse was prize-winner in Ear (Kansas City’s new Angela Elizabeth Slater is a UK-based the 2006 National Flute Society Chamber Lee Hartman music ensemble) lead- composer. She is also the founder and ar- Music Competition and has been invited to ing the ensemble on the world premiere of tistic director of the Illuminate Women’s perform at the conferences of the College Paul Elwood’s In Blue Spaces for bouzouki Music series. In Music Society (National), the International and mixed ensemble and Ingrid Stölzel’s her Arts and Hu- Double Reed Society, the Southeastern with both eyes. More recently, he has con- manities Research Composers Forum, and the South Carolina ducted works by Sebastian Currier, Lansing Council-funded chapter of the Music Teachers National As- McLoskey, Roger Hannay, James Mobber- PhD at the Univer- sociation. The ensemble has also been fea- le, Chen Yi, Chinary Ung, Louis Andries- sity of Nottingham, tured on Nashville Public Radio’s Live in sen, Carl Schimmel, and Stephen Yip. Angela developed Studio C. Kelly is also oboist and founding Performances of his music have taken an interest in musi- member of the Petrie Winds, which per- place at the urban ecology of Arcosanti, cally mapping dif- Angela Slater forms and teaches masterclasses regularly The Tank, Brevard Music Center, Schlern ferent aspects of the natural world into the at Converse and throughout the Carolinas. International Musical Festival, Kansas fabric of her music. She frequently associ-

IAWM News 39 ates these concepts and phenomena from new initiative in the UK called Illuminate: the Detroit Institute of Art, and the Dallas the natural world with ideas of movement, Shining a Light on the work for female Museum of Art. forging close links between her gestural composers and performers, which saw a As an advocate for new music, Kath- language and techniques found in dance. total of ten concerts throughout 2018 of ryn has worked with such noted composers Angela enjoys working with profes- all-female programs, both in terms of per- as Karlheinz Stockhausen, Yehudi Wyner, sional and amateur musicians with equal formers and composers. Illuminate Wom- Ge Gan-ru, Huang Ruo, and Paula Matthu- enthusiasm. Highlights include the Atea en’s Music will continue to grow next year sen. She has collaborated with renowned Wind Quintet, BSO, Bozzini Quartet, As- with two seasons, inviting more female performers, including the Shanghai Quar- sembly project, Aurea Quartet, BBC Sing- performers and composers to participate. tet, Brooklyn Rider, Min Xiao-Fen, and ers, and Psappha, amongst others. Angela welcomes the chance to represent Jin Hi Kim, and most recently with Qin Recent significant achievements in- the views of the IAWM and make positive Qian (erhu), Joseph Tayoun, and Brent Ed- clude being a Britten-Pears Young Artist changes for all women working in music mondson. She began researching the Turk- through which Angela worked with Oliver through her board membership. She hopes ish composer Adnan Saygun in 1997 and Knussen, Colin Matthews, and Michael to continue the excellent work of IAWM has since introduced numerous audiences Gandolfi. During this time, she developed and to continue to keep the issue of wom- to composers from Turkey and across Soaring in Stasis, which received its pre- en’s representation in music highlighted Asia. She founded the initiative Sonic miere at the 2018 Aldeburgh Festival. Her and raised in the minds of music organi- Crossroads with work Eye o da hurricane (for string quar- zations across all genres, and the wider the aim of shed- tet) was shortlisted in the British category public. ding light on global ISCM world music days in 2017. She is piano music, and also London Firebird Orchestra’s 2018 Kathryn Woodard, Board her performances Young Composer of the Year, resulting Member have been featured in the commission of Twilight Inversions. Kathryn Woodard, an acclaimed American on the broadcasts The New England Philharmonic (Boston) pianist, curates and performs programs Performance Today Kathryn Woodard also recently named her as their 2018 call- that explore cross-cultural exchange in and The Front Row. for-scores winner resulting in the world music. Her international performances She has released an album of solo piano premiere of Roil in Stillness in April 2019. have taken her to China, Korea, Croatia, music by Ahmed Adnan Saygun and two Angela has recently become a 2018 Men- Thailand, Germany, Turkey, and Kyrgyz- albums, Silhouettes and Journeys, that delssohn Scholar and will receive special- stan. She has served as an American Cul- feature both recent and older works from ist mentorship from Michael Gandolfi in tural Specialist for the U.S. Department around the globe. Boston in the spring of 2019. of State, leading educational initiatives to A native of Dallas, Texas, Kathryn Angela is a passionate advocate for introduce audiences abroad to new Ameri- holds degrees in piano performance from women working in music today, and she can music. In the U.S., she has performed the University of Cincinnati College-Con- strives to promote the work of female at such notable venues as Carnegie Hall, servatory of Music and earned a diploma musicians and composers working across the Freer Gallery at the Smithsonian Insti- in music pedagogy from the Hochschule all genres wherever she can. She started a tution, the Museum of Fine Arts Houston, für Musik in Munich, Germany. Awards and Honors Katy Abbott was awarded the 2018 Aus- award from the Clouzine International of the largest sheet music sellers in the tralia Council for the Arts Fellowship in Music Awards for her CD album Robert U.S. Music. The national award is a two-year Schumann: Carnaval and Fantasie. She Tamara Cashour was the featured com- fellowship that will enable Abbott to com- also received the Industry Leader award by poser-organist for the month of August pose two new major works in her Hidden Marquis Who’s Who in America. 