1999 NATIONAL CONFERENCE

Hosted by Mannes College of Music New York University Queens College Society of Composers, Inc.

1999 NATIONAL CONFERENCE

APRIL 22 - 25, 1999

Hosted by

Mannes College of Music

New York University

Queens College ·!Contents 1998-99 SCI NATIONAL COUNCIL l3 President's Remarks David Gompper, President, The University of Iowa 4 Schedule of Events Scott Brickman, University of Maine"Fort Kent (I) 7 Concert one Noel Zahler, Connecticut College (I) Perry Goldstein, SUNY-Stony Brook (II) '8 Concert two Daniel Weymouth, SUNY-Stony Brook (II) James Haines, Elizabethtown College (III) Concert three Jennifer Barker, Christopher Newport University (III) 10 Concert four Nick Demos, Georgia State University (IV) Tayloe Harding, Valdosta State University (IV) 111 Concert five James Chaudoir, University of Wisconsin, Oshkosh (V) 2 Concert six Rocky]. Reuter, Capital University (V) Kenton Bales, University ·of Nebraska at Omaha (VI) Concert seven Samuel Magrill, University of Central Oklahoma (VI) 4 Concert eight Marshall Bialosky, California State University, Dominguez Hills (VII) Glenn Hackbarth, Arizona State University (VII) 5 Concert nine Charles Argersinger, Washington State University (VIII) Patrick Williams, University of Montana (VIII) 6 Concert ten

Concert eleven

8 Concert twelve 1998-99 EXECUTIVE COMMITTEE 119 Concert thirteen Reynold Widenaar, Chairman, William Patterson Co llege 20 Abstracts Greg A. Steinke, President Emeritus, J. J. Hudson, Jon Southwood and Vatchara Vichaikul, Editors of Newsletter, The University of Iowa f23 Composers' Biographies and Program Notes Bruce]. Taub, Editor, Journal of Music Scores, C.F. Peters Corporation Richard Brooks, Producer of CD Series, Nassau Community College 55 Performers' Biographies William Ryan, Submissions Coordinator James Paul Sain, Student Chapters, University of Florida Tom Lopez, Webmaster Bryan Burkett, Editor, SCION Kristine H. Burns, listserv Coordinator Program Editor: Hubert S. Howe, Jr. Barton McLean, Independent Composer Representative Dorothy Hindman, Representative for Local Chapters and Affiliate Groups rogram designed and David Vayo, Membership Chair, Illinois Wesleyan University roduced by Queens •. College Office of Publications Fred Glesser, Editor of Monograph Series Thomas Wells, Audio Streaming Project Manager, Ohio State University Gerald Warfield, General Manager

2 PRESIDENT'S elcome to this, the 32nd National Conference of the Society of Com­ REMARKS W posers, Inc. The series of events this weekend is unusual, for it repre­ sents a gathering of forces and institutional support for something much larger than any single university could have presented alone - 13 con­ certs over four days - performing the music of 76 composers from across the nation. This is only the second time that our National Conference has taken place in New York City. The last time was in 1973, and as now, it took place in a variety of venues - New York Public Library, Manhattan School of Music, Weill Recital Hall and Columbia University. What is SCI's place in our contemporary society and its function for its membership? As a volunteer organization, SCI's principal role is to support the vital connection between composers and performers. That is why we put our ef­ forts and resources into events called conferences: concerts and gatherings of peers that bring these two areas together. Just as music theorists require the context of history to ground their research, so do composers need performers, to realize ideas and intentions. Without the performer, the composer can too easily remain aloof from the desires of the performer, sometimes resulting from a disconnection from the music itself. SCI's strength is in offering, to its mem­ bership, performing opportunities. By taking advantage of established educa­ tional institutions, SCI acts as a catalyst for showcasing composers. We should feel proud that our roots, as our former name implied, are in the educational academy. Our strengths are derived by our link to these institutions. It is what we do best.Nevertheless, our growth must continue to be with composers both in and out of the academy. Our expansion must be with composers with diverse backgrounds, differ­ ing styles, and varying approaches. We must avert becoming too narrow and should continue to encourage a wider acceptance of music of all styles and aes­ thetics. Our growth and impact on both the young and professional composer will continue to be a source of strength and encouragement to us all.As com­ posers, indeed, we are certainly creators of the elements we and others perceive as music, and on good days, we hold the potential for harbingers of change. Many of us are performers of our own music and those of our colleagues. Most of us spend our days teaching composition and musical skills in small institu­ tions of higher learning. Some of us decide upon volunteering our time to help others, in societies like SCI or local performing groups. And if we are lucky, we get to hand over our music to publishers who will "sell" our music to the con­ suming public. My experience is that composers tend to do it all. Like archi­ tects, we oversee our music, from its inception to its performance to its preservation. This is our gift to performing friends, our endowment to music. I encourage you to give it freely and generously. On behalf of SCI, I heartily thank the hosts of all three institutions: Joel Lester, Dean, Mannes College of Music and Madeleine Shapiro, director of the Mannes Contemporary Music Ensemble; Dinu Ghezzo, Professor of Composi­ tion at New York University; and Hubert Howe, Professor of Composition at the Aaron Copland School of Music at Queens College, CUNY. SCI is also deeply indebted to ASCAP and Frances Richard, for her tireless and steadfast support of composers. The effort that has gone into helping to make such a conference a reality has underlined the importance of keeping alive contempo­ rary music and presenting it to a wider and potentially diverse audience.

David Gompper, President, SCI

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APRIL 22 - 25, 1999

SCHEDULE OF EVENTS

TI EVENT LOCATION

Thursday, April 22 5:00 p REGISTRATION Mannes College of Music

8:00 pm CONCERT ONE Mannes College of Music Works by Joan Huang, Paul Yeon Lee, Bernard Rands, Andrew Rindfleisch, and Elliott Schwartz

Friday, April 23 9:00 am PAPER PRESENTATIONS New York University SESSION A Papers by Mickie Willis and Jeffrey Hoover SESSION B Papers by Paul A. Epstein and Marvin Johnson SESSION C Presentation by Marshall Bialosky

10:00 a SPECIAL SESSION New York University on Women and Minorities Marshall Bialosky, moderator; Presentation by Ruth Schontal Marga Richter and Victoria Bond, panelists

11:00 a CONCERT TWO Frederick Loewe Theater Works by Carlos Delgado, John Allemeier, Mark Kilstofte, Ching-chu Hu, and Stefan Freund

12:00 noo LUNCH Unspecified locations

12:15 p NATIONAL COUNCIL MEETING To be announced

1:00 p CONCERT THREE Frederick Loewe Theater Works by Tina Davidson, Emily Doolittle, John Howell Morrison, Rolv Yttrehus, Lawrence Dillon, Lawrence Moss, Jonathan Kramer

4 EVENT LOCATION

CONCERT FOUR Frederick Loewe Theater Works by William Ryan, Janice Misurell-Mitchell, Dinu Ghezzo, Brian T. Field, Charles Smith

4:00 pm CONCERT FIVE Frederick Loewe Theater Works by Elliott Schwartz, Karl Henrik Juusela, Dinos Constantinides, Kristine Burns, Timothy Melbinger

5:30 p DINNER Unspecified locations

7:30 p CONCERT SIX Frederick Loewe Theater Works by Elizabeth Bell, Jonathan Santore, Ann Kearns, Andrew Bleckner, John Slover

10:00 p RECEPTION & COCKTAIL PARTY New York University Open to registered members only

Saturday, April 2 8:30 a Charter Bus leaves for Queens College To be determined

10:00 a CONCERT SEVEN LeFrak Concert Hall Works by James Chaudoir, David Hatt, Zae Munn, An-Ming Wang, Jack Behrens, James S. Hoch

11:30 am LUNCH Dining Hall

12:00 p SCI MEMBERSHIP MEETING Dining Hall

12:30 pm CONCERT EIGHT LeFrak Concert Hall Works by Edwin Robertson, Amy Dunker, James Haines, David Hainsworth, Gerald Lefkoff, David McMullin, Albert Tepper

2:00 p BASIC SKILLS FOR COMPOSERS Choral Room Richard Kessler, Executive Director, and Leonard Lionnet, Information Services Manager, American Music Center, panelists

3:15 p CONCERT NINE LeFrak Concert Hall Works by Robert Gibson, Steven Gerber, Steven Rosenhaus, Noel Zahler

4:30 p BUSINESS MEETING Choral Room

5:30 p BANQUET Student Union

5 EVENT LOCATION

8:00 pm CONCERT TEN LeFrak Concert Hall Works by Jason Bahr, Robert Ceely, Eleanor Cory, Ellen Harrison, Geoffrey Kidde, Erik Santos, Jody Rockmaker

10:00 pm CONCERT ELEVEN LeF rak Concert Hall Works by Michael Angell, Larisa Montanaro, Stephen David Beck, Robin Julian Heifetz, Marvin Johnson, Rachel Mcinturff, Hubert Howe

11:30 p Charter Bus returns to Manhattan

Sunday, April 25 8:30 a Charter Bus leaves for Queens College To be determined

10:00 a CONCERT TWELVE LeFrak Concert Hall Works by Nickitas Demos, Gerald Lefkoff, Orlando Legname, Ronald Roseman, David Young, John Crawford, Howard Yermish, James Lentini

11:30 am. LUNCH Dining Hall

12:30 pm CONCERT THIRTEEN LeFrak Concert Hall Works by Terry Winter Owens, Howard Fredrics, Bruce Mahin, James A. Jensen, Kristi McGarity, Lori Dobbins, Kenneth Jacobs

3:00 p Charter bus returns to airports and Manhattan

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Concert one

MANNES COLLEGE Mannes Contemporary Music Ensemble OF MUSIC Madeline Shapiro, Director i1 50 West 85th Street rrhursday, April 22 Program 8:00 pm Four Maine Haiku Elliott Schwartz Martina Cukrov, Piano

Memo 2b for trombone and female dancer Bernard Rands Christopher Mcintyre, Trombone

Elegy Paul Yeon Lee Naoko Shizume, Violin Stephen Czarkowski, Cello Ying-chien Lin, Piano

intermission

Tears Andrew Rindfleisch Barry Crawford, Flute

Yang-guan Songs for string quartet Joan Huang Miaka Suzuki, Violin Lynn Bechtold, Violin Amelia Hollander, Viola Robert Burkhart, Cello

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Concert two

NEW YORK Program UNIVERSITY rederick Loewe Theater Sonata for Alto Sax and Piano Mark Kilstofte Friday, April 23 Prelude, Recitative, Variations, Toccata, 11:00 A.M. The Ambassador Duo: Clifford Leaman, Saxophones Derek Parsons, Piano

Polemics Carlos Delgado Max Midroit, Piano

Tres John Allemeier Elisabeth Caswell, Piano

Night Ching-chu Hu Jennifer DeVore, Violoncello Heather O'Donnell, Piano

New Work Stefan Freund Matt Dix, Violin Stefan Freund, Cello John Orfe, Piano

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Concert three

NEW YORK NYU New Music Ensemble UNIVERSITY Esther Lamneck, Director Frederick Loewe Theater

Friday, April 23 Program 1:00 pm Fire on the Mountain Tina Davidson

night black bird song Emily Doolittle Winner, SCI Student Competition

Over the Head with a Stick John Howell Morrison

Sonata for Percussion and Piano Rolv Y ttrehus

Scherzo for Bassoon and String Quartet Lawrence Dillon

Saxpressivo Lawrence Moss

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Concert four

NEW YORK NYU Composers Ensemble UNIVERSITY Dinu Ghezzo, Director Frederick Loewe Theater

Friday, April 23, 1999 Program 2:30 pm "Knock" William Ryan Tom Kolor and Paul Vaillancourt, Marimba Du Huang and Molly Morkoski, Piano

Motel ... loneliness Janice Misurell

Letters to Walt Whitman, on poems by R. Johnson Dinu Ghezzo Elisabeth Henreckson Farnum, Soprano Michael Caputo, Clarinet Dinu Ghezzo, Piano

Sonata for Flute and Piano Charles Smith Charles Smith, Flute Janet Smith, Piano

Three Moods for Piano Brian T. Field Fabio Gardena!, Piano

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Concert five

NEW YORK Esther Lamneck, Clarinet UNIVERSITY Rosemary Caviglia, Piano Frederick Loewe Theaten Program Friday, April 23 :.t:OO pm Souvenir Elliott Schwartz

Six Shades of Black on White Kari Henrik Juusela

Impressions II (rev. 1998) Dinos Constantinides

Atanos I Kristine Burns

Three Pieces for Clarinet and Piano Timothy Melbinger

Multi-Media Sculpture Acrylic Watercolor

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Concert six

NEW YORK NYU Choir UNIVERSITY Jeff Unger, Director Frederick Loewe Theater

Friday, April 23, 1999 Program i7:30 pm The Whole World is Coming Jonathan Santore on four native American Poems

A Wild Civility: Three English Lyrics Ann Kearns on poems by John Milton, Robert Herrick, and Anonymous

Psalm 150 Andrew Bleckner for choir, shofar and percussion ensemble

Remember Brian T. Field on a poem by Christina Rossetti

Lady Lazarus John Slover on a poem by Sylvia Plath

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Concert seven

QUEENS COLLEGE Albert Ahlstrom, Organ 'Aaron Copland School of Music LeFrak Concert Hall Program

Fantasy for Organ Saturday, April 24 Wang An-Ming 10:00 am Prelude in G-Flat from Organ Book III David Hatt

Yelling at God Zae Munn

Adagio and Fugue James Chaudoir

Auf Widorsehen Jack Behrens

Jubilance! Jam es S. Hoch Ken Gable, Alto Saxophone

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Program intermission

Music for Cello and Piano Four Interrogatives Edwin C. Robertson Jam es Haines Chi-Jen Chung, Cello I. Who? 1Satur<:lay, April 24 Chin-ok Choi, Piano II. What? 12:30 prji III. Where? O' IV. Why? Amy Dunker Peter Starostin, French Horn Catherine Ramirez, Flute Cynthia Keaveny, Trombone Joseph Keady, Tuba Trio Barocco Albert Tepper Southwesterly Ayse Bolukbasi, Violin Regan Nikol, Clarinet David McMullin Anne Epperly, Flute Jong-Soon Kim, Piano John Marco, Clarinet

Other Worlds David Hainsworth Madeline Shapiro, Cello

Music for Wind Septet Gerald Lefkoff Claudia Tseng, Flute Jeong Seok Lee, Oboe Donald Moy, Clarinet Gerard Beekman, Bassoon Peter Starostin, French Horn Keith Hiam, Trumpet Cynthia Keaveny, Trombone Ronald Roseman, Conductor

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Concert nine

QUEENS COLLEGE The Meridian String Quartet Aaron Copland School Sebu Sirinian, Violin of Music Lisa Tipton, Violin LeFrak Concert Hall Liuh-Wen Ting, Viola Wolfram Koessel, Cello Saturday, April 24 3:00 pm Program

String Quartet No. 3 Steven Gerber

' Offrande Robert Gibson

Strange Loops Steven Rosenhaus

String Quartet No. 1 Noel Zahler

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Concert ten

QUEENS COLLEGE Nota Bene intermission !Aaron Copland School Contemporary Ensemble of Music Ronald Roseman, Director Auros LeFrak Concert Hall, Robert Ceely Oliver Homann, Oboe Saturday, April 24 Program John Marco, Clarinet 8:00 pm Jon Weber, Violin Seven Devilish Pieces Chi-Hen Chung, Cello Ellen Harrison Minari Iijima, Piano Claudia Tseng, Flute Elizabeth Player, Clarinet Guernica Dances Jeong Seok Lee, Oboe Erik Santos Eddie Venegas, Violin Lin Li and Jing Jing Zhang, Jose Flores, Viola Piano Charles Wang, Cello Sung-Joo Kim, Piano where late the sweet birds Ronald Roseman, Conductor sang Subliminal Songs Jody Rockmaker I. .black night doth take away Geoffrey Kidde II. where late the sweet birds Anne Epperly, Flute sang Elizabeth Player, Clarinet III. after sunset fadeth Maria Gabriela Rengel, Violin Janet Holmes, Cello Mary Fukushima, Flute Sunhyea Sakong, Piano Ira Berman, Clarinet lnalvys Paris Cabello, Violin Laceratioi;is Clare Lui, Cello Jason Bahr Mi-Young Lee, Piano Meg Owens, 0 boe Cheng-Hsien Kao, Percussion Miori Sugiyama, Piano Ronald Roseman, Conductor

Pas de Quatre Eleanor Cory Catherine Ramirez, Flute Chereene Price, Violin Danielle Guideri, Cello Lin Li, Piano

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Concert eleven

QUEENS COLLEGE Electronic Music Aaron Copland School Hubert Howe, Director of Music LeFrak Concert Hall Program Saturday, April 24 10:00 pm Eat the Magic Cookie! Michael Angell

Deep Pockets Larisa Montanaro

Improvisation sur Magritte Stephen David Beck

Wingshot Cries Like Wildfire Robin Julian Heifetz

Banjo on My Knee Marvin Johnson

Origami Animae Rachel Mcinturff

Improvisation No. 4 Hubert Howe

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Concert twelve

QUEENS COLLEGE Nota Bene Contemporary Silhouette 'Aaron Copland School Ensemble Howard Yermish of Music Ronald Roseman, Director Winner, SCI Student Composers' LeFrak Concert Hall Competition Lauren Satino, Flute Sunday, April 25 Program Regal Nikol, Clarinet 10:00 am Chi-ching Lin, Percussion Entrada and Variations for Maria Gabriela Rengel, Violin Brass Quintet Clare Liu, Cello John Crawford Wei-Hsien Lien, Piano William Dunn and Rafael Elster, Martha Masters, Guitar Trumpets Ronald Roseman, Conductor Peter Starostin, French Horn Cynthia Keaveny and Jason intermission Castellano, Trombones Scenes from Sedona Six Songs on Poems of James Lentini Garcia Lorca Maria Gabriela Rengel, Piano Ronald Roseman Janet Holmes, Cello I. Cancioncilla del primer deseo II. Canci6n tonta Five Breezy Bagatelles for III. Segundo aniversario 'Bones IV. Rueda Catalina Nickitas Demos V. Canci6n de jinete Kevin Doolittle, Justin Camito, VI. Madrigales Eddie Venegas, Trombones

Erika Sunnegardh, soprano Music for a Princess Ronald Roseman, oboe David Young Carla Castano, Flute Turning-Point Donald Moy, Clarinet Orlando Legname Peter Starostin, French Horn Jon Weber, Violin Anthony Fanning, Cello Ira Berman, Clarinet Norviasuki Guerrier, Piano Rafik Ismail, Cello Greg Germann, Percussion Wei-Hsien Lien, Piano Ronald Roseman, Conductor

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Concert thirteen

QUEENS COLLEGE Queens College Percussion Ring of Gold 'Aaron Copland School Ensemble Kenneth Jacobs of Music Michael Lipsey, Director Deborah Jacobs, piano LeFrak Concert Hall . . . before the morning Sunday, April 25 Program watch 1:00 pm Fox Fire Jam es A. Jens en Frank Battista, Ching-Chin Terry Winter Owens Lin, Cheng-Hsien Kao, Greg Lin Li, Piano Germann, Yi-Hsuan Wu, Greg Germann, Piano/Percussion Adam Young, Taro Matsushita, Yi-Hsuan Wu, Percussion Percussion Michael Lipsey, Percussion Jihyun Kim, Piano Joe Mignanelli, Conductor Vagvisa for Mitt Ofodda Barn AM Fugue Howard Fredrics Kristi McGarity Jennifer Toohey, soprano Cherene Price, Violin

By Departing Light Percussion Quartet Bruce Mahin Lori Dobbins Greg Germann, Taro Matsushita, Brad Carbone, Ching-Chin Lin, Ching-Chin Lin, Yi-Hsuan Wu, Joe Mignanelli, Cheng-Hsien Hao, Yi-Hsuan Wu, Percussion Adam Young, Percussion Frank Battista, Conductor Sunhyea Sakong, Piano Brad Carbone, Conductor

19 Society of Composers, Inc. 1999 NATIONAL CONFERENCE rAbstracts

New York University Session A Friday, April 23 9:00 am The Flattening Historical Perspective of Music Caused by the Advent of Sound Recording: A Unique Twentieth-Century Phenomenon MICKIE D. WILLIS

That music can be passed on from generation to generation is a result of advance­ ments in notation that allow and facilitate the accurate re-creation of a musical event at another place in another time. The result has been the accumulation of music from recent centuries that we enjoy today. But in addition to this, advances in the preservation of, not just the instructions for the recreation of another live performance of a composition, but the actual sound of that performance, has cre­ ated a circumstance for composers, unique in the history of music. For the first time, music from the distant past exerts equal, and sometimes greater, influence on composers' ears and minds than the music of their contemporaries. For now, a par­ ticular performance can be frozen in time, and enjoyed in its pristine, original per­ formance at any time. Since this is quite economical, and the quality of reproduction increasingly good, we can expect that, as we have seen already, more and more of the music we experience on a daily basis is recorded, not live. In pre­ vious generations, eras in which music could only be re-created from notation, much if not most of the music heard by composers and the populace in general was relatively contemporary to them. Now the opposite is the case. Most of the music we all hear-popular music notwithstanding-is old music, sometimes sev­ eral hundreds of years old. But it is the impact of this on our psyches that is per­ haps least understood; that composers are potentially as equally influenced by music from three hundred years ago as by music just written. Although, on an in­ tellectual level, we know the vast time that may separate one work from another­ works that may have been experienced within only a few minutes-on a psychic level, some unreasoning, subconscious level, they're all the same; they're a recent musical experience. This represents a change in the stream of influence of existing music upon the creation of new music, and a disruption of the conventionally rec­ ognized stream of influence upon the development of music as a whole.

