/\fv1EPIC/\N m:JETYCY U\lt\BBTY ffil1RJSERS 250West 57th Street • Suite 626-7 • New York, New York 10019 FEBRUARY, 1980/Vol. 13, No. I

CONTENTS ASUC CALENDAR Gatwood, Tom Hutcheson, Warner Hutchison, Hubert Bird, NATIONAL CONFERENCE INFORMATION Thomas Steenland, John Watts, Anthony Iannacone, David STUDENT COMPOSERS' CONCERT Berlin, Timothy Rock, Steve Paxton, Kevin Wood, Ron Pel­ COMPOSERS' CHORUS legrino, Reynold Weidenaar, Margo Greene, Barney Childs, NEWS OF THE SOCIETY Aurelio de la Vega, David Liptak, Karel Husa, J. Greeson, ASUC JOURNAL OF MUSIC SCORES Leslie Bassett, Elliott Schwartz, Jordon Tang, Howard "SOME REFLECTIONS" (BART MC LEAN) Whitaker, Ursula Mamlok, Steven Stucky, Allen Brings, Jon Bauman, Nancy Chance, Ann Silsbee, Michael Udow, William REGIONAL CONFERENCES Albright, Harris Lindenfeld, Beerman Burton, Larry Nelson, FESTIVALS Marshall Bialosky, Dinos Constantinides, Brian Fennelly, Paul PERFORMANCE OPPORTUNITIES Hedwall, John Rinehart, Harold Schiffman, Ralph Turek, COMPETITIONS Chou Wen.Chung, M. W. Karlins, T. Dollarhide, Richard Her­ POSITION AVAILABLE vig, Dennis Karn, Yehuda Yannay, Vladimir Ussachevsky, NEW INSTRUMENTAL RESOURCES Gerald Warfield, Bernard Rands, Michael Hunt, James McVoy, COMPOSERS IN ACTION Robin Heifetz, Herbert Bielawa, Bruno Amato, John Donald STEREO REVIEW ON COMPOSERS Robb, Robert Rollin, Peter Ware, Barton McLean, Catherine Schieve, Robert Martin, Alexandra Pierce, Edward Mattila, John Melby, Michale Gilbert, John Duesenberry, Emmanuel Ghent, Holmes Reed, Thomas Jordan, Justus Mathews, and ASUC CALENDAR George Flynn. Host for the conference will be the Depart­ ment of Music, Memphis State University, Memphis, Tennessee February 7-10, 1980, Region IV Conference (with CMS 38152. Information can be secured from Don Freund at Southern Chapter), Florida State University that address. March 26-30, 1980, ASUC Annual National Conference, Memphis State University April 18-19, 1980, Region III Conference (with Continuum STUDENT COMPOSERS' CONCERT Ensemble), Bucknell University National Conference Chairman Don Freund has an­ April 23, 1980, Region I Conference, Bowdoin College nounced that a student composition recital will be held as April 26-27, 1980, Region XI Conference, University of the final event of this year's National Conference. The con­ Washington (Seattle) cert will take place Sunday, March 30, at 4:00 p.m. in Harris Note: please send items for inclusion in ASUC Calendar auditorium on the Memphis State University campus. This directly to Jackson Hill, Dept. of Music, Bucknell concert is open to all student composers who have works to University, Lewisburg, PA 17837. present, but they must provide their own performers. Pieces should not exceed ten minutes and program copy (not scores or tapes) must be sent to: Don Freund, Music Department, ASUC NATIONAL CONFERENCE, 1980 Memphis State University, Memphis, Tennessee 38152. Announcements have gone out concerning the forth­ coming national conference to be held March 26-30, at Mem­ phis State University. The local committee, under Don Freund, has planned a series of thirteen concerts and programs COMPOSERS' CHORUS that include music by the following composers: Gerald Chen­ William Brooks of the Smithsonian Institution requests oweth, Raoul Pleskow, Walter Winslow, Paul Zonn, John the help of composer-singers in forming a chorus to assist Beall, Harold Oliver, Alan Schmitz, Ernesto Pellegrini, R. W. Wienhorst, Geoffrey Wright, Stuart Smith, James Marra, Allan with his presentation on Charles Ives at the annual conference. Blank, Ben Johnston, Elizabeth Pizer, Ulf Grahn, Stephen National Chairman Ed London tells us there will be little Chatman, Jane Wilkinson , Robert Lombardo, Thomas Albert, rehearsing but lots of fun. Singers who will be at the confer­ Janet Gilbert, James Willey, Nancy Van de Vate, Vincent ence and are willing to participate are requested to drop Ed McDermott, Roger Briggs, Greg Steinke, David Stock, Dwight a note at: 3304 Warrington, Shaker Heights, Ohio 44122. 11

NEWS OF THE SOCIETY during these six years. When Priscilla and I first took over the Radio Executive Committee and National Council Meeting. Series in 197 4 (our first task in ASUC), the few tapes A joint meeting of the ASUC Executive Committee and the we received of broadcast quality were almost ex­ National Council will be held at the beginning of the National clusively from the Northeast. As the mid seventies Conference, 2:00 to 5:00 p.m., Wednesday, March 26, 1980, saw a tremendous expansion in the membership of The Richardson Towers Hotel, Memphis, Tennessee. The the Midwest, and then the South and West, an in­ creasing number of tapes came also from these areas. National Conference officially begin at 7:00 p .m. on the will The total increase in works submitted was also same day. striking. While in the first year we were able to pro­ duce only one hour-long