2018 on MUSFORUM: The Online Mag- Thoughts series. Adrienne Albert was designated Com- azine for Women Organists. In January 2018, Sophia Agranovich re- poser of the Month by Theodore Front The UNM Robb Trust announced that ceived the “Best Classical Piano Album” Musical Literature. The company is one Kyong Mee Choi was the recipient of the 2018 commission competition. Her award- Women, Feminists, and Music: Transforming Tomorrow Today winning work, Adiós a lo conocido, for The joint conference of the International Alliance for Women in Music and Feminist violin, clarinet, saxophone, bassoon, pia- Theory and Music15 (FT&M15) titled “Women, Feminists, and Music: Transforming no, and percussion, is scheduled to be pre- Tomorrow Today” will be held June 6-9, 2019 in Boston, Massachusetts, at Berklee miered by the ensemble Sound Icon during College of Music. The conference will bring together composers, performers, scholars, the UNM John Donald Robb Composers’ innovators, and improvisers who celebrate, challenge, and transform our future with Symposium, March 28-31, 2019. cutting-edge music, music technology, and innovative scholarship. The conference Andrea Clearfield is a 2019 Copland program will include scholarly papers, lecture-recitals, posters session, book tables, House Residency award winner. and concerts. IAWM members are invited to attend. For more information, contact [email protected]. Nancy Bloomer Deussen and Mona Lyn Reese received the National League of

40 IAWM Journal Volume 24, No. 2 2018 American Pen Women Awards for Music Composition for 2018. Nancy received the IAWM 2018 Annual Concert Competition award for One of Nature’s Majesties and The IAWM is pleased to announce the winners of the 2018 Annual Concert Com- Mona for Three Fat Women of Antibes. petition. The concert took place on Saturday, October 27, 2018 at 7:30 pm at Trinity Jennifer Higdon was awarded a commis- Chapel, Trinity College Dublin, Ireland. The compositions were performed by mezzo- sioning grant from Opera America (July soprano Michelle O’Rourke and the contemporary music ensemble Kirkos. 2018) for Opera Philadelphia to produce The Annual Concert was hosted by the Department of Music and the Department the world premiere of Ashes (working of Electronic & Electrical Engineering at Trinity College in partnership with the TCD title), Jennifer’s first chamber opera. The Composition Centre, Royal Irish Academy of Music, Association of Irish Composers, opera will draw from the true story of an and the Contemporary Music Centre of Ireland. The award-winning works and com- art heist to describe a woman who claims posers are: to have destroyed priceless masterpieces to Calling by Diane Berry save her son, who is accused of the crime. con coro by Rhona Clarke Directed by Christian Räth, Ashes will be Die Elbe by Silvia Rosani part of Opera Philadelphia’s Festival O20, Flashback by Esther Shuyue Cao its annual multi-venue urban opera festival. gestures of recoil by Amy Brandon Gregor’s Dream by Judith Shatin Hasu Patel was the recipient of the Ohio Im Harren by Cara Haxo Heritage Foundation Grant for 2018. LIT by Anna Murray Vivian Adelberg Rudow was a recipient of Songs to Death by Anna Rubin the Distinguished Alumna Award from Johns The Book of Elegant Feelings by Kelly-Marie Murphy Hopkins University, representing Peabody Winter Sketchbook by Jane O’Leary Conservatory of Music, on October 12, 2018. compilation album created by top Grammy that might otherwise be thought to be un- Karen P. Thomas was awarded the May- Award-winning artists in the new age field likely—comparable to dream imagery.” or’s Arts Award for Seattle in August 2018. entitled Peace, Music and Poems. Sabrina Peña Young is the winner of the Danaë Vlasse, pianist and composer, was The world premiere of Rain Worthing- Cintas Foundation Composer Fellowship. recently honored with several awards. ton’s orchestral work, Tracing a Dream, The mission of the Cintas Foundation today She received the Outstanding Achieve- performed by the Missouri State Univer- remains true to Oscar B. Cintas’ wishes: to ment Award at the August 2018 Cult Critic sity Symphony Orchestra with conductor encourage artistic expression and apprecia- Movie Awards for the Swansong music Christopher Kelts, was awarded third place tion by offering grants to artists, architects, video. She was the first-place winner of the (as a tie) for The American Prize Ernst Ba- composers, and creative writers of Cuban Music Teacher’s Association of California con Memorial Award for the Performance descent living outside Cuba, and by making “Composers Today” State Composition of American Music, 2017-18. Rain com- their art available to the public. The award Contest (Advanced Division 7: “Teaching mented that the work “taps into the impres- ceremony was held at the University of Mi- Repertoire”) for Nocturne No. 2. She won sionistic logic of emotions and dreams. ami Lowe’s Art Museum on October 10. Sa- the “Best Duo” and “Best Album” awards Within this realm there is a fluidity of con- brina was very honored to win this