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Abstracts

Melodic Light: Compositional Relationships Between Music and Art JEFFREY HOOVER

One challenge in creating an interdisciplinary art is correlating the artistic elements and principles from the parent disciplines. Without a strong correlation, the rela­ tionship between disciplines may be fanciful, imagined, and questionable. Historic correlations made by performing musicians and composers, critics, poets, and his­ torians have been both concrete and intuitive. In some cases, correlations have ex­ plored aspects of metaphysics and religious belief. Visual color and tone color or pitch are two often-discussed and debated correlations. Other correlations may in­ clude elements and principles of time and proportion, texture, gesture, and other aspects common to both the visual arts and music. French Blue, a work for solo viola and painting by Jeffrey Hoover, is presented.

Session B

Filtered Melodies PAUL EPSTEIN

A method for generating expandable melodic patterns from an initial cell of two notes will be demonstrated. The process involves the repeated application of a sim­ ple algorithm according to which a note is inserted between every paid of notes in the existing pattern. The algorithms involve three notes each, one of which is the sum of the other two. (The complete algorithm for an interval set of 4/-1,2,3 is in­ cluded on the attached sheet of examples. ) As the patterns expand they exhibit a high degree of self-similarity. The resulting patterns are subjected to several pre­ compositional procedures. The first is strictly rhythmic. It involves the application of an algorithm analogous to the one for pitch, allowing the duration of a note to be determined by the interval following that note. With the second procedure, called "filtering," notes not belonging to a specified collection are replaced by rests, This produces a series of variants that are differentiated both rhythmically and in pitch content. Further variation is provided by the application of inversion and retrogression. The compositional use of the algorithmically generated patterns and their variants will be illustrated with taped examples.

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!Abstracts

Pitch Structure and Text in Franz Schubert's Der Doppel­ ganger: A Foray into Musical Hermeneutics MARVIN JOHNSON

This presentation shows that elements in pitch structure, including those at deep middleground levels, may be understood as representing or reflecting ideas and im­ ages of the text (Still ist die Nacht by Heinrich Heine). It is particularly notable that a chromatic, inversionally related structure (labeled "the Mirror Image" in the context of the paper) emerges and provides an excellent opportunity for associat­ ing elements in pitch structure with textual meaning at the same time that the very boundaries of tonal syntax are stretched by those elements to predict chromatic practices of our century. Despite extensive variation in double phenomena, two basic types have been identified by A. E. Crawley in his article entitled "Doubles" (Hastings Encyclopedia of Religion and Ethics, London 1908-26, p. 853 ). Quite simply, according to Crawley, there are doubles-by-duplication and doubles-by-di­ vision. The double in Heine's Still ist die Nacht is clearly a double-by-division in that it is a figment of the imagination, harbored in and borne out of the psyche. The psychic projection in the poem, on the other hand, which produces the vision of the disembodied self, introduces the idea of a double-by-duplication as well. The opportunity of establishing a parallelism between the tonal operations of transposi­ tion and inversion and doubles-by-duplication (transposition) or doubles-by-divi­ sion (inversion) respectively, makes it possible to relate specific musical events in Der Doppelganger to poetic images in Still ist die Nacht.

Session C

An Introduction to Luigi Dallapiccola's Song of Liberation MARSHALL BIALOSKY

Special Session

"Women and Minorities" MARSHALL BIALOSKY, MODERATOR

RUTH SCHONTAL and MARGA RICHTER, PANELISTS "What it Means to be a Composer if You are a Woman" "What it Means to be a Woman if You are a Composer"

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Composers' Biographies and Program Notes

JOHN ALLEMIER (b. 1970) re­ poses widely spaced rolled chords the 1992 International Trumpet ceived his Ph.D. in composition with dense block chords. The place­ Guild's Composition Prize and was from the University ment of the pitches in these chords premiered in Rotterdam, Holland. of Iowa, M.M. foreshadows the registers and tim­ The American premiere took place from Northwestern bres that will be developed later. in 1993 at the Aspen Music Festival University and The highest and lowest points of the by members of the American Brass B.M. in Guitar Per­ rolled chords then define the register Quintet. Angell has also received formance from Au­ of the development section that fol­ awards from the Oberlin Conserva­ gustana College lows. In contrast to the chordal tory and ASCAP. Angell is Assistant (IL). He has studied composition opening, this first development sec­ Professor of Music Technology at with David Gompper, D. Martin tion presents the pitch material lin­ the University of Alabama at Birm­ Jenni, M. William Karlins and early. This development focuses on ingham, where he teaches composi­ Michael Pisaro. His music has been the upper register, around high C, tion, theory, electronic music, and performed by the University of Iowa and the lower register, around low directs the Electronic Music Ensem­ Graduate Chamber Orchestra, the C. The extreme lowest register of ble. He is also co-founder of the Oberlin Percussion Group, Univer­ the piano is explored by the use of Birmingham Art Music Alliance, a sity of Illinois Contemporary Cham­ an ostinato that leads back into the composers' consortium and concert ber Singers, the Texas Christian rolled chords from the opening. series based in Birmingham. Several University Percussion Ensemble, and After the return of the opening ma­ of his works are available on CDs. by the Kronos Quartet in a student terial, a second development section reading session. His music has been addresses the middle range over­ Eat the Magic Cookie! is a work of programmed at the 1995 Society of looked by the first development. computer-generated sounds for Composers, Inc. National Confer­ The next section consists of melodic stereo playback. It was written in ence and at five Midwest Com­ material from the opening chords the fall of 1997 using a variety of posers Symposiums. He was over an alberti bass which returns sound synthesis, manipulation, and awarded a grant from the University to the rolled chords of the opening mixing programs. The "cookie" of of Iowa Fine Arts Council in May to conclude the piece. the title reflects the composer's fas­ 1996 for the performance of Exit cination and amusement with the for string quartet. In May 1997 he MICHAEL ANGELL has composed imaginative terminology of the in­ received the Henry and Parker works for acoustic instruments and ternet. A magic cookie is a file gen­ Pelzer Fellowship Award from the computer-generated sounds, often erated by an internet browser when University of Iowa. Most recently he combining the two media. He re­ it accesses certain pages on the web. received an ASCAP Standard Award ceived his education from the Ober­ The sound of a cookie (the snack in June 1998. He is an Assistant lin Conservatory of Music and the food) being eaten is the source for Professor at Marshall University in University of Michigan. His compo­ some of this work's passages. West Virginia, where he teaches sition instructors have included composition, music theory, and elec­ William Albright, Walter Aschaffen­ JASON BAHR received a BM at the tronic music. burg, William Balcom, Robert Lom­ University of Missouri at Kansas bardo, and George Balch Wilson. City. He also stud­ Tres was completed in January 1995 He has also studied at the Tangle­ ied at Kingston and performed the following Febru­ wood and Aspen Music Festivals, University in Lon­ ary. Since this first performance, the and at the Sand Point Music Festi­ don, England and is piece has undergone several revi­ val under Donald Erb. His works a Master's student sions. Tres explores different tex­ have been performed throughout at the University of tures, registers and timbres of the the United States. His Sonata for Indiana-Blooming­ piano. The opening section juxta- Two Trumpets and Percussion won ton. He has studied with Eugene

23 O'Brien, Don Freund, James Mob­ commissions, grants, and awards, Aspen, he earned a PhD in composi­ berly and Gerald Kemner. Works by most recently from saxophonist tion at Harvard, working primarily Bahr have been performed through­ Griffin Campbell, harpist Ann Ben­ with Leon Kirchner. He has received out the midwest and Europe. He jamin, the Baton Rouge Symphony numerous commissions and residen­ was featured as a guest composer at Orchestra, the Pro Arte Chorale, cies and is founder and Artistic Di­ the 1997 C. Buell Lipa Festival of and the Misade Trio. Beck is Associ­ rector of London's "Trillium Plus," Contemporary Music in Ames, ate Professor of Composition and which features Canadian musicians, Iowa, where his flute quartet Con­ Computer Music at Louisiana State authors, and visual artists. H is trasts was performed. Meditation University School of Music. In addi­ works are recorded on the McGill and Fan{are (organ solo) was pre­ tion to running the Music & Art Musicworks, Opus One, and Orion miered at the Third Annual CFAMC Digital Studio (the MADstudio), he labels. He has taught at the Univer­ Conference in Bowling Green, Ohio. co-directs the Louisiana Contempo­ sity of Regina, Simon Fraser Univer­ It has been repeated in Bluffton, rary Chamber Players and is direc­ sity, and the University of Western Ohio as a part of the Bluffton Bach tor of the LSU Festival of Ontario, where he served as Dean Festival. Carlton {piano solo from Contemporary Music, the oldest of the Faculty of Music (1980-86). Character Suite) was performed on university-based festival of its kind. During the 1997-98 academic year the Sixth International Review of He serves as President of the Society he was Academic Consultant (the­ Contemporary Music in Belgrade, for Electro-Acoustic Music in the ory, history, composition, and hu­ Serbia. Two pieces from Character United States. manities) at the Glenn Gould Suite were performed at the PI­ Professional School of the Royal ANISSIMO '98 Festival of Contem­ Improvisation sur Magritte (1989) Conservatory of Music. porary Music in Sofia, Bulgaria in was composed and realized at the March. Lacerations (oboe and Electro-Acoustic Music Studios of Au{ Widorsehen (1996) is the sev­ piano) will be included in a forth­ the California Institute of the Arts. enth, and first for organ, of an on­ coming book on contemporary oboe The piece was composed using pre­ going series of keyboard works techniques being written by Libby composed Markov chains which based on pre-existing compositions. Van Cleve. He is a member of were manipulated, transposed, aug­ Each of these compositions is in­ ASCAP, SCI, and CFAMC. mented, and rearranged in a tradi­ tended to stand on its own whether tional manner using the Macintosh or not listeners are acquainted with Lacerations was written from De­ application Jam Factory. Synthesis the source work(s). Auf Widorsehen cember 1996 to May 1997 for his was realized using a Yamaha is derived from the best known good friend and talented ·oboist An­ TX802, an Emulator II sampler, and composition of Charles-Marie drea Newhouse. The title refers to a Lexicon PCM70 reverb unit. The Widor (1844-1937), the Toccata the jagged, angular lines used text for this work comes from the from Symphony No. 5 fo!i organ, throughout the piece and the "cut Magritte painting "Ceci n'est pas opus 42, composed in 1879. Aside and splice" technique of juxtaposing une pipe" (this is not a pipe) . The from repetitions and slight rhythmic disparate musical ideas. vocal lines chop up the syllables of adjustments, the only alterations to the phrase as if to say, this is not a the segments appropriated from STEPHEN DAVID BECK holds a voice singing this is not a pipe. Im­ Widor are octave displacements and PhD in music composition from provisation was commissioned by changes in the order of some figura­ UCLA, where he studied with Henri grants from the Louisiana State Uni­ tions. The work is dedicated to Lazarof, Elaine Barkin, and Alden versity Council on Research and the Philip Glass. Ashforth. In 1984, he was awarded California Institute of the Arts/NEA a Boulez fellowship from UCLA and Visiting Composer Program. ELIZABETH BELL studied piano the Los Angeles Philharmonic to throughout her childhood and teen study with Pierre Boulez during his JACK BEHRENS is a composer, pi­ years and majored 1984 residency with the orchestra. anist, professor, and administrator. in music at Welles­ In 1985, he received a Fulbright Fel­ He earned the ley College, where lowship to study computer music at Bachelor's and she graduated as a IRCAM. While his studies have in­ Master's degrees in Wellesley scholar, cluded both traditional and techno­ composition at the and followed this logical media, his recent works have J uilliard School, '.J with a degree in focused on computer-based interac­ where he studies composition from Juilliard, where tive compositions, where acou.stic , with William she studied with Peter Mennin and performers play with and in coun­ Bergsma, Peter Mennin, and Vincent Vittorio Giannini. She took the tra­ terpoint to computer-controlled syn­ Persichetti. Following scholarship ditional route of the times, marrying thesizers. He has received numerous study with Darius Milhaud at and putting her music aside to raise

24 her family. It was not until the late Sheep in Fog by Sylvia Plath the white chiselings of the poem 1960s that she resumed her compos­ The hills step off into whiteness. in the white stone. ing. Since then she has written for People or stars From Mortal Acts Mortal Words, Houghton Mifflin orchestra, chamber groups, solo in­ Regard me sadly, I disappoint them. Company publishers. © 1980 by Galway Kinne!!. struments, and voice. Her music has The train leaves a line of breath, That Could Assuage Us been performed throughout the 0 slow by Hilda Morley United States and in Japan, Russia, Horse the color of rust, (5) South America, and Australia. She It is the living who cannot won the 1986 Composers' Competi­ Hooves, dolorous bells - live without the dead, tion in Farmington, Utah, and the All morning the who wish them 1994 Delius Prize for composition. Morning has been blackening, back, Ms. Bell has written music for such who need their presences, prominent soloists and ensembles as A flower left out. their hands, Malcolm Bilson, Max Lifschitz, My bones hold a stillness, the far as Orpheus held her hand, Eurydice's, Bradshaw and Buono-duo-pianists, Fields melt my heart. to lead her back to earth out of North/South Consonance, the Inoue They threaten the gulf of Hades, Chamber Ensemble, and Vienna To let me through to a heaven as I Modern Masters, and has been Starless, and fatherless, a dark water. need yours recorded on CRS, Classic Masters, From Ariel, Harper & Row publishers. © 1961 by It is not so much North/South Records, and the Vi­ Ted Hughes. Used with permission of rhe publishers. the dead enna Modern Masters labels. She who need us has had three retrospective concerts Amabile by Eliza beth Bell now of her works: at Cornell University Bow thrumming (as we think they do) in 1973, in Cincinnati, Ohio in deep; & that reconciliation 1985, and in New York City in springtime joy; we long for, that knowledge 1991. She is one of the founders flitting, flying, too soon flown far - of each other and officers of the New York Bow skimming: to the uttermost Women Composers, a member of what is this wonder: which could assuage BMI and the American Composers Child, us- Alliance, and of numerous profes­ man; they are sional organizations. love, lonely - one step beyond it lost . .. & they suffer us Loss Songs are settings to music of to long for them a group of poems by recent and liv­ In each limb limber grace; kaleidoscope & if they could ing poets, musing on various facets of flashing thought: return, it would be out of of personal loss. Presented today are tremolo - patience with us merely; their need to give us five of the eight original songs. tremulous of passing years, passing love ... comfort "Sheep in Fog" by Sylvia Plath is an For all their tenderness, abstract poem evoking the extreme Bow sweet velvet song; & they see beyond us, desolation brought on by the death song of angels - hope of mortal man; even if of her father. "Amabile," based on despair of wish - what they see now seems to us my own poem written at the time Wanting, giving, glad nothing my oldest son, a cellist, was turning afraid of gladness, twenty-one, is about the sense of loss (6) bittersweet loss felt by a parent content with now, If there is an angel when a child becomes an adult. of death "Looking at Your Face," by Galway Appassionata - & I believe there is Kinnell, details the loneliness felt on in thee goes my /ife, my so11; My music. then I can wrestle the imminent death of a loved one. with him Finally there are two songs based on Copyright © 1982 by Elizabeth Bell. What else can I two parts of Hilda Morley's long find to do? poem "That Could Assuage Us," Looking at Your Face What else have I been concerning the death of her hus­ by Galway Kinnell doing band, composer Stefan Wolpe. The Looking at your face these fourteen first evokes the loneliness of the be­ now you have become ready to die months or more I have known you reaved, the second her anger with is like kneeling at an old grave stone dead? on an afternoon with no sun, trying to "the angel of death." Even now I read hear your voice in the rhythm

25 of these words & refuse to Orchestra of Chicago, at their 1995 Boom out to Yah across the give it any distance Open Rehearsal. He has received firmament! There is no peace several composition awards, includ­ Shout out for Yah, for all God's might equal ing an ASCAP Foundation Grant to deeds! to you, Young Composers, and the Helen L. Cry out for Yah, as loud as God is none that great! Weiss composition prize for vocal could match you Blast out for Yah with piercing Let me be the one to music from the University of Penn­ shofar note! haunt you sylvania. He has also received fel­ Pluck out for Yah with lute and even when the angel lowships from the Bowdoin Summer violin! of death appalls me, Music Festival and the MacDowell Throb out for Yah with drum and when I am toppled Colony. In 1994, he was commis­ writhing dance! by him, sioned by Furna Sacra, a chamber Sing out for Yah with strings and husky even choir from Princeton, NJ specializ­ flute! when I think that I am not ing in contemporary and early Ring out for Yah with cymbals that re­ strong enough to avenge you, music, to write a cantata commemo­ sound! when he has me down. rating the 50th anniversary of the Clang out for Yah with cymbals that re- sound! © Hilda Morley. First published in The Hudson Re­ liberation of Auschwitz. His work view, Vol. XXXI, No. 3, Autumn 1978. Let every living thing Shema was premiered in 1995 at Yah 's praises sing, MARSHALL BIALOSKY is an Westminster Choir College at the Hallelu/Yah! Emeritus Professor at the California Holocaust Memorial Concert. Most State University recently he was commissioned by Versatility is the hallmark of com­ Dominguez Hills the Bale Warland Singers as part of poser/conductor VICTORIA (in southern Los their 1998/99 New Choral Music BOND, whose Angeles) where he Program. body of work was the Founding ranges from orches­ Chairman of the Psalm 150 is, or course, the final tral and operatic Music and Art De­ psalm in the Book of Psalms, and is , performances to partments in 1964. A past national used both in Christian and Jewish ballet scores and chairman of SCI (1974-77), he is traditions as a joyous call to praise chamber music. currently on his second run as Re­ and worship. In our present age of Her work has been widely per­ gion VII co-chair. For the past multiculturalism, it does not seem formed in the United States, Europe, twenty-one years he has been presi­ unusual to combine music of South America, and Asia, and she dent of the National Association of African rhythmic sensibility with has conducted such prestigious or­ Composers/USA. He holds degrees Hebrew poetry of the Old Testa­ chestras as the Pittsburgh, Houston, from Syracuse and Northwestern ment. The text itself seems to need Buffalo, Louisville, Honolulu and Universities and has taught at the little commentary: Let every living Utah Symphonies in America, the University of Chicago and the State thing Yah's praises sing, Shanghai, Hunan and Wuhan Sym­ University of New York at Stony Hallelu/Yah! In setting the psalm, I phonies in China, the RTE Sym­ Brook. He was a student of Luigi had in mind the image of a commu­ phony in Dublin and the Orquesta Dallapiccola at Tanglewood in the nity in ecstatic celebration, like the de Santos in Brazil. Born into a fam­ summer of 1952 as well as in Italy highly energized euphoria of a ily of professional musicians, she on a Fulbright grant during the Chassidic dance. began her formal training at the 1954-56 period. Mannes College of Music, where Psalm 150 she studied piano with Nadia Halleluyah halelu el bekodsho ANDREW BLECKNER (b. 1964) Reisenberg. She received her Bache­ haleluhu birki'a uzo. teaches theory and Haleluhu vigvurotav lor's degree from USC, where she composition at haleluhu kerov gudlo studied composition with Ingolf West Chester Uni­ Haleluhu beteka sh ofar Dahl, and continued her studies at versity of Pennsyl­ haleluhu benevel vechinor the Juilliard School, studying com­ vania. He studies Haleluhu betof umachol position with Roger Sessions and composition with haleluhu beminim ve'ugav. Vincent Persichetti and conducting George Crumb at Haleluhu betziltzeley shama with Jean Morel and Sixten Ehrling. the University of Pennsylvania. His haleluhu betziltzeley tery'ah. She was awarded her master's and orchestral music has been per­ Kol haneshemah tehalel yah doctorate degrees with honors. As a formed by the American Composers halleluyah. composer, she has been commis­ Orchestra at the 1995 Whitaker sioned by the Pennsylvania Ballet, Hallelu/Yah! Reading Session, and by the Civic Call out to Yah in Heaven's holy place! the American Ballet Theater and the