program owing to lack of New By-Laws Ratified. The new society By-Laws materials submitted, by 1979 we easily could have recently distributed to the membership have been ratified. put out thirteen per year, had we unlimited time and Some excellent suggestions were sent in with some of the money. Similar changes have occurred in the Record­ ballots, some of which could possibly be proposed as amend­ ing Series-Journal. When I first became the Submis­ ments at the Memphis conference in March. Any member who sions Coordinator, judging and production of volumes has not received a copy of the By-Laws may request a copy was erratic. My first year saw ten to twenty works from the New York office. processed per year. Now we are up to forty works judged every one-half year (eighty per year), a situa­ tion which may soon strain the resources of produc­ tion (happily, I might add). It might be interesting ASUC JOURNAL OF MUSIC SCORES to note that, of the works submitted, roughly one­ fourth to one-third are actually produced. This The Committee selecting works for inclusion in the · increase in submissions naturally has increased next series of ASUC Recordings or volumes of the ASUC dramatically the number of volumes produced, Journal of Music Scores has announced the following list: thanks to the tightened production procedures Leslie Bassett, Concerto for Two Pianos and Orchestra initiated by Richard Brooks. Christine Berl, Three Pieces for Chamber Ensemble Not surprisingly, changes have taken place Elliot Borishansky, Three Mosquitoes for trumpets and stylistically as well. Very few Post-Webern scores have been received lately. Crumb has been a major slapstick influence for some time. Tonality in every con­ Richard Brooks, Sonata for Violin and Piano ceivable manifestation has become increasingly Rudolph Bubalo, Valence II for bassoon, clarinet, and evident. But the most amazing feature has been the tape growing stylistic diversity within all geographical David Cope, Requiem for Bosque Redondo areas of the society; jazz and pop influences have Steven Gerber, String Quartet increased enormously, as have cross-cultural ones Emmanuel Ghent, Helices for violin, piano, and tape (Asian, African). Collage has seen increasing prom­ Walter Hartley, Metamorphoses for clarinet and piano inence, along with such diverse influences as Spike Sidney Hodkinson, November Voices Jones and Sibelius! Thomas McKenney, Consortium for bassoon and piano Perhaps what we are witnessing is a growth in the measure of uniqueness in each work as many Lawrence Moss, Omaggio II for piano and tape artists increasingly find a more original and funda­ Thomas Read, Isochronisms for string quartet mentally Cl'eative mode of expression (in the sense Eric Stokes, Eldey Island for flute and tape that they are unwilling to adopt someone else's Yehuda Yannay, The Hidden Melody for cello and horn sound language). The committee feels that this list of compositions con- It is my opinion that we are again moving away tinues the high calibre of work represented on the first three from a "common practice" approach to language , syntax, and structure and toward a more personal recordings and in the first seven volumes of the Journal. The utterance. It has been a privilege to be involved committee also hopes that others will be encouraged to submit with this change for a number of years. scores and tapes for these projects. All materials for the Journal should now be sent to the new Submissions Coordin­ - Bart McLean ator, Reynold Weidenaar, at: 250 West 57th Street, Suite 626-7, New York, New York 10019. Instructions for sub­ missions were included in Volume 12, No. 2, of the ASUC Newsletter. REGIONAL CONFERENCES Region IL Region II held its fall conference September 29th at Hamilton College in Clinton, NY. Composers from SOME REFLECTIONS all over New York State attended and heard two concerts in the Hamilton College Chapel. Timothy Sullivan's Numbers, The following article was submitted by Bart McLean, Names; Christine Berl's Two Movements in Memoriam; David outgoing Submissions Coordinator for ASUC projects. Maslanka's Cello Songs, Samuel Pellman's Pentacle; and On the eve of my departure from the rather Judith Zaimont's Greyed Sonnets were performed during the active area of Submissions Coordinator for ASUC projects, I find myself, through working with your afternoon, and an evening concert featured Daniel Asia's music and corresponding with so many of you over "Musical Elements" ensemble in performances of Dreamwork the years, in possession of a number of personal by Stephen Gerber, Romances and Metamorphoses by Gerald~ impressions that may be of interest to those of us Warfield, Quintet by Margo Greene, Sonata for Violin and who are curious about where the music of ASUC Piano by Richard Brooks, and Seventh Star of Paracelsus by composers has been and where it is going. There is Nicholas d 