incred- at the Global Music Awards for the Solstice nections and sequences that is governed ible award and was happy to be joined by album (featuring Los Angeles Philharmon- by emotional contexts, rather than rational friends and family in Miami, including her ic violinist Mischa Lefkowitz). Select pia- order. Music has the capacity to heighten mentor, Dr. Clare Shore. She looks forward no solo pieces by Vlasse are featured on a and distill emotions through juxtapositions to producing her children’s opera Alicia. Members’ News Compiled by Anita Hanawalt News items are listed alphabetically by tions, lists of performers, long websites, On May 19, Sophia Agranovich per- member’s name and include recent and and reviews may sometimes be edited. formed a solo recital at the Watchung forthcoming activities. Submissions are Please send information about your (New Jersey) Arts Center featuring works always welcome concerning appoint- activities to members’ news editor Anita by Beethoven, Chopin, Liszt, Debussy, ments, awards and honors, commissions, Hanawalt at [email protected]. and pieces dedicated to Agranovich by premieres, performances, publications, re- Awards and honors and recent recordings contemporary French composer Françoise cordings, and other items. NB: The column are listed in separate columns; you may Choveaux. She also performed the same does not include radio broadcasts; see Lin- send this information to Anita or to the program on June 19 at the Lambert Castle da Rimel’s weekly “Broadcast Updates.” editor in chief, Eve R. Meyer, at evemey- Museum sponsored by the Passaic County We recommend that you begin with [email protected]. (New Jersey) Historical Society. As one the most significant news first and follow The deadline for the next issue is March of the featured artists, an interview with that with an organized presentation of the 30, 2019. Anita does not monitor announce- Agranovich was published in the July-Au- other information. Due to space limita- ments sent to the IAWM listserv; be sure to gust issue of Fanfare magazine. The same tions, information such as lengthy descrip- send the information directly to her. issue contains three rave reviews of her

Members’ News 41 recently released CD, Chopin and Liszt: Flowerlips (solo vibraphone) was per- with the Chamber Orchestra of Philadel- Piano Works (see Recent CD Releases for formed by John Corkill at the Steppenwolf phia’s 2018-19 season, Dirk Brossé, Artis- details). Another excellent review of this Theatre in Chicago on August 10. rare yet tic Director. Her first opera, MILA, Great album was published in the Atlanta Audio soft (dedicated to the composer’s beloved Sorcerer, to a libretto by Jean-Claude van Club issue. She played at the October 28 father, Soon Bong Choi) for electronics Itallie and Lois Walden, will be premiered concert presented by the International Mu- was presented at the 2018 International at New York City’s Prototype Festival for sic and Arts Society at the Carnegie Weill Computer Music Conference (ICMC) at their works in progress series on January Recital Hall in New York City. the Daegu Concert House, Chamber Hall 12 and 13, 2019 at the Gerald Lynch The- On October 5, pianist/composer Ana Cer- in Daegu, Korea on August 10. The work ater. She was elected to the Board of Di- vantes performed the Seattle premiere explores the subtlety of quoted thematic rectors of the Recording Academy/Gram- of eight of the 16 pieces from her sec- material from Mahler’s Symphony No. 5, my’s, Philadelphia Chapter. Clearfield’s ond commissioning project, Canto de la Adagietto. Breathe Life I was performed commissioned octet, Earth Door/Sky Monarca: Mujeres en México /Song of the by Ko Eun (Grace) Lee on her August 30 Door, was premiered on August 22 and Monarch: Women in Mexico. solo piano recital sponsored by the School 23 while she was the Summer 2018 Com- of Music at the University of South Florida poser in Residence at the “Music from Kyong Mee Choi’s Tender Spirit I for and USF World. Pendulum for oboe, Eng- Angelfire Festival,” Ida Kavafian, Artistic flute, clarinet, violin, cello, piano, percus- lish horn, and electronics was performed Director. sion, and electronics has been released by and commissioned by Oboe Duo Agosto ABLAZE Records. Dedicated to the chil- Songs from Victoria Who? (music by (Ling-Fei Kang and Charles Huang) at Nancy Bloomer Deussen, book and lyrics dren and teachers who were victims of the the 2018 International Double Reed So- Sandy Hook Elementary School shooting by Linda Rimel) were featured in “Reso- ciety (IDRS) 47th Annual Conference on nation,” True Mirage Theater’s first annual of December 2012, the disc is available September 1 at the Sala Albéniz-Machuca from Apple Music, Spotify, iTunes, the festival of new musicals, on August 17 in PCGR, Granada, Spain. The sound sources Miami, Florida. The topic of the musical is Naxos Music Library and the ABLAZE come from the oboe and English horn as Records website. Train of Thoughts, which Victoria Woodhull, who ran for President well as from various found objects. Rip- of the United States in 1872. was presented at the SEAMUS 2018 Na- pled Pond for violin, cello, and piano was tional Conference, has been selected for performed by Jeff Yang (violin),Elizabeth J. Michele Edwards presented “Towards the “Music from SEAMUS” CD vol. 28 Start (cello), and Larry Axelrod (piano) as a Transnational Perspective of Chen Yi’s to be released in August 2019. Train of part of the Chicago Composers’ Consor- Choral