WELLESLEY COLLEGE DEPARTMENT OF MUSIC

MUSIC FROM

THE SOCIETY OF COMPOSERS

REGION 1 (NEW ENGLAND)

October 19, 1996 Jewett Arts Center Acknowledgements

The New England chapter of SCI gratefully acknowledges the hospitality and support of the Wellesley College Department of Music and chairman Arlene Zallman in hosting our regional conference.

Special thanks also to the performers who have come long distances for the event and to the composers performing their own music.

We also acknowledge the ready help of our national office in providing mailing labels, membership information, and some financial assistance for our meeting.

Announcements

Those who are attending an SCI conference for the first time are invited to look over the organization brochures and compact discs in the lobby.

Composers who submitted materials for the cont erence may pick them up in the lobby. Materials on display in the music library may be collected at the end of the day Those wishing cassettes of their performances may pick them up from the engineer during the day. (Details on cost will be announced.)

Copies of Extraordinary Measures, intermediate piano pieces by Boston area composers published by the Boston League ISCM, are also on display in the lobby as are materials from several small music presses.

Those with reservations for the luncheon can meet immediately after Concert 2 at the College Club, across campus by the lake. THE SOCIETY OF COMPOSERS, REGION 1 WELLESLEY COLLEGE DEPARTMENT OF MUSIC

October 19, 1996 Jewett Recital Hall 9:00 am Wellesley, Massachusetts

CONCERT 1

Slow Burn William Ryan William Manley, percussion

Four Postcards to Betsy Mark Kilstofte E. Michael Richards, clarinet

Chipmunks Ross Moyer Arcadian Winds: Jane Harrison, oboe Mark Miller, clarinet, Janet Underhill, bassoon

Toccata and Ondine Eric Sawyer Eric Sawyer, piano

Phoenix Elliott Schwartz Charles Kaufmann, bassoon Elliott Schwartz, piano

Tableaux Tartroniques Brian Field Arcadian Winds: Jane Harrison, English horn Mark Miller, clarinet, Janet Underhill, bassoon

Poem for Solo Violin Kathryn Mishell Robert Rudie, violin

The Breath Inside the Breath Arthur Welwood Kathryn Wright, soprano John Zornig, flute Elisa Birdseye, viola Michele Pinet, harp THE SOCIETY OF COMPOSERS, REGION 1 WELLESLEY COLLEGE DEPARTMENT OF MUSIC

October 19, 1996 Jewett Recital Hall 10:30 am Wellesley, Massachusetts

PAPER SESSION I

Robert Peck: Interpretation through Analysis of Shulamit Ran's Fantasy Variations for Violoncello (1979184)

Shulamit Ran has sought a balance between the intuitive, the 'fantasy,' and conscious decision, the 'discipline.' Underlying the complex surface aspects of the music, organizational patterns exist which may inform performance. Her Fantasy Variations for Violoncello (1979/84) integrates spontaneous elements, particularly with regard to the work's motivic recurrences, with an overall sense of inevitability resulting from the work's organicism. THE SOCIETY OF COMPOSERS, REGION 1 WELLESLEY COLLEGE DEPARTMENT OF MUSIC

October 19, 1996 Jewett Recital Hall 11 :00 am Wellesley, Massachusetts

CONCERT 2

Sonata for Sasson and Piano Otto Luening (1900-1996) 1. Andante 2. Allegro 3. Larghetto 4. Fast Charles Kaufmann, bassoon Elliott Schwartz, piano

Cornwall Hunt Pamela Marshall Jeanne Paella, Bob Moffett, Myra Porter and Pamela Marshall, horns

Forth Project Beth Denisch Sandra Hebert, piano

Semi-Suite Tom Flaherty Tom Flaherty, cello

Saving Daylight Time David Patterson Valerie Anastasio, soprano David Patterson, piano

Lief Hilary Tann Sue Ellen Hershman, flute Reinmar Seidler, cello

Steppin' Out Clark Winslow Ross Nancy Dahn, violin Thomas Heinrich, cello Maureen Volk, piano THE SOCIETY OF COMPOSERS, REGION 1 WELLESLEY COLLEGE DEPARTMENT OF MUSIC

October 19, 1996 Jewett Recital Hall 2:30 pm Wellesley, Massachusetts

CONCERT 3

Long Into The Night, Heavenly Reynold Weidenaar Electrical Music Flowed Out Of The Street for piano, video and digital sound Barbara Blegen, piano

The White Birds Joe Utterback Paul Guttry, bass baritone Michael Beattie, piano

The Listeners Anna Larson Paul Guttry, bass baritone Michael Beattie, piano

The Varieties of Elizabeth Walton Vercoe Amorous Experience Kathryn Wright, soprano Jack Jarrett, piano

