THE UNIVERSITY OF MASSACHUSETTS DEPARTMENT OF MUSIC AND DANCE

MUSIC FROM

THE SOCIETY OF COMPOSERS REGION 1 (NEW ENGLAND)

October 7, 1995 Bezanson Recital Hall Fine Arts Center THE SOCIETY OF COMPOSERS, REGION 1 THE UNIVERSITY OF MASSACHUSETTS DEPARTMENT OF MUSIC AND DANCE

October 7, 1995 Bezanson Recital Hall 9:30 am Amherst, Massachusetts

CONCERT 1

Luminous Descent Richard Nelson electronic tape

Trombonius Emanuel Rubin

Three Pieces for Piano Daniel Cate Nikki Stoia, piano

The Voice of Jane Carlyle Ann Kearns Jane Bryden, soprano Monica Jakuc, piano

Music for Tuba and Timpani Stephen Gryc Adam Porter, tuba William Hanley, timpani

Flower-Terrible Memories Andrew Simpson Andrew Simpson, piano THE SOCIETY OF COMPOSERS, REGION 1 THE UNIVERSITY OF MASSACHUSETTS DEPARTMENT OF MUSIC AND DANCE

October 7, 1995 Bezanson Recital Hall 10:45 am Amherst, Massachusetts

PAPER SESSION I

Ron Parks:

Non-Real-Time Granular Synthesis with Csound

This presentation introduces and demonstrates a collection of Csound computer music instrument designs developed for granular synthesis. The instrument designs presented demonstrate control over all parameters of granular synthesis.

William Pfaff & Whitman Brown, electric guitars:

Composer as Improviser

Trapeze for electric guitar duo was created in 1993 to explore the possibilities of free improvisation and interdisciplinary collaboration. It presents an alternative to traditional concepts of freely improvised music. THE SOCIETY OF COMPOSERS, REGION 1 THE UNIVERSITY OF MASSACHUSETTS DEPARTMENT OF MUSIC AND DANCE

October 7, 1995 Bezanson Recital Hall 11 :30 am Amherst, Massachusetts

CONCERT 2

Four Studies for Two Clarinets Elliott Schwartz Jean Johnson, clarinet Jason Fettig, clarinet

Sonata #2 William Goldberg William Goldberg, piano

Soliloquy Pamela Marshall Emmanuel Feldman, cello

Skelter Memory Douglas Durant Bruce Rankin, wind controller

Hoquet Hayg Boyadjian Marsha Johnson, soprano Herman Weiss, piano

Two Suspended Images Will Moylan Bruce Rankin, wind controller

Sonaria Elizabeth Walton Vercoe Emmanuel Feldman, cello

Chimeric Fantasy Allen Brings Lynn Klock, alto saxophone Eric Roth, cello Nikki Stoia, piano THE SOCIETY OF COMPOSERS, REGION 1 THE UNIVERSITY OF MASSACHUSETTS DEPARTMENT OF MUSIC AND DANCE

October 7, 1995 Bezanson Recital Hall 2:30 pm Amherst, Massachusetts

CONCERT 3

Into The Labyrinth Charles Bester electronic tape

Proimion Beta Alexandros Kalogeras Janet Underhill, bassoon

Seven Songs on Poems of James Joyce Elizabeth Lauer Alice Marie Nelson, mezzo soprano Elizabeth Lauer, piano

Sinuosity Canary Burton Katherine Kleitz, flute Gail Grycel, oboe Marc Lauritsen, piano

Elegy David Cleary David Cleary, cello

Drei Lieder Frank Warren Sally Baker, mezzo soprano Debbie Greenebaum, violin Eric Roth, cello

C'est si bon William Matthews William Matthews, flute Hannah Lilja, clarinet Amy Chandler and Geoffrey Holm, violin Alison Brooks, viola Benjamin Tassinari, cello Timothy Bakland, piano THE SOCIETY OF COMPOSERS, REGION 1 THE UNIVERSITY OF MASSACHUSETTS DEPARTMENT OF MUSIC AND DANCE

October 7, 1995 Bezanson Recital Hall 4:00 pm Amherst, Massachusetts

PAPER SESSION II

William Matthews

Many Exits: Post-Modern Working Conditions for American Composers

Composers in the are often taught to write music in the absence of particular performance opportunities: a quartet is composed for a generic two violins, viola and cello playing in an imagined Alice Tully Hall. In contrast to this traditional and increasingly futile approach, there are advantages to writing for particular local musicians and specific local community conditions. The more modest satisfactions gained may ultimately be more fulfilling, and are certainly more within our reach as we face the fact that we're not all going to be famous, an