Works” on March 3, 2018 at the Thoughts is based on the experience of sit- tium fall concert at the North Shore Baptist annual meeting of the Society of American ting on a train and having various thoughts Church in Chicago on September 23. Music in Kansas City, Missouri. The paper evoked by the sounds of the environment, was part of a session entitled “Transnation- describing how our mind travels through Andrea Clearfield was appointed the al Hybridity: Chinese and Western Inter- our present moment via sonic events. Steven R. Gerber Composer in Residence sections in the Music of Chen Yi and Zhou American Composers Orchestra Features Women Composers American Composers Orchestra (ACO) is devoting its 2018-19 season to music by women composers; just one work by a male composer (Morton Feldman) will be performed. ACO President Edward Yim said: “Our premieres this season shine a light on issues of empowerment of women.” The opening concert at Carnegie Hall in Zankel Hall on November 2 was entitled Phenomenal Women. The performance, conducted by ACO Music Director George Manahan, featured the world premiere of Valerie Coleman’s Phenomenal Women performed by the Imani Winds with ACO as well as the world premiere of Alex Temple’s Three Principles of Noir with singer Meaghan Burke, director Amber Treadway, and costumes by Storm Garner. Grammy and Grawemeyer Award-winning composer Joan Tower’s Chamber Dance, which treats the orchestra as a chamber ensemble, completed the program. Coleman’s Phenomenal Women, a concerto for wind quintet and orchestra, was inspired by Maya Angelou’s poem and book, Phenomenal Woman. Each member of Imani Winds was featured in a solo interlude influenced by a different phenomenal woman: Olympic boxer Claressa Shields (clarinet), athlete Serena Williams (bassoon), former First Lady Michelle Obama (French horn), NASA mathematician Katherine Johnson (oboe), and immigrant mothers (flute). Alex Temple’s Three Principles of Noir with singer Meaghan Burke is a piece with a time-traveling science fiction narrative centered around a Chicago historian who goes back in time to the 1893 World’s Fair. Joan Tower’s Chamber Dance weaves together solos, duos, and other combinations of instrumentalists, creating, as Tower puts it, “an ensemble that has to ‘dance’ well together.” ACO’s next concert at Carnegie Hall will be on April 11, 2019. The orchestra will give the U.S. premiere of Pulitzer Prize- winner Du Yun’s Where We Lost Our Shadows, a new multi-disciplinary work for orchestra, film, and vocalists, co-commissioned by ACO, Carnegie Hall, The Kennedy Center, Southbank Centre, and Cal Performances and supported by ACO’s Commission Club. Du Yun is composing Where We Lost Our Shadows in response to film captured by Ramallah-based Palestinian visual artist Khaled Jarrar, which documents the refugee crisis in Europe. The piece will be performed by ACO with singer Helga Davis, Pakistani Qawwali singer Ali Sethi, and percussionist Shayna Dunkelman, with visuals by Jarrar. The concert also includes Gloria Coates’ Symphony No. 1, “Music on Open Strings,” from 1973, and Morton Feldman’s 1980 work Turfan Fragments.

42 IAWM Journal Volume 24, No. 2 2018 Long,” with both composers in attendance performance of Juliana Hall’s “At That as they were inducted as the 2018 Society Hour When All Things Have Repose” Advertise in the of American Music Honorary Members. from the song cycle Of That So Sweet Im- Edwards also presented “Chen Yi Sound- prisonment on May 23, 2018 at the Fall Is- Journal of the IAWM ing Transnational” on November 2 at the land Vocal Arts Seminar held at State Uni- As a benefit of membership, you can national meeting of the American Musico- versity of New York (SUNY) in Potsdam. place an ad at a reduced rate! And if logical Society in San Antonio, Texas. Soprano Martha Guth and pianist Erika you are a member of any organizations Susan Frykberg’s recent activities include Switzer gave the world premiere perfor- that would benefit from the exposure running a Soundart Open Studio as part of mance of How Do I Love Thee? on Sep- the Journal can provide, please encour- an Artists Open Studios weekend in Whan- tember 29 at the Contemporary Undercur- age them to take advantage of our in- ganui, New Zealand. Visitors and the gen- rent of Song Project (CUSP) in Princeton, expensive rates. eral public were invited to drop in anytime New Jersey. The New Colossus (setting for bass baritone and piano of the poem Guidelines: over the three-day weekend and participate Ads should be camera-ready, in a in workshops, observe masterclasses in ex- by Emma Lazarus) was commissioned by bass baritone Simon Chalifoux. graphic file. Graphic files should be tended performance techniques, or attend a 300 or higher resolution and saved showcase concert. On the final day, pop-up Complete song cycle performances include: Death’s Echo on May 23, 2018 at the highest quality; do not use rzw concerts were presented in various art gal- compression. leries around the town. For more informa- with baritone Julien Van Mellaerts and pi- tion: @artassoundasart. anist Dylan Perez on the re-sung Art Song Page Size: 8¼ x 11 Susan’s ongoing piano composition, Series in London; Music like a Curve of Ad prices: Gold on July 3 by participating singers IDOM (inspired by Olivier Messiaen and Full page $250 (members $175) Ilia Delio), now has an eighth new addi- and pianists for the Orvieto Musica Festi- tion called “The Inevitability of Mary.” val in Orvieto, Italy; Night Dances