Bare Minimums David Heinick Robert Faub, alto saxophone

Two Shakespeare Sonnets John Crawford Kathryn Wright, soprano Jack Jarrett, piano

Dance Suite #3 Gerald Shapiro Diane Hefner, clarinet Nancy Cirillo, violin Donald Berman, piano THE SOCIETY OF COMPOSERS, REGION 1 WELLESLEY COLLEGE DEPARTMENT OF MUSIC

October 19, 1996 Jewett Recital Hall 4:00 pm Wellesley, Massachusetts

PAPER SESSION II

E. Michael Richards

Subtle Timbre Resources for Clarinet: A Consolidation of Extended Resources

Following a period of wild experimentation with new instrumental resources during the 1960's and ?O's (mostly written for a few performers considered to be specialists), a significant group of composers in the last ten years have incorporated and consolidated small selections from this vast palette into their musical language. These composers have also been concerned with virtuosity, but to a lesser degree with new sounds as 'effects.' Rather, the 'new' techniques of the 60's and ?O's (which were not all new, many having been derived from jazz and influences of non-Western music) that have proved to be widely reliable and expressive in performance have assumed a deeper role of extending or heightening more conventional musical ideas. THE SOCIETY OF COMPOSERS, REGION 1 WELLESLEY COLLEGE DEPARTMENT OF MUSIC