I j THE SOCIETY OF COMPOSERS, REGION 1 THE UNIVERSITY OF MASSACHUSETTS DEPARTMENT OF MUSIC AND DANCE

October 7, 1995 Bezanson Recital Hall 4:30 pm Amherst, Massachusetts

CONCERT 4

Three Household Miniatures Karen Tarlow Mary Ellen Miller, clarinet Diane Fedora, bassoon

Saving Daylight Time: David Patterson Poems from a Texas Border Town Eleanor Kelly, soprano David Patterson, piano

Images for Solo Clarinet Margo Simmons Edwards Kirk Edwards, clarinet

Modal and Polymodal Pieces Steven David Stalzer Bernadette Balkus, piano

Duo Charles Kaufmann Charles Kaufmann, recorder John Byrne, Baroque bassoon

Sonnets from the Portuguese Elizabeth Scheidel Austin Maria Tegzes, soprano Geoffrey Burleson, piano

Winter Haiku Dennis Leclaire Linda Papatoboli, piano

Trio for violin, cello & piano Gerald Shapiro Adagio rubato e mo/to espressivo (3rd movement) Debbie Greenebaum, violin Eric Roth, cello Nikki Stoia, piano Program Notes

Elizabeth Scheidel Austin received her early musical training at the Peabody Conservatory and Goucher College and was awarded a scholarship by Nadia Boulanger to study at the Conservatoire Americaine in Fontainebleau. After teaching and earning a Master's degree at the Hartt School, she established a faculty/student exchange with the Staatliche Hochschule tor Musik Mannheim/Heidelberg in 1990. During her Ph.D. studies at the University of Connecticut, she won first Prize in the David Lipscomb Electronic Music Competition. Currently she is Assistant Director of the German Proficiency Program, encouraging American music and fine arts students who wish to study for a semester in Germany. She spends part of every year abroad on this program. She has studied with Robert Hall Lewis and Donald Harris. Her music is published by Arsis Press and Peter Tonger Verlag and recorded on the Capstone label. Her unpublished scores are available through the American Composers Alliance. Setting five Sonnets from the Portuguese by Elizabeth Barrett Browning, writes the composer, "required the evocation of an intense turning point in a life: a reflection of wonderment and quietude in the face of tumultuous emotion." Much of the thematic material in these songs is heard throughout the cycle with the expectation of varying degrees of recognition. The composer's goal in setting the sonnets was to enhance the beauty and underline the import of the texts. The title of the sonnets comes from Robert Browning calling Elizabeth Barrett his 'Portuguese' because of her dark hair. [Note: texts printed separately]

Charles Bestor received his musical training under Paul Hindemith at , Vincent Persichetti and Peter Mennin at the Juilliard School of Music, and independently under Vladimir Ussachevsky. He has served on the faculty and administration of the Juilliard School and subsequently as the head of the music departments of Willamette University and the Universities of Massachusetts, Utah, and Alabama. He has written commissioned works for the Utah Symphony, the Composers String Quartet and many other organizations and individual performers. Also, he won first prize in the 1994 Omaha Symphony Competition, the Delius Prize, and awards in the Bourges International Competition and Quinto Maganini. His music is published by G. Schirmer, Elkan-Vogel, International Editions and others and is recorded on Centaur, Serenus, Orion and Ariel labels. Into the Labyrinth is the score for a sound, sculpture, light and text installation designed by the sculptor Barbara Cornett and the lighting designer John Wade. The physical sculpture is a literal maze in which the contemporary viewer recreates the journey of Theseus through the labyrinth of Minos in search of the Minotaur. As the visitor travels deeper into the maze, he or she is accompanied by images, sounds and text that relate the journey to the rites of passage and self­ discovery that we all must undertake in our lives. "Like Joyce's Bloom," the text begins, "unconsciously we reenact the myths that underlie our own reality." At the conclusion of the journey, at "the secret heart of darkness," we ultimately confront the Minotaur of our own making, the distorted but unmistakable image of ourselves.

Hayg Boyadjian was born of Armenian parents in Paris where he spent his early years. After emigrating with his family to Argentina, he came to the United States in 1958. His musical education began in Argentina, continuing in Boston at New England Conservatory and later at Brandeis University, with additional studies in economics at Northeastern University. Boyadjian has composed many works, primarily chamber music, and his music has been performed here and in South America, Europe, Central Europe and the Middle East. His music has been recorded on Opus One records and his second string quartet, recorded in Russia, will appear soon on a Living Music compact disc. Hoquet (or 'hiccup') by Leon Gontran Damas of French Guiana is a poem that is a tableau about social influences imposed on the Africans by the French. The composer writes that "in my role as the composer, I impose on each tableau its own exclusive musical idea, giving thus to the song a sense of continual change, or, as one listener called it, a 'mini-opera.' [Note: texts printed separately]