on May Half page $150 (members $100) 27 with soprano Sara Schabas and pianist She anticipates that the 21-section work Quarter page $80 (members $60 will be completed in about 2023! Danae Curtis Serafin for the Fall Island Vocal Eighth page (members only $30) Killian will also be involved in the entire Arts Seminar at SUNY in Potsdam; Syl- series. For a recent commission from a lables of Velvet, Sentences of Plush on July Please send your ad as an attachment to New Zealand series called Suffrage Songs 20 with soprano Jenna Schroer and pianist the editor: [email protected] Joelle Camillo at the Art Song Collective, Recomposed, Susan set a suffragette text Deadlines: from the 1890’s (women in New Zealand Richmond, Kentucky; and three perfor- got the vote in 1893), which uses (an ac- mances of When the South Wind Sings: March 30 and September 30 May 23 with soprano Corinne Cowling curate) feminist analysis of scripture to si- Payment: lence a critic. It was premiered on October and pianist Dylan Perez for the re-sung 14 in Wellington, NZ. Art Song Series in London; June 17 with Please send your check, payable to Two short film versions of the inter- soprano Stephanie Aston and pianist Kata- IAWM, to our treasurer: lin Lukacs at Trinity Episcopal Church in media opera, A Drone Opera, were shown Christina Rusnak New Orleans; and the same performers on to a private audience on November 13. One 2712 NE 13th Ave June 18 at the Marigny Opera House in single-screen version is for cinemas, the Portland, OR 97212-3220 other is for three screens and is an installa- New Orleans. Individual songs from the tion for art galleries. She looks forward to following song cycles received multiple the general release of both versions in the performances between May and Septem- near future. Susan has just started a PhD ber: A Northeast Storm, A World Turned IAWM Listserv Upside Down, Christina’s World, Death’s program at Monash University (Australia) To subscribe to the IAWM Listserv on- Echo, In Reverence, Music like a Curve of on Spirituality and Experimental Music: line, visit http://lists.unt.edu/mailman/ Gold, Night Dances, Propriety, The Bells, Theory and Practice. She is planning a call listinfo/iawmlist. If you have a problem, and When the South Wind Sings. for experimental scores, electroacoustic send an email to iawmlisti-request@ New publications for E.C. Schirmer pieces, and performances that self-identify lists.unt.edu with “help” in the body or include: In Closer Bonds of Love to Thee as having links to Buddhism, Sufism, and subject of the email. You can reach the (song for soprano and piano on a hymn mystical/spiritual Christianity. If inter- person managing the list at iawmlisti- text by Fanny J. Crosby), In Spring (3 ested, please contact her at Sfrykberg@ [email protected]. NOTE: If you songs for unaccompanied soprano on po- gmail.com. experience any issues with posting or ems by E. E. Cummings), Roosters (set- receiving Listserv messages, please try Lynn Gumert was awarded the David Ott ting for soprano, mezzo soprano, and unsubscribing and re-subscribing using Scholarship for Outstanding Music Ther- piano of the poem by Elizabeth Bishop), the above instructions. apy Intern for her work at St. Elizabeths To Meet A Flower (3 songs for soprano The IAWM wishes to publicly Hospital in Washington, DC. and piano on poems by Emily Dickinson), thank the University of North Texas for and Upon This Summer’s Day (3 songs Mezzo soprano Stephanie Blythe and pia- hosting this list. nist Alan Smith gave the world premiere for soprano and piano on poems by Em-

Members’ News 43 ily Dickinson). The following two songs Bach’s Goldberg Variations, Leverett’s Tube. In April, she performed two of her were chosen from more than 900 songs signature piece that she has played in New works for solo alto flute: Una voce perdu- that were submitted to be included in York, London, Tokyo, and throughout the ta, in memoriam Ted Shen, and The Light NewMusicShelf’s Anthology of New Mu- Northeast. The first half of the program that Burns, in memoriam Gabriel Mitchell, sic for soprano, mezzo soprano, tenor, and will celebrate the pianist (Morningside, as part of a program at the Smart Museum baritone voices: “Song” from the song cy- Scott Wheeler’s musical portrait of her), at the University of Chicago. In May, Jer- cle Night Dances (for soprano and piano as well as themes of aging. She will per- emy Ruthrauff performed Speechscape, on a poem by Emily Brontë) and “June” form Kaeza Fearn’s A Week in the Life of a for solo alto saxophone, on the Chicago from the song cycle The Poet’s Calendar Toy Piano, written for her toy piano (sec- Soundings series at the Queen of Angels (for tenor and piano on a poem by Henry ond childhood); selections from Janáček’s Catholic Church. Also in May, Misurell- Wadsworth Longfellow). Each of the four On an Overgrown Path, Book II (looking Mitchell, flute/voice, and John Corkill, anthologies contains twenty songs by liv- back on memories); and Amy Beach’s A percussion, performed her work The Art of ing composers. Hermit Thrush at Eve (a celebration of the Noise on the 6Degrees Composers concert María Eugenia León’s film score for the sunset years). at Roosevelt University in Chicago. short film Flow, by director Vlad Khesin, Janice Macaulay’s Kaleidoscope for Patricia Morehead reports that in Chicago has been selected by Fimucinema 2018 Wind Symphony was performed by the on November 2, 2018, three arias from her (Fimucité - International Film Music Fes- University