October 19, 1996 Jewett Recital Hall 4:30 pm Wellesley, Massachusetts

CONCERT 4

Stations of the Night Charles Bestor David Witten, piano

Ch rono metrics Allen Bonde Mara Bonde, soprano Allen Bonde, piano

Other Worlds for cello and tape David Hainsworth Tom Flaherty, cello

Colors for a Changing Sky Timothy Kramer David Witten, piano

Good Times Morris Knight Nancy Ellen Ogle, mezzo soprano Clayton Smith, piano

Exhortation Andrew Simpson Robert Faub, alto saxophone

Sei la terra che aspetta Arlene Zallman Hekun Wu, cello Elise Yun, piano

April 23, 1896 Charles Kaufmann Tim Johnson, tenor Charles Kaufmann, bassoon Program Notes Charles Bestor studied at Yale University, the Juilliard School of Music, and independently under Vladimir Ussachevsky. He has served on the faculty and administration of the Juilliard School and subsequently as the head of the music departments of Willamette University and the Universities of Massachusetts, Utah, and Alabama. He has written commissioned works for the Utah Symphony, the Composers String Quartet and many other organizations. Also, he won first prize in the 1994 Omaha Symphony Competition, the Delius Prize, and awards in the Bourges International Competition and Quinto Maganini. His music is published by G. Schirmer, Elkan-Vogel, International Editions and others and is recorded on Centaur, Serenus, Orion and Ariel labels. The composer writes: "Stations of the Night, Three Blues for S is a blues in somewhat the same sense that Ravel's La Valse is a waltz. Stations takes the procedures and the spirit of the blues and attempts to integrate these into the larger forms of concert music; one of the movements is in sonata form, one is a chaconne, and one is I'm not quite sure what. The piece is in every sense except its title a piano sonata. The title itself is a black or, I suppose, a blue reference to the Stations of the Cross, and each of its movements has as its title a time in the night of the blues, the stations of the night-9: 15 p.m., when the evening is just beginning; Midnight, the frantic height of the night; and 3:45 a.m., when the chairs are up on the tables and the pianist sits alone and plays for himself a quiet rhapsody on all the things he never got around to saying, and a few that he did, during the evening." Allen Bonde is a Professor of Music at Mt. Holyoke College and performs in a piano duo with his wife, Maria Kushmerick Bonde. His prize-winning Jubilate: A Festive Overture was premiered at the Kennedy Center in 1987 and his music for pipa entitled, With the Heart of a Child, received six performances in Taiwan in 1989 by a noted pipa virtuoso. Recently on sabbatical, he spent two months in residence at Nanyang University in Singapore and two months at the MacDowell Colony. For the last two years he has served as Composer in Residence at the Harmony Ridge Brass Center Festival in Vermont. His daughter, Mara Bonde, is the soloist in today's performance. He writes: "Chronometrics, a suite of six songs, was written during the spring of 1994 especially for soprano, Mara Bonde. Although time is of the essence in these poetic settings by Robert B. Shaw, it is the composer's intention to create a stylistically timeless music reflective of different moods and shades of expression. One might describe the musical settings as follows: recitative/aria, electrifying, blues, slightly country-western, ancient drought, and fast minuet." [Note: texts printed separately.] Kristine H. Burns is currently on the faculty of Dartmouth College and is artistic director and composer of the performance art group, schwa. She is a member of Pi Kappa Lambda, the International Alliance of Women in Music, the Society of Electro-Acoustic Music in the US, and the International Computer Music Association. Her intermedia compositions have been performed throughout the US, Canada and Europe including numerous festivals and conferences. She writes: "Dido and Anais, a CD-ROM composition was specifically designed around the abilities and limitations of the CD-Rom environment. It is divided into six sections, ranging from general information to three video/music compositions. Background information on the fundamental 'how-to's' of navigating the environment are presented in one section; biographical information is provided in section two. Sections three and four introduce the user to the worlds of Henry Miller and Ana"is Nin, and the Purcell opera, Dido and Aeneas. These sections contain bio-bibliographical information, as well as incorporating external sound elements for further investigation. The final section of the CD-ROM contains three music and video compositions. These are two-minute works based on the play on words and context of the Miller/Nin and the Dido/Aeneas relationships. Where once this medium was merely used as an information and retrieval system, audio/video &rtists have begun to redefine its use. Dido and Anais is a CD-ROM composition that pushes this new medium toward a state of being art rather than merely discussing it." John Crawford's principal composition teachers were Paul Hindemith, Nadia Boulanger, and Walter Piston. He taught at Amherst and Wellesley Colleges and at the University of California, Riverside, and is now retired, living and composing in the Boston area. Some of the groups which have performed his music include the Buffalo Philharmonic Orchestra, the Sequoia and Cavani String quartets, and the Harvard Glee Club. His music is published by ECS Music, Oxford University Press, and Galaxy Music. His String Quartet No. 2 is available on Music & Arts CD-740. He writes: "Shakespeare's sonnets present a challenge to the composer, since they not only contain some of the finest poetry in English, but also present an extremely dense flow of changing ideas and images. In the search for musical coherence, I have relied on the change from depression to exaltation in Sonnet XXIX (at "Haply I think on thee"), portrayed musically as a change from angularity, dissonance, and chromaticism to diatonic lyricism. In Sonnet XVIII, the fleeting musical phrase of the opening recurs twice, in progressively longer note values, as