'Angelo. The conference and concerts were engi­ no question that extraordinary changes have occurred neered by host Harris Lindenfeld of Hamilton College. Region Ill Region III co-sponsored a three-concert University of Tennessee. A festival of electronic music festival and conference with the ninth annual Electronic will be held at the University of Tennessee, April 16-20, Music Plus Festival at the Cqllege Park and Baltimore County 1980. Information is available from Dr. Kenneth Jacobs, campuses of the University of Maryland on November 2 and Department of Music, University of Tennessee, 1741 Volun­ ~ 3, 1979. Included were works by Lawrence Moss (Hands teer Blvd., Knoxville, Tennessee 37916. Across the C), John Melby (Accelerazioni), Elliott Schwartz Bowdoin College. Region I of ASUC is sponsoring a (Ziggurat), Barton McLean (Dimensions II), Ralph Turek reading session and concert at Bowdoin on Wednesday, April (Precis for Alto Sax and Tape), Mark Wilson (Aeolus), Edwin 23, 1980. The Aeolian Chamber Players will be the perform­ Morey (Projectives II), Roger Hannay (Serenade), Loran ers {clarinet, violin, cello, and piano). Bowdoin will also Carrier (Klarinettel #2), Randall Faust (Horn Call), William host a panel discussion on the teaching of composition, with John Tudor (Wor(l) (T)riad), William Bradbury (Restaurant), William Matthews, Jerry Bowder, and Elliott Schwartz. Infor­ Gilbert Trythall (Global Morality), Byron Tate (Like Waking mation is available from Dr. Elliott Schwartz, Department of Dreams), Kenneth Jacobs (Winter Strategy), Jane Beebe Music, Bowdoin College, Brunswick, Maine 04011 . (Aquamarine Journey), John Rinehart (Paths), Bernard Rands (Ballad 3), Larry Austin (Catalogo Sonora), Thom Hutcheson Performance Opportunities. Paul Dorsam and Graham (Sonix III), Vivian Adelberg Rudow (Cry a Thousand Tears), Perkerson are interested in performing and promoting new Daniel Kessner ( Intercu"ence), and Neil Rolnick (Ever-livin' music for trumpet and organ, particularly works by ASUC Rhythm). Region III will hold its spring conference at Buck­ composers or works that have not been previously performed. nell University in April in connection with a three-day resi~ Manuscripts should be sent to Paul Dorsam, Department of dency by Continuum ensemble from New York City. Music, William Carey College, Hattiesburg, Mississippi 39401 . Audrey Adams Havsky, Assistant Professor of Music, Region VI, co-chaired by Thomas Clark and Edward University of New Hampshire, Durham, New Hampshire Mattila, held its annual regional conference at North Texas 03824, is interested in performing vocal solo music in the alto State University, Denton, November 9 and 10, 1979. The range and music for women's chorus. Manuscripts should be two-day event included four concerts of music by Thomas sent directly to her for consideration. Clark, Reed Holmes, George Eason, Columbus Walden III, Merrill Ellis, Wendy Dressler, James Chaudoir, Timothy The Susquehanna Contemporary Music Ensemble is Kloth, Newton Strandberg, Thomas Benjamin, Catherine seeking scores of contemporary chamber music for any vocal Schieve, David Ashley White, Michael Horvit, Norman Nelson, or instrumental combinations, excluding upper strings. Of Edward Mattila, Jordan Tang, Michael Matthews, Larry particular interest are works for flute and/or guitar. Manu­ Austin, Bruce Faulconer, Newel Kay Brown, Barton McLean, scripts should be sent to Gayle P. Lathrop, Department of and Philip Baczewski. Music, Susquehanna University, Selinsgrove, Pennsylvania Hosted by regional co-chairman Thomas Clark, the 17870. ,..----._ conference also included a tour of electronic and computer The Santa Cruz Chapter of the National Association of facilities, a presentation by Ron Pellegrino and the Texas Composers, USA, is seeking scores from composers in the neo­ Tech Real-Time Composition Ensemble entitled "Emerging Classic and neo-Romantic idioms for chamber orchestra for a Connections between Visual and Sonic Music", a discussion series of concerts played by the Mozart Festival Orchestra of and performance-demonstration by jazz composer and pianist Santa Cruz, under the direction of Dr. Lewis S. Keizer. Scores Dan Haerle in regard to his role in the University, a greeting (with self addrs:ssed stamped envelope) should be sent to to ASUC members by Marceau Myers, Dean of the NTSU Dr. Vera N. Preobrajenska, 935 High Street, Santa Cruz School of Music , and a presentation of "New Bassoon Tech­ California 95060. niques" by William Davis followed by a performance of his work Metamorphosis IL Excellent planning and preparation Millersville State College (Pennsylvania) is seekin! by NTSU faculty and performers resulted in a most success­ unpublished music written by living Pennsylvania composers ful and well-attended conference. playable by public school performers, for the publicatior of an annotated list of appropriate