26 Jacob's Pillow Dance Festival. In throughout the United States, instrumental parts to make them 1986 she conducted the premiere of Canada, and Europe, including the more practical. Some material was Ringing with the Houston Sym­ International Congress of Women in discarded and other material was phony, who commissioned the work Music (Vienna), the FUTURA Festi­ added. The piece often presents its as part of the state's sesquicenten­ val (Drome, France), SEAMUS and ideas simultaneously rather than lin­ nial celebration. Her full-length SCI National Conferences, the early. The opening music for oboe, opera Travels was premiered by Bowling Green State University Fes­ clarinet, violin, and cello is devel­ Opera Roanoke in 1995. Dreams of tival of New Music and Art, and the oped throughout the composition. Flying was commissioned by the California State University at Los The piano is often in opposition to Audubon String Quartet and Urban Angeles Computer Music Festival. the other instruments. At times it Bird by the Women's Philharmonic acts as one super instrument, at in San Francisco. Thinking Like a Atanos I is the first in a series of other times it performs as if it were Mountain was commissioned jointly compositions for solo instrument several varying, conflicting instru­ by the Billings Symphony in Mon­ and electronics (either live or prere­ ments. Usually the piano is over­ tana, the Elgin Symphony in Illinois, corded) which attempt to investigate whelmed by the mere force of the and the Shanghai Symphony in the vestigial existence of sonata others. In general, the form expands China and is featured on a Protone form in the twentieth century. The and comments on the material pre­ CD, Live from Shanghai. Her or­ soloist and the electronic parts are sented in the opening measures. chestral Variations on a Theme of equal in importance and may be There is a tonal weight associated Brahms was written at the thought of as a duet rather than a with A-flat, in fact the specific A­ Brahmshaus in Germany on a fel­ solo and accompaniment. flat on the top line of the bass clef. lowship and premiered by the Man­ This is not a key relationship, but hattan Philharmonia in New York ROBERT CEELY, who was born in rather an important goal and tone City in 1998. Other recordings ap­ 1930, is a graduate of the New center of the piece. The entire piece pear on the Qualiton, Koch, Pro­ England Conserva - is notated in 3/8. This is a conve­ tone and Leonarda labels. tory of Music, nience. The accents and "down­ where he studies beats" are determined by dynamics KRISTINE H. BURNS is director of with Francis and phrasing. the Electronic Music Studios at the Cooke. Further Florida International University studies were with JAMES CHAUDOIR was born in School of Music in Miami. She has Darius Milhaud 1946 in Baton Rouge, Louisiana. served on the faculties of Dart­ and Leon Kirchner at Mills College, He is professor of mouth College and the Oberlin Col­ and Roger Sessions and Milton Bab­ music composition lege Conservatory of Music. As the bitt at Princeton. In 1963-64 he and theory at the owner and editor of WOW'EM, worked in the Electronic Music Stu­ University of Wis­ Women on the Web-Electron­ dio in Milan as a guest of the Italian consin-Oshkosh Media (http://music.dartmouth. government. His compositions in­ and has written a edu/-wowem), she designed and im­ clude solo, chamber, and orchestral wide range of plemented a web site for young music as well as music for tape works for vocal and instrumental women with interests in media arts alone and tape with instruments. ensembles-from solo performer to as well as science, math, or comput­ His ballet Beyond the Ghost Spec­ choir and orchestra-and many ers. Her scores and recordings have trum was performed at Tanglewood pieces incorporating dance as well been published by Tuba-Euphonium in 1969. His opera Automobile as the electronic medium. A highly Press, Frogpeak Music, and Seeland Graveyard was presented at the published and commissioned com­ Records. She is serving as editor-in­ New England Conservatory of poser, his works have been per­ chief for an encyclopedia of twenti­ Music in February of 1995. He has formed in Europe, Canada, the Far eth-century American women received grants from the Ditson East, and major cities throughout musicians, a forthcoming publica­ Fund, the Brookline Arts Council, the United States. In addition to tion by Oryx Press. She is a member Fromm Music Foundation and oth­ composing, he is an active per­ of the College Music Society, Inter­ ers. Presently he is resisting work on former, conductor, and supporter of national Alliance of Women in his second opera. contemporary music. Music, International Computer Music Association, Society of Elec­ Auros is a slightly revised version of Adagio and Fugue is a transcription tro-Acoustic Music in the United the piece that was performed on for organ of another work of the States, and the Society of Com­ April 3, 1997. The revision con­ same title composed for string or­ posers, Inc. Her intermedia compo­ sisted mostly of simplifying some chestra in 1995. The work is filled sitions have been performed rhythmic details and rewriting some with deep, moving sonorities creat-

27 ing broad brush strokes of sound New Music Consortium Distin­ Award, and New Jersey Guild of throughout. The fugue subject is guished Service Award. His first Composers Competition. Perfor­ short with entries frequently occur­ opera Intimations was the recipient mances and commissions of her ring in stretto while passing of two national awards. In 1994 he work include the New Jersey Sym­ throughout all twelve chromatic was honored with a Distinguished phony (Hugh Wolf), Hudson Valley pitch levels of entry. Adagio and Teacher White House Commission Philharmonic (JoAnn Falletta), Fugue offers the performer many on Presidential Scholars. He is the Chamber Symphony of Princeton, registrational possibilities and may Grand Prize winner of the 1997 Contemporary Chamber Players of be used either as a concert piece or Delius Composition Contest. the University of Chicago (Ralph within a worship environment. Shapey) , members of Speculum M u­ Impressions II for clarinet in B-flat sicae, League-ISCM, Guild of Com­ DINOS CONSTANTINIDES stud­ and piano is a revised version of Im­ posers, Composers Concordance, ied at the Greek Conservatory in pressions I, composed in 1975, The New York Camerata, Quintet of the Athens, the Juil­ work was commissioned by Stanley Americas, Gregg Smith Singers, liard School in New Weinstein, then principal clarinetist Eastman Chorale, Alea III, Earplay, York, and the Uni­ of the New Orleans Symphony. He Cygnus Ensemble, and soloists Ur­ versities of Indiana, premiered the piece in 1975 in New sula Oppens, Aleck Karis, Gregory Brandeis, and Orleans. It was recorded on an Fulkerson, Jayn Rosenfeld, Sue Ann Michigan State. He Orion LP by clarinetist Jack Kreisel­ Kahn. Patricia Spencer, and Chris holds a PhD in man and pianist Lawrence Ferrara, Finckel. Her music is recorded on composition and has studied violin both professors at NYU. Impres­ the CRI, Opus One, Advance, and with Dorothy Delay, Ivan Galamian, sions is rhapsodic in character with Soundspells labels. She was Presi­ and Josef Gingold. He is a distin­ changes of colors and moods. The dent of the American Composers guished Boyd Professor and head of New York Times called it "dra­ Alliance from 1985 to 1989. composition at the Louisiana State matic" when the work received its University School of Music, conduc­ New York premiere at Carnegie Pas de Quatre began with a series tor and Music Director of the Recital Hall. The piece received its of improvisations in which I incor­ Louisiana Sinfonietta. His works European premiere in Vienna at the porated harmonies associated with have been performed throughout International Conference of the Col­ jazz which I heard in the fifties and the world, including premiere per­ lege Music Society in 1997. sixties. I wanted these elements to formances with the American Sym­ move in and out of a more expres­ phony Orchestra at Avery Fisher ELEANOR CORY studied composi­ sionistic musical domain. I was in­ Hall and Alice Tully Hall, and the tion with Meyer Kupferman at trigued by the idea that if chords Annapolis Chamber Orchestra at Sarah Lawrence were rearranged spatially and put in Carnegie Hall. His music is College, Charles different orders, they would be recorded by Orion Master Record­ Wuorinen at the transformed from a jazzy world to a ings, Crest Records, Capstone New England Con­ more atonal one. The jazz harmony Records, and Vestige Recordings, servatory; and became associated with slow lyrical and published in the United States, Chou Wen-chung melodic gestures, while the more ex­ Greece, and Mexico. Vienna Mod­ and Bulent Arel at pressionistic ones generated angular, ern M asters of Vienna, Austria has Columbia University, where she re­ high-energy material. The form that released five CDs including his sym­ ceived her DMA. She has taught at emerged was a five-part structure phonic music, and the Louisiana Yale University, Baruch College, the with slow contemplative sections at Composers Guild has released a CD Manhattan School of Music, Sarah the beginning, middle, and end of which includes the Flute Concerto. Lawrence College, Brooklyn Col­ the piece. Two new CDs include excerpts from lege, the New School for Social Re­ his opera Antigone which was pre­ search, and currently Kingsborough JOHN CRAWFORD, a native of miered by the Baton Rouge Opera Community College. Her work has Philadelphia, received much of his in 1993. Constantinides is the recip­ been recognized by awards from the musical training at ient of many grants, commissions, National Endowment for the Arts, the Yale School of and awards, including numerous New York State Council on the Music, where he ASCAP standard awards, First Arts, New York Foundation for the studied with Paul Prizes in the 1981 Brooklyn College Arts, and Yale University, and prizes Hindemith and International Chamber Opera Com­ including the American Composers Quincy Porter. Fur­ petition and the 1985 First Midwest Alliance Recording Award, Kucyna ther studies with Chamber Opera Theater Confer­ International Composition Prize, In­ Nadia Boulanger and Arthur Hon­ ence, as well as the 1985 American ternational New Music Composers neger in Paris were followed by

28 graduate work at Harvard, where original idea was to write each vari­ She is President of the New Music his composition teachers were Wal­ ation in the style of a different Alliance, a national organization ter Piston and Randall Thompson. dance. Although variations I and III which has been responsible for the After receiving his doctorate from are still dance-based, this initial idea New Music America Festivals. Harvard, he taught at Amherst and was modified in that variations II Wellesley Colleges. Since his recent and IV are now based respectively Fire on the Mountain (1993) for vi­ retirement as Professor of Music at on pandiatonicism and serialism, braphone, marimba, and piano, was the University of California, River­ lending the piece a somewhat post­ commissioned by the Philadelphia side, he lives and composes in the modern air. The movement ends Ensemble Network for New Music. Boston area. Honors he has received with a fugue whose subject takes "I first dreamed this piece; I was include a Fulbright grant to study in advantage of the identity between trying to photograph a large white Paris, Harvard's Paine Travelling the first four pitch classes of horse who was sitting outside on a Fellowship, and the Boott Prize in "Komm, Spielmann" (B-flat, D, B­ couch. When I looked through the Choral Composition, several flat, F) and those of a well-known lens, all I could see was white, and ASCAP serious music awards, and a nursery tune. it took me some time to realize that grant from the University of Califor­ I was too close to the horse. As I nia's Creative Arts Institute. In No­ TINA DAVIDSON was born in 1952 stepped back, I looked up into the vember, 1993, he was an honored in Stockholm, Sweden and grew up distance. The clouds suddenly Guest Composer at the University of in Oneonta, NY parted and the setting sun shone on Illinois Wesleyan University's annual and Pittsburgh, PA. the peaks of the mountains like hot Symposium of Contemporary She received her BA embers of a smoldering fire." Fire Music. Crawford's instrumental in piano and com­ on the Mountain is about heat, love, music has been played by the Buf­ position from Ben­ and fire, the looking up and seeing falo Philharmonic Orchestra, the nington College in it on the mountain, glowing and Brandeis, Sequoi, and Cavani String 1976, where she hot, and knowing this is where I Quartets, the Hartt Chamber Play­ studied with Henry Brant, Lewis need to go-into the heat of the fire, ers, the Almont Ensemble, the Con­ Calabro, Vivian Fine, and Lionel which is myself. It is about bringing temporary Music Group of the Nowak. She has written for orches­ the fire of my life home; this is the University of Southern California, tra, mixed instrumental and vocal passion of life, the urge to renew and the Indiana New Music Ensem­ ensembles, soloists, and works for oneself, and the urge to integrate ble. His choral works have been pre-recorded tape playback. Com­ and combine with others-to bring performed by such groups as the missions include the Kronos Quar­ the sacred and profane, the intangi­ New England Conservatory Chorus, tet, Sylrriar Ensemble, Pittsburgh ble and the tangible together in a the Harvard Glee Club and Har­ New Music Ensemble, Greater Twin wonder and a beauty. This work is vard-Radcliffe Choral Society, the Cities Youth Orchestra, Orchestral recorded for CD on Tina Davidson Chorus Pro Musica (Boston), Incar­ Society of Pittsburgh, and the "I Hear the Mermaids Singing," by nation Concerts (New York), the Mendelssohn String Quartet. Her CRI's Emergency Music. USC Concert Choir, the UCLA A music has been performed through­ Cappella Choir and Madrigal out the United States and parts of CARLOS DELGADO has worked as a Singers. His music is published by Europe by many orchestras and en­ jazz pianist, arranger, and composer E. C. Schirmer, Oxford University sembles, including the Florida Sym­ of soundtracks for Press and Galaxy Music, and his phony, St. Paul Civic Orchestra, radio and video, in­ String Quartet No. 2, recorded by Harrisburg Symphony, Erie Philhar­ cluding music for the Sequoia String Quartet, is avail­ monic, Fidelio, Zeitgeist, Relache National Public able on Music & Arts CD-740. Ensemble and Double Edge. She has Radio, Outward been recorded on Mikrokosmic, Bound USA, and The form of the first movement of Callista, Coronet labels and Opus independent films. Entrada and Variations for Brass One. She was recently awarded a He holds a BM from Berklee Col­ Quintet is buttressed by the four ap­ Pew Charitable Trust Fellowship, lege of Music in jazz piano perfor­ pearances of its festive ritornello. the largest such grant in the country mance and an MA in composition Three interludes, somewhat in the for which an artist can apply. She is from New York University, where manner of Giovanni Gabrieli, pro­ the recipient of a Meet the Com­ he is a doctoral candidate. His vide contrast. The second movement poser/Readers Digest Commission music has been heard in the United is a set of variations on the Austrian and was commissioned by public States, Argentina, England, Ger­ folk tune "Komm, Spielmann, tanz television (WHYY-TV) in 1993. She many, Italy, Japan, Romania, and mit mir" (Come, minstrel, dance is composer-in-residence for the Or­ Venezuela, and is available on the with me). Taking his cue from the chestra Society of Philadelphia and Capstone Records label. He is the first line of the text, the composer's runs the New Orchestral Project. recipient of the Society of Com-

29 posers 1997 SCI Series Award, the Carolina at Chapel Hill, where he sures, explores homophonic textures New York University Graduate studied composition with Roger and an oscillation in extreme dy­ Composition Award, and the NYU Hannay. He has received perfor­ namic levels. Sonority, through the Award for Outstanding Doctoral mances by the Cleveland Orchestra, use of mutes, is explored in the Achievement. Philadelphia Orchestra, Colorado fourth movement, the resonance of Springs Symphony, South Carolina shadows. The piece concludes with Polemics is a multilevel exchange Symphony, Kansas City Symphony, resolutions, a movement built upon among various aspects of the Cleveland Institute of Music Sym­ the construction of triads, their acoustic characteristics of the piano phony Orchestra, and the Georgia eventual dissolution, and the move­ (such as the properties of sustained State University Symphony Orches­ ment back to unity. tones) with their electronic counter­ tra. His chamber works have also part on the tape. These acoustic been performed by the Thamyris Partially deaf from birth, qualities complement, modulate, New Music Ensemble, neoPhonia LAWRENCE DILLON has never­ and transform each other's gestures New Music Ensemble, and the Ri­ theless produced an extensive body throughout the work, in ways that alto Brass Quintet. He has received of work, ranging from brief cham­ are at times complementary and at commissions from the Cleveland ber songs to large orchestral scores. times antagonistic. The tape part Orchestra, AHEPA Centennial He has received commissions and was created through electronic syn­ Foundation, and the Atlanta served as composer-in-residence for thesis of waveforms taken from the Women's Choir. He is the recipient music festivals at Killington, Swan­ components of the piano sound it­ of numerous grants and awards, in­ noana, and Saugatuck. His Violin self. These waveforms include those cluding a recent honorable mention Concerto was commissioned and of the hammer striking the strings at in the ASCAP/Rudolf Nissim Com­ premiered by Naumburg-winner different registers, which were used posers Competition. His music was Elaine Richey; its European pre­ to build the non-pitched sounds. recently featured at a ceremony ded­ miere will take place in Hamburg, The pitched sounds w~re con­ icating a statue for the 1996 Cen­ Germany. His Flute Concerto was structed from the waveforms of the tennial Games in Atlanta and at the given its European premiere by Ulla attack, decay, and sustain portions 1996 National College Music Soci­ Miilmann Horgensen, principal of piano tones at different dynamic ety Conference also held in Atlanta. flutist of the Danish Radio Sym­ levels. Many segments of the elec­ His music is published by MMB phony. His Symphony No. 2 was tronic part were created by taking Music, Inc. He is Assistant Professor premiered in March 1998 at Wake passages which occur earlier in the of Composition at the Georgia State Forest University. Dillon earned his piece and shortening their duration University School of Music. He is doctorate in composition from the by a high percentage (80% and Founder and Director of the neo­ Juilliard School, winning the above). As the computer performs Phonia New Music Ensemble, and school's top prizes and honors, in­ these passages at a very high speed, he is also Musical Director of the cluding the Gretchaninoff Prize. He they are transformed into a com­ Greek Islanders, an ethnic ensemble studied privately with Vincent Per­ pletely new event. These recycled he founded in 1982 specializing in sichetti, James Sellars, Edwin ideas are then coupled with the Greek folk dance music. Finckel, and Donald Harris, and in piano part to produce complete, in­ classes with Milton Babbitt, Elliott terlocked phrases. Five Breezy Bagatelles for Carter, David Diamond, Charles (trom)Bones, completed in 1997, Dodge, and Leon Kirchner. He is NICKITAS J. DEMOS (b . 1962) holds features five movements for trom­ Assistant Dean at the North Car­ a DMA degree in composition from bone trio. Each movement is a vi­ olina School of the Arts, where he the Cleveland Insti­ gnette devoted to a particular idea. teaches composition and conducts tute of Music and The first movement, fanfare, serves the new music ensemble. Case Western Re­ as an energetic introduction and fea­ serve University, tures a repeated triplet motive Scherzo is the third movement of where he studied which gradually changes into Quintet in C#/D for bassoon and with Donald Erb. rapidly moving sixteenth note pas­ string quartet. The title indicates He also holds a sages before reaching a climax and everything contained in the music: Master of Music degree in composi­ coming to a quiet conclusion. The this is a very fast, jocular, ternary tion from Indiana University, where second movement, all the earth has composition in triple meter. The he studied with Donald Erb, Eugene turned to sky, makes extensive use piece was commissioned by the O'Brien, Harvey Sollberger, and of the sliding ability of the trom­ 1997 Swannanoa Chamber Music John Eaton. He received a Bachelor bone and purposely evades any Festival, where it was premiered by of Music degree in clarinet perfor­ sense of tonal or rhythmic stability. Jeff Keesecker and the Cassatt mance from the University of North The third movement, extreme mea- String Quartet.