the poet moves from the transience of a summer day to the immortality conferred by his art." [Note: texts printed separately.] Beth Denisch, Doctor of Musical Arts in Composition (Boston University), has received grants and awards including ASCAP, SUNYAB and Very Special Arts Massachusetts. Her works have been premiered nationwide. As co-owner of Sheppard Recording Studios, she also produces classical projects. Her most recent work, Sexing the Cherry, is for glass harmonica, woodwind quintet and percussion and will be premiered November 3rd as part of the Composers in Red Sneakers Concert at the Longy School of Music. She writes: "The Forth Project minatures are based on the works of Illinois artist Mark Forth. Forth is a painter of the Chicago school whose surreal archetypal juxtapositions evoke Jungian imaginings. I have set these pieces as intimate provocations of his expressive reflections." Brian Field graduated magna cum laude and Phi Beta Kappa from Connecticut College where he studied with Noel Zahler. His honors thesis was awarded first prize by the National Federation of Music Clubs. Continuing his studies with a Masters degree at Juilliard under Milton Babbitt, he received his doctorate from Columbia University recently where he was a President's Fellow and worked with Mario Davidovsky and George Edwards. He writes: "Tableaux Tartroniques for clarinet, English horn and bassoon consists of five brief movements, each of which maintains a single mood throughout. The "tartronic" part of the title is post­ compositional and, strangely enough, a reference to tartronic acid: an acid formed by the spontaneous decomposition of nitro-tartaric acid which comes in five possible isometric forms, each differing in its optical properties." Tom Flaherty has received grants, prizes, awards, and residencies from NEA, the American Music Center, the Pasadena Arts Council, the Massachusetts Council for the Arts, the New England Foundation for the Arts, Meet the Composer, the Delius Society, the University of Southern California, and Yaddo. Published by Margun Music and American Composers Editions, his music has been performed across the US and Europe, and is recorded on the Klavier, Bridge and Advance labels. A founding member of the Almont Ensemble, he currently teaches at Pomona College and is Director of its Electronic Studio as well as an active cellist in the Los Angeles area. He writes: "Semi-Suite consists of two movements of an originally projected larger suite for unaccompanied cello. 'Lament' is a slow movement based on a short tune first presented high on the C string, in imitation of a wooden flute. The tune is fragmented and gradually reassembled, finally appearing well above the normal cello range, in harmonics. 'Trilling' is a concert etude written in response both to my interest in rhythmic and metric interaction and to the frustrating boredom of practicing standard trill studies as a cello student. The movement proceeds with a nearly constant measured trill on one string while a slower moving line on adjacent strings continuously redefines the metri c meaning of the trill. A short cadenza in the center of the piece leads to a varied recapitulation of the main idea." David Hainsworth is a doctoral student in music composition at the University of Texas at Austin. His composition Other Worlds for Cello and Tape was selected for performance at the 1995 SEAMUS Conference, an SCI Regional Conference at Stetson University, the Eighth Biennial Festival of New Music at Florida State University, and the 1995 Korean Electro-Acoustic Music Society National Conference. His composition Conjure Man for horn and tape is slated for publication by Jomar Press later this year. Other distinctions include the Kent Kennan Scholarship at the University of Texas and membership in the Phi Kappa Phi Honors Society. He writes: "The name Other Worlds refers to the primary compositional problem of this piece which was trying to integrate three very different sound worlds (synthesized sounds, sample-based sounds, and cello) into one work. The synthesized sounds were created using CSOUND, and the sample based sounds were derived from banging and scraping a music stand and a large metal cabinet. These two electronic sound worlds are first presented separately and then combined." David Heinick is chairman of the Department of Theory, Literature, and Composition at the Crane School of Music of SUNY-Potsdam and is Director and an artist faculty member of the Tidewater Music Festival. He has composed over fifty works published variously by See Saw, Dorn, Nichols and Kendor Music and recorded on the Clique Track label. He holds degrees from Eastman and Catholic University. With Carol Heinick, he performs extensively in four-hand and two piano music. He has also performed with the Kronos String Quartet and the Oa Capo chamber Players, as well as with members of the American Brass Quintet, the Boston Symphony, and the St. Louis Symphony. He writes: "Bare Minimums was composed in 1994 for saxophonist Robert Faub. The work may reflect a tendency to jump on bandwagons as they are running out of steam. At any rate, the first movement in particular represents one of my few experiments with aspects of minimalist style. It may not be coincidental that this work was also the first which I composed directly into Finale, as opposed to writing by hand and then entering it into the computer." Charles Kaufmann holds a B.M. and Performer's Certificate from the Eastman School of Music as well as an M.M. from the Yale School of Music. Twice a Tanglewood Fellow, he is a recipient of the program's C.O. Jackson Award. His works have been performed in association with the Bergen Composers' Association, RISS Dance Company, Orpheus Ill chamber ensemble and SCI. Currently on the applied faculties of Bates and Bowdoin Colleges as instructor of bassoon, he is also organist and music director of the Congregational Church of Exeter, New Hampshire. He writes: HApril 23rd, 1896 was composed for a recital I was giving on April 23, 1996. I was lucky to pick a day on which Paderewski alluded to Ovorzak's well-known