of Maryland Baltimore County opera Black Hawk Speaks were performed tival of Tenerife) in the short film music Wind Ensemble, Brian Kaufman, direc- at Roosevelt University by Alica Berneche, category. The film score has also been tor, on May 8, 2018 in the Linehan Con- Adrianne Blanks, Brian Burkhardt, and nominated for the prestigious Jerry Gold- cert Hall at UMBC. The piece, which won members of Chicago Chamber Opera. The smith Awards in the short film music cat- IAWM’s 2018 Alex Shapiro Prize, was following were performed in Canada: Oc- egory. León is the only woman nominated commissioned by the Cornell Univer- tober 28, Autumn Serenade, an antiphonal in this category among composers such as sity Wind Symphony in memory of Karel for clarinet and cello based on an antiphon Pedro Bromfman, Arturo Cardelús, and Husa. Soprano Annie Gill and pianist Tim of Hildegard von Bingen (Huntsville). June Fernando Furones. León is currently col- McReynolds performed selections from 23, Sheshegwaning for chorus, string or- laborating with the heavy metal band Tears Seven Love Poems of Emily Dickinson at chestra, and marimba was premiered by the of Martyr and with the band’s lead singer, the 25th anniversary concert of the Bal- Whispering River Chorus and Orchestra at Berenice Musa. She is making all the or- timore Composers Forum on April 21 at the Riversongs Festival (Parry Sound). A chestral arrangements for their upcoming Christ Lutheran Church Inner Harbor. summer rain for chorus and string orches- album. She has also been commissioned to During the 2017-18 season, pianist Mar- tra, poetry by Mike Shain, was performed compose a symphonic band piece for Gran garet Mills gave five solo recitals fea- on June 10 by the Loft Singers (Huntsville) Canaria’s Women Band, to be premiered turing works by Gloria Coates and Clara and again on June 23 (Manitoulin Island). in March 2019 at the prestigious Alfredo Schumann alongside works by Debussy This work was first commissioned to cele- Kraus Auditorium in Gran Canaria. Gran and Brahms. These concerts took place in brate the 150th Anniversary of Canada and Canaria’s Women Band is one of only two New York City, Lake Wales, Florida, and was sung by massed choirs of 150 voices women bands in Spain; it is under the di- Irvington, New York. She also presented a in Haliburton. On May 26, Night Sky for rection of conductor Pilar Rodríguez. lecture, “A Tune of Her Own,” for a wom- string quartet was premiered by the North Pianist Monica Jakuc Leverett will cel- en’s group in New York City on February Bay Symphony Orchestra, which commis- ebrate her 75th birthday with a recital in 20 featuring works by Schumann, Coates, sioned the work; it is based on the paint- Sweeney Concert Hall, Sage Hall, at Smith Amy Beach and Louise Farrenc. Mills has ings of Tom Thomson and the Group of College in Northampton, Massachusetts commissioned four composers (Richard Seven, Canada’s best-known artists paint- on November 18, 2018. She is an Elsie Ir- Wilson, Betty Wishart, Brian Schober and ing the Canadian landscape. Patricia has win Sweeney Professor Emerita of Music Libby Larsen) to write solo piano works recently received four additional commis- who taught at Smith College from 1969 for her which she will premiere on De- sions for a viola concerto, solo percussion to 2008. Her program will feature J.S. cember 12, 2018 at Christ and St. Stephens piece, cello sonata, and a new piece for full Church in New York City. orchestra celebrating the Beethoven 250th birthday year. Join the IAWM In January 2018, Janice Misurell-Mitch- ell performed a new work at the Green Erin Kendall Murphy was recently ap- Please encourage your colleagues and Mill in Chicago, Hum Bomb – Trump Vari- pointed Assistant Professor of Flute at students to join the IAWM and ask ations, for voice/flute and electronics. In Oklahoma State University. In addition, your university library to subscribe to February, her work for a cappella chorus, she performs frequently across the country the Journal of the IAWM. To meet the Mad Song, was performed in conjunction with her chamber music ensembles Lake- goals of our organization, we need to with the Block Museum exhibition, “Wil- shore Rush and Analogue Duo. Please see: continue to enlarge and strengthen our liam Blake and the Age of Aquarius.” AJ www.erinkmurphyflute.com. membership. Invite them to visit our Keller conducted the student ensemble, Deon Price performed “Opertura” on the new website at iawm.org. and the performance is available on You- piano (from her oratorio Christus) on Oc-

44 IAWM Journal Volume 24, No. 2 2018 tober 21, 2017 as part of a Mu Phi Epsilon Center at the Presidio, and on October 6 June 24 and clarinetist Andrea Cheeseman concert held in Novato, California. Behind at the University of California Irvine; and performed Penelope’s Song at the Appala- Barbed Wire for saxophone and piano, was also Suite from Ammon and the King for chian Summer Music Festival on July18. performed by Chika Inoue and Mary Au Strings and Piano on September 22 for a On August 10,11, and 12, a 24-channel on October 19, 2017 at California State Mu Phi Epsilon Concert in San Francisco. version of Tape Music premiered at Cube University, Dominguez Hills; on Novem- The Metro Chamber Orchestra, Phil Fest at Virginia Tech in Blacksburg. Other ber 5, Mt. Olive Lutheran Church, Santa Nuzzo, director, has commissioned Price performances include Gregor’s Dream Monica, California; on November 19, In- to orchestrate Behind Barbed