Allen Brings writes: "From the Classical period extending through the Romantic, the fantasy has increasingly relied, it seems to me, less on an exclusively musical logic and more on composers' insights into human psychology. Freed from the constraints imposed by the expectations of classical forms, composers have introduced into these pieces unexpected juxtapositions of seemingly unrelated materials often appearing in apparently unprovoked, unmotivated sequences. My Chimeric Fantasy contributes an additional element distinctly twentieth century in origin, that of illusion: things are not always what they seem to be and whatever one hears at one moment may unpredictably become something altogether different a moment later. The music may seem to progress willfully, even perversely at times. It is not so much the nature of the materials themselves but rather their bizarre treatment that one will notice. Because it is not intentionally Gothic, the character of this piece probably cannot be appreciated by a Western listener unable to place it in the context of the Western tradition. Ironically, it might more likely provide pleasure to a non-Western listener who does not understand that tradition."

Whitman Brown is a candidate for the Ph.D. in music theory and composition at Brandeis University. Prior to his studies there, he studied at the Berklee College of Music where he received a B.M. and at New England Conservatory where he received a Masters. He counts Martin Boykan, Allen Anderson, Eugene Kurtz, William Thomas McKinley and Thomas Oboe Lee among his teachers. He has received awards and commissions from ASCAP, BMI, Yaddo and the Bedford Springs Festival, among others. In addition to works for chamber ensemble and orchestra, he has written music for theatre and documentary video. As a guitarist he has performed with Composers in Red Sneakers in Boston, the Bicycle Shop Dancers in Brooklyn, and at La MOMA and the Teachers College of in New York. Trapeze for electric guitar duo was created in 1993 to explore the possibilities of free improvisation and interdisciplinary collaboration. Whitman Brown and Bill Pfaff enjoy presenting an alternative to traditional concepts of freely improvised music. "We enter a minute-by-minute sound world-listening and reacting-to build sections of music; the results are often unpredictable."

Canary Burton grew up in the Bay area and in El Paso, Texas, but her music began in Moscow, Idaho. There, in her thirties, she studied piano with Richard Neher at the University of Idaho. She formed several bands, moved to the east coast, listening and learning in the Washington, D.C. music scene, then travelled to Wellfleet on Cape Cod, where she played solo piano in local restaurants. She still lives on the Cape with her water view, her MAC and her cat. Her work has progressed through jazz, pop, and sound art into classical music based on those roots. She has a fascination with such greats as John Coltrane, Thelonious Monk and Aaron Copeland and introduces her friends to Meredith Monk and Elizabeth Varcoe whether they like it or not. She is beginning to make a home on the Internet, working toward making music on the information superhighway. Sinuosity, written for Row Twelve in the winter of 1994-95, is her first composition using the computer and Korg keyboard. The simplicity, tonality and fun of the piece reflect her almost instant affinity to her new computer and the joy she takes in composing. Daniel Cate was born in Knoxville, Tennessee. He received his B.M. in composition from Oberlin Conservatory of Music and now lives in Boston, working as a free-lance composer and music copyist. He also plays drums and percussion in various ensembles. "Three Pieces for Piano (working title) is a work in progress. This version was completed in June, 1995. The work is in three short movements. Each movement has its own character while exploring similar rhythmic, intervallic, and melodic material. I attempted to accomplish variation through the exploration of the piano's timbral and orchestral capabilites."

David Cleary received a OMA from Cincinnati Conservatory, a Masters from the Hartt College of Music and an undergraduate degree from New England Conservatory. His music has been performed and broadcast in the U.S., Europe and Australia, including festival performances at Tanglewood, June-in-Buffalo, the Conductors' Institute, and Warebrook. Prizes include the Harvey Gaul contest and Cincinnati Composers' Guild, and he has received grants from the Cabot Trust, Meet the Composer and Harvard University. Artist colonies he has attended include Yaddo, Millay, Ragdale, Cummington and the Virginia Center for the Creative Arts. Among his commissions are those from Alea Ill, Dinosaur Annex, Arcadian Winds, and the Artaria Quartet. His music is on Centaur and Vienna Modern Masters CDs. Currently he is co-director of Composers in Red Sneakers. "The Elegy was written on private commission for Boston amateur cellist Deborah Hand. The piece is specifically written with an eye towards performances by cellists of moderate facility who also like twentieth century music. The work derives this ethic from that exhibited by numerous pieces from the Rennaissance, Baroque and Classical periods that were intended for performance in the home or for small groups of friends (an ethic largely ignored in the twentieth century). The formal scheme of the piece is an altered binary: ABC B'A'C' with the B'and A' section developing materials from the appropriate preceding section. Elegy is dedicated to Deborah Hand and was composed in memory of her mother who died while the piece was being written during a residency at Yaddo."