challenge to American composers to be more original. What better source of inspiration could an American composer find than the group of rather odd American originals presented by the NY Times of that day. It's my hope that the audience finds these characters as refreshing and appealing in their 'humanness' as I do." [Note: texts printed separately.] Mark Kilstofte is a singer as well as composer with degrees from St. Olaf College and the University of Michigan. He is the recipient of grants and fellowships from the MacOowell Colony, the Knight Foundation, and the American Academy of Arts and Letters and has been performed by such groups as Alea Ill, the Aurora Brass, and the Montclaire String Quartet. His music has been selected for the National Orchestral Association's New Music Orchestral Project and awarded first prize in the West Virginia Symphony/Museum in the Community Composer's Award for String Quartet. He is published by Boelke­ Bomart and teaches at Furman University in South Carolina. He writes: "Four Postcards to Betsy was composed in 1986 for clarinetist Elizabeth Campeau. Cast in a series of four brief, contrasting movements, the piece exploits the extreme technical and expressive capabilities of the clarinet in an attempt to create aural images of those fleeting thoughts so often captured on picture· postcards. The work is unified by the recurrence of two pitch pairs, namely Bb·C and B·Eb (referring to Betsy and her husband) which are heard in various combinations throughout. Despite the fact that Postcards is written for unaccompanied clarinet, its conception is as much vertical/harmonic as it is linear/melodic. Polyphonic melody abounds in the second and third movements, but implied harmonic shifts occur in the outer movements as well, even in the scales of the fourth. The four movement titles are: drifting, floating, hushed; fast, biting, angular; pale, nondescript; distant, flowing, whispered." Morris Knight is a Professor Emeritus at Ball State University. He has received grants from NEA, the Ford Foundation, and Meet the Composer and was producer of the national radio series, Music Now and Composers Showcase. He also designed and directed the Facility for Acoustic Research in Muncie, Indiana and is co·author of Aural Comprehension in Music. His music includes five symphonies, two operas, a violin concerto and sonatas for each orchestral instrument. His recordings include the New York Brass Plays Knight, Assortments by Knight, and After Guernica. Other works are auditory epics for 40 discrete electronic sources which surround the audience. The author of the texts of his Good Times songs, Lucille Clifton (b. 1936), lives in Baltimore. Her work has appeared in The Negro Digest and The Massachusetts Review. The first two and last of the seven songs will be sung today. [Note: texts printed separately.] Timothy Kramer has received degrees in composition and organ from Pacific Lutheran University and from the University of Michigan. Additionally he has been a Fulbright Scholar in Germany. Noteworthy performances include those by the Indianapolis and Detroit Symphony Orchestras and the Winters Chamber Orchestra. He has received awards from NEA, Meet the Composer, the American Guild of Organists, and the American Music Center as well as commissions for chamber and orchestral music. He is published by Hinshaw Music and recorded on Calcante and North/South Editions. He is currently on the faculty and Composer in Residence at Trinity University in San Antonio. Colors from a Changing Sky was commissioned for the 1994 San Antonio International Keyboard Competition. The composer writes: "This work, inspired by the vivid images of a Texas sky, began under the working title Etude gris. I was initially interested in how black and white keys could interlock to generate passages which would sound difficult but were very pianistic and fairly easy to learn. I was also interested in designing a competition piece that would challenge each pianist with different aspects of playing. Hence, the opening section presents questions about phrasing and quick dynamic contrasts, the central section demands sheer athletic strength, and the closing passage calls for a sensitivity to both color and line. In order to tie the sections together, a melodic 'spine' runs entirely through the piece. Initially present in two and three note cells, it expands in the central section to five notes and eventually blooms against very slow harmonic movement in the ending section. Seemingly disparate elements soon coalesce into an overwhelming force and then slowly dissipate, a drama often played out in sudden changes of weather." Anna Larson is a Washington D.C. area composer, lyricist and playwright with an undergraduate degree from Sarah Lawrence College and a doctorate from the University of Maryland. Among her collaborative works are Seven Faces, exploring the seven stages of grief, and The Match Girl's Snow Queen, based on stories by Hans Christian Andersen. She co-directs Play's the Thing!, an annual children's workshop at Catholic University which features her own series of musical plays, The Youfoe Trilogy. Her Dance for Orchestra will appear soon on the MMC label recorded by the Prague Radio Symphony Orchestra. She is published by I.E. Clark and Arsis Press. She writes: "This setting of The Listeners was written in the late 1970's as a surprise gift for my father, Arthur Larson, at the suggestion of my mother who sent me several of his favorite poems. I was immediately drawn to this text by Walter de la Mare because it combines a beautifully crafted dramatic form with a stirring expression of human integrity in a world where absolute knowledge is mysteriously withheld." [Note: text printed separately.] Pamela Marshall received degrees in composition from the Eastman and Yale Schools of Music where she also studied horn, conducting and electronic music. Currently she lives in Lexington, Massachusetts, plays French horn in local orchestras, and writes technical documentation for computer software. Her compositions include music for synthesizers, brass, mandolin, and orchestra. She