Wire, fea- (amplified piano trio and electronics from terfaith Sunday Concerts, Presidio Chapel, turing Chika Inoue, saxophone, to be per- processed beetle sounds) at the Interna- San Francisco; on May 26, 2018, Japanese formed at Roulette Theater in Brooklyn on tional Computer Music Conference at the American Memorial at Beyond Baroque May 11, 2019. Mu Phi Epsilon Los An- Daegu Concert House in in Daegu, Korea in Venice, California; and May 26, 2018, geles Alumni Chapter has also commis- on August 10. On the same day, Lindsey Los Angeles Temple Hill Concerts. (The sioned a chamber work to be performed Goodman performed For the Fallen in the work is about the Japanese-American in- February 24, 2019, on the chapter’s 100th version for flute at the National Flute As- ternment, 1942-46, with poetry by the in- Anniversary Concert. sociation meeting in Orlando, Florida, also ternees, plus a documentary video.) Chika Vivian Adelberg Rudow’s Devy’s Song including the piece on her Navona CD, Inoue and Mary Au also performed Watts (in memory of Devy Bendit) and John’s Returning to Heights Unseen. 1965: A Remembrance for saxophones and Song (in memory of John J. Hill) were Organist Gail Archer has been tour- piano (with documentary video) for the performed by Sam Bessen (French horn) ing with Dust and Shadow, which she com- 85th Anniversary Concert of the NACU- and Yesse Kim (piano) during the August missioned from Shatin. Archer premiered SA-Los Angeles Chapter on July 21, 2018 1, 2018 “In The Stacks” concert held at the the piece at the University of Alberta on at Brand Library and Art Center in Glen- George Peabody Library of Johns Hopkins April 11, and has since performed it in dale, California. “A New Star” from the University in Baltimore, Maryland. On Fasano, Italy at the Parrocchia Maria SS, oratorio Christus and Mary’s Lullaby were August 29, cellist Eric Edberg and pianist Addolorato (August), the Great Lutheran performed by Linda Baird, soprano, with May Phang performed Dan’s Suite, La- Church in Bratislava (September 2), the the composer at the piano, on December ment and The Bare Smooth Stone of Your Church of Christ at Dartmouth College 17, 2017, Interfaith Sunday Concerts, Pre- Love (in memory of Daniel Malkin and (September 9), the Cathedral of St. Peter sidio Chapel, San Francisco. They per- also Stephen Kates for this performance) & St. Paul in Lewiston, Maine (Septem- formed Believe, Whither Can I Go? and at the DePauw (Indiana) School of Music. ber 23), and the Cathedral of St. Patrick in O Ye That Embark (all on scriptural texts) Charlotte, North Carolina (September 30). on April 7, 2018 at Los Angeles Temple Judith Shatin’s Ice Becomes Water Current projects include Patterns (sopra- Hill. The Price Duo (Berkeley Price, clari- (string orchestra and electronics from pro- no and piano), commissioned by soprano net, and Deon Price, piano) played Big cessed field recordings of a glacier) was Amy Johnson, and I Love, commissioned Sur Triptych, America Themes and Yellow commissioned and premiered by the San by the Illinois Wesleyan University Colle- Jade Banquet on the same concert, and José Chamber Orchestra on March 25, giate Chorale and their conductor Scott J. again on April 15 at Presidio Chapel. An- 2018. For the Fallen (amplified trumpet Ferguson. and electronics from the processed record- gel Trio was performed by Trio Accento Faye-Ellen Silverman’s Pas de Deux was on the NACUSA-LA Concert on March 7, ings of the Peace Bell in Rovereto, Italy) was performed by Sam Wells at the Splice performed by the Iktus Percussion Ensem- 2018 at MiModa Studio in Los Angeles. ble (Christopher Graham, marimba, and Price played her Five Chorales for Festival on June 24. Carolyn Enger performed Chai Variations on Eliahu HaNavi Andrea Lodge, piano) on the APNM con- Organ and Escapade on Wilshire for Or- cert series in Brooklyn, New York on May gan on April 8, 2018 at St Athanasius on her program at the Montauk Library on Episcopal Church in Los Angeles. Vil- lanelle for Our Elder Brother, composed The Walden School: Creative Musicians Retreat for San Francisco State University Hand- Dates: June 15 - 23, 2019 bell Ensemble and Organ, was performed Location: Dublin, New Hampshire, USA May 20, Presidio Chapel. Two Love Songs on texts by Robert T. Bowen were per- The week-long festival in New England for composers, improvisers, performers, formed by countertenor Darryl Taylor electronic musicians, choral musicians, and music teachers. with the composer at the piano on Octo- All participants at the Creative Musicians Retreat take classes, sing in chorus, ber 6 at the University of California Irvine attend improvisation workshops, hear concerts, and participate in Composers Fo- Winnifred Smith Hall, and on October 7 at rums. Courses include the Walden School Musicianship Course, seminars on Con- the NACUSA-LA Art Song Recital at St. temporary Topics, and courses in electronic music. Our Composer-In-Residence Athanasius Episcopal Church in Los An- is on campus all week, moderating three Composers Forums, conducting master geles. Price played Suite for Piano from classes, and giving private composition lessons. In 2019, the Mivos Quartet returns her 2018 opera Ammon and the King on as our Ensemble-in-Residence, and George Lewis is the Composer-In-Residence. August 7 at the MiModa Studio in Los For more information and to apply: http://waldenschool.org/creative-musicians- Angeles, on September 16 at the Interfaith retreat/