Douglas Durant holds degrees from the University of and Brandeis. He studied piano with Robert Helps and composition with Symour Shifrin, Arthur Berger, and Andrew lmbrie about whom he has written extensively. He is a board member of the Boston ISCM and is currently on the faculty at Northeastern University. Skelter Memory is for wind controller, an electronic wind instrument made by Yamaha which controls a synthesizer. The composer writes: "Skelter Memory is like a coda to a piece which you never hear. It begins with tranquil 'ending' music, the last gasp. Suddenly, an insistent interruption disturbs things, then different musics spun off from the interruption (like intruding memories a bit out of control) demand continuation and resolution. Finally, the calm, opening gesture is developed and completed. The title reflects how the piece explores remembered crises, emotions, and traumas which sneak back and disturb our tranquility."

Margo Simmons Edwards, born in Nashville, Tennessee, is currently an associate professor of music at Hampshire College in Amherst, Massachusetts. She holds an M.A. and Ph.D. in music composition from the University of California at San Diego. She is a flutist as well as a composer and has performed baroque, classical, contemporary, jazz and other improvisational styles of music in the U.S., Europe and Africa. "Images for Solo Clarinet was written for my husband, Kirk Edwards, clarinetist in the United States Coast Guard Band. The piece explores some of the melodic, timbral, and textural resources of the clarinet within a fantasy-like form. There are three principal sections which are connected by transitional interludes."

William Goldberg, a native New Yorker, studied at Juilliard and the New York College of Music. He has been a member of the Long Island Composers Alliance for many years, and his works have been played at many of the group's concerts including a program under the auspfces of Meet the Composer. He has also been active in the musical life of Maine, represented in four Maine Composers Festivals in Augusta, the Bar Harbor Festival, and the Arcady Music Festival. In addition he has performed annual piano recitals at the Margaret Fuller Forum in Augusta. He has received commissions from the New York Brass Quintet, the Sea Cliff Chamber Players and the Arcady Music Festival, and won first prize at the Georgia Brass Symposium in 1972. In 1982 he formed Cormorant Press, a press devoted to publishing new music. His music is available from Cormorant Press, Paragon Music and Chronus Music. He is a pianist, composer and private piano teacher. He writes: "My Sonata #2 was written about twenty years ago and I have performed it several times. In this piece I make use of isorhythmic procedures: in the first movement alternating with free form and in the second, throughout. The last movement is free form." Stephen Gryc earned a D.M.A. in 1983 at the University of Michigan where he studied with William Albright, Leslie Bassett, and William Bolcom. He is currently Associate Professor of Music at the Hartt School of the University of Hartford where he has served as chairman of the composition department, director of the Hartt Contemporary Players, director of the Institute for Contemporary American Music, and co-director of the Center for Computer and Electronic Music. He has received grants and fellowships from ASCAP, the Connecticut Commission on the Arts, the MacDowell Colony, the Charles Ives Center and the University of Hartford. His awards include the 1986 Rudolf Nissim Prize in orchestral music. His works have been performed by the Kansas City Symphony, the Minnesota Orchestra, and the Agon Percussion Quartet of Prague. His music is published by Alphonse Leduc, Robert King and Vivace Press and is recorded on the Opus One label.

Alexandros Kalogeras was born in Athens, Greece where he studied piano, voice, choral conducting and theory at the National Conservatory. He has continued his studies in composition at Boston University and Harvard with Theodore Antoniou, Bernard Rands, John Harbison and Donald Martino. He has also studied computer music with and Barry Varcoe, and participated in composers' workshops in Darmstadt and in Avignon with Messiaen, Nono and Takemitsu. He has received commissions from the Pittsburgh New Music Ensemble, Alea Ill, and the St. Petersburg Woodwind Quintet. Five of his works have been awarded first prizes in competitions in the U.S. and Europe. He has been a frequent guest at festivals in the U.S., Europe, and Russia where he presented over forty lectures on contemporary music. His music is published by the Italian houses of Edi-Pan and BMG Ariola. He completed his Ph.D. at Harvard this spring. Proimion Beta was commissioned by Alea Ill for Janet Underhill, today's performer. It was premiered in Boston in 1994.

Charles Kaufmann holds a B.M. and Performer's Certificate from the Eastman School of Music as well as an M.M. from the Yale School of Music. Twice a Tanglewood Fellow, he is a recipient of the program's C.D. Jackson Award. His works have been performed in association with the Bergen Composers' Association, RISS Dance Company, Orpheus Ill chamber ensemble and SCI. Currently on the applied faculties of Bates and Bowdoin Colleges as instructor of bassoon, he is also organist and music director of the Congregational Church of Exeter, New Hampshire. Duo for Recorder(s) and Baroque Bassoon was written for the Maine Composers Forum and the 1995 Maine Festival in Brunswick, Maine where it was premiered in August. The piece is meant specifically for replica 18th century instruments, performing at A415 pitch. The performers are members of the Lygonia Consort, created to perform period music of the 17th and 18th centuries on replica instruments. Named after an early Maine settlement, the ensemble is currently active in northern New England.