works with composing tools on the computer, including sequencers, notation, and algorithmic composition. She has been a Fellow at the MacDowell Colony and has received grants and commissions from many organizations and individuals including the Massachusetts Council for the Arts, the Composers Forum, NEWCOMP, DanceArt, mandolinist Neil Gladd, and American Women Composers. She has worked at Kurzweil Music Systems, writing software and developing sounds. Her music is published by Seesaw Music, Plucked String Editions and her own company, Spindrift Music. Kathryn Mishell did her undergraduate and graduate work at Pomona College, the University of Kansas, and USC, studying piano with John Perry and composition with John Pozdro and lngolf Dahl. As a pianist, she has performed extensively, written over 100 piano pieces including best-selling published collections for piano students, and taught many award-winning young pianists. She acts as a clinician and adjudicator and maintains a large private studio class in Austin, Texas where she has been awarded the Outstanding Pre-collegiate Teaching Award. She was honored by the National League of American Pen Women in 1996 and is the 1997 commissioned composer of the Texas Music Teachers Association. The composer's husband, Robert Rudie, who is performing the piece today describes it as follows: "Poem may be thought of as a dialogue between the passions and the sorrows. The first section of dialogue is melodic and is written almost entirely in double-stops. The middle section is dance-like in its rhythmic drive yet it continues the poetic idea of dialogue. The final section is again melodic. It begins with a little poem of four lines, then a short remembrance of the dance section, after which the singing dialogue resumes with references to the opening section and new melodic material which exploits the extreme ranges of the violin's singing qualities. The work ends in a quiet, somber yet peaceful reiteration of the note "C" in four different ranges." Ross Moyer was born and raised in central Virginia. After graduating from the University of Georgia, he attended the Berklee College of Music and New England Conservatory where he received his Master of Music degree. His compositions have been performed by the Pittsburgh New Music Ensemble, the Berlin Saxophone Quartet, the Maryland Bach Aria Group, and by Helen Campo. He is recorded on the MMC New Composer Series. Additional recordings on the same label with the Seattle Symphony and the Warsaw Philharmonic are scheduled for release in 1997. He writes: "Chipmunks is what I imagine a day in the life of three Chipmunks might be like. This piece was inspired by a performance this spring by the New England Reed Trio." David Patterson studied in Paris with Nadia Boulanger and Olivier Messiaen and at Harvard University with Leon Kirchner. He is pchairman of the music department at the University of Massachusetts in Boston and University Distinguished Teacher there for 1996-98. His music has been performed by John Adams and the San Francisco Conservatory Chamber Players and the Boston Pro Arte Orchestra. His Hermit's Blue performed by the Moravian Philharmonic Orchestra has just been released by Vienna Modern Masters. The first complete performance of his Saving Daylight Time will be given at the University of Texas in February in connection with the fifth anniversary of the school and the seventieth of Texas Southmost College. The second of three parts of the cycle will be heard today. The poems for Saving Daylight Time: Songs from a Texas Border Town are by TenBroeck Davison who lived and studied on both sides of the border. They recall life in the southernmost city of the continental U.S., Brownsville, Texas, a city on the Rio Grande where American and Mexican cultures mingle. Simple and dramatic events that occurred some time ago reveal the spirit and feeling of the people who once lived there. The award-winning poems are published in Design Lines, Harvard Graduate School of Design. [Note: texts printed separately) Robert Peck is Assistant Professor of Theory/Composition at Louisiana Technology University. Graduating in 1995, he holds the degree of Doctor of Music in Composition from Indiana University. Also a cellist, he performs regularly as a recitalist of twentieth-century music. His paper is entitled "Interpretation through Analysis of Shulamit Ran's Fantasy Variations for Violoncello (1979/84)." E. Michael Richards has premiered over 125 clarinet works in the U.S., Japan, Australia, and Western Europe. Trained at New England Conservatory and the Yale School of Music, he earned a Ph.D. in theoretical/experimental studies at UC/San Diego. In recent years he was awarded a U.S./Japan Creative Artist Fellowship for a six-month residency in Japan and performed concertos of Corigliano with the Syracuse Symphony and the Japan Shinsei Philharmonic. He has also performed and lectured with pianist Kazuko Tanosaki at six international festivals and many universities and released a CD with her called "New Sounds from Japan." Additionally, he has written a book with a grant from the Camargo Foundation entitled The Clarinet of the Twenty-First Century. He is currently on the faculty of Hamilton College. Clark Winslow Ross was born in Venezuela and also lived in Peru, the U.S. and Belgium before moving to Canada in 1973. He was a prize­ winner in the 1993 Winnepeg Symphony Orchestra's Young Composers Competition and his Interlude for String Orchestra was premiered in 1995 by the Newfoundland Symphony Orchestra and recorded by the Memorial University Orchestra for CD release. Grants include those from the Canada Council, the CBC, the Newfoundland and Labrador Arts Council and others. He holds a Mus.Doc. and B.A. from the University of Toronto and has studied at Stanford's Center for Computer Reseach in Music and Acoustics. Currently teaching at Memorial University of Newfoundland, he enjoys playing classical, flamenco, jazz, folk and rock music on the guitar. He writes: "Steppin' Out (1996), commissioned by the CBC, was a tough piece to write. When I began, I was trying to write a rather