30 LORI DOBBINS received her MFA In writing my Percussion Quartet, I Joseph H. Beams Prize (Columbia from the California Institute of the enjoyed exploring the coloristic and University) for her Weather Songs, Arts in 1982, expressive possibilities of the per­ and was awarded a prize in the where she studied cussion ensemble. I also chose to 1998 SCI/ASCAP student commis­ with Mel Powell, obscure the difference between in­ sioning contest. This year her studies and her PhD from struments of indefinite and definite in the Netherlands have been par­ the University of pitch by assigning melodic lines to tially funded by the Nova Scotia Tal­ California, Berkeley instruments of indefinite pitch and ent Trust. Her works have been in 1990, where she at times employing instruments of performed at universities, festivals, studied with Olly Wilson, Richard definite pitch to play music which is and concert series in Canada, the Felciano, Edwin Dugger, and An­ primarily rhythmic. The work was United States, Australia, and Europe. drew Imbrie. She is Assistant Profes­ commissioned by the Fromm Foun­ sor of Music at Lafayette College in dation. In February of 1998 I woke up in Easton, PA. She has received com­ the middle of the night in my attic missions from the Koussevitzky EMILY DOOLITTLE was born in apartment in Amsterdam to the Foundation, Saint Paul Chamber Halifax, Nova Scotia in 1972 and sound of a fantastic bird, singing Orchestra, Fromm Foundation, and began studying against a gentle backdrop of rain. I the Pro Arte Chamber Orchestra of piano at age 6 and was entranced not only by the Boston. She received the Lili oboe at age 11. In beauty of the bird song, but by the Boulanger Award from the National 1995 she completed ways the bird song was and was not Women Composers Resource Cen­ a Bachelor's Degree like "music." Each motive the bird ter, the Goddard Lieberson Fellow­ in composition and sang was very "musical," but the ship from the American Academy oboe at Dalhousie entirety of its song was not the least and Institute of Arts and Letters, the University, where she studied com­ bit like what we consider "music" ASCAP Special Award for Composi­ position with Dennis Farrell and (in the traditional Western sense). I tion, First and Second prizes in the oboe with Suzanne Lemieux. Upon was fascinated, and spent months International League of Women graduation she received both the listening to birds (especially black­ Composers Composition Contest, University Medal in Music and the birds, as that is what the bird out­ residencies at the MacDowell Dalhousie Alumnae Association side my window was) and thinking Colony and the Atlantic Center for Music Award. From 1995-97 she about the differences between music the Arts, Composition Conference pursued a Master's Degree in com­ and bird song. This piece explores at Wellesley College Fellowship, position at Indiana University, these differences, beginning with grants from Meet the Composer, where she studied with Don Freund bird song, and gradually approach­ and several awards from UC Berke­ and taught undergraduate music ing "music." ley for her work in composition. theory. In 1997 she came to Amster­ Her works have been performed by dam on a Fulbright Scholarship to AMY DUNKER has degrees from the Pro Arte Chamber Orchestra of study at the Koninklijk Conservato­ Morningside College (BME-Music Boston, Saint Paul Chamber Or­ rium with Louis Andriessen; there Education), the University of South chestra, Collage, New Music Con­ she has also worked with Diderik Dakota (MM-Trumpet Perfor­ sort, New Jersey Percussion Wagenaar and Martijn Padding. At mance), Butler University (MM­ Ensemble, San Francisco Contempo­ various summer festivals she has Composition), and is pursuing a rary Chamber Players, Women's studied with R. Murray Schafer, DMA (Composition) degree at the Philharmonic, Brandeis Contempo­ Oliver Knussen, Peter Lieberson, University of Missouri- Kansas City. rary Chamber Players, Minnesota Betsy Jolas, Paul Basler, and Joan She has studied composition with Composers Forum, at the 14 An­ Tower, and for the last six years she James Mobberly, Robert L. Cooper, nual New Music and Art Festival at has been a participant in Schafer's Michael Schelle, James Aikman, and Bowling Green State University, Pic­ collaborative composition project Robert P. Block. Her works have re­ colo Spoleto Festival, Charleston, And Wolf Shall Inherit the Moon. ceived conference performances at SC, Cal Arts New Music Festival, She has also worked as an organizer the Czech-American Summer Music Seattle Spring Festival, and the Soci­ of the student programs at Scotia Institute-Prague (1998), NOW ety of Composers Inc./Florida State Festival of Music (1994-97) and the (1998), June in Buffalo (1997), New University New Music Festival. Her American Conservatory at Fontaine­ Music Miami (1997), Region VI SCI chamber orchestra composition Fire bleau (1 996-present), and is a (1997, 1998), Women in Music: and Ice has been released by Vienna founding and organizing member of Celebrating the Last One H undred Modern Masters. Several of her Concert I t/m IV composers collec­ Years (Ohio University, 1997), But­ works are published by GunMar tive and concert series in Amster­ ler University Centennial Series: Music. dam. In 1997 she was awarded the Women in Music Concert (1995),

31 the Louisiana Trumpet Festival Painted Bride Quarterly. He has HOWARD JONATHAN (1994), and the University of Iowa been composer-in-residence at the FREDRICS (b. 1962) is active as a SCI Women in Music Concert Series Yellow Spring Institute and the composer, per­ (1991). She has received commis­ Charles Ives Center for American former, and teacher. sions from the Indianapolis Brass Music. · He has received nu­ Choir, Butler University Wind En­ merous commis­ semble, Paseo Academy of Fine and BRIAN THOMAS FIELD earned a sions for works in a Performing Arts (Kansas City, MO), BA from Connecticut College, a variety of media, and the Matterhorn Brass Quintet Master of Music degree from the including incidental (Minneapolis, MN). Juilliard School, and a PhD in com­ theater music, scores for the Emmy position from Columbia University. and Telly Award winning "Texas O' was written for Spencer Yea­ He has studied composition with Parks and Wildlife" PBS Television mans, a colleague of mine at the George Edwards, Mario Davi­ series, computer game and sound ef­ University of Missouri-Kansas City. dovsky, Milton Babbitt, Noel fects, and a variety of electronic and Spencer's interest in the Penny Whis­ Zahler, Robert Rodriguez, Robert acoustic works for dance and con­ tle and his Irish heritage was the Yeckovich, and Michael Cza­ cert performance. His compositions, compositional inspiration for O.' jkowski, and electronic and com­ published by Auracle Music and The work is based on the Irish lul­ puter music with Mario Davidovsky Franklin-Douglas Music, are laby "Dereen Day." The title is de­ and Brad Garton. He has taught at recorded on the Centaur, DIEM, rived from old Irish names such as Seton Hall University and Norwalk SEAMUS/EAM, HEAR, Otava, Di­ O 'Reilly, O'Sullivan, O'Rourke, etc. Community College, has worked in fusion i Media and Omnimusic/OM business affairs for Boosey and Labels, and have been performed in­ PAUL EPSTEIN (b. 1938) is Profes­ Hawkes Music Publishing, and he is ternationally at a wide range of new sor of Music Theory at Temple a music producer for the StarMedia music and dance festivals, with University, where Network in New York City. He has radio broadcasts on Swedish Radio's he has taught since won the Grand Prize of the Con­ "Music News," Canadian Broad­ 1969. Among his necticut Federation of Music Clubs, casting Corporation's "Two New compositions are a the Austin Peay Young Composers' Hours," Radio Argentina, KPFK­ chamber opera, Award, and was a selected com­ FM Los Angeles, and WRR-FM electronic music, poser for the Third lriternational Dallas. Mr. Fredrics has also been 11:· and works for Composers' Reading by the River­ awarded prizes for his work by the string orchestra and a variety of side Symphony in New York City. Tampa Bay Composers Forum Inter­ small ensembles. He has written ex­ Besides concert music, he has also national Competition, the Bourges tensively for voice, including a set­ written music for television and International Electroacoustic Music ting of Robert Coover's short fiction commercials. Competition, the Luigi Russolo In­ The Leper's Helix, commissioned by ternational Competition, the Musica the Rel,che ensemble, and a series of Three Moods for solo piano are ex­ Nova International Competition, collaborations with poet and novel­ perimental studies in augmented and the SEAMUS Competition. He ist Toby Olson. Epstein's music has and diminished harmonies; of the has also received a Fulbright grant been presented in the United States three, the first movement, "Interior to work as a guest composer at and abroad by such ensembles as Dialogue", is the most complex, in­ EMS, Stockholm, as well as grants Synchronia, the Circle Ensemble of volving the breaking up of the prin­ from the National Endowment for London, ONIX Nuevo Ensemble de cipal melody into a variety of the Arts and Meet the Composer. Mexico, the Topology Ensemble of modular sections that are recon­ Mr. Fredrics has presented master Brisbane, Australia, and the Temple structed throughout the course of classes and lectures at musical insti­ University Opera Theater. It is avail­ the piece. Of the following move­ tutions throughout the U.S., Brazil, able on compact disk on the Mode ments, "Upon Remembrance" is a Finland, and Sweden. Since receiv­ and Capstone labels. A recording of rather moody, slow waltz; the con­ ing a BM degree from the Oberlin his Palindrome Variations will be cluding "Wind Dance" is a rapid Conservatory of Music in 1985, he released later this year as part of the concluding movement with some has taught at Oberlin, Austin Com­ SCI Compact Disk Series. Epstein terrific dynamic contrasts. munity College, Western Carolina has contributed articles and scores University, and the University of to such journals as The Musical Texas, where he earned the DMA Quarterly, The Drama Review, and degree in composition. He is cur­ Arts in Society, and to the SCI rently serving as Visiting Professor Monograph series. From 1975 to of Composition and Computer 1982 he was music editor of The Music at Brown University.

32 Vagvisa For Mitt Ofodda Barn Freund has received fellowships to tablish a foothold .. . . The music is ("Lullaby for My Unborn Child"), attend the Latin American Music composed with a fine sense of in­ realized at EMS, Stockholm and the Centers Crossroads of Traditions strumental color. .. . Gerber has composer's studio, is a setting for workshop featuring John Corigliano given the soloist some fine, expres­ soprano and tape of Elsa Grave's and Lukas Foss and the Yale Sum­ sive melodies." His other recent poem. All of the sonic materials of mer School of Music at Norfolk works include a Viola Concerto, the tape part were derived from a with Joan Tower and Martin Bres­ written for Yuri Bashmet, String reading by the poet of the text. nik. He is presently pursuing gradu­ Quartet No. 4, for the Fine Arts These source recordings were de­ ate studies at the Eastman School of Quartet, Notturno for the London­ constructed into vowels, conso­ Music, where he has received a fel­ based Bekova Sisters Piano Trio, nants, phonemes, words, and lowship and teaching assistantship and Dirge and Awakening, pre­ phrases, and recombined to produce in composition and the Paul Sacher miered in 1993 by the Russian Na­ abstract sound obj ects as well as in­ Memorial Scholarship. He is study­ tional Orchestra under Mikhail telligible text fragments, using a va­ ing composition with Christopher Pletnev at the Moscow Conserva­ riety of phase vocoding and Rouse and cello with Steven Doane. tory. Mr. Gerber has become per­ resonant and convolution filtering During the summer he serves on the haps the most often-played living software algorithms. The piece is di­ composition faculty of Sewanee American composer in the former vided into three sections plus a Summer Music Center. He resides in Soviet Union, which he has toured short coda, with the central section Bloomington, Indiana. 10 times since 1990, and where he serving as an instrumental interlude. has received literally dozens of or­ The tape part functions as a shad­ Since his Piano Trio was not com­ chestral performances and numer­ owy "chorus" and "orchestra" text­ pleted at the time these notes were ous concerts of his solo and sound environment, while the being prepared, and since he hasn't chamber music. soprano clarifies the text. Musical­ really even settled on a title, the poetic connections are augmented composer feels uncomfortable giving String Quartet No. 3, written in through hierarchical transforma­ program notes, since the piece may 1998, is in three movements: Fan­ tions of sound materials. change. tasy Variations on 4 Notes, Scherzo, and Finale. The final two pizzicato STEFAN FREUND was born in STEVEN R. GERBER was born in chords of the Finale are a quotation 1974 in Memphis, Tennessee, and 1948 in Washington, D.C., and from the end of the Bart6k Quartet received a BM in Composition and received degrees No. 2. The work was premiered in Cello With High Distinction from from Haverford New York by the Gesualdo Quartet the Indiana University School of College and Prince­ (now the Brentano Quartet) and Music, where his primary teachers ton University. He given several performances in both were FrederiA Fox and Tsuyoshi now lives in New Russia and the U.S. by the Russian Tsutsumi. He has been awarded the York City. His Quartet, and many performances in William Schuman and Boudleaux composition teach­ the Midwest and New York by the Bryant Prizes from BMI, three ers included Robert Parris, J. K. Veronika Quartet. ASCAP Morton Gould Young Com­ Randall, Earl Kim, and Milton Bab­ poser Awards, two ASCAP Special bitt. His music has achieved consid­ DINU GHEZZO received his edu­ Awards, an SCI/ASCAP Commis­ erable success in recent years. After cation in theory, conducting, and sion, a Music Merit Award from the the American premiere of his Violin composition at the National Society of Arts and Let­ Concerto at the John F. Kennedy Romanian Conser­ ters, the Sernoffsky Prize from East­ Center for the Performing Arts in vatory in Bucharest man and the IU Deans Prize. His 1995 by the violinist Kurt Nikkanen in 1964 and 1966, music has been performed by the and the National Chamber Orches­ and he subse­ New Music Ensembles of the Uni­ tra under Piotr Gajewski, the Wash­ quently earned a versity of Michigan, the University ington Post called it "a major PhD in composition of Illinois, and Florida State Univer­ addition to the contemporary violin at the University of California, Los sity. Other performances include the repertoire: lyrical, passionate, beau­ Angeles in 1973. He is professor of National Gallery of Art in Washing­ tifully tailored to the instrument's music at New York University and ton, D.C., the Pabst Theater in Mil­ character and capabilities .... " And director of the NYU Composition waukee, the Art Club of Chicago, when Carter Brey premiered his Studies. He is very involved in na­ the Aspen Music Festival, the Great Cello Concerto with the same or­ tional and international music pro­ Lakes Chamber Music Festival, the chestra and conductor in 1996, the jects, as founder and director of the SCI Region V Conference, and the critic wrote "Gerber's concerto International New Music Consor­ Midwest Composers Symposium. seems to have what it takes to es- tium (INMC Inc.) and past director

33 of the ANMC Inc., Todi Interna­ the more dramatic gestures of the Luxury,· impulse! I draft a phrase tional Music Days, Gubbio Festival, third and final movement. Elements and believe it protects me from this icy Molfetta Festival, CIPAM Festival of inner improvisation with rich world, in Montevarchi (Italy), Constanta sound effects are juxtaposed with a that goes through my body like a shoal International Music Days, the Week rather intricate melodic and linear of sardines. of Romanian American Music in texture, with a dramatic but sub­ Oradea, Romania, and other events. dued ending between the soprano The dark but transcendent imagery He is the recipient of many awards, and prepared piano. of this last stanza of Alain Bosquet's prizes, and commissions: ASCAP poem, "Regrets," has often been very close to me, but never more awards, CAPS, Georges Enescu ROBERT GIBSON (b. 1950, At­ Award, NYSCA, and NEA grants. lanta) studies double bass with than in this past year with the loss of my sister-in-law after a four-year His works have been played by Lucas Drew (Uni­ leading international ensembles and versity of Miami) battle with cancer. I was also quite saddened by the news of Torn soloists and he has had residencies and composition Takemitsu's death, since his music as a guest composer, conductor, and with Steven Strunk performer. His music is published by (Catholic Univer­ has been a profound influence in my Editions Salabert of Paris, by Mu­ sity) and Lawrence own development as a composer. My "offering" (after Varese's beau­ sica Scritta, the AIM Press (Italy), Moss (University of TGE (Milan, Rome) and by Seesaw Maryland). His compositions have tiful piece of the same name) is in Music Corporation, New York. He been performed throughout the honor, and in celebration, of these serves on many national and inter­ United States, including concerts at two lives-one in my family, and one whose musical path I have national boards of. directors, such as the national conferences of the Col­ the Pierre Schaeffer Composition lege Music Society and the Society found most compelling. Those fa­ miliar with Takemitsu's Garden Competition, Georges Enescu Com­ for Electro-Acoustic Music in the petition, INMC, etc. His composi­ United States. Mr. Gibson's works Rain of 1974 (for brass ensemble) tions are featured on several Orion have also been presented in South will perhaps recognize the quotation Master Recording albums, on Cap­ America and Europe and are of the haunting melody (solo muted stone records, and on TGE, WDR recorded on Golden Crest and Spec­ trumpet) which occurs near the end of his piece, and in my quartet (in Cologne, and Grenadilla labels. He trum Records, including the Spec­ has just returned from a highly suc­ trum release, Music of Robert the second violin) also near the con­ cessful tour of Italy, England, Hol­ Gibson. Among his awards in com­ clusion, following an ensemble pas­ land, and Germany. position are six Creative and Per­ sage in harmonics. forming Arts Awards from the JAMES L. HAINES is Assistant Pro­ L~tters to Walt Whitman (1982, re­ University of Maryland Graduate vised 1999) for soprano, clarinet, School and the Artist Fellowship in fessor of Music at Elizabethtown and piano is written on poems of Music (1982) and Individual Artist College, where he directs the music the same title by Ronald Johnson. Award (1993) from the Maryland therapy program and coordinates The three movements and an inter­ Arts Council. Chamber Music, a the music theory/composition cur­ lude (after the second poem) use ex­ Capstone CD of chamber works by riculum. His initial studies in com­ tended techniques for both clarinet Mr. Gibson appears on Fanfare position with James McVoy were at and piano, while the soprano re­ magazine's 1996 Want List as one Elizabethtown College, where he re­ mains a dramatic vocal presence, in of critic William Zagorski's five no­ ceived a Bachelor of Science in a free atonal texture. The first table recordings of the year. Mr. Music Therapy. He holds a Master movement's introductory lines bring Gibson is a member of the Contem­ of Music degree in composition in an almost mystical dialogue be­ porary Music Forum of Washing­ from West Chester University, where tween the two poets-Ronald John­ ton, D.C. and a performer of new he studied with Larry Nelson. His son, the author of the poems, and music and jazz who has appeared doctorate is in Theory and Composi­ Walt Whitman, to whom the poems with numerous local and interna­ tion from the University of Min­ are addressed-with the performers tionally recognized jazz artists. He is nesota, where he studied with acting and performing as a trio of Associate Professor of Theory and Dominick Argento, Paul Feder, and equal importance. The second Composition and Associate Director Alex Lubet. Dr. Haines has been a movement comes as a solo clarinet of Administrative Affairs in the member of the Minnesota Com­ segment, as a quasi interlude with School of Music at the University of poser's Forum and is a member of the soprano joining in, while the Maryland, College Park. the Society of Composers, Inc. He piano remains only a distant accom­ has written several works on com­ panist. The solo prepared piano in­ Offrande is dedicated to the mem­ mission and received a performance grant from the Minnesota Com­ terlude follows as an introduction to ory of Karen van Rossum (1949-96). poser's Forum. He has written for

34 instrumental and vocal soloists, in­ ELLEN HARRISON holds degrees seventh pieces are played without a strumental chamber groups, and in composition from the University break. The biggest challenge while large vocal and instrumental ensem­ of Illinois at Ur­ writing this work, however, was to bles. bana, the create contrasts while remaining Musikhochschule devilish, i.e. extreme, excessive, ener­ Four Interrogatives was composed in Stuttgart and the getic, reckless, and perhaps mischie­ for the Wunderbrass Trio and was University of Cali­ vous. At no time was it my intention premiered by them in November fornia at Berkeley. to create a devilishly difficult work, 1996. Each movement is meant to Her teachers in­ but rather, as one conductor so aptly be evocative of possible human clude Edwin Dugger, Richard Fel­ stated, to create a work through emotions in response to the ques­ ciano, Thomas Fredrickson, Andrew which everyone could have a "devil­ tion. The programmatic nature is Imbrie, Milko Kelemen, Olly Wil­ ishly good time." more in keeping with Debussy than son, and Paul Zonn. She has re­ Strauss. ceived numerous awards and DAVID HATT has recently been ap­ fellowships, including an Ohio Arts pointed Assistant Organist at St. DAVID W. HAINSWORTH holds Council Grant, a Special Prize in the Mary's Cathedral degrees from Berklee College of IBLA European International Com­ in San Francisco. Music (BM) and petition for Composers, a Fromm He is also the or­ the University of Commission, a Holtkamp-AGO ganist for H illcrest Massachusetts Award in Organ Composition, a Congregational (MM) and is a doc­ Jacob K. Javits Fellowship, and UC Church in Pleasant toral student in Berkeley's Prix de Paris, which en­ Hill, accompanist composition at the abled her to live and work in Paris for the Festival Chorus of the East ' 1f~ m-. University of Texas- for two years. Her compositions Bay, and Dean of the San Jose chap­ Austin. His main composition range from instrumental and vocal ter of the American Guild of Organ­ teachers have been Robert Stern, chamber music to works for larger ists. He is represented by Artist Russell Pinkston, Karl Korte, and forces. They have been performed Recitals Concert Promotional Ser­ Dan Welcher. His composition throughout the United States as well vice. His discography includes a CD Other Worlds for Cello and Tape as in Germany and France. She is of works by Louis Vierne, an ap­ has been performed numerous times teaching at the University of Cincin­ pearance on (Y)earbook Vol. I, an including the 1995 SEAMUS Con­ nati College Conservatory of Music improvisational collection, and vari­ ference at Ithaca College, the 1995 Preparatory Department. ous LP's on the Advance and Korean Electro-Acoustic Music So­ Grenadilla labels. H e received the ciety's National Conference, the Seven Devilish Pieces was commis­ M.A. degree in Music from the Uni­ Eighth Biennial Festival of New sioned by the Fromm Foundation in versity of California, Riverside, fol­ Music at Florida State University 1994. Its title, as well as its inspira­ lowing keyboard studies with and Imagine 97. Other Worlds will tion, stem from a comic situation Raymond Boese and Anthony New­ be released on a CD of works per­ that occurred during my residence in man and composition with Barney formed by Craig Hultgren. Mr. Paris. During a conversation with Childs. During that time he was a Hainsworth's most recent composi­ several colleagues, a casual remark member of the seminal Redlands tion Shady Origins has received referring to "this devilish piece" was Improviser's Orchestra and pre­ distinctions from the 25th Interna­ interpreted as "seven devilish sented a solo version of Satie's Vex­ tional Electroacoustic Music Com­ pieces." This misunderstanding ations. In his spare time he is an petition/Bourges, the Cinquieme sparked my imagination and led me Automation Specialist for the De­ Prix International Noroit de to investigate the devil's portrayal in partment of Transportation. He has Musique Acousmatic, and the First various disciplines, which, in turn, been an SCI member for 25 years. International Music Competition triggered a multitude of musical "Pierre Schaeffer." ideas. The seven pieces are not inde­ Prelude, G-flat is an attempt to use pendent of one another but rather intermanual organ technique to de­ Other Worlds combines the world movements of one large work. Al­ lineate a solo voice, beginning in the of cello with two distinct Synthetic though the overall structure is highly tonal area of G-flat, which it soon worlds: the worlds of pure digital sectionalized, I have tried to create leaves. Tremolo effects and arpeg­ synthesis and musique concrete. an organic form in which musical gios are added for contrast, with the ideas return in different guises and intermanual sections making occa­ with different functions. To further sional reappearances. The piece con­ combat its sectional nature, the third cludes with an odd plainsong duo and fourth as well as the sixth and followed by a pedal solo. In an at-