Ann Kearns is a Professor of Music and the Director of Choral Music at Hampshire College in Amherst. She holds a Master of Music degree from the University of Wisconsin and studied choral conducting at the Juilliard School of Music. Her compositions are widely published and performed, receiving several awards including First Prize in Alice Parker's Composition Search for Melodius Accord in . Recent commissions have come from Hampshire College and the Blanche Moyse Chorale. She prepared and conducted choral arrangements for Mary Lyon: Precious Time, a documentary about the beginning of higher education for women. The texts for The Voice of Jane Carlyle are one journal entry and two letters to her husband, Thomas Carlyle, author of enormous nineteenth century histories and social tracts. The 1856 journal entry dates from the fourteen years of Thomas Carlyle's affair with Lady Harriet Ashburton, a period when Jane suffered anguished jealousy and struggled daily with the cold, lack of money, and difficult servants. The 1864 letter was written to her husband during one of her illnesses. The affectionate 1866 letter was her last to her husband. After his wife's death, Thomas prepared her journal and letters for publication. Upon reading the tortured journal commentary on Lady Ashburton, he undertook a fifteen-year campaign of public atonement for his neglect of his wife. [Note: texts printed separately]

Elizabeth Lauer has been occupied with inventing music since she was a small child. Her formal education at Bennington College and Columbia University has been concentrated in the discipline of composition. She has also received a Fulbright scholarship for study at the Staatliche Hochschule fi.ir Musik in Hamburg. She has been assistant to the president at Columbia Records and an associate producer for Masterworks. More recently she has added performing to her musical activities as a soloist, chamber musician and orchestral pianist. She is on the faculty of the University of Bridgeport where she has taught theory, piano and a course on music and computers. Several of her works have won prizes, most recently from the Percussive Arts Society. Her music is published by Arsis Press, Carl Fischer, and Kjos and recorded on the Newport Classics_, I Virtuosi and Capstone labels. "After a few months at Columbia University in Otto Luening's composition seminar, one of my colleagues (John Kander, later author of "New York, New York") expressed the opinion that I was a brain with no passion. He then challenged me to write some love songs. I was reading Ulysses at the time, so ·choosing Joyce's Chamber Music as a source for poetry was a natural one. I had just turned 21 when I wrote these pieces, and they remain among my favorites." [Note: texts printed separately)

Dennis Leclaire is an associate professor of composition at the Berklee College of Music where he has taught since 1980. Among his awards are commissions and grants from the Massachusetts Council for the Arts, the Texas Council for the Arts, the North Shore Philharmonic, Thayer Symphony, Southern Music, James Pappoutsakis Memorial Fund, the University of Arizona, and the Boston Chamber Ensemble. His works have won competions sponsored by the Society of Composers, the College Music Society, Vox Nova Woodwind Quintet and the Chestnut Brass Quintet. His music is published by Southern Music, BKJ Publications, and Frank E. Warren Music Services. His music is recorded on Summit, Prospect 921, Music from Concordia, and MCC compact discs. "Winter Haiku were composed between 1987 and 1988. Inspired by Japanese poems, this short programmatic suite for piano tries to capture the essence and mood of each poem. I chose the particular poems for their beauty and for the contrasts in musical setting they would allow. While I made no attempt to literally imitate Japanese music, the terse and precise nature of the poems naturally yields a short, economical musical rendition, with much need for restraint of ideas and little opportunity of emotional self-indulgence. The Winter Haiku represents a collection of unrelated piano pieces that may be performed separately or in any combination." [Note: texts printed separately]

Pamela Marshall received degrees in composition from the Eastman and Yale Schools of Music where she also studied horn, conducting and electronic music. Currently she lives in Lexington, Massachusetts, plays French horn in local orchestras, and writes technical documentation for computer software. Her compositions include music for synthesizers, brass, mandolin, and orchestra. She works with composing tools on the computer, including sequencers, notation, and algorithmic composition. She has been a Fellow at the MacDowell Colony and has received grants and commissions from many organizations and individuals including the Massachusetts Council for the Arts, the Composers Forum, NEWCOMP, DanceArt, mandolinist Neil Gladd, and American Women Composers. She has worked at Kurzweil Music Systems, writing software and developing sounds. Her music is published by Seesaw Music, Plucked String Editions and her own company, Spindrift Music. She writes, "I conceived of Soliloquy's opening theme one evening toward the end of a stay at the MacDowell Colony. I was there in winter, working on an austere piece about archeological ruins. The lush, euphonious intervals of Soliloquy's theme were a beautiful contrast to the bleak sounds of the other work. The music passes through many different moods and textures but with the harmony dominated by 6ths and 3rds. Sometimes I think the piece belongs in a suite in the tradition of Bach, but it is really more like a fantasia where the cellist plays fragments from a suite, half remembered." Soliloquy was premiered by Emmanuel Feldman in 1993. His performance is also available on CD on the Clique Track label. Both recording and score are available from Spindrift Music Company.