works. The College intend: Region VIL A conference of Region VII was held in to establish a library of scores and cassettes and is establishinE November, 1978 at the University of Wyoming. Two lecture­ a travel grant scheme to bring composers to the campus demonstrations were given: "Multitones on the Heckel Information should be requested from Dr. Sy Brandon System Bassoon" by Theodore Lapina and "A New Resource: Department of Music, Millersville State College, Millersville The Bowed Piano" by Stephen Scott. Composers represented Pennsylvania 17 5 51. in two concerts were Robert C. Ehle, James Russell Smith, Texas Tech University is initiating "The Leading Edge' Richard Toensing, Gary Smart, William Stacy, Charles Eakin, music series under the direction of composer/performer Ron Stephen Scott, Elaine Barkin, Curtis Curtis-Smith, and Elliott Pellegrino. The series engages musically oriented artisti Schwartz. who explore uncharted territory in composition, performance, and perception. The first series, 1979-80, includes ASUC member Edwin Harkins of San Diego. Information is avail­ FORTHCOMING FESTIVALS AND able from Ron Pellegrino, Department of Music, Texas Tech PERFORMANCE OPPORTUNITIES University, Lubbock, Texas 79409, (806) 742-2270. Bowling Green State University. A two-day New Music ~ Festival will be held at Bowling Green State University April COMPETITIONS 25-26. Concerts will be taped and made available. Informa­ tion is available from Burton Beerman, College of Musical New Music for Young Ensembles, Inc., announces its Arts, Bowling Green State University, Bowling Green, Ohio 1980 competition, with prizes of $500 and $200, for unpub­ 43403, {419) 372-2 181, extension 254. lished, unperformed works by American residents. Deadline is March 15, 1980. Information available from New Music of Music Competitions, a guide to contests and compeitions for Young Ensembles, Inc., 2 West 46th Street, New York, in the music field, including composition contests. The NY 10036. directory is available for $7 .95 (paperbound) from MDA Publications, P.O. Box 551, Desloge, Missouri 63601. The Omaha Symphony Guild announces a competi­ tion for works for chamber orchestra, unpublished and not professionally performed, with a prize of $1000 and per­ NOTIFICATION OF OPENING formance by the Neb'raska Sinfonia. Deadline is March 15, 1980. Entry fee: $10. Submit scores and requests for in­ Ball State University announces a position as Graduate formation to: Mary Anne Hauser, Chair, Omaha Symphony Assistant or Doctoral Fellow in Music Theory and/or Compo­ Guild Competition, Department of Music, Performing Arts sition, Recording Technology, or Music Performance. The Center, University of Nebraska at Omaha, Box 688, Omaha, stipend is $3,000 (assistant) or $3,450 (fellow) per academic Nebraska 68101. year. Responsibilities would involve supervising Central The Sigma Alpha Iota Inter-American Awards are an­ Recording Services for the School of Music and possibly teach­ nounced with a prize of $500 for a choral composition for ing one course in Recording Technology. Applicants should mixed voices. Deadline: March 15, 1980. Entry Fee: $10. have background in recording and sound reinforcement. Entries and inquiries to: Mrs. Eugenie L. Dengel, 165 West Submit resumes to Dr. Cleve L. Scott, Director, Elec­ 82nd Street, New York, New York 10024. tronic Systems for Music Synthesis, School of Music, Ball State University, Muncie, Indiana 47306. Submit appli­ The University of Wisconsin, Parkside, Oriana Trio, Annual International Composers' Competition, announces cations to Dr. Arnold E. Burkart, Coordinator, Graduate a prize of $1,500 for a work for violin, cello, and piano. Programs in Music, School of Music, Ball State University, Deadline: March 15, 1980. Entry Fee: $15. Scores, fees, Muncie, Indiana 47306. and inquiries to: Dr. August M. Wegner, University of Wis­ consin, Parkside, Communication Arts 216, Kenosha, Wis­ consin 53141. Premiere of winning work will be in October, NEW-INSTRUMENT AL-RESOURCES FESTNAL 1980. Last May 4, 5, and 6, the Center for Music Experiment The 50th Anniversary Ohioana Library Association at the University of California at San Diego hosted an Exhibi­ New Music Award is offered to composers born in Ohio or tion/Festival of New Instrumental Resources, organized and who have lived in Ohio for a total of five years. The award is directed by Will Parsons and Ron George. The three-day for a new, unpublished, unperformed work for standard sym­ festival comprised two concerts, several panel discussions, and phony orchestra of between eight and fifteen minutes dura­ many individual demonstrations, along with a number of tion. Deadline: April 1, 1980. Prize: $1000. Entries and special group improvisations. Approximately thirty-five ,...