35 tempt to make the piece per­ surgical procedure. He has explored and saxophone complete with a formable, the intermanual sections this health crisis with compositional fughetta which leads then to the are precisely fingered, but with no gestures which express both the ter­ concluding material that is very up­ attempt to account for variations in ror of this experience and the in­ lifting and joyous." the sizes of performers' hands, the tense post-surgical physical battles ultimate stumbling block for this he had to endure. The overall spirit JEFFREY HOOVER's compositions sort of thing. of the work is "concerto-like," uti­ have received recognition through lizing a "virtual soloist" ("piano") the prestigious Tri­ ROBIN JULIAN HEIFETZ earned in an "orchestra;" environment. The este (Italy) prize, a doctorate in music composition in work carefully balances textures, os­ awards from Mu 1978 from the Uni­ tinatos, and melodic techniques, Phi Epsilon, the versity of Illinois at sometimes resembling the composi­ Lancaster Fine Arts Urbana-Cham­ tions of Ligeti and Penderecki. It re­ Festival, grants, fel­ paign, where his ceived its premiere in 1994 at the lowships, and over principal teachers International Computer Music Con­ 18 commissions. One aspect of his were Salvatore ference in Aarhus, Denmark. work is the combination of his Martirano, Herbert music with his own paintings, creat­ Briin, and Scott Wyatt. He served as JAMES S. HOCH holds a BM from ing unique interdisciplinary works. composer-in-residence at Stiftelsen the University of the Pacific and an He holds a PhD in Fine Arts (Com­ Elektro-acustisk i Sverige in Stock­ MM in Music His­ position and Interdisciplinary Fine holm, Colgate University in New tory and Literature Arts) from Texas Tech University as York, Sonic Research Studios of and DMA in Clar­ well as a BS and MM from Ball Simon Fraser University in Canada, inet Performance State University. He is the Chairman Tel-Aviv University in Israel, the In­ and Pedagogy from of Fine, Performing and Applied stituut voor Psychoacustika en Elek­ the University of Arts at Illinois Central College, East tronische Muziek in Belgium, Colorado at Boul­ Peoria, Illinois. Sweelinck Conservatorium in The der, where his principal teachers Netherlands and Audio-Digital Lab­ were Philip Aaholm and Alan Mc­ HUBERT S. HOWE, JR. was edu­ oratories in Canada. In the 1980s Murray. He has taught at Carroll cated at Princeton University, where he was Assistant Professor of Musi­ College, the University of Hawaii­ he studied with J. cology and the Director of the Cen­ Hilo, Central Wyoming College, K. Randall, God­ ter for Experimental Music of the and Winona State University. He frey Winham, and Hebrew University of Jerusalem in has composed 22 works with opus Milton Babbitt, and Israel. Since 1987, he has been a numbers, many of which are pub­ from which he re­ free-lance composer and has served lished by Seesaw Music Corp. ceived the AB, as contributing editor for Journal a MFA, and PhD de- SEAMUS. His book On the Wires ]ubilance! for alto saxophone and grees. He was one of the first re­ of Our Nerves: The Art of Electroa­ organ was written for organist Pa­ searchers in computer music, and coustic Music was published in tricia Lundeen (Minister of Music at became Professor of Music and Di­ 1989 by the Bucknell University Central Lutheran Church in rector of the Electronic Music stu­ Press. His electro-acoustic works Winona, MN) and was premiered at dios at Queens College of the City appear on the Folkways, Orion, a joint recital of all works for organ University of New York. He also ACME, and Electroshock labels. and saxophone on April 15, 1997, taught at the Juilliard School for 20 where the saxophone part was per­ years. While much of his music is Wingshot Cries Like Wildfire was formed by the composer. "Knowing electronic and computer-generated, realized in the composer's home stu­ the setting for this recital, I wanted he has also composed music for or­ dio in 1993 using Performer soft­ to employ compositional techniques chestra, ensembles, and soloists. His ware. The principal sound sources often associated with sacred music electronic music, especially his Tim­ were two Akai S 1000 samplers, the such as antiphonal exchange, poly­ bre Studies and Improvisations, has Korg Wavestation AID and M3R AI phonic writing, and the various concentrated on developing unusual, synthesis module. In 1988, Heifetz stops on the organ such as the jubi­ creative, and non-instrumental qual­ developed a malignant tumor in that lant horizontal trumpets. The com­ ities of sounds. He has been a mem­ part of the brain controlling musical position is essentially in three ber of the Society of Composers, insight and not only was he in­ sections: the opening thematic mate­ Inc. since its founding in 1965, and volved in a life-and-death struggle rial is reflective and meditative, the served on the Executive Committee but he also risked the loss of his middle section gives way to a more from 1967 to 1971, in which capac­ musical faculties due to the ten-hour energetic exchange between organ ity he published the first several vol-

36 umes of the Society's Proceedings. tone of the next note. Each of the Composition at the Aspen Music He has been a member of the Com­ four lines trace a separate path, and Festival. He is working towards his puter Music Association and di­ some of the glissandos are very long DMA in composition at the Univer­ rected the International Computer and cover a small interval while oth­ sity of Michigan. His composition Music Conference at Queens Col­ ers are short and cover much wider teachers include William Bolcom, lege in 1980. He has been a member intervals, although each line exists Bright Sheng, Evan Chambers, and of the American Composers Al­ within a separate octave. The third Leslie Bassett. liance since 1974 and serves as Sec­ and fourth sections use an instru­ retary-Treasurer of the Board of ment that produces all overtones to­ Night is scored for cello and piano. Directors. He served as President of gether but with increasingly longer It has two movements, "Slumber" the U.S. section of the League of attack and decay times, producing a and "Tossing and Turning." Composers/International Society for "swelling" effect that simultaneously Contemporary Music from 1970 makes a crescendo and diminuendo. JOAN HUANG grew up in China until 1979, in which capacity he di­ Once the pitch is established, a sub­ and received her early music rected the first ISCM World Music tle vibrato like that of the unfolding education with her Days ever held outside of Europe. In sound enters. In the fourth section, parents in Shang­ 1988-89 he held the Endowed Chair the overtones of the sound make a hai. During her -in Music at the University of Al­ slight glissando up and down rather teenage years, she abama in Tuscaloosa. From 1989 to than the vibrato. As the section pro­ could not escape 1998 he was Director of the Aaron ceeds, the amount of glissando in­ the cultural revolu­ Copland School of Music at Queens creases. The middle of the piece tion. Under politi­ College. His music has been (actually comprising three sections in cal pressure, she was se'nt to a farm recorded on Opus One. length and taking two minutes) in-· to accept "re-education" and to do troduce a very low note, G in the heavy manual labor for three years. Improvisation No. 4, composed in lowest octave of the piano, that, During this time, she had the oppor­ 1998, is the fourth of a series of over the course of the complete pas­ tunity to learn authentic Chinese pieces that deal with the overtone sage, makes a downward glissando traditional music from local farm­ structures of sounds, as well as vi­ of an octave, to Goff the end of the ers. After the cultural revolution, brato and glissando, in unique piano. The entire music played here Huang was one of the top qualified ways. The overall shape of the piece makes a similar downward glissando applicants for the reopening of the is a palindrome, starting at the very of the same amount, which counter­ Shanghai Conservatory of Music slow tempo of 10 beats per minute acts the motion of these sections after it was closed for ten years. She and increasing (usually doubling) themselves, which move up an oc­ obtained BA and MA degrees from the tempo at each section until the tave over the passage. After the mid­ the Conservatory. In 1986, she came middle, which reaches the tempo of point of the piece, the instruments to the United States to continue her 120 beats per minute, and then re­ and tempos of the first sections re­ education at UCLA, where she stud­ versing the process. In this work, turn in reverse order, except that the ied with Elaine Barkin, William the overtones are always generated material is compressed. The climax Kraft, and Roger Bourland. She be­ individually and in ascending or de­ of the piece occurs in the next to last came interested in creating a style of scending order. In the opening and section, after which the final section fusion of Chinese traditional musi­ ending sections, the overtones are unfolds as a kind of coda. cal language with Western contem­ stated in a manner that "unfolds" porary compositional techniques. the sound: the highest overtones CHING-CHU HU received his BA She has received several awards, in­ enter individually one at a time, and from Yale University in 1992. After cluding two from Phi Beta Kappa the sense of pitch does not enter studying at the for international students, one Tan­ until several of them are sounding Freiburg glewood Music Festival Fellowship together. They decay in a similar Musikhochschule and two Aspen Music Festival Fel­ way. After an initial delay, the pitch for a year, he went lowships. She received her PhD in begins a very subtle vibrato, the to the University of 1991 from UCLA. She has had speed of which is harmonically re­ Iowa, where he re­ commissions and performances lated to the fundamental (it is eight ,. ceived an MA in from the Los Angeles Philharmonic, octaves below, in a subsonic range). composition and an MFA in orches­ Cleveland Chamber Symphony, The second and penultimate sec­ tral conducting in 1996. He has Boston Musica Viva, Pittsburgh tions employ a "dissolution" of the been a composition fellow at the New Music Ensemble, Southwest sound: the overtones enter as a Bowdoin Summer Music Festival, Chamber Music Society, Marimolin, group, and then individually begin a May in Miami Festival, June in Buf­ Aspen Contemporary Ensemble, glissando to the corresponding over- falo, and the Advanced Center for Ying Quartet, and Piano Spheres.

37 Her composition The Legend of University Chorale Prize, Tennessee tion, International Association of Chang-e won the first prize of Mari­ Composer Orchestral Prize, the Jazz Educators, Board Member and molin's Composition Contest in Texas Music Educators Association past President of the Birmingham 1994. Her music has also been per­ Prize, two from the Tennessee Chamber M usic Society, Phi M u formed in Germany, Sweden, and Music Teachers Organization, and a Alpha Sinfonia, American Federa­ the United Kingdom. Phi Kappa Phi Outstanding Artist tion of Musicians, Reserve Officers Award. He has been cited by Cam­ Association, Society of Composers, Yang-guan Songs conveys the nat­ bridge Men of Achievement and is Inc., a founding member of the ural images of the lyrics of Yang­ listed in Who's Who in America. He Birmingham Art Music Alliance, a guan Cho. It is one of the tabulation has travelled extensively with a consortium of local composers, and (finger notation) manuscripts of an­ dozen one-man shows of his art­ serves as Commander of the 313th cient Chinese Ch'in Song music work and photography coupled U.S. Army Band. which was discovered and translated with music, of which over one hun­ by Ms. Wang Di. The ch'in is a con­ dred presentations have occurred. ... before the morning watch, the vexed hollow boarded instrument He directs the composition program third movement of a four movement with seven silk strings of varying at the University of Tennessee, suite (in progress) for wind ensem­ thickness, tuned C D F G A c d, where he founded the electronic ble, functions as a free-standing stretched over the length (this rather music studios in 1974. He is pub­ work for percussion ensemble, as "civilized" Chinese zither has been lished by Boosey and Hawkes, See­ the wind instruments are tacet in use since the third century B. C.). saw Music, North/South Editions, throughout. There are two principal The lyrics, based on several Tang dy­ and has ten solo compact discs on motivic devices in the work. The nasty poems, reflect the ambience the Opus One, Impact, and Zyode first is a four-note gesture an­ defined by the zither so perfectly labels. nounced quietly in the marimba's that when they are sung by the vo­ low register. The second is another calist, the sound is like water cascad­ Ring of Gold is scored for solo four note figure derived from the ing over silk. The accompaniment of piano and is in one movement of first movement of the suite and the the vocalist on the ch'in is sentimen­ nine minutes duration. The some­ first presented by bells and crotales. tal and preciously delicate. Many what whimsical and tender theme The marimba's motive returns at the Chinese poems are short, exquisite, stated early in the piece gradually climactic middle section (meno and suggestive (suggestiveness itself becomes more celebratory and orna­ mosso), but now stated by the full being the central idea of Chinese po­ mented in successive transformations ensemble. The movement quietly etry). They serve to evoke the Orien­ building towards an intense and vir­ unwinds by returning to the second tal atmosphere of sentimentality, tuosic finale. The work was written motive, followed by a cadence for melancholy, and mysticism within in 1992 and is dedicated to the com­ tambourine, triangle, and field drum just a short amount of text. Musi­ poser's wife on the occasion of their gradually fading to silence. In the cally, the ch'in sonority is conveyed eighth anniversary - the two "rings complete four-movement suite, the by mimicking the performance tech­ of gold" touching in the center and cadence leads without pause to the niques of the ch'in. The tabulation forming the number eight. final movement, "Rugby's Rock." of ch'in includes more than one hun­ dred different symbols to indicate JAMES A. JENSEN is Professor of MARVIN JOHNSON is Associate pitches, touches, duration, orna­ Music and Chair of Theory/ Professor of Theory and ments, and tone color. Much atten- Composition in the Composition at the . tion is placed on modifications in School of Music at University of Al­ timbre, inflections in pitch, fluctua­ Samford University abama. He has re­ tions in intensity, etc. in Birmingham, AL, ceived BM and where he also MM degrees from KENNETH JACOBS, a native of teaches clarinet. He the University of Indiana, was awarded the DMA obtained the BM Alabama and MFA -'!!""!!~....., degree from the and MM degrees from Pittsburgh and PhD degrees from Princeton University of Texas State University and the D.Mus. de­ University, where he studied the an­ at Austin. He has gree from Florida State University. alytical techniques of Heinrich received an Interna­ His composition teachers have in­ Schenker with Ernst Oster, the tech­ tional New Music cluded John Boda, Carlisle Floyd, niques of serial composition with Composers Award, and David Cope. He has written Milton Babbitt, Peter Westergaard, Berger Festival many musical compositions in a va­ and Claudio Spies, and electronic Award, City College of New York riety of genres. He is a member of music with J. K. Randall. His article Electro-Acoustic Prize, the Brown the International Clarinet Associa- "Time Point Sets and Meter" is

38 published in Perspectives of New Lawson-Gould. Her commissions in­ senden, works for solo instruments Music, Vol. 23, No. 1. clude A Wild Civility: Three English with and without electronic tape, Lyrics written for the Blanche and orchestral, vocal, choral, and Banjo on My Knee was composed Moyse Chorale, and The Rain Com­ chamber music. His Quest for or­ for voice and synthesizer. The text ing from the Dew, written for the chestra was recorded by the Slovak materials are derived from Stephen twenty-fifth anniversary of Hamp­ Radio Symphony Orchestra con­ Foster Songs and the hymn text by shire College. Her choral work The ducted by the late Robert Black and William Williams, "Guide Me, 0 Falcon recently won first place in was favorably reviewed in Fanfare Thou Great Jehovah," a great fa­ Alice Parker's Biennial Composition magazine by Robert Carl. Island for vorite of the composer's father, Search for Melodious Accord in flute and tape won NACUSA's 1993 William Marvin Johnson, Sr. The New York City. Other awards in­ Competition's second prize, and his form is a simple ABA with coda and clude second place in the Chau­ Bagatelle for piano and electronic the pitch materials are serially orga­ tauqua Chamber Singers Regional tape has been performed extensively, nized. The entire composition was Composition Competition, third most recently by Margaret Mills at realized on the N.E.D. Synclavier in place in the Denver Women's Chorus the Bar Harbor Festival in Maine. the Electronic Music Studios at the national competition, and honorable His East Coast/West Coast for University of Alabama. Banjo on mention in the Roger Wagner Center piano four hands has been per­ My Knee was premiered at the Sev­ for Choral Studies national competi­ formed by the Schnabel Duo enth Annual Electroacoustic Music tion. She prepared and conducted throughout North America and Eu­ Festival at the University of Florida choral arrangements for Mary Lyon: rope and was praised by Robert Co­ in April 1998 and selected for pre­ Precious Time, a documentary about manday in the San Francisco sentation at the Hochschule for the beginning of higher education Chronicle. He recently performed Musik in Essen, Germany in May for women. She was featured in his Sonata for Flute and Piano at a 1998. The text is as follows: Women on the Podium, a special NACUSA concert in New York and issue of the American Women Com­ was also invited to perform it at Banjo, knee posers NEWS/FORUM, Spring/Sum­ Bard College. Kidde, on the music true love, see; mer 1988. faculty of St. John's University and Don't you cry, Queensborough Community College weep no more. A Wild Civility: Three English in New York, received an MM de­ Lyrics, commissioned by the gree in composition from the New Guide me, Jehovah. Blanche Moyse Chorale, uses texts England Conservatory, where he barren land; week, by Milton and Herrick and the studied with John Heiss and Mal­ mighty hand. anonymous early sixteenth-century colm Peyton, and a DMA in compo­ "Western Wind." The set of three sition from Columbia University, Night, day, moves from the pavane-like re­ where he studied with Mario Davi­ tear, eye straint of "O'er the Smooth Enam­ dovsky, Chou Wen-chung, and sun froze, elled Green" through the George Edwards. He served as Ex­ death-cry. wantonness of "Sweet Disorder" ecutive Director and as President of (tear was in her eye, true love into the open and direct simplicity the League of Composers/l.S.C.M., don't you cry) of "Western Wind" with its longing U.S. Section. He is a member of the for reunion with a loved one in the Society of Composers, Inc., the Na­ Weep no more Spring. The rising fifth that opens tional Association of Composers Hush, My lady! "Western Wind" derives from the USA, the American Music Center, Don't you cry. original tune so masterfully woven the National Flute Association, the into Christopher Tye's Western New York Flute Club, and the ANN KEARNS has been Professor Wind Mass. American Music Center. of Music and Director of Choral Music at Hampshire College in Composer and flutist GEOFFREY Subliminal Songs, written in 1988, Amherst, MA since 1976. She holds KIDDE has composed music for a is scored for five instruments. As the a Master of Music degree from the wide variety of composer has spent some time with University of Wisconsin at Madison. media-an orches­ American folk and children's songs, Her compositions are published by tral song cycle, an he began to think about how people Broude Bros., ECS Publishing, electronic tape know these songs. Sometimes it Thomas House, Santa Barbara mime theater work seems as though people know them Music Publishing, and Hildegard based on Kafka's in a rather distant way-they won't Publishing Co., and her Renaissance Metamorphosis, an start singing them right away, but and Baroque performing editions by award-winning feature film score will need some coaxing to retrieve Habit for film maker Larry Fes- them from their memories. The