William Matthews was born in Ohio, studied at Oberlin, the University of Iowa, the Institute of Sonology in the Netherlands and at Yale. He has taught at Bates College in Maine for eighteen years. Recently, he served as Co-chair of Region 1 of the Society of Composers with the specific agenda of including more women in the society's activities. (Editor's note: The two SCI/Bates College conferences included record numbers of women's works for an SCI event.) He writes: "C'est Si Bon is a 'souvenir' of a collaboration between puppet designer and director Amy Trompetter, conductor Greg Boardman, the Androscoggin Valley Community Orchestra of Lewiston­ Auburn, Maine, and the composer William Matthews. The 1994 production Shoe Shop Jig, Cottonmill Rag, and Other Stories of Maine told the tale of a young laborer with a blue face who emigrated from Quebec in search of a better life in Maine. The original music was 45 minutes in length, for full orchestra, in sixteen numbers. The present work is about ten minutes long and uses four traditional Franco­ American fiddle tunes included in the original music: 'Carnival Reel,' 'Marathon Reel,' 'Souvenir,' and 'Money Music.' The composer was particularly inspired by recordings of the brilliant Lewiston harmonica player, Maurice Gagnon." William Moylan is Director of Sound Recording Technology Facilities and Associate Professor of Music at the University of Lowell. His studies in composition include a doctorate from Ball State University, a Masters from the University of Toronto, and a bachelor's from Peabody Conservatory. He has written solo and chamber vocal and instrumental works, mixed and traditional ensembles, ballet, orchestra, chorus, wind ensemble, and electronic and computer music. His works have been performed throughout the U.S. and in Canada and Europe. His music is published by Seesaw Music and is recorded on the Opus One and Breathing Space labels. Two Suspended Images for wind controller was written for Bruce Ronkin in 1990. The piece was written for a wind controller sending performance instructions to a synthesizer and is in two movements or images. Each image is designed to utilize certain unique characteristics of the wind controller: in Image 1, the use of very long melodic gestures unplayable on traditional instruments and the use of drone sounds, and in Image 2 the use of many timbres, spatial processing techniques, wide registral boundaries and a wide dynamic range.

Richard Nelson holds degress from the University of California at Berkeley, Indiana University, and Columbia University where he received his OMA. He counts Mario Davidovsky and Donald Erb as his most important teachers. His music has been performed by such groups as Speculum Musicae in New York and Alea Ill in Boston. His fellowships and residencies include the Composers Conference at Wellesley College, the Virginia Center for the Creative Arts, the Aspen Center for Compositional Studies and the June-in-Buffalo Composers Conference. Active as a jazz guitarist, jazz composer and educator, he has been a member of the BMI Jazz Composers Workshop in New York and performs and records with the Aardvark Jazz Orchestra. He is currently on the faculties of the University of Southern Maine and the University of Maine in Augusta. In the course of its relatively brief (5 minute) duration, Luminous Descent explores a range of perspectives in increasingly larger sections on the aftermath of a disrupted falling contour. As sharply contrasting shapes and timbres gradually give way to more unified textures, the piece traverses a path towards ever-greater degrees of temporal and spatial expansion and repose.

David Patterson studied in Paris with Nadia Boulanger and Olivier Messiaen and at Harvard University with Leon Kirchner. In 1972 he joined the faculty of the University of Massachusetts at Boston where he has served as chairman of the music department since 1980. His music has been performed by and the San Francisco Conservatory Chamber Players and the Boston Pro Arte Orchestra. His music was also played for the International Commemorative Celebration of the 1 OOth birthday of Nadia Boulanger at the Isabella Stewart Gardner Museum in Boston. The first performance of his Preludes for String Quartet was given at Weill Recital Hall in New York. The poems for Saving Daylight Time: Songs from a Texas Border Town are by TenBroeck Davison who lived and studied on both sides of the border. They recall life in the southernmost city of the continental U.S., Brownsville, Texas, a city on the Rio Grande where American and Mexican cultures mingle. Simple and dramatic events that occurred some time ago reveal the spirit and feeling of the people who once lived there. Brownsville is the 'you' in the first song. Cactus flowers at Christmas, a strop sign with a bullet hole, a day of thousands of butterflies, a sky tinged with sepia, and a tragic incident on one of many man-made waterways called resacas echo throughout a lyrical song cycle for voice and piano modelled after both the traditions of the past and present centuries. The award-winning poems are published in Design Lines, Harvard Graduate School of Design. [Note: texts printed separately]