--.... inquiries to: Ohioana Library Association, 50th Anniversary artists and musicians displayed and demonstrated their work New Music Award, 1105 Ohio Departments Building, 65 at the event. The emphasis of the festival was on acoustic South Front Street, Columbus, Ohio 43215. and electro-acoustic rather than purely electronic instruments. The primary purpose of the festival was to bring to­ The University of Louisville Second International Com­ gether instrument designers and builders, composers, perform­ position Contest is announced for a new choral work (SSATB ers, and educatdrs working in the area of new instrumental or SATB), with a prize of $400. Deadline: April 1, 1980. resources. Separate panel discussions were held on new Entries and inquiries to: University of Louisville School of instrumental resources, expanding percussion resources, build­ Music, Composition Contest, 9001 Shelbyville Road, Louis­ ing sound Sculptures and musical instruments from found ob­ ville, Kentucky 40222. jects, micro-tonality, and implications for the future. An The Department of Music of the University of Maryland, illustrated catalogue containing photographs of instruments College Park, and Kendor Music, Inc., announce their fourth on display and transcriptions of the panel discussions is in Clarinet Choir Composition Contest, with a prize of $300 and preparation. It is to be published in a special issue of Interval publication by Kendor Music. Deadline: May 1, 1980. Scores Magazine, published by Jonathan Glasier, P.O. Box 8027, and inquiries to: Dr. Norman Heim, Music Department, Uni­ San Diego, California 92102. versity of Maryland, College Park, Maryland 20742. The Pittsburgh New Music Ensemble, David Stock, ASUC MEMBERS IN ACTION conductor, announces the Harvey Gaul Composition Contest, Seven works by Dino Constantinides (Louisiana State with a prize of $1000 and premiere by the Pittsburgh New University) were premiered in 1979. Included among them Music Ensemble . Deadline: June 1, 1980. Inquiries to: The are his Diakos Suite, premiered by the L.S.U. Symphony Pittsburgh New Music Ensemble, 6538 Darlington Road, Pitts­ Orchestra in February, his Woodwind Quintet, premiered at burgh, Pennsylvania 15217. the University of Georgia in March, and his String Quartet Mars Hill College announces its 3rd annual Contempor­ No. 2, which received its first performance at the Union Art ary Choral Composition Festival. Deadline: June 1, 1980. Gallery, Baton Rouge, Louisiana, in June. [The editors Inquiries to: Donna Robertson, Chair, Choral Comp9sition apologize for the mistakes in this item in the last issue] . Festival, Mars Hill College, Mars Hill, North Carolina 28754. Eclipse III for orchestra by Elliott Schwartz (Bowdoin ~ College) was performed in August at the New Hampshire MDA COMPETITIONS DIRECTORY Music Festival. His Soliloquies was performed on the Washing- ton D.C. Composers Forum series in October, and his Chamber MDA Publications announce their 1979-80 Directory Concerto II for clarinet was played by the Pittsburgh New Music Ensemble in November. A recording of his music for under the auspices of the Society for New Music, in Syracuse, piano and tape is to be issued by Folkways Records in 1980. NY on April 12. The composer's Woodwind Quartet was performed in Honolulu in October. Her Music for Viola, Gunther Tautenhahn's Fenton~ Follies for amplified Percussion, and Piano will be released on Grenadilla Records ~ flute received two performances in Beverly Hills and in North­ during 1980. ridge', California, in September. His Caprice Elegant for flute and accordian and Miniature Dance for violin and accordian John Donald Robb's book, Hispanic Folk Songs of have been published by Portative Publications in Los Angeles. New Mexico, has been published by the University of New Mexico Press, Albuquerque, 1979. (85 pp. $4.95, paper­ Daria Semegen (SUNY at Stony Brook) has been bound). awarded an NEA grant for the composition of a new work for viola and electronic tape to be performed by John Graham, Michael Gilbert (University of Massachusetts at Am­ violist. herst) and choreographer Susan Waltner premiered their new collaboration, Journeys, which received five performances at Vivian Adelberg Rudow's Kaddish was performed at the Smith College during October. Mr. Gilbert's Ascents and Region III conference at Shenandoah College and Conserva­ Steel aouds were performed at the New Music Festival tory in Winchester, Virginia, last April. at the University of Wisconsin, Platteville, and his Moving Picture Logo was performed at SUNY at Stony Brook this past fall. There Shall Come Soft Rains will be premiered in Sensuous Numerology for six trumpets by Paul Dorsam an extended version at the composer's home campus in March. (William Carey College), commissioned by the Missouri Trum­ pet Guild, was premiered by the Guild ensemble in October. Variations for Band by Allen Brings (Queens College, His Haec Dies for trumpet and marimba, commissioned by CUNY) was given