39 work is a little bit like a musical de­ Valencia, Spain in 1997. The titles member of SCI (Region V) and piction of the retrieval process, and of the work's movements suggest a ICMA. His music has received many it includes some references to such Baroque sentiment, served here with performances throughout the United folk and children's songs that many an unmistakably [post] modern States including a performance by of us know in this way. This quintet twist. The tone, however, is fre­ Speculum Musicae (1996). He has presents the melodies of a few songs quently one of restraint, and it is received many honors, including the in varying degrees (at least com­ this sustained delicato, coupled with Eva Thompson Philips Composition pared with the songs themselves). an exceedingly eclectic palate, that Award (1995 and 1996), SCI Re­ forms the composition's chief tech­ gion III Annual Conference at MARK KILSTOFTE, born 1958, nical and artistic challenge. The Franklin and Marshall College, Lan­ holds degrees from St. Olaf College piece begins softly with a homage to caster, PA (1995), CSU Summer Arts and the University ]. S. Bach (albeit with considerably Composition Workshop and Schol­ of Michigan, where more reverb). In the ensuing recita­ arship at Long Beach, CA (1996), he studied composi­ tive, Gilbert and Sullivan meet M. SJSU Dean's Scholarship (1996), SCI tion with Leslie C. Hammer (maybe LL Cool J) in a Regional II Annual Conference at Bassett, William static but often mesmerizing assem­ Crane School of Music, Potsdam, Bolcom, and blage of prepared piano, slap­ NY (1997), the 50th Mid-West William Albright, tongue effects, and metronome Composers' Symposium at the and served as assistant conductor of obligato. The variations that follow, Oberlin Conservatory, Ohio (1997), the Contemporary Directions En­ the true focal point of the composi­ 1998 SCI Region I Annual Confer­ semble. Formerly on the faculty of tion, are at once sublime, introspec­ ence, and 1998 SCI Region II An­ Wayne State University, he is Associ­ tive, yet often shallow, and nual Conference. ate Professor of Theory and Com­ constitute the most introspective position at Furman University in portion of the work as a whole. The Elegy expresses the accumulated Greenville, South Carolina. He is music flits from thought to thought personal feelings of one's experi­ the recipient of a number of awards, in true stream-of-consciousness ences and leaves the impression of including grants and fellowships fashion, yet despite this multiple strong, lasting vitality and deeply from the MacDowell Colony, the personality disorder, the twenty-odd felt emotions. The work was fin­ Knight Foundation, and the Ameri­ "rewordings" of the theme combine ished in 1997 and is dedicated to can Academy of Arts and Letters. In to presage an elegiac procession and Allen Strange. addition to winning the ASCAP soaring sax line of considerable Foundation/Rudolph Nissim Award meaning near the conclusion. Al­ GERALD LEFKOFF was born in and earning honors in the Amadeus lowing little time for reflection, 1930 in Brooklyn, New York. He Choir's Christmas Carol and though, the duo attacks the closing attended the Juil­ Chanukah Song Competition, his toccata. The attentive listener will liard School, major­ music was selected for inclusion in easily supply the final note. ing first in violin the National Orchestral Associa­ and then in viola, tion's New Music Orchestral Project PAUL YEON LEE studies composi­ and earning a BS. and was awarded first prize in the tion privately with Leslie His graduate stud­ West Virginia Symphony/Museum in Bassett in Ann ies were at the the Community's Composer's Award Arbor, Michigan. Catholic University of America, for String Quartet. Strongly influ­ He has earned the where he earned an MM in compo­ enced by works from the Renais­ BM degree in com­ sition and a PhD in theory. Most of sance, his music features a lyricism position at San Jose his career has been as a university developed through years of vocal State University professor teaching theory, composi­ study, choral singing, and conduct­ and MM in compo­ tion, and viola. He was on the fac­ ing. He continues to organize and sition at the University of Michigan. ulty of West Virginia University direct performances of less fre­ His prior teachers have included from 1961 through 1996. His early quently performed composers such Bright Sheng, Pablo E. Furman, and career was as a violist in the Na - as Hildegard and Gesualdo, as well Allen Strange, as well as master · tional Symphony Orchestra of as literature from this century. classes with George Crumb, Mario Washington, D.C., the New Orleans Davidovsky and Andrew lmbrie. He Philharmonic, and the U.S. Marine Sonata for Saxophone and Piano has been active as a composer, per­ Corps Band. He now works as an was commissioned by the Ambas­ former, and conductor in a church. independent composer-publisher. sador Duo and premiered by Cliff He has also been a member of the Leaman and Derek Parsons at the University of Michigan Composition Music for Wind Septet, composed XI World Saxophone Congress in Forum Committee (1996-97) and a in 1997, is approximately 18 min-

40 utes long and has three movements. his doctoral studies at the University tra, Xian String Quartet, Atlanta The first movement has a serious of Maryland financed by CAPES Brass Society, Brass Consortium of lyrical demeanor with various con­ Brazilian Agency. Los Angeles, Philadelphia Trio, St. trasting thematic elements that in­ Clair Trio, Lyric Chamber Ensem­ teract formally and contrapuntally Turning-point belongs to a series of ble, Canada's Nouvel Ensemble with some recognizable tradition works in which the author applied Moderne, and by members of the procedures. The character of the his acoustical research and a theory Detroit Symphony Orchestra. second movement is solemn, a of density degree of intervals and Among his commissions are those lamentation with elements of a fu­ chords. The texture is based on a for the Essex Piano Trio, Hilberry neral march. The third movement, a scale of seven octaves according to Theater, and the Plymouth (MI) modified theme and variations, is the principles of the density degree. Symphony. He formerly served as predominantly bright and light­ The result is a polytonal sonority Associate Artist-in-Residence at the hearted. that, when filtered in small portions Atlantic Center for the Arts, and his of the range, may sound even modal work has been featured in new Italian, Brazilian born composer with some strange harmonies dis­ music festivals throughout the and conductor ORLANDO turbing the flow. The main aspect of United States, including June in Buf­ LEGNAME has these experimental pieces is the har­ falo, May in Miami, Midwest Com­ been a student and mony and the vertical approach of posers' Forum, and Florida State assistant of the the orchestration. In all three move­ University's Festival of New Music. composer Hans­ ments of Turning-point there are He has received First Prize in the Joachim Koellreut- some principal chords that are used, Atwater-Kent Composition contest ' ..l... ter for the last 14 reused, and transformed by their and the McHugh Composition ....._ years. He was Pro­ sonority and changing in terms of Prize, as well as several a wards fessor at the Sao Paulo State Univer­ density degree. The first movement from ASCAP. His works appear on sity UNESP, Brazil from 1988 to works with forte chords distributed the Capstone, MMC, and CRS la­ 1993, where he taught composition within the instruments and a clarinet bels, and they are published by and acoustics. Between 1986 and melodic line that is transformed and Acoma Editions and the Society of 1996 he was director of ARTIUM re-harmonized a couple of times. Composers, Inc. Recording Studio and School of The second is almost entirely rhyth­ Arts in Sao Paulo, Brazil, where he mic, and the chord densities are used Scenes from Sedona presents a mu­ produced several CD's, music for to make the instruments sound line sical landscape of selected monu­ theater, and coordinated music percussion. The third is very slow, ments found in Sedona, Arizona, a courses. His compositions have been and both harmonies and single notes region famous for its striking rock performed in the USA, Brazil, and develop the color of the ending. formations, red rock terrain, and European countries and have re­ historical artifacts. Ancient Indians ceived several prizes, including the JAMES LENTINI (b. 1958), a na­ inhabited the area, evidenced by Best Music for Theater of 1991 tive of Detroit, revolved a DMA in tools, dwellings, and artwork which from APCA (Sao Paulo Art Critics musical composi­ has survived for nearly 7500 years. Association). In 1985 his electronic tion from the Uni­ Today, Sedona is a mecca for artists, work Cronus I was performed in versity of Southern sculptors, and painters, in addition the Foreigner Contemporary Music California in addi­ to those with interest in the super­ Program of the Swedish Radio tion to degrees natural. Many believe that the re­ Company, Stockholm, Sweden as from Michigan gion has a concentration of the representative of Brazilian com- · State and Wayne vortexes, or natural power spots, posers. He used to be conductor of State Universities. His primary com­ where psychic energy is emitted several choirs and was guest con­ position teachers were Robert Linn, from the earth. Curiously, Sedona ductor of the UNESP Chamber En­ Jere Hutchinson, and James Hart­ spelled backwards is "anodes," the semble in recordings and concerts. way. He has gained wide recogni­ conducting surfaces through which For 15 years he has done research in tion for performances of his an electric current flows. According the physics of music, always applied compositions both nationally and to believers, there are more vortexes in his compositions. His theory of internationally. Associate Professor in the Sedona region than in any density degree of intervals and of Composition and Associate Chair other area in the world. Three of chords was published in a recent of the Music Department at Wayne the more powerful ones are Bell issue of 20th Century Music maga­ State University, his works have Rock, Cathedral Rock, and Boynton zine and presented at the 1998 SCI been performed by ensembles such Canyon, which are represented as National Conference. He now lives as the Krakow Philharmonic Or­ three of the movements in Scenes in Washington, D.C. and continues chestra, Bohuslav Martinu Orches- from Sedona. A "hoodoo" is a spi-

41 ral stone pillar composed of rock terpoint" pioneered by composer turbed state of consciousness and, types that erode at different rates. Witold Lutoslawski which had the very loosely, as an organizing princi­ The first movement, Boynton greatest impact on the composition. ple in the piece. There are two main Canyon Hoodoo, presents a musical The work freely applies pitch-class recurring themes that are taken picture of a hoodoo that stands in set 012346 in transposition and in­ through several "episodes" based on that location. The musical motives version to all pitch materials. Instru­ alarm clock sounds, door knock include a consistent "spiral-like" mental entrances are determined by sounds, pizzicato sounds, etc. The idea. Cathedral is based on the vi­ progressions derived from a listing structure of the piece alternates be­ sual image of Cathedral Rock. This which arranges twelve percussion tween sections where the notes syn­ icon crests at an elevation of almost instruments progressively in order chronize precisely with the tape and five thousand feet above sea level. of increasingly definable pitch start­ sections where the violin plays a The idea that this monument ing with cymbal, progressing to freer role. emerged from a land mass temple blocks and timpani. The prompted a quote from Debussy's piano resides at the center. Instru­ RACHEL MCINTURFF is a doc­ La Cathedral engloutie (the sunken ments to the right of the piano are toral student at the University cathedral). The third movement, then listed in order of increasing """ ~ of Texas at Austin. Coffee Pot, is inspired by another register and bell-like qualities, be­ She holds both a famous landmark in the region, ginning with marimba and progress­ bachelor's and mas­ Coffee Pot Rock. Devil's Bridge, the ing towards crotales at the other ter's degree in com­ fourth movement, is named after a extreme. This instrumental hierar­ position from the notable rock bridge, an arc that chy permits timbre to function University of M is­ stretches forty-five feet over an structurally in a way not unlike har­ souri- Kansas City. opening fifty-four feet tall, that monic progression in tonal music. Her acoustic and electroacoustic stands in the Red Rock country of The following poem should be read works have had numerous perfor­ Sedona. The final movement, Bell before listening to the work: mances in the U. S. and Europe. Rock, named after a rock formation located north of the village of By Departing Light Origami Animae began as a way to Oakcreek, utilizes the viola and Horizons seem most bright show a beginning-level class in Elec­ cello to depict the ringing of bells. much clearer than the quays troacoustic Media the entire process for as a soul takes flight, of creating a piece. All of the raw BRUCE P. MAHIN has been Asso­ then vanishes from sight, sound material was generated by the we rush to count the days ciate Professor of Music and class members by manipulating it was near. Director of the sheets of paper: tearing, crumpling, thumping, writing on, etc. The piece Radford University KRISTI MCGARITY (b. 1974) is a in progress was then used as a tool Center for Music graduate student in music in class for discussing compositional Technology since composition with a 1989. He received elements. Finally, the finished piece background in both was diffused in a concert format. degrees from West acoustic and elec- _.._. .., ._Virginia University, ' tronic media. She Composer and SCI student member Northwestern University and the earned a degree in DAVID MCMULLIN was born in Peabody Conservatory of the Johns oboe performance Hopkins University. He is President 1971 and raised in from the University of the Southeastern Composers · Westport, CT. In of Michigan and has since returned League, a member of SCI Region III, 1993, he received to her hometown of Austin to seek his Bachelor's de­ and a recipient of awards from Meet a Master of Music degree from the the Composer and the Virginia Com­ gree in music from University of Texas. She studies Yale University, mission for the Arts. His works are composition with Russell Pinkston where he studied available on Capstone Recordings. and Donald Grantham and free­ composition with David Finko, Jan lances as a performing artist, music By Departing Light was completed teacher, and songwriter/producer. Radzinski, and Jonathan Berger. He in Glasgow, Scotland during the is pursuing a PhD in music theory and composition at New York Uni­ Spring of 1996 while the composer AM Fugue (1998) for violin and versity, where he was awarded a was in residence as a research fellow tape portrays a sleeping person try­ at Glasgow University. While this full-tuition McCracken Fellowship ing not to wake up despite a multi­ and earned his Master's degree in work reveals stylistic influences of tude of outside sounds invading her Edgard Varese and Anton Webern, 1997. At NYU he has studied com­ disoriented dream state. The title it is the concept of "aleatoric coun- refers to "fugue" as both a dis- position with Louis Karchin, Brian

42 Fennelly, Andrew lmbrie, and put off, and then completed in the ways, depending on the forces for Charles Wuorinen. He is president Spring of 1993-composed partly in which a particular piece is written. of NYU's First Performance concert Scotland and partly in Southern Still carrying a penchant for the series, where several of his works California. Clarinetist Ronda melancholy, more recent music has have been premiered. Rindone gave the first performance, grown to include a strong compo­ with the composer at the piano. The nent of whimsy and humor. Holding When asked for program notes for movements were afterthoughts of a doctorate from the University of Southwesterly, the composer wrote: my awareness of that part of me Michigan in addition to degrees "I believe that all artistic creation is that wanted to be painting and from the University of Tennessee an essentially mystical process. sculpting again, yet I was typically and Davidson College, Morrison is Composing for me is a prayerful ac­ consumed by musical activities. The now Assistant Professor of Music at tivity, in which I try to focus all my painting was done in sound, and in Luther College, where he teaches resources of intellect, intuition, and different media. composition, theory, twentieth-cen­ spirit. When I am successful, my tury music history, and directs the dimly intuited instincts, carefully ex­ LARISA MONTANARO (b. 1972) Presser Electronic Music Studio. ercised craft, and abstract intellec­ is a DMA student in voice tual speculations somehow come performance at the Over the Head (with a stick) was together in music which takes on a University of Texas composed in late 1987 and received life of its own. No matter how well at Austin, where a number of performances in the the result may match my intentions she studies compo­ next few years. Always unhappy in terms of sound, structure, or sition with Russell with some overly long spots, the mood, the way the music can seem Pinkston and voice composer revised the piece in the "to live" always amazes me. This is with Rose Taylor. summer of 1998. what I strive for in my composing, She discovered electronic music as but ultimately I believe the essential an undergraduate at the Crane LAWRENCE MOSS was born in life of the music does not come School of Music in Potsdam, New Los Angeles. He received his PhD in from me. Because I do not want to York, as a student of Paul Steinberg, composition from the University of circumscribe your listening experi­ and has been creating it ever since. Southern California, where his prin­ ence, I prefer not to describe my She loves to work with other com­ cipal teacher was Leon Kirchner. He music to you who are about to hear posers and perform new music. As a went on to teach at Mills College, it, and I will not presume to tell you result, she has premiered the works Yale University, and the University "what it means." of many emerging composers. Re­ of Maryland, where he is Professor cently she was commissioned by the of Composition. H e has been the re­ TIMOTHY MELBINGER (b. Sharir Dance Company to compose cipient of numerous fellowships, in­ 1968) is living with his a work for their 1998-99 season. cluding two Guggenheim awards, a wife and cats in Fulbright scholarship, and four Newton, Massachu­ Deep Pockets is for tape alone. The grants from the National Endow­ setts. He recently composer writes: "Roll into your fa­ ment for the Arts. H e has received completed his PhD vorite bar, grab a pint of brew commissions from the Fromm Com­ in Theory and (don't forget to throw some change mission, the New Haven Symphony, Composition at in the tip jar), and shoot some pool. the University of Chicago Sym­ Brandeis University, Slice the three into the side and put phony, the Chamber Music Society on the music of the classical and jazz some backspin on the four - of Baltimore, the National Endow­ great, Mel Powell. He also holds de­ you've never heard the game like ment for the Arts, and the Kindler grees from the University of Califor­ this before!" Foundation. His works range from nia at Irvine. His composition symphonic scores and operas to teachers have been Martin Boykan, JOHN H. MORRISON (b. 1956) music for solo instruments and in­ David Rakowski, Yehudi Wyner, and comes from rural North Carolina. A clude works for tape and multime­ James Newton. Recorded works can lifelong interest in dia. These have been performed be heard on Nine Winds, Albany, sound has led to a throughout the United States, Eu­ and Centaur Records. He is also a compositional style rope, and Asia and have been part-time new-music pianist and in which sound it­ recorded on the CRI, Orion, Desto, teacher, currently at Harvard Univer­ self is the focus. In­ Opus One, AmCam, and Spectrum sity and Worcester State College. fluences ranging labels. A CD of his newer chamber from the Grateful works, Miracles, was issued by Cap­ Three Pieces for Clarinet and Piano Dead to bluegrass to experimental stone Recordings. He is listed in was begun in the summer of 1992, 20th-century music merge in varied Who's Who, Baker's Biographical

43 Dictionary, a Biographical Dictio­ orchestral conducting for her DMA into her compositions and is work­ nary, Grove's Dictionary, and and has conducted college and ing on a chamber opera about Raoul Grove's Dictionary of Music (forth­ youth orchestras and wind ensem­ Wallenberg. Influenced by the post­ coming new edition). His works are bles. She has written extensively for Webernian school in the 1950s when published by Theodore Presser, both instrumental and vocal ensem­ she was a student, Owens' music has McGinnis and Marx, Alfred Pub­ bles, including orchestra, band, evolved over the years in a modal di­ lishing, Roncorp, Northeastern mixed and women's choirs, and nu­ rection which she calls the "Reso­ Music Programs, and Seesaw Music. merous works for instrumental nant Continuum." Her compositions chamber ensembles. Her solo com­ are transparent in texture with soar­ All the tape sounds in Saxpressivo positions include works for piano, ing pointillistic phrases. She is a na­ (1992) for tape and E-flat saxo­ organ, cello, soprano, mezzo-so­ tive of New York and received her phone are based on a scale played prano and alto saxophone. BA in music from City College and by the piece's dedicatee, Randy did graduate work in musicology at Navarre, and sampled on a Yelling at God invokes a long and NYU. She studied piano with Lisa Kurzweil K250 synthesizer. These continuing tradition: in the Old Tes­ Grad and composition with Ralph sounds were altered, given new tament, Job rages "I loathe each day Shapey. Her music is published by shapes, timbres, etc. through vari­ of my life; I will take my complaint Universal Edition and Doglinger, Vi­ ous procedures, and once a library to God." In the recent movie For­ enna, Frederick Harris, Canada, Neil of sounds had been produced, these rest Gump, Lieutenant Dan yells at Kjos, California, Arsis Press, Wash­ were performed on Vision software. God from his fishing boat during a ington, D.C., C. Alan Publications, At the same time as this was going fierce storm. The work underwent North Carolina, E.C. Schirmer, on, the musical score for the saxo­ important revisions with the invalu­ Boston, and Carl Fischer, Galaxy, phone was taking shape. The com­ able guidance of Laurence Smith and Bridge Press, New York. position thus progressed with tape and was completed at Interlochen and live instrument mutually "feed­ Arts Camp in the summer of 1998. Fox Fire ing" or bouncing off each other. We have an old association The basic melodic germ is an­ TERRY WINTER OWENS is an in­ with the lights out on the moor. nounced at the very beginning by ternationally published composer They appear to me like great-aunts ... the saxophone solo. This provides and pianist based in And I notice more and more material for practically the whole New York City. Between them and me, a family tie, piece, which is reflective and dra­ Her music has been that no force can suppress: matic by turns. The climax occurs described as there, a gesture, a leap, a turn, a curve, with the final chords. The piece has "hauntingly beauti­ that others can't seem to do. been recorded by Randy Navarre on ful ... with a mag­ Miracles, a Capstone CD. ..___ "'""' ..... netic quality which I do liv(! there, where there are no draws both the performer and the roads. ZAE MUNN is Associate Professor audience into a different world." in the mist that most people avoid, of Music at St. Mary's College in The Bangkok Times specially noted and I have often seen myself fade away South Bend, Indi­ the "remarkably evocative sonori­ from underneath my eyelids. ana, where she ties" of her music. She has received Rainer Maria Rilke, Muzot, February teaches composi­ commissions from the American 1924. Translated by the composer. tion, theory and or­ Composers Forum, the Composers chestration. She Commissioning Program with fund­ The poem is to be recited by one of also teaches at the ing from the Jerome Foundation, the instrumentalists with the music Interlochen Arts and Christ Church, Hudson, Ohio. following the last word by no more Camp and has taught at Bowdoin She has won prizes from the Whit­ than a luftpause. College, Transylvania University ney Museum's Duo Piano Festival, and St. Cloud State University. Her the Concorso Internazionale di Pi­ MARGA RICHTER, a Wisconsin DMA and MM degrees in composi­ anoforte e Composizione "Ennio native, received her early musical tion are from the University of Illi­ Porrini," the Omaha Symphony training in Min­ nois at Champaign-Urbana, and her Competition, and "Best of the Year" neapolis and her BM in composition is from the from Piano Quarterly in 1972. She Master's degree Chicago Musical College of Roo­ composes for piano, two pianos, from the J uilliard sevelt University. Born in 1953, her chamber and vocal ensembles, and School, where she early musical training was as a cel­ symphony orchestra. She recently studied with Vin­ list, with additional studies in piano began to incorporate poetic ele­ cent Persichetti and and voice. She received a minor in ments, spoken words and phrases, Rosalyn Tureck. Her music first