William Pfaff earned a Master of Arts in music at the University of New Hampshire in 1988 where he studied with Niel Sir and John Rogers. Recently he completed a Ph.D. in theory and composition at Brandeis.University, studying with Allen Anderson, Yehudi Wyner and Martin Boykan. The Lydian String Quartet with friends has premiered his String Quartet, Dweller on the Sea, and his dissertation piece, Syzygy. Recent awards include selection for participation in the 1994 American Composer/Conductor Program, the 1993 May in Miami Festival, the 1992 June in Buffalo Festival, and the 1990 Wellesley Composers Conference. He has taught at the University of New Hampshire, Brandeis University and Franklin Pierce College. Trapeze for electric guitar duo was created in 1993 to explore the possibilities of free improvisation and interdisciplinary collaboration. Whitman Brown and Bill Pfaff enjoy presenting an alternative to traditional concepts of freely improvised music. "We enter a minute-by-minute sound world-listening and reacting-to build sections of music; the results are often unpredictable." Emanuel Rubin teaches at the University of Massachusetts. These pieces for three trombones were written between December, 1994, and February, 1995, at the invitation of David Sporny, trombone teacher at the university.

Elliott Schwartz, a native New Yorker, studied with Otto Luening and Jack Beeson at Columbia University. Since 1964 he has taught at Bowdoin Co.liege and held visiting residences at the University of California, Ohio State, and Trinity College of Music in London. He has served as president of the College Music Society, vice-president of the American Music Center, and national chair of SCI. He is co-author of Music Since 1945: Issues, Materials, Literature. His music has been performed by the Minnesota Orchestra, the Indianapolis Symphony, the Chicago Chamber Orchestra and many others. It has also been featured at many festivals and music centers including Tanglewood, the Library of Congress, the Bath Festival in England, and the Leningrad Spring Festival in Russia. He spent the fall 1993 term as resident fellow at Cambridge University in England, lecturing also on the continent. He writes: "I composed the Four Studies for Two Clarinets in 1963-64 at the University of Massachusetts for two undergraduate students in my theory class who premiered the work on the Amherst campus and at Carnegie Recital Hall in New York. The studies were designed to explore various performance challenges-from changing meter, irrational rhythms and violent dynamic contrasts to altered timbre, graphic notation and controlled improvisation-related to the expressive affect and structure of twentieth century music. I am delighted that the Four Studies will be performed once more at the university where they were created."

Andrew Simpson completed his undergraduate studies at Butler University and a Masters in composition at Boston University where he studied with Lukas Foss. Currently he is a doctoral candidate at Indiana University. A pianist and organist as well as a composer, he has appeared with orchestras and given solo and chamber recitals throughout Indiana. As trumpeter and tenor, his varied activities have taken him across the U.S. and to England and Mexico. His music has been performed by the Indianapolis Chamber Orchestra, the Butler University Chorale, and and the Butler Madrigal Singers among others. He has received commissions from the Butler Chorale, the Greensburg United Methodist Church, and is currently recipient of a fellowship from the Indiana Arts Commission. He is also currently an assistant professor of music at the Crane School of Music, SUNY, in Potsdam. FlowerTerrible Memories, subtitled "Three Images of the Heavens and the Earth," is in three movements in widely differing styles. The title is taken from a poem of e.e. cummings. The first movement, "Stars," represents the massive, 'terrible,' power of the heavens in a clear night sky. A fortissimo crash opens the movement which builds to a tremendous climax, then quickly sinks to quietness in the coming of morning and lightening of the sky. After a long pause, a rocking motif sounds low in the piano, gradually growing louder until the second movement proper begins, a love song called "The Feet of April." Chromatic dissonances gradually invade the diatonic harmony, like a serpent slithering into the lovers' Eden. The third movement recalls dim memories of a Vietnam-era childhood with the 'gunsbutter ballet' rushing at blinding speed. Occasionally a snippet of a rock song emerges, but the ballet devours it. There is a static central section but the dance resumes explosively with inversions that make this third section a mirror of the first ballet.

Steven David Stalzer has studied composition with Gary Nelson, Conrad Cummings, Randolph Coleman, and John Clement Adams. He received the first degree ever offered at Oberlin College in computer music, received a Masters at Harvard University, and state teaching certification at Boston Conservatory. A specialist in computer applications in music, he has authored a number of algorithmic music composition programs including the Motivic Development Scoring System now in use at Oberlin, and an interactive jazz improvisation program. He has written music for electro-acoustical instruments, digital synthesis systems, real-time digital processing and performance systems, musique concrete, and music for traditional instrumental and vocal combinations. His music has explored a variety of techniques, currently polymodal and polytonal systems. He is Director of Fine Arts for the Dedham Country Day School. Five Modal and Polymodal Pieces makes use of most of the traditional church modes, often using two or more of them simultaneously, thus allowing for a richer harmonic language. "Ruminations" calls for the pianist to play in the Lydian mode in the right hand and the Dorian in the left. The piece briefly speeds up and then stabilizes briefly as the acceleration continues. Relief occurs when the original modes return and resolve together. "Sweet Memory," a nocturne in Phrygian, evokes a tender moment. Brief sections of Aeolian and a whole-tone scale lend a floating quality to the music. "Mischief" is a humorous and slightly devilish diversion. The obsessive memory of the second movement returns in "Persistence" with more chromaticism and a bleaker outlook. "Flight," the most difficult movement, makes the most of the minor seconds inherent in the Lydian and Mixolydian modes, requiring great agility from the performer.