its first performance by the University of the Robert Levy-Gordon Stout Duo, was premiered by them Connecticut Wind Ensemble last spring at a concert presented in New York at Carnegie Recital Hall in December. by ASUC Region I. His Divertimento for flute, viola and harpsichord was given its first New York performance in May Maurice Wright's Chamber Symphony for Piano and at a concert by the New Repertory Ensemble of New York. Electronic Sound was recorded by pianist Lambert Orkis of The same group performed his Tre Sonetti di Michelangelo the Twentieth Century Consort (Washington, DC) for the Buonarroti in November. His Notturno for orchestra was recording series of the Smithsonian Institution. The Consort premiered in November by the Queens College Orchestral performed his Cantata for Tenor, Percussion and Electronic Society. CRI has recently issued a recording of music for Sound and his Basilio's Lament on concerts in the Hirshhorn piano, four hands, by Robert Helps, Thomas Moore and ~ Gallery in October and November. Raoul Pleskow, played by Allen Brings and Genevieve Chinn. Allen Brings is afoo the co-author of A New Approach to Vally Weigl's Dear Earth and Brief Encounters along Keyboard Harmony, just published by W.W. Norton. with Claire Polin's Structures for Solo Flute were performed in New York at the Donnell Library in October. Donald Martino's Cello Concerto was premiered in October by ceHist Joel Krosnick with the College-Conserva­ James Willey (Williams College) is the recipient of an tory Philharmonia Orchestra of Cincinnati under the direction NEA grant for the composition of a symphony. His At Mid­ of Gerhard Samuel. Martino is chairman of composition at night received six performances by the Society for New Music the New England Conservatory. last April and May. David Epstein (MIT) conducted the premiere of his Bruce Saylor has been appointed Associate Professor Concord Psalter, commissioned by the Concord (NH) Chorale of Music at Queens College (CUNY) under a special grant from in December. His Night Voices for narrator and orchestra has the Mellon Foundation. His Psalm 11 for female voice and been published by Carl Fischer, Inc., and is being released this solo flute will appear in an anthology of contemporary art winter on Candide Records (Vox). His book, Beyond Or­ songs to be published by Galaxy Music Corporation. His pheus: Studies in Musical Structure, was published by the Psalm 13 appears in the third edition of Charles Burkhart's MIT Press last May. Epstein conducted the east-coast premiere Anthology for Musical Analysis. His entire set of Four Psalms of Henry Brant's Spacial Concerto in March, recorded the will soon be issued on a recording by Orion Master Recordings. work for Vox Records, and has made a one-hour TV program on the work. He also was guest conductor of the American Loretta Jankowski's new work for clarinet was Symphony Orchestra and the Haifa Symphony Orchestra premiered by Bernard Yannotta with members of the Yale during 1979. Philharmonia in New York at Alice Tully Hall in October. Fanfare and Alleluia by Jackson Hill (Bucknell Uni­ One of two First Prizes of $500 has been awarded to versity), which won the Mccollin Prize of the Musical Fund Nancy Van de Vate by the Los Alamos Chamber Music Com­ Society of Philadelphia, was premiered in September in the position Contest for her Quintet (1975). It was performed Grand Court of Wanamaker's Department Store in Philadel­ ~ twice in Los Alamos, New Mexico, in October and will be phia, employing a brass ensemble attempting to drown out presented during the 1980 Music Festival at Taos, New Mex­ Keith Chapman, performing on the second largest organ in ico. Her Letter to a Friend's Loneliness for voice and string the world. Hill's article ''Music and Mysticism: A Summary quartet was performed in Honolulu last July and September Overview" appears in the Winter, 1979, issue of Studia Mystica and is scheduled for performance by Neva Pilgrim, soprano, Quarterly (California State University, Sacramento). Reynold Weidenaar's film Wave/ines II was premiered deliver two lectures, appear on radio interviews, and present at the 38th Annual N.Y.U. Film Festival in October, where it a live concert of hi,, music at the hall of the Biblioteca received the Landsburg Award. The film also received a Nacional in Havana. "This concert will feature the premiere Silver Award at the 22nd International Film and Television of his Sinfonia for piano trio and tape recorder, which was Festival of New York in November. His Qose Harmony was commissioned by Jose White. awarded first prize in the Sonavera International Tape Music Competition in 1979. , Yam Hamelach (The Dead Sea) by Robert Stern (Uni­ versity of Massachusetts, Amherst) has been awarded second Two works by Lawrence Rackley (Kalamazoo College) prize in the 18th International Competition of Symphonic were premiered in Kalamazoo