44 -~

came to national attention in the or strange but pleasing because of He has also received residency fel­ late 1950s through a series of suggesting customs of former gener­ lowships from the Charles Ives Cen­ recordings on MGM Records. One ations. ter for American Music, the Festival of her best-known works is the bal­ quark- unit of energy, the subatomic at Sandpoint, June in Buffalo, the let Abyss, performed by the Hark­ particles that form the protons and MacDowell Colony, and the Welles­ ness, which commissioned it, the neutrons in the atomic nucleus. ley Composer's Conference. His Joffrey, and many other ballet com­ The musical images I had already compositions have been performed panies. Her music has been per­ gathered together included the fol­ throughout North and South Amer­ formed by such eminent soloists as ica, Europe, and Russia by such en­ lowing: 1. Homage to Antonio Jessye Norman, Menahem Pressler, Soler's Fandango. 2. Thematic mate­ sembles as the Gregg Smith Singers, and Daniel Heifetz, and by over 50 rial from the 'jazzy' section of my The California EAR Unit, and the orchestras, including the Minnesota, Lydian String Quartet, among oth­ 1951 modern dance score All De­ Atlanta, and Milwaukee Sym­ sire is Sad. 3. The waltz theme, in ers. He is the founder and current phonies, the Buffalo Philharmonic, director of the Boston-based con­ mostly 5/4 time, from another of and the London Philharmonic Or­ my dance scores, The Wanderers, temporary American music ensem­ chestra which recorded her Black­ 1951. 4. A jagged rhythmic motif in ble, Phantom Arts, and previously berry Vines and Winter Fruit. served for two years as the director seconds and thirds that I had been Twenty of Richter's works have of the Harvard Group for New waiting to use for many years. 5. As been recorded, the most recent of Music. He has recently appeared as I was writing the piece a fifth idea, which are Spectral Chimes/En­ with a boogie-woogie flavor, mani­ guest conductor/lecturer at the 9th shrouded Hills and Quantum fested itself. So it is now a five­ Festival of Contemporary Music in Quirks of a Quick Quaint Quark theme piece with a five-word title Santiago, Spain, conducted the pre­ by the Prague Radio Symphony Or­ and a waltz in five beats to the bar. miere of Martin Brody's opera, chestra and Out of Shadows and Earth Studies in Florida, and has I 'see' the quark, looking like a Solitude by the Seattle Symphony, appeared as guest conductor with composite of Peter Pan and E.T., all conducted by Gerard Schwartz. gracefully touring the starry uni­ numerous ensembles including the Quantum Quirks was premiered by Cleveland Chamber Symphony and verse, wherever his fancy may take the Long Island Philharmonic under him." San Francisco Contemporary Music Marin Alsop. Richter has received Players. fellowships, commissions, and ANDREW RINDFLEISCH (b . awards from the National Endow­ Tears was commissioned for a mod­ 1963) is an active composer, ment for the Arts, the National Fed­ ern dance festival held at the Uni­ conductor, and pi­ eration of Music Clubs, the Martha versity of Wisconsin in 1994. As the anist who is a Pro­ Baird Rockefeller Fund, Meet the title suggests, the work is designed fessor of Composer, and ASCAP. Composition at to investigate the varying degrees of Cleveland State intensity associated with sadness "The original image for Quantum University. He has and the act of crying. Throughout, Quirks of a Quick Quaint Quark received degrees the sounds of the flute travel was boundless good-humored en­ from the University of Wisconsin at through barely audible stuttering to ergy. Before I started to write the Madison (BM), the New England songlike sadness to uncontrollable music the word "quark" popped Conservatory of Music (MM) and weeping. This wide pallet of direc­ into my mind. Upon trying to look Harvard University (PhD). As a tion-a musical surface constantly it up in the dictionary I came across changing-would give a dancer an composer, he has been awarded the four other Q-words that are many prestigious fellowships in emotional canvas upon which to now in the title. While reading their recognition of his work. He is the create physical movement. The definitions the essence of the piece 1997-98 recipient of the Rome Prize music which unfolds is a juxtaposi­ took shape in my mind,so I include tion of the hyper-dramatic and the and in 1996 received a John Simon them here. Guggenheim Foundation Fellow­ melancholy. Beneath this fluctuating quantum(theory) ... in the emission ship. Mr. Rindfleisch has also been emotional surface lies a more fo­ cused harmonic and formal lan­ or absorption of energy by atoms of the recipient of numerous other molecules the process is not contin­ prizes and awards including those guage. This, I hoped, would create an interior relationship of great ex­ uous but takes place by steps. from the American Academy of Arts quirk - a sudden turn, twist or and Letters, the Fromm Foundation, tremity to the emotional world curve; a flourish. ASCAP, the Chautauqua Chamber more easily perceived while simulta­ neously lending the work structural quick - living, animate, fiery, in­ Singers, the League of Composers­ meaning and design. tense; moving, shifting, as sand. ISCM, Meet the Composer, and the quaint - graceful, strange, (peculiar) National Association of Composers.

45 EDWIN ROBERTSON is Professor of numerous awards, including a Death's second self, that seals up all in of Music and Coordinator of Music Barlow Endowment Commission, rest. Theory and Com­ Fulbright Grant, two BMI Awards In me thou seest the glowing of such position at the Uni­ for Young Composers, an ASCAP fire versity of Grant, the George Whitefield Chad­ That on the ashes of his youth doth lie As the death-bed whereon it much ex­ Montevallo. He wick Medal from the New England pire, earned his D.M.A. Conservatory, and a National Or­ Consumed with that which it was nour­ at Florida State chestral Association Orchestral ished by. University, where Reading Fellowship. He has held This thou perceiv'st, which makes thy he was a student of John Boda. He residencies at the MacDowell love more strong, has also studied with Thea Mus­ Colony, Yaddo, the Djerassi Resi­ To love that well which thou must leave grave and Jack Jarrett. Prior to his dent Artists Program at Villa Mon­ ere long. graduate work at Florida State, he talvo, and has been a Composition taught at the University of Rich­ Fellow at the Tanglewood Music RONALD ROSEMAN, internation­ mond. His music has received per­ Center. He has taught at Stanford ally known as a soloist, chamber formances throughout the United University and is Associate Profes­ music player, States and in Europe, South Amer­ sor at Arizona State University. teacher and record­ ica, Asia, and Australia. His Music ing artist, has more for Cello and Piano was choreo­ where late the sweet birds sang was than fifty-five solo graphed for performance by the composed in the Fall of 1993. It and chamber music American Ballet Theater at the Met­ was during this time that I learned recordings to his ropolitan Opera House in 1993. that my friend and mentor, Robert credit. He has been Fan(are magazine characterized the Black, was diagnosed with cancer. a member of the New York Wood­ work as "interesting and confident . The piece is dedicated to his mem­ wind Quintet since 1961 and has .. communicating a certain ur­ ory. The titles of the movements are toured with them extensively in the gency." An ASCAP award winner, taken from a sonnet by Shakespeare U.S.A., Europe, Russia, Asia, and he has been recognized by the Uni­ that seemed particularly fitting at South America, having made numer­ versity of Richmond for "outstand­ the time. The poem became an in­ ous recordings with the group. He is ing achievement in the arts." His spirational tool (rather than a pro­ also the oboist with the Bach Aria instrumental and choral composi­ grammatic element) of the piece. It Group and was acting co-principal tions are available on compact is in three movements played con­ with the New York Philharmonic for disks, and he has been the recipient tinuously. The first movement is two years. He has appeared with the of a number of commissions. characterized by a melange of emo­ Juilliard, Tokyo, Guarneri, Lenox, tions. A central motive presenting Fine Arts, and Composer's String Music for Cello and Piano consists rage is interspersed with themes of Quartets and has performed with of four movements which, despite serenity and frantic confusion. The many music festivals, including the their contrasting characters, are instruments perform, for the most Casals, Aspen, Waterloo, Kumho, united by a single motivic figure. part, independently of one another, Norfolk, Bowdoin, and Young Each movement explores the poten­ or at times combine briefly into var­ Pyong (Korea) festivals. He is also tial of the basic motive in a different ious factions. During the course of an active composer, whose teachers sound environment. the movement the instruments find were Ben Weber, Elliott Carter, a unity and hopeful strength. The Karol Rathaus, and Henry Cowell. JODY ROCKMAKER (b. 1961, third movement is a joyful celebra­ His works include a wind quintet, New York City) received his PhD in tion of this new-found solidarity. commissioned by the N.E.A. and composition from recorded for Music Heritage by the Princeton Univer­ Sonnet 73 Soni Venturum Quintet; a setting of sity. He has studied That time of year thou mayst in me be­ Psalm 22 for tenor solo, chorus, and at the Manhattan hold orchestra, commissioned by the Na­ School of Music, When yellow leaves, or none, or few, do tional Chorale and premiered by New England Con­ hang them at Avery Fisher Hall, and a servatory, and the Upon those boughs which shake against double quintet for woodwinds and the cold, Hochschule for Musik und darstel­ brass, commissioned by the Norfolk Bare ruined choirs where late the sweet lende Kunst in Vienna. His principal birds sang. Chamber Music Festival, recorded teachers have been Erich Urbanner, In me thou seest the twilight of such for New World Records. Other re­ Edward T. Cone, Milton Babbitt, day cent commissions are a trio for flute, Claudio Spies, Malcolm Peyton, and As after sunset f adeth in the west, oboe, and cello premiered at the Miriam Gideon. He is the recipient Which by and by black night doth take Bowdoin Summer Music Festival in away, July 1998, Four Holy Sonnets of

46 verdes en la noche. Black pony, large moon, [II] in my saddlebag olives. I'm caught (Ni aqui Well as I know the roads in your concentric ni alli I shall never reach Cordoba. circles. sino aqui.) Like Saturn Over the plain, through the wind, I lug around Dona Catalina black pony, red moon. rings se muere y la nace Death keeps a watch on me from my dreams. una granadete de las from Cordoba's towers. I'm not totally sunk, en la frente. I'm not rising i Chssssssssssssssss! Oh, such a long way to go! My love! And, oh, my spirited pony! Copy.rii,ht © Federico Garcia Lorca. Used by IV. Catherine Wheel Ah, but death awaits me! perm1ss10n. Dona Catalina before I reach Cordoba! had a single gold hair STEVEN L. ROSENHAUS (b. among her shadowy Cordoba. 1952) music has been called "clever, tresses. Distant and lonely. deftly constructed (For whom am I waiting, VI. Madrigales. and likable" by the dear God, [I] .--...... ·~ New York Times, for whom am I waiting?) Como las ondas concentricas , while Back Stage sabre el agua, has labeled his Dona Catalina asi en mi corazon .~~ music and lyrics for walks slowly tus palabras. :i R the off-Broadway scattering little green stars show Critic "sprightly, upbeat, and In the night. Como un pajaro que choca in the ballad repertory, simply con el viento, lovely." His music has been per­ (Not here asi sabre mis labios formed throughout the United & not there tus besos. States and Europe by such perform­ but here.) Como fuentes abiertas ers as the Quintet of the Americas, Dona Catalina frente a la tarde, the Ploiesti Symphony Orchestra a grenade of light as{ mis ojos negros (Romania), and the Chicago Cham­ dies & is born sabre tu carne. ber Orchestra. His Deconstruction on her forehead. Blues (1999) for solo bass clarinet Chssssssssssssssss! [II] was premiered in January by Guido Estoy preso Arbonelli, as part of his "60 Sec­ V. Candon de jinete en tus circulos onds for 60 Composers" project, at Cordoba. concentricos. the Nuovi Spazi Musicali Festival in Lejana y sola. Como Saturno Rome, and his Fundamentum for llevo four double basses was premiered in ]aca negra, Luna grande, las anillos y acientunas en mi alforja. de mi sueno. April, 1999 at the Hartt College of Aunque sepa las caminos Y no acabo de hundirme Music by an ensemble led by Robert yo nunca ilegare a Cordoba. ni me elevo. Black. In June the composer will jMi amor! conduct the Sussex County Youth Por el llano, par el viento, Orchestra (NJ) in the Carnegie Hall jaca negra, Luna roja. VI. Madrigals premiere of Sussex Celebration; in La muetra me esta mirando [I] October 2000, the Dresden Con­ desde las torres de Cordoba. Like concentric waves temporary Music Festival will in­ on the water, clude the premiere of Rosenhaus' iAY que camino tan largo! your words Violin Concerto (1994), with iAY mi jaca valerosa! in my heart. iAy que la muerta me espera, Markus Gundermann as soloist anter de llegar a Cordoba! Like a bird that collides with the Dresden Sinfonietta. with the wind, Rosenha~s serves on the Composi­ Cordoba. your kiss tion faculty at New York University, Lejana y sola. on my lips. and teaches various subjects at Nas­ sau and Queensborough Commu­ V. Rider's Song Like open fountains nity Colleges. He holds a PhD from Cordoba. fronting the night, NYU, and his other degrees are Distant and lonely. my dark eyes from Queens College. He has re- on your skin.

48 ceived numerous awards from Here's a Surprise ments results in a perceived linear ASCAP and grants from the Ameri­ here's a surprise opposition progression. can Composers Forum, the Ameri­ you and me in your bright little house can Music Center, and Meet The and here's a surprise JONATHAN SANTORE is Assis­ Composer, and was nominated in you and me in your cheery bed tant Professor of Music 1994 for the American Academy of Theory and Com­ 0 you are a prize in the morning Arts and Letters Composition position at Ply­ Award, for The Ides (1992) for alto Copyri ght Robert Hershon mouth State Used with permission of the author. saxophone and piano. His Kol College in New Nidre Prelude (1986) for viola and Hampshire. Before WILLIAM RYAN (b. 1968) received cello appears on "New Sounds from ~moving to New a BM in music education from the the Village" on the Capstone label. •England, he held State University of positions at Occidental College, New York at Pots­ Strange Loops (String Quartet No. California State University, Los An­ dam, and MA and 1) was begun mid-December of geles, and the University of Min­ DMA degrees from nesota. Born in Greenville, 1997 and completed January 10, the University of 1998; it was premiered by the Tennessee in 1963, he was an All­ Illinois. His compo­ State trumpet player in high school. Anagama String Quartet in Feb~u­ sitions have been He began formal study of composi­ ary 1998, at Greenwich House m. presented at numerous venues New York City. The work is cast m tion with Stephen Jaffe at Duke across the country and in Brazil, three movements: I. What Goes University, where he held the Mark Bulgaria, and Australia. He ha.s re­ Around; II. Here's A Surprise; and Biddle Duke Composition Scholar­ ceived numerous awards for his III. Comes Around. The title Strange ship. He holds an AB degree m~gna compositions, including an ASCAP Loops refers to Douglas Hofs- . cum Laude with departmental dis­ Foundation Young Composers tadter's book G'del, Escher, Bach, m tinction in music from Duke (1985), Grant, for ASCAP Standard Panel which he describes events or systems an MM in composition from the Awards, a Meet the Composer Edu­ University of Texas at Austin which progress (usually in a sort . o~ cation Program Grant, second pnze spiral) until they return to the ongi­ (1987), where he studied with Eu­ in the Tampa Bay Composers' gene Kurtz and Donald Grantham, nating point. Octaves in a scale ar~ Forum Chamber Music competition, but one example of strange loops m and a PhD from the University of and was a finalist in the First Inter­ music, as are certain concepts m California Los Angeles ( 19 94), national Electroacoustic Music George Perle's system of twelvetone where he ;tudied with Elaine Barkin Competition in Sao Paulo, Brazil. tonality. The first movement, and William Kraft. His dissertation He has taught at the University of marked Vivace (quarter note=ca. included a chamber opera on his Illinois and the Aaron Copland own libretto. He has won several 160), is built upon the initial unison School of Music at Queens College, reiteration and subsequent expan­ scholarships, fellowships, and and he is an Assistant Professor at sion of a single note into various awards for his compositions, includ­ Suffolk Community College where motives and harmonic progressions. ing a Finalist Performance in the he teaches theory, aural skills, and The second movement, Moderately 1995 Ithaca College Choral Compo­ conducts the contemporary music slow, always steady, like a wa.rm sition Contest, and he has con­ ensemble. sleep (eighth note=lll-120), is a ducted performances of his own transcription of the last of three works in the United States and Eu­ Knock (1994) explores my contin­ songs on poems of Robert Hershon rope. His work has been recorded . ued interest in using patterns as raw in Two Songs (and an Outburst) by California's Octagon Mew Music material for compositions. For this (1986). The poem, reproduced Ensemble. Among his recent com­ work I designed twelve patterns, below, is not meant to be performed missions are works for multiple three for each instrument. Since in­ in its new context. In writing the piano ensemble, live and recorded dividually the patterns are static, I third movement, marked Moder­ voices and chorus. He is also active present them superimposed with ' . as a music theorist and as a smger ately (quarter note=ca. 88 ), the. one another in various degrees of composer's memory kept dredgmg opposition and concordance to The Whole World is Coming (Four up musical fragments fr~m 1960s achieve external dynamism. The rock guitar icons, includmg Jimi Native American Poems), for SATE rate at which different patterns are Hendrix and Eric Clapton. After chorus a cappella, was commis­ superimposed and the characteristics several abortive attempts to elimi­ sioned by the Plymouth State Col­ of the individual superimposed pat­ lege Chamber Singers (Dan Perkins, nate these seemingly inappropriate terns determine the degree of dy­ influences, the composer decided to conductor) for their summer 1998 namism perceived at each moment. let the music have its own "say." concert tour of England. The com- The succession of these vertical mo-

49 poser chose these particular texts is involved with several new projects grandest sense, war is pure. It is this because of the geographical diver­ ranging from an orchestral commis­ purity of conflict which the com­ sity of the Native American nations sion by the Butte Symphony and poser seeks to convey. Using two pi­ which created them (Sioux, Navajo, Choir, the production of a CD of his anos, at odds with each other as Creek, and Alaskan). He also felt chamber works, a concert of origi­ well as participants in a bloody that setting such a diverse group of nal collaborations with University game, he reawakens the spirit of war texts would provide the opportunity of Michigan Dance Professor San­ to show how Guernica dances ... to work with a diverse selection of a dra Torijano, music for a ballet wide variety of musical styles. The based on One Hundred Years of RUTH SCHONTHAL was born in work was premiered on April 24, Solitude by Gabriel Garcia Mar­ Hamburg of Viennese parents. At 1998 and subsequently performed quez, the formation of a new rock age five she began at concerts in New Hampshire, Sur­ bank, and the presentation of a se­ composing and be­ rey, and Yorkshire. ries of workshops/recitals in Michi­ came the youngest gan schools with composer/cellist student ever ac­ ERIK SANTOS is a composer with Timothy Smith. cepted at the Stern a special interest in illuminating the Conservatory in connection between Guernica Dances ... is both a de­ Berlin. Later she music and magic: piction and an expression of war. studied at the Royal Academy in how mundane ele­ The title is derived from Picasso's Stockholm and then moved with her ments, musical and legendary musical Guernica (1937), family to Mexico City, where she non-musical, are a passionate memorial to the hor­ studied with Manuel Ponce. While galvanized into a rific destruction of the Spanish town in Mexico she met Paul Hindemith, powerful and ecsta - of the same name by a fleet of who obtained a scholarship for her tic experience. Prior to joining the Hitler's military bombers. When the to study with him at Yale. She has faculty of the University of Michi­ composer first beheld the painting, received commissions for chamber gan in 1997, he taught at the Indi­ he was struck dumb by the thought works, operas, and symphonic com­ ana University of Pennsylvania, that men were capable of wreaking positions as well as for piano and from which he received a BFA with such destruction on other men; but organ. Her music is published by a major in voice and piano perfor­ more importantly, he was astonished Oxford University Press, Southern mance. While a graduate student in when he realized what Picasso had Music Co., Carl Fischer, and several composition at the University of done: he revealed the fundamental other companies. Her music has Michigan, he received awards and purity and lyricism at the heart of been recorded by Capriccio, Crystal, fellowships from the American such an atrocity. He had, in effect, Leonarda, Opus One, and others. Academy of Arts and Letters, illuminated and sublimated the pow­ She is an adjunct professor of com­ Broadcast Music Incorporated, the erful dance of war. Not too long position at New York University MacDowell Colony, the Civic Or­ ago, this understanding was given a and SUNY Purchase. Her opera Jo­ chestra of Chicago, and the Rack­ more personal meaning. In 1994, casta was recently performed in ham Graduate School of the the composer's piano teacher col­ New York City several times. University of Michigan. He has had lapsed under a devastating resur­ commissions for theater and dance gence of cancer that had previously ELLIOTT SCHWARTZ has been a music from the Wild Swan Theater lain in remission for 15 years. She member of the Bowdoin College of Ann Arbor. His percussion solo was a young, boisterous, and tal­ faculty since 1964, Zeitgeist was premiered by the Dan­ ented musician. Despite the physical and has also held ish-American percussionist Timothy and mental ravages undergone in extended visiting Lutte at the 1996 Percussive Arts her struggle with this disease, her residencies at the Society International Conference in spirit grew stronger and more open University of Cali­ Nashville, Tennessee and returned to the possibility that there was fornia (Santa Bar­ there this year to receive its second some larger meaning behind this. bara and San performance at the Music Teachers Despite the fact that her body was Diego), The Ohio State University, National Association by winner turning against itself, she never lost Trinity College of Music (London, Stacey Jones. Other recent commis­ her artistic power to discover the UK, and Cambridge University sions include Karnak for the Boze­ poetry behind the madness. To this (UK). Schwartz has served as presi­ man Symphony Orchestra, Sun day, her eyes are still wide open, and dent of the College Music Society, Dogs for the percussion duo Equal they compel me to look deeper than vice-president of the American Temperament, and ... con Cruces the superficial antagonisms to un­ Music Center, and national chair of de Fuego (. .. with Crosses of Fire) derstand that war is actually an in­ the American Society of University for the virtuoso sextet Quorum. He teraction of opposites. In the Composers (now renamed SCI). He