mysterious and experimental work, but I kept getting interrupted, and, frankly, after a while, my heart just wasn't in it any more. One night, after listening repeatedly to a CD by The Penguin Cafe Orchestra, it occurred to me that it might be fun to write a short, happy piece, after which I could resume my original project. What started as a diversion soon grew into a more extended composition. Steppin' Out is essentially lighthearted, with stylistic references to music of the past. It is dedicated to my daughter and was premiered in St. John's in March, 1996." William Ryan received a B.M. from SUNY/Potsdam, and M.A. and D.M.A. degrees from the University of Illinois. Recent honors include awards in the Tampa Bay Composers' Forum competition, the First International Electroacoustic Music Competition of Sao Paulo, Brazil, and grants from ASCAP and Meet the Composer. His music has been performed widely at such venues as the International Trumpet Guild Conference, the Society for Electro-Acoustic Music, and the International Symposium on electronic Art. He is currently Composer in Residence with the Lawrence Philharmonic School of Music, where he leads faculty and student workshops on composition, and has been commissioned to compose a piece for orchestra, wind ensemble, and chorus. He writes: Slow Burn (1996) was composed during the first weeks of my first-born child's life. It reflects the fractured, disjunct nature that my life, particularly the nights, became immediately upon his arrival. In this piece, irregular, unexpected events unfold to reveal a carefully conceived, continually evolving pattern." Eric Sawyer has taught theory and composition at the University of California at Santa Cruz and is currently Visiting Scholar at MIT. He holds degrees in music from Harvard, Columbia, and UC/Davis. His teachers have included Leon Kirchner, Ross Bauer, George Edwards, and Andrew lmbrie. Honors include the Joseph Bearns Prize and an award from the American Academy of Arts and Letters. He writes: "Toccata and Ondine are the opening two of a set of twelve piano pieces. Toccata pits increasingly pointed cross-rhythms against regular meter while Ondine presents another view of the legendary water nymph depicted in works of Ravel, Debussy, and Reinecke. Elliott Schwartz studied with Otto Luening and Jack Beeson at Columbia University. Since 1964 he has taught at Bowdoin College and held visiting residences at the U.C., Ohio State, and Trinity College of Music in London. He has served as president of the College Music Society and national chair of SCI and is co-author of Music Since 1945: Issues, Materials, Literature. His music has been performed by the Minnesota Orchestra, the Indianapolis Symphony, the Chicago Chamber Orchestra and many others. It has also been featured at Tanglewood, the Library of Congress, the Bath Festival in England, and the Leningrad Spring Festival in Russia. He writes: "Phoenix for bassoon and piano, was commissioned by Henk de Wit for the 1995 IDRS Conference in Rotterdam. The work's title may be interpreted on various and equally legitimate levels: affectively, as an expression of hope and rebirth; kinetically as evoking images of a bird taking flight; structurally (and historically) as the actual result of a re-building process-in fact, the reconstruction of an earlier work called "Flame," which had in turn used quoted fragments from traditional music associated with fire and smoke. (These quoted fragments have been retained in Phoenix.) In keeping with a recent obsession of mine, I have created musical motives from names associated with the occasion of this commission and premiere-in particular, HENK DE WIT, BASSOON, FAGGOTI, and ROTIERDAM-and embedded these specific references within the texture of the piece." Gerald Shapiro received a B.M. from Eastman, an M.M. from Mills College, and studied in Paris under a Fulbright grant. His principal teachers were Darius Milhaud, Mort Subotnick, Karlheinze Stockhausen, and Nadia Boulanger. He is a professor at Brown University and director of the MacColl Studio for Electronic Music. Recent works include Phoenix and Prayer for the Great Family written for the British vocal ensemble, Electric Phoenix, Trio for Piano, Cello, and Percussion for Aequalis, Mount Hope in Autumn commissioned and premiered by the Rhode Island Philharmonic and Sextet for keyboards and percussion. Andrew Simpson completed his undergraduate studies at Butler University, a Masters at B. U. where he studied with Lukas Foss, and a doctorate at Indiana University. His music has been performed by the Indianapolis Chamber Orchestra, the New York Life Orchestra, the Butler University Chorale, and the Millenium Ensemble of 8.U. He has received commissions from the Indianapolis Chamber Orchestra, the Butler Chorale, and grants and awards from the New York Life Music Competition and the Indiana Arts Commission. His music is published by Moon of Hope Publishing and Plymouth Music Co. He is currently an assistant professor of music at the Crane School at SUNY/Potsdam. "Exhortation (1996) explores three equally powerful aspects of the instrument: its technical agility, its dynamic range, and its expressive capabilities. The piece places these features side by side in a complementary relationship. The work begins with a flourish, immediately after which fragments of a melody appear, very softly. The flourishes and the melody interact as the piece progresses, the melody gradually becoming more prominent, until a long cantabile section allows the melody to reach its fullest expression. Rapid, technically demanding music returns, developing previous material, to close the piece. Timbral trills and extreme ranges serve to extend the instrument's expression. The piece is dedicated to Robert Faub." Hilary Tann holds composition degrees from the University of Wales and Princeton University (Ph.D., 1981 ). Her music for chamber ensemble and full orchestra has received performances and broadcasts in Europe and Australia as well as throughout the U.S. Four works are recorded on compact disc. In 1989 she was accepted as a house composer by Oxford