in December - Air With Double Composition (Premio Musicale Citta di Trieste). and Fugue for harpsichord and Troubadour Variations for piano duo. His Chaconne, for two harpsichords in mean-tone tuning, will be premiered at Kalamazoo College in April, and Al Fresco, Concerto for Saxophone, and Concerto for Troubadour Variations will be performed at St. Mary's Col­ Percussion by Karel Husa (Cornell University) will soon be lege, Notre Dame, Indiana, in February. released by Golden Crest Records. Four Little Pieces for Strings will be released soon on Opus One label. His Con­ certo for Saxophone, Sonata for Piano No. 2, Apotheosis of Four premieres of new works by Michael Schelle (Butler this Earth, Elegie et Rondeau, Divertimento for Brass Quintet, University) took place in the fall of 1979. His Offertory for and Third String Quartet received a number of performances brass choir was performed for the first time by members of in the United States and abroad during 1979. the Indianapolis Symphony Orchestra in September, his El Medico was premiered by the Butler University Symphony in October, and his Masque and Music for the Last Days of William B. Stacy (University of Wyoming) received Strindberg were premiered in Minneapolis- St. Paul in October several premieres in 1979, including his Equus-Music for the and November. play by Peter Shaffer in November and Orchesographie: A Pavane and Its Galliard, premiered by the Wyoming Woodwind Quintet with James Russell Smith, percussion, in October. Yehuda Yannay (University of Wisconsin at Milwaukee) has received an NEA grant to complete a chamber composition for the Da Capo Players and to compose a chamber opera. The Contemporary Music Ensemble of Catholic Uni­ Recent premieres include a dance work, Genesis, commis­ versity in Washington, DC, included in its November concert: sioned by the Anna Nassif Dance Theater in Madison, an Fantasy Quintet by Gerald Warfield, Last Night I was the evnironmental composition commissioned by the "Art and Wind, song cycle for baritone and woodwind quintet by Industry" exhibition at Marquette University, and a choral Richard Brooks, and Foreign Farms for solo trumpet and work, Le tombeau de Satie, which was permiered at the com­ Are Dogs Hideous or Musicological? for solo piano by ~ poser's home campus. He also has received a commission for E. Michael Harrington. James Wagoner's Veggio nel tuo be! a new choral work from the Festival Musica Nova in Brazil, visa for baritone and piano was premiered on the same pro­ where he will be a guest composer and conductor in the gram. summer of 1980. He recently toured in Israel, where he presented a number of lectures and radio programs on Ameri­ Curtis Cµrtis-Smith was recently presented a Distin­ can music, and where his The Hidden Melody, for cello and guished Faculty Award of $1500 by Western Michigan Uni­ horn was performed in Tel-Aviv. versity. His Plays and Rimes for Brass Quintet and Piano was premiered at the award presentation ceremony in October. A tenth-anniversary Electronic Music Studio concert Also in October, his Masqu erades was performed by William at the Peabody Institute of Johns Hopkins University featured Albright at the Nineteenth Annual Conference on Organ works by several ASUC composers last November. Included Music at the University of Michigan, and his Music for Hand­ were Cortege - for Charles Kent by Jean Eichelberger Ivey, bells was performed at the University of Oklahoma by the Mutations on a Text by Edgar Allan Poe by Robert Shuffett, Contemporary Music Ensemble (a subsequent performance CE.II by Geoffrey Wright, and Changing Space by Vivian took place in November at the University of Iowa, Center Adelberg Rudow. for New Music). ·

Ursula Mamlok's Sextet was performed during August at the Contemporary Music Festival at Tanglewood. Her Haiku Settings for soprano and flute were performed in August at the National Flute Association's 7th annual con­ vention in Dallas, and her Polyphony I for solo clarinet was performed in November at a concert of the New Repertory Ensemble in New York. She also serves as a judge for the Sigma Alpha Iota Inter-American Music Awards.

David Keane (Queen's University, Canada) served in France as one of five guest composers teaching at the Cours intemationaux de musique electroacoustique at Bourges, under the auspices of the French Ministry of Culture. In February he is scheduled to be the guest of the Cuban Com­ mission of the International Music Council, where he will STEREO REVIEW ON COMPOSERS

The following editorial appeared in the September, 1979, issue of Stereo Review. It was thought that it might be of interest to members of ASUC. Any correspondence it might provoke could be addressed to Stereo Review, One Park Avenue, New York, NY 10016. , The article is reprinted here by permission of Stereo Review Magazine, Copyright 1979, Ziff-Davis Publishing Company.