Members’ News 45 11, 2018. Also in Brooklyn, Karen Bent- ing in the Rafters, originally for banjo and Sonatas...helping us [to] respond freshly ley Pollick performed Memories for solo parlor organ, in a new arrangement for to familiar works.” viola at the SPECTRUM Female Com- cello and guitar with guitarist and com- Alicia Terzian’s Concierto para violin y posers Festival on June 3. The InterX- poser Timothy Johnson, on a Chicago orquesta, op. 7 (1954/55) was performed change Ensemble (Eddie Lima, trombone Composers’ Consortium concert at Lake- by the Orquesta Nacional de Musica Ar- and Mario Reboucas, piano) performed shore Baptist Church. She also performed gentina, conducted by Luis Gorelik, with Custom-made Shades, first movement, works by Kyong Mee Choi and Jason Rafael Gintoni, violin soloist, on July 13, for trombone and piano, on June 21 at the Raynovich on the program. 2018. Centro Livre de Aprendizagem Musical Evelyn Stroobach’s Aurora Borealis was Karen P. Thomas’s recent premieres in- (CLAM) in São Paulo, Brazil. On June performed at the Euroamerican Festival 22, Mariana Mantovani and Aline Muller, clude Ancient Souls for choir and orches- of Contemporary Music by the Tutti Mae- tra, premiered by the Mid-Columbia Sym- violins, Julia Rusig, viola, and Juliana stro Orchestra of Venezuela in Paris on Mantovani, cello, performed Let’s Play phony and Mid-Columbia Mastersingers July 28, 2018, with Sylvia Constantini- in Richland, Washington on May 19, 2018. for string quartet at the Encontro Interna- dis conducting. It was performed again tional de Cordas festival in Limeira, Bra- Westron Wind (SSAATTBB choir) was re- at the next festival in November. Maestra corded by Vox 16 (Locally Sourced) and zil. Silverman serves as Secretary of the Constantinidis wrote: “We are inviting New York Women Composers. Four Delineations of Curtmantle for trom- the embassies in Paris....There has been bone was recorded by Eva Ordman (It’s On August 11, 2018, Elizabeth Start’s quite a bit of press.” In Flanders Fields About Time). During 2018 her works re- soundtrack for The Man Who Was Ill (SATB chorus and string orchestra) was ceived numerous performances in Ireland, was performed live during the Sound of performed by the Hamilton Philharmonic the United Kingdom, Canada, and the Silent Film portion of the Thirsty Ears Orchestra and the Bach Elgar Choir of United States. Festival, a classical music street festival Hamilton, Canada on November 10, with presented by Access Contemporary Mu- Gemma New conducting. On April 24, pianist Margaret Lucia performed Rain Worthington’s Conver- sic (ACM) in Chicago. On September 10, The Marsyas Trio (flute/cello/piano) is to remember…to believe, written in 2013 sation Before the Rain at Shippensburg presenting Hilary Tann’s In the Theater University of Pennsylvania. Mixed Times for ACM and the Chicago Architectural of Air in London twice this fall. The first Society Open House was performed on of Yearning (miniature for viola), and performance is part of a CD launch (NMC two works for violin, Frost Vapors and ACM’s season opener concert, “Songs D248) on September 17 at the Blooms- About Buildings and Moods,” at the Da- After Thought, were performed by Karen bury Festival, Conway Hall, with the Bentley Pollick at the SPECTRUM Fe- vis Theater in Chicago. Four of Start’s second taking place at St. John’s Smith works were included on an August 30 Oc- male Composers Festival in Brooklyn, Square on November 4. The Rhyl Mu- New York on June 3. From June 17 to 23, tocelli-Cello Explosion-Americana con- sic Club’s “Beethoven in Wales” project cert at First Baptist Church in Kalamazoo, Worthington was a guest composer at the will premiere First Light: A Meditation classical string music festival, Encontro Michigan, where she performed her solo on Beethoven Op. 96, mvt. 1 on March cello arrangement of Simple Gifts and, Internacional de Cordas in Limeira, Brazil 20 in Rhyl. This intriguing collaboration (see Reports). On June 21, vocalist Mela- with her cohorts, Multiple Choice Piece has asked three Welsh women composers (cello duo), Quatrefoil (cello quartet), and nie Mitrano and clarinetist Gerson Galante (Tann, Rhian Samuel and Sarah-Lianne performed At Night at the InterXchange Seagull Blues (cello octet). On September Lewis) to “reflect on the Beethoven Violin 23, Start performed her 2009 work Camp- Ensemble concert in São Paulo, Brazil.

The IAWM Statement of Equity and Inclusion IAWM is committed to equitable diversity and inclusion of the musical community. Women in Music work as performers, composers, arrangers, media artists, conductors, theorists, producers, musicologists, historians and educators. We know that a diversity of ideas, approaches, disciplines and musical styles are essential to inclusion and equity. Achieving diversity means affirming the inclusion and involvement of a broad representation of our musical community including race, color, nationality, ethnicity and cultural background, gender and gender identity, sexual orientation, age, socio-economic status, disabilities, education, global geography, and religion. This effort requires commitment from board leadership and members with the understanding that the definition of diversity is constantly evolving, and achieving it is an ongoing process. Therefore, IAWM pledges to: • Promote cultural and professional musical diversity and inclusion within our board and membership. • Ensure that IAWM’s communications are welcoming to all members and potential members.

46 IAWM Journal Volume 24, No. 2 2018