Karen Tarlow, born in the Boston area, now lives in western Massachusetts and composes music on commission. She has written for a wide range of vocal and instrumental forces, including ballets, solo and chamber works, choral music and music for orchestra. Her most recent awards have come from the New School of Music in Cambridge and the Massachusetts Artists Foundation. She maintains a private music studio specializing in musicianship, composition and piano and is currently an Assistant Professor of Theory at the University of Massachusetts in Amherst. She holds a Mus.A.D. in composition from Boston University where she studied composition with David del Tredici, Theodore Antoniou, and Gardner Read and piano with Anthony di Bonaventura. She has also studied with Karl Heinz Eggebrecht, Wolfgang Fortner, and Carl Seeman at both the the Albert-Ludwigs­ U niversity in Freiburg im Breisgau and the Conservatory of Music there. Her music is published by Seesaw Press and The New Valley Music Press of Smith College, and a number of her works have been broadcast on NPR. The movements of Three Household Miniatures for clarinet and bassoon are entitled: 'Chaos in the Kitchen,' 'Cat in the Window,' and 'Springcleaningrag.' The composer writes, "One evening I began to defrost my then refrigerator-freezer. At the time, this was no easy task. The rest is history."

Elizabeth Walton Vercoe has been a composer at the St. Petersburg Spring Festival in Russia, the Cite International des Arts in Paris, and the MacDowell Colony as well as a participant in the American Music Oral History Project at Yale University. She has written works on commission for Wellesley College, Hampshire College, and the Pro Arte Chamber Orchestra, and her awards include multiple grants from the Artists Foundation, the National Endowment for the Arts, and Meet the Composer. A graduate of Wellesley College and the University of Michigan, she earned a doctorate in composition at Boston University where she was a student of Gardner Read. She has been a board member of the International Alliance for Women Composers and the Artists Foundation and a three-time panelist for the Massachusetts Cultural Council. Her music, published and recorded on various CDs, includes the Herstory series of vocal works on texts by women, two staged monodramas, various works for orchestra, and music for many chamber combinations. -- -·- - ~ ------

Sonaria ( 1980) is one of a series of introspective pieces for unaccompanied instruments including mandolin, harp, violin, cello and piano. Each of these pieces makes some use of special effects on the instrument in order to create the wanted atmosphere. Here, there is a recurrent low plucked pedal tone, a jazzy section and a brief, nostalgic theme that recurs ponticello and in harmonics. Since the music was written as commentary on an imagined dance/mime either live or filmed, the listener is invited to "screen" those private visual images sometimes evoked by music instead of hastily suppressing them and trying to "pay attention." The mood of the piece is at times tongue-in­ cheek but for the most part is entirely serious.

Frank Warren has been active as a composer of choral, orchestral, and chamber music. His catalogue also includes work for jazz band and commercial writing for advertising and industrial films. In addition he has collaborated with modern dance companies active in Boston and Chicago. He received B.M. degrees in both composition and music education from the Berklee College of Music and an M.M. degree in theory and composition from the University of Lowell. He has won First Prize in the 1993 New Music for Young Ensembles competition, copying assistance grants from the American Music Center, an Education Grant from the Commonwealth of Massachusetts, and artist residencies at Ragdale. His music has been performed at Weill Recital Hall, the Harvard Musical Association, and Northwestern's February Dance Festival, and by such artists as Marni Nixon, the Chicago Chamber Orchestra and His Majestie's Clerkes. Since 1980 he has operated a music company. In 1994 he augmented this business to publish the music of America's emerging composers, including chamber and choral music as well as educational materials. The company has been elected to membership in the Music Publishers' Association. [Note: texts printed separately] Acknowledgements

The New England chapter of SCI gratefully acknowledges the hospitality and assistance of the Department of Music and Dance at the University of Massachusetts in hosting our regional conference. Special thanks go to the faculty and students who have participated in performances on the concerts.

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

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

Announcements

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

Composers who submitt~d materials for the conference may pick them up in the lobby.

Copies of Extraordinary Measures, intermediate piano pieces by Boston area composers published by the Boston League ISCM, are also on display (and for sale) in the lobby.

Those with reservations for the buffet luncheon can meet immediately after Concert 2 at the Campus Center, Room 1009.