ADVICE TO YOUNG COMPOSERS by William Anderson

"What set of circumstances," a reader Rasoumovsky, Esterhazy, Brandenburg), it And so, composers are not "hungry" wants to know, "produced the great com­ has become an exercise of corporate whim, enough; they are so insulated from econom­ posers of the past, and why don't we have a cultural reflex on the part of foundations, ic pressures that they need compose only those circumstances now?" One is tempted institutions of higher learning, or of govern­ what they want to. They are also self­ to be brutally direct about it and answer, to ment that causes them to commission a bit conscious, often too vulnerable (thanks to the first part, that the circumstances were of music from time to time with no more the ubiquitous print and electronic media) talent, hunger, and patronage, and to the concern or personal involvement than if to the news of what their peers are up to second part that although there is probably they were ordering so many yards of bunt­ all over the world to set down a single note. no shortage of any of these three today, ing to camouflage the underpinnings of a And finally, more than the rest of us, they they are not being taken advantage of at platform. All of which leaves us with a lot must deal with radical egalitarianism, that all or are being used in unfruitful ways. of musical talents whose comfortable aca­ misreading of the whole idea of Democracy As far as the talent is concerned, we demic sinecures make it unlikely that they that would have us believe that Beethoven must assume, in the absence of evidence will ever have to compose anything and was an "elitist," that the only way to be to the contrary, that no catastrophic genetic who need satisfy only themselves if they do. equal is to be the same. firestorm wiped all propensity toward musi­ There is, however, a bit more to it than What, then, is a young composer to do? cal composition out of the human race that. At Broadcast Music Inc.'s award He should not, first of all, teach at a univer­ right after, say, Richard Wagner; it is still ceremonies for young American composers sity; he should get a job in insurance and there waiting to be put to work. Hunger, recently, I met a young Californian whose compose on the side. He should sell his too, even for composers, has hardly been prize-winning one-movement piano concerto record player, TV, and radio - and move eliminated, but these days it is usually had its genesis in a college composition to New Zealand, if necessary, to avoid circumvented: composers once "scorned class. The composer, still a bit awed by his modern-music concerts and other com­ delights and lived laborious days" while own temerity in undertaking so grand a posers. He should avoid giving his composi­ practicing their art in drafty garrets (I project, confessed that he had not had the tions fancy Greek titles, calling them sim­ speak, of course, metaphorically), but courage to own up to it before his class­ ply "symphony," "concerto," and "quartet" lately they are nourished by an apparently mates, who were all confining their efforts instead. He should not set to music any inexhaustible cornucopia of stipends, grants, to humble little sonatinas and string trios, fragment of Lao-tse or quatrain of Lorca. and "in residences" that make even a mo­ but had asked to discuss the matter with He should read Milton's Lycidas and dare mentary pang unlikely. And there is still his professor after class. Whether you call to be arrogant. I can't guarantee that the such a thing as patronage, though its nature that painful self-consciousness or becoming result will be a great composer, of course; is significantly altered: where it once was modesty, it too is a part of the "circum­ the method hasn't even been tried, as far an expression of personal taste (Keyserling, stances" of modern composing. as I know, since Charles Ives.

IN MEMORIAM SEYMOUR SHIFRIN

In response to the death on September 26 of Seymour Shifrin at the age of 53, one must search with agony and in vain for any sign of justice in the premature loss of an artist of such stature. In an age much characterized by indifference, he held firm convictions. Amdist widespread boorishness he distinguished himself in his taste and manners. To the brutal alienation and destructive competition so rampant in our time he responded always with a desire to exchange views - by listening as well as by holding forth. He shared freely, not only among his most loyal colleagues, but also with his students. In a society much given to the dizzying rush of sensations, he preferred to shape his life and his music with deliberation. In an age that shows many signs of decay, he stands out as a builder whose life and whose work challenge us to build as well. Indeed, he leaves behind a lasting body of work that will be as available to later generations as it is to those privileged to have known him and worked with him personally. That ASUC could count among its members the likes of Seymour Shifrin is to its lasting credit. - Joel Eric Suben - -,

EXECUTIVE COMMITTEE ( 1980) Richard Brooks, Chairman, Nassau Community College; Thomas Cleman, Editor of the Newsletter, Nor­ thern Arizona University; Bruce J. Taub, Editor of the Journal; Cleve Scott, Electronic Music Consortium, Ball State University; Samuel Hope, National Association of Schools of Music; Greg Steinke, Editor of the Proceedings, Linfield College; Barton Mclean, ASUC Submissions Coordinator, University of Texas at Austin; Priscilla Mclean, ASUC Radio Series; Margo Greene, ASUC Recording Series; Kurt Stone, Asso­ ciate Representative; David Felder, Student Representative, Cleveland Institute of Music.

NATIONAL COUNCIL (1980) James Eversole, University of Massachusetts, and Thomas Read, University of Vermont (Region 1); David Maslanka, Sarah Lawrence College, and Ann Silsbee, Ithica, New York (Region 2); John Rinehart, Shen­ andoah Conservatory, and Jackson Hill, Bucknell University (Region 3); Paul Hedwall, University of Ala­ bama, and Dennis Kam, University of Miami (Region 4); Robert Rollin, Youngstown State University, and Philip Winsar, De Paul University (Region 5); Thomas Clark, North Texas State University, and Edward Mattila, University of Kansas (Region 6); Stephen Scott, The Colorado College, and Richard Toensing, University of Colorado (Region 7); Robert Stewart, California State University at Fullerton, and Beverly Grigsby, California State University at Northridge (Region 8); Diane Thome, University of Washington, and Walter K. Winslow, University of California at Berkeley (Region 9); Edwin London, Chairman, Cleveland State University.

MAILING ADDRESSES 1. For membership and subscription information write: ASUC, 250 West 57th Street , Suite 626-7, New York, New York 10019. 2. To submit materials to the ASUC Journal of Music Scores or Re~ord Series, write: ASUC, 250 West 57th Street, Suite 626-7, New York, New York 10019. 3. To submit information for inclusion in the ASUC Newsletter, address: Tom Cleman and Jackson Hill, editors, ASUC Newsletter, 250 West 57th Street , Suite 626-7, New York, New York 10019.