University Press. Additionally, she has received support from Meet the Composer, the Ford Foundation, the Pew Memorial Trust, the Welsh Arts Council and the Reader's Digest/MTC Consortium Commissioning Program. She is a member of the faculty at Union College and Chair of the Performing Arts Department. She writes: "The title, Lief, is a Welsh word meaning 'a cry from the heart.' Lief is also the name of a minor-key Welsh hymn tune ('O! Jesu Mawr'). References to this hymn, and to the major-key hymn, 'Crimond,' occur in the piece. I was born in the coal-mining valleys of South Wales. Coal is no longer mined in my home town, and the young men and women have left the valleys to search for work elsewhere. But on the mountain top, close to the bracken and lichen, and in the crevices of the rain-swept stone walls, echoes of the old hymns may still be heard. Lief was originally composed for the vertical Japanese bamboo flute and cello." Joe Utterback is a Kansas-born jazz pianist and composer. He has received annual ASCAP awards and many American and international performances of his music. He performs regularly in Connecticut and in New York City. A member of the faculty of Sacred Heart University in Stamford, he holds a OMA degree in piano performance from the University of Kansas. [Note: Texts printed separately.] Elizabeth Walton Vercoe has been a composer at the St. Petersburg Spring Festival in Russia, the Cite International des Arts in Paris, and the MacDowell Colony. She has written many works on commission and her awards include multiple grants from the Artists Foundation, NEA, and Meet the Composer. She earned a doctorate in composition at Boston University where she was a student of Gardner Read, and was an undergraduate at Wellesley. She has been a board member of the International League of Women Composers and the Artists Foundation and a three-time panelist for the Massachusetts Cultural Council. Her music, published and recorded on various CDs, includes the Herstory series of vocal works on texts by women, two staged monodramas, four works for orchestra, and music for many chamber combinations. She is associate editor of Arsis Press. [Note: texts separate.] Reynold Weidenaar is a composer and video producer. He founded the Independent Electronic Music Center with Robert Moog and became editor of the Electronic Music Review. He received his B.Mus. from the Cleveland Institute of Music in 1973 as valedictorian, and later his M.A. and Ph.D. from NYU. His second film, Wavelines II, received 15 awards and his concert video, Love of Line, of Light and Shadow: The Brooklyn Bridge, received the Grand Prize at the Tokyo Video Festival. . He has received an NEA Composer Fellowship and Fulbright and Guggenheim Fellowships in video. He is on the faculty of William Patterson College in New Jersey. He writes: ttLong into the Night begins with a straightforward explication of a headline-making event in New York City. Then the key visual and musical elements are reconstructed as pictorial-aural rhythms of layered fragments-symbols of memory. The dismantled images on the monitor become ephemeral. Yet their period context secures the fragments in an encased reality of suspended time. The source materials for this work are historical photographs and drawings, recordings of antique autos, and a popular tune,'Kiss Me Good-Bye and Go, Jack.' (1901 )" Arthur Welwood has recently returned to Massachusetts to join the composition faculty at the Berklee College of Music after thirty years of composing, performing and teaching in Connecticut, Indiana, and Germany. His music includes works for chorus, symphonic band, chamber ensembles, and piano and has been performed by the New Haven Symphony, the New Britain Symphony and the Arioso String Orchestra. In 1989 the Hartford Ballet commissioned his Details at Eleven, and later performed the work with the Hartford Symphony. In 1994 the Manchester Symphony premiered his Concertantes for Solo Piano, Percussion and Orchestra with Tibor Pusztai, conductor. The Breath Inside the Breath is based on ecstatic poems by the 15th century Sufi poet, Kabir, translated by Robert Bly. 1. 'What Comes Out of the Harp?' has as its middle section an ecstatic dance to the Holy One. 2. 'The Woman Who is Separated from Her Lover,' is written in the style of a spinning song and features a cadenza for the harp. 3. 'The Flute of Interior Time' appears as a three-voice fugue in Eb minor and in 10/8 time. The fugue, which represents 'exterior time,' serves as the instrumental support to the expressive vocal line which represents 'interior time.' 4. 'Are You Looking for Me?,' contains the signature phrase, 'th e breath inside the breath. ' and is a call to enlightenment. Each movement ends with a recitative or coda where the poet summarizes his thoughts. [Note: Texts separate.] Arlene Zallman is Professor of Composition and Theory at Wellesley. She is a graduate of Juilliard and holds an M.A. degree from the University of Pennsylvania. Recent performances include several premieres by the Griffin Music Ensemble and the NY Guild of Composers. Her latest work, East, West of the Sun, was commissioned and premiered by the Rivers School as the centerpiece of their 1996 Contemporary Music Seminar for the Young. Major awards include a Fulbright, NEA, Mellon, and ISCM/League National award. "Sei la terra che aspetta was inspired by lines from the poetry of Cesare Pavese. The four subsections of the piece are identified by lines chosen from three related poems: 'You are the waiting earth,' 'Death will come and have your eyes,' 'You came in March on the barren earth,' and 'You are life and death. Your footstep is light.' Pavese intermingles visions of love, life, and death with the persona of the loved one. The earth is common metaphor for all these, as in the following excerpt from which the title is taken: "... Comelerba viva nelf'arial rabbrividisci e ridi,lma tu, tu sei terra.!Sei radice feroce./Sei la terra che aspetta." (" ... Just as/ grass quickens in the air/ you tremble and laugh,/but you, you are earth./ You are the fierce root./You are the waiting earth.")