50 and Daniel Godfrey are co-authors density processes. Given those simi­ NYU, and the D.M.A. degree from of Music since 1945: Issues, Materi­ larities, I then tried to make each Peabody College. He has many orig­ als, Literature. Another book, the piece in the collection as distinctly inal compositions and historical edi­ anthology Contemporary Com­ different from its neighbors as possi­ tions to his credit, of which 23 are posers on Contemporary Music ble. I hope that I've been able to published by Southern, Pro Art, (which Schwartz co-edited with Bar­ capture not only the brevity and ele­ Brodt, Dorn, and Musica Rara. He ney Childs), has recently been gant structure of Haiku poetry, but is flutist with the Western Arts reprinted in a newly enlarged edi­ some of the aesthetic qualities-sug­ Woodwind Quintet and principal tion. Performances of Schwartz's gestive, atmospheric, and vividly flutist in the Bowling Green-Western compositions have included the In­ contrasted-as well." Symphony and Chamber Orches­ dianapolis Symphony, Cincinnati tras. Among his awards and honors Symphony, Minnesota Orchestra, JOHN SLOVER is a second-year as a flutist, composer and teacher Tanglewood, the Library of Con­ undergraduate student in are the American Guild of Musical gress, the Bath Festival (England), Composition at Artists' Prize-winning Award Cer­ De Ijsbreker (Amsterdam, Holland), NYU, where he tificate, consecutive ASCAP stan­ and the Leningrad Springs (Russia). studies under Justin dard awards, Kentucky Arts His works are published by Carl Delio Joio. His Council's Al Smith Fellowship, and Fischer, Margun, Theodore Presser, works to date in­ Kentucky Music Teachers Associa­ MMB/Norruth, and Fallen Leaf clude a string quar­ tion's Teacher of the Year. Press; CD recordings of his music tet, a brass quintet, can be heard on the CRI, Capstone, a woodwind quintet, and a score for The Sonata for flute and piano was Vienna Modern Masters, Innova, a melodrama, as well as two pieces composed during the second week and GM labels. In recent years he for tape and dancers, "Animate of February, 1998. Its three short has appeared as visiting composer at Pudding" and "Yodel's Last Ride." movements contract in rhythms and the University of the Pacific, the meters. Pitch materials are drawn University of Minnesota, the Col­ Lady Lazarus, a poem written by from several church modes, but es­ lege of William & Mary, the Spoleto Sylvia Plath in 1962, details a pecially Dorian, Lydian and Mixoly­ Festival (Charleston), Los Angeles woman's recovery from a suicide at­ dian modes. The first movement is (the LA County Museum of Art), tempt in terms of a very caustic re­ in classical sonata form. The second New York City (Merkin Hall and animation process. Plath presents movement is a simple ABA form, the Museum of Modern Art), the the reader with a collage of graphic with a brief flute cadenza bringing International Double Reed Festival and seemingly unrelated imagery, the B section to a close. The third (Rotterdam), the European Youth drawing from Christian metaphors, movement is in classical rondo Orchestra Festival (Copenhagen, holocaust practices, and a freakish form, with some material from the Denmark), the Weimar Hochschule and exhibitionist sideshow. She con­ first movement recurring in metrical (Germany), the Casals Festival trasts these ideas against each other alteration. The movement is sugges­ (France), and Netherlands National to create a very livid and grotesque tive of the saltarello, a gay, sprightly Youth Orchestra. atmosphere, more a stitching to­ Italian folk dance with rapid, small gether of component parts than a leaps and perhaps accompanied by The composer writes: "I composed combination into a seamless whole. guitar. The movement's fast and Four Maine Haiku during the sum­ This is a musical setting of two ex­ playful melody is intermixed with a mer of 1984, for the pianist Kazuko cerpts from the poem, the first slower, more lyrical melody that is Tanosaki, who was planning a pro­ twenty-one lines, and then the final handed back and forth between gram of American music for a con­ twenty. It was originally written for flute and piano. cert tour of her native Japan. The solo soprano, full choir, vibraphone, ideal of creating four short pieces clarinet, two bassoons, alto and ALBERT TEPPER earned his based on the model of Japanese tenor saxophone, and trombone. B.Mus. at the New England

Haiku poetry appealed to me, so I Due to financial constraints, how­ 1' Conservatory of devised a plan whereby each piece ever, the wind instruments have • \i Music in 1947 and in the collection would be based on been replaced by piano. ~ his M.Mus. in com­ a variant of the same pitch format, ,,. position in 1948, and whereby each would consist of CHARLES W. SMITH is professor studying with Carl only 17 measures (identical to the of music at Western Kentucky Uni­ McKinley, Quincy number of beats in a typical exam­ versity in Bowling Green, where he Porter, and Francis ple of Haiku). During the brief span teaches flute, theory and composi­ ]. Cooke, piano with Willis Fay, and of 17 measures, each piece under­ tion. He holds a B.M. from the Uni­ conducting with Francis Findlay. In goes the same evolving pitch and versity of Wyoming, the M.A. from 1941-42 he studied composition

51 with Tibor Serly in New York, ject permutations allows me to Dinos Constantinides. He composes where he also worked as an salute the Master fittingly. for traditional live concert perfor­ arranger for popular music publish­ mance, as well as creating back­ ers and radio. From 1942 to 1945, WANG AN-MING holds a BE de­ ground music for films and videos he was a U.S. Navy musician. From gree from Central China University, using MIDI instruments. His con­ 1947 to 1950, Tepper taught theory a BM from Wes­ cert works include an oratorio, and music appreciation at the New leyan Conservatory, three symphonies, five works for England Conservatory and North­ and an MA from chamber orchestra, four string quar­ eastern University, leaving to study Columbia Univer­ tets, two sets of piano variations, composition with Hans Gal at Edin­ sity. She also stud­ one oboe sonata, compositions for burgh University (Scotland) as a ied at the Juilliard various other chamber ensembles, Fulbright scholar. Further conduct­ School. Her works songs, and jazz compositions. His ing study with Herman Schmeidel at include keyboard, vocal, instrumen­ commercial works include a one­ Salzburg's Mozarteum followed in tal, chamber ensemble, choral, oper­ hour work for synthesizer, music for the summer of 1951, with addi­ atic, and symphonic compositions. ten films and videos, and television tional theory study in 1959 at They have been published by the commercials. His recordings include Princeton's Fromm seminar in Ad­ Hildegard Publishing Company, an individual artist compact disc vanced Musical Studies and partici­ Santa Barbara Music Publishing, and two cassette tape releases. His pation in Moog's workshop in and the Yueh Yun Publishing House concert pieces have been performed electronic composition in 1965. in Taiwan. Her flute and piano throughout the United States and in From 1952 until his retirement in composition East Wind was released Europe and China. In addition to 1986, Tepper taught music theory in 1996 on a CD by EIL of his articles on music, he writes on a and literature courses at Hofstra Chicago. Also in that year, her variety of other subjects and has a University in Hempstead, New opera Lan Ying received its world book on anthropology in print. He York, was Hofstra's band director premiere at the Kennedy Center for is the Education Program Director for three years, orchestra conductor the Performing Arts in Washington, for the Louisiana Division of the for seven years, and the Drama de­ D.C. It won second prize in a na­ Arts and is past President of the partment's music supervisor for 25 tionwide musical theater competi­ Mid-South region of the National years, during which time he sup­ tion sponsored by the National Association of Composers/USA. He plied original music for more than League of American Pen Women in is on the National Steering Commit­ 100 productions and was in the or­ 1998. In 1999, she received a grant tee of the Arts Education Partner­ chestra pit as musical director of fif­ from the Maryland State Arts Coun­ ship of the U.S. Department of teen Broadway revivals. He was cil Individual Artist Award program Education and the National Endow­ Music department chairman for fif­ for the promotion of her music. ment for the Arts. teen years (not consecutive) and is author of the textbook Tonal Har­ Fantasy for Organ was commis­ HOWARD YERMISH (born 1971, mony: Vocabulary and Syntax. A sioned at the request of the United Philadelphia, PA) is a doctoral member of ASCAP since 1965, Tep­ Church of Washington, D.C. It re­ student and gradu­ per was president of the Eastern Di­ ceived its world premiere on Decem­ ate assistant at the vision of the Music Teachers ber 13, 1988, along with her University of National Association from 1968 to Requiem for chorus and organ. In Southern Califor­ 1970 and a member of the New 1996, the work was performed in nia, teaching Com­ York State Arts Council panel in one of the concerts held in celebra­ position for 1972. From 1989 to 1991 he was tion of the 1996 World Olympics in Non-Majors. He chairman of the Long Island Com­ Atlanta. In 1999 it was taken on has a Bachelor of Music from the posers Alliance. tour through five major cities in Eastman School of Music (1994) California. where he graduated with highest Trio Barocco, for violin, clarinet, distinction, and a Masters of Music and piano, is the final transforma - MICKIE WILLIS (b. 1945), com­ from USC (1996) where he was tion of a work composed on request poser and jazz pianist, received his named the outstanding student in for the unwieldy combination of D.M.A. in music composition at that level. Recently flute, horn, and harpsichord. An ad­ composition from named the regional and national ditional request was for "baroque Louisiana State winner of the Society of Composers overtones." The first four notes of University, studying student composition competition, the 12-tone fugato subject in the with Kenneth his work Five Images has been per­ Gigue are B C A B-flat (HCAB in Klaus, James Drew, formed by the Kansas City NewEar German notation). One of the sub- Don Freund, and Contemporary Music Ensemble

52 (1997), by the New York New lyrical passage above the intensity of Music Days U.S.A., and frequently Music Ensemble at the California the ensemble before returning to a in New York by such groups as the State University Summer Arts Festi­ darker perspective to close. Juilliard Ensemble, Da Capo Cham­ val (1997), by members of Contin­ ber Players, the Group for Contem­ uum and the Debussy Trio at the DAVID YOUNG was born in Seat­ porary Music, Parnassus, and Oregon Festival of American Music tle, Washington in 1947. Until Ensemble 21. His Gradus as Parnas­ (1997), by the USC Contemporary moving to Texas to sum was given its first performance Music Ensemble (1997), and at the attend the Univer­ and recorded by Peter Leonard and Society of Composers National sity of Texas at the Louisville Orchestra with so­ Convention by the Indiana New Austin, he lived in prano Catherine Rowe. He gave a Music Group (1998). His work for the Northwest his lecture on this work at the Interna­ bowed piano and percussion, Rit­ entire life. He tionale Ferienkurse fur Neue Musik ual, was awarded the ASCAP Foun­ began taking piano in Darmstadt, Germany in 1994. dation Morton Gould Young lessons at age five and began writ­ Explorations, recently released on a Composer Award (1998), and it was ing little piano pieces at age eight. Centaur CD, was performed at that performed by the USC Percussion While attending high school, he same festival by pianist David Ensemble at the Percussive Arts So­ studied composition and theory Holtzman. Espressoni per Orchestra ciety International Convention with Homer Keller at the University received critical acclaim after its (1997). He has won many composi­ of Oregon. He attended the Univer­ performance by the Philharmonic tion prizes including a Presser Foun­ sity of Oregon from 1965 to 1969 Orchestra of Augsburg, Germany in dation Music Award (1998), the but did not finish his degree. The October 1996. He has just com­ Halsey Stevens prize (1997), the next sixteen years were spent play­ pleted his Symphony Number One, Jimmy McHugh prize (1996), the ing in rock bands, writing commer­ which is scheduled for performance Hans J. Salter prize (1995), the cial music, working in restaurants by the Warsaw National Philhar­ Louis Lane prize (1994), as well as and as a gardener, etc. He re-entered monic. He has served on the boards awards through ASCAP including the University of Oregon in 1985 of the League-ISCM, the American Young Composer's Awards (1993, and completed his undergraduate Composers Alliance, and the Com­ 1998) and the Max Dreyfus Schol­ degree and went on to earn a Mas­ posers Guild of New Jersey, of arship (1991). He has been nomi­ ter's degree in 1988. He began his which he was president from 1985 nated for awards by the American doctoral program at the University to 1992. He has been a member of Academy of Arts and Letters of Texas in 1994 and is planning to the Society of Composers since (1993), and has received a Compo­ complete his degree during the 1966 except for a brief hiatus in the sition Fellowship for the Norfolk Spring of 1999. late 1980s. He is now Professor of Chamber Music Festival through Music Emeritus, having retired from the Yale School of Music (1993). He ROLV YTTREHUS was born in teaching at Rutgers University in the is the artistic director and conductor 1926 in Duluth, Minnesota. He Fall of 1996. of the Digital Renaissance Consort, holds degrees from an ensemble dedicated to the perfor­ the University of Sonata for Percussion and Piano mance of new American music and Minnesota/Duluth was originally written as a duo for community outreach. His teachers and the University percussion and piano. After the ini­ have included Samuel Adler, Warren of Michigan, and in tial performance, it was determined Benson, Donald Crockett, Stephen 1962 he received a that the work should be revised for Hartke, Christopher Rouse, Allan ~·:dip l oma from the several percussionists, so that they Schindler, Joseph Schwantner, and Accademia Di Santa Cecelia in would have enough time to use a Frank Ticheli. Rome. He studied harmony with variety of mallets and effectively Nadia Boulanger and composition dampen their instruments. The xylo­ Sometimes an idea needs to be revis­ with Ross Lee Finney, Roger Ses­ phone and vibraphone usually act as ited. After writing a work for solo sions, Aaron Copland, and Gof­ an interconnected unit, as do the guitar in 1995, I decided to include fredo Petrassi. He regards timpani and the left hand of the that piece within a larger work for Schoenberg and Sessions as his prin­ piano. One of the more interesting chamber ensemble and guitar. Sil­ cipal influences. He has received nu­ features of this piece is the frequent houette quietly unfolds from a dark merous awards, including grants shift of surface rhythm: at any given place, gradually letting the sound of from the National Endowment for moment, one will find all of the in­ the guitar come into focus. The vi­ the Arts and the New Jersey State strumentalists dividing the beat in braphone energizes the work with Council on the Arts. His music has the same way (by five or six, for ex­ long strands of notes colored by the been performed at the Fromm Festi­ ample). However, the way of divid­ ensemble. The guitar continues a val in Tanglewood, the ISCM World ing the beat is constantly changing,

53 Musicians of extraordinary versatil­ experimental and interactive com­ soned park ranger at Mammoth ity, the MERIDIAN STRING puter music. Choreographer Dou­ Cave National Park. She is a mem­ . QUARTET brings glas Dunn, recognized as one of ber of Phi Kappa Phi (National its unique approach America;s leading modern dance Scholastic Honorary) and Pi Kappa to the art of cham­ choreographers, blends experimen­ Lambda (National Music Scholastic ber music, earning tal dance with the new sounds of Honorary), and has received numer­ admiration from the NYUNMDE to create musical ous awards for scholarship and d critics and audi- and theatrical presentations. The en­ performance. She and her hus­ l ences alike for its semble has premiered works band,Charles Smith, presented a spirited performances, broadcasts throughout the United States and in flute-piano concert tour of the and recordings throughout America festivals in Italy, France, Hungary United States and Europe during and Europe. The Quartet has estab­ and Yugoslavia. Praised for their the Spring of 1998. lished an important presence in close work with composers, the en­ New York's classical music scene semble has received numerous dedi­ MADELINE SHAPIRO has pre­ through its series at Weill Recital cations and commissions. This sented solo cello recitals of new Hall at Carnegie Hall, its performance season is filled with ex­ music at colleges lecture/concert series "Meet the citing new works which feature . and universities in Meridians" and its numerous radio dancers, video, ethnic instruments the United States broadcasts on WQXR and WNYC. and new technology. NYU faculty, and in Europe and The Quartet is in residence at the as well as composers from Roma­ Latin America. She Aaron Copland School of Music at nia, Finland, Italy, France and the is the recipient of Queens College and coach for the United States, will be represented. two Performance New York Youth Symphony Cham­ The NYU New Music and Dance Incentive Awards from the Ameri­ ber Music Program. In 1992 they Ensemble is in residence in Pisa, can Composers Forum to assist in won a grant from Chamber Music Italy during the month of July, the premieres of new works for solo America to establish a continuing where they have received rave re­ cello. From 1974 to 1999 she was residency at Turtle Bay Music views for their appearances in Pisa's the co-director and cellist of The School in Manhattan, where they summer festival "Strada Facendo." New Music Consort, an ensemble feature their popular, interactive Personnel:Jung Ling Chang, Bas­ specializing in the performance of Public School outreach programs. soon; Timothy Ruedeman, Saxo­ twentieth-century music, touring the The Quartet has distinguished itself phone; The Bulgarian String United States and Europe, and pre­ through the performance of stan­ Quartet; Makiko Hirata, Ju-Ping senting premiere performances of dard repertory in juxtaposition with Song, Chi Wen Lee, Piano; lnsook works by composers such as Bab­ a wide variety of unique repertory, Choi, Rina Okubo, Kuo-Hsuan Wu, bitt, Cage, Wuorinen, and Davi­ collaborations, and commissions. Percussion. dovsky. She is presently the director These include Bruce Adolphe, of Modern Works!, now in its sec­ Manny Albam, Nancy Faber, Zhou JANET BASS SMITH holds the ond season. She teaches at the Long, Elliot Sharp, Bright Sheng, D .M.A. degree in piano perfor­ Mannes College of Music in New Joan Tower, and George Tsontakis. mance from the University of Mis­ York City, where she directs the Projects in other genres include souri-Kansas City Conservatory of contemporary music ensemble. She recordings with jazz pianist Hank Music, and has master's and bache­ has recorded for New World Jones and the late cabaret singer lor's degrees in piano performance Records, CRI, Mod, and Harvest­ Nancy LaMott and a television ap­ from the University of North Car­ works. pearance with Jon Anderson of the olina-Greensboro and the University rock group YES. Summer appear­ of Wyoming (summa cum laude). ances include Norfolk, Blue Hill, She has done advanced study at the Bard College, Hot Springs, and the Juilliard School and the Eastman Meeting House Chamber Music School of Music, and has been on Festivals. Their CD Lumen was re­ the faculty of Salem College, the leased in 1997. University of North Carolina­ Greensboro, Livingstone College, NYU NEW MUSIC AND DANCE and Southeast Missouri State Uni­ ENSEMBLE, Dr. Esther Lamneck, versity, and maintains an indepen­ Director, is recognized for the pro­ dent piano studio in Bowling Green, motion and performance of impro­ Kentucky. She is an amateur cellist, visatory music, particularly ethnic an avid caver, and a prize-winning and jazz influenced works as well as oil painter. In addition, she is a sea-

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