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SOCIETY dF -COMPO~ERS, INC_. - / ",< • • ./; . , •,• - , ...... ,...- . - '- . .- • • • -·• • 1998 N atiOnal- Confererice- ,, - -;, • • • • • { ' ·' \<' - ,. \ - • ' .• Indiana University Sc~ool of Music • • • Bloomingtpn, Indiana • • • • April ·14 _-~ 8, 1998-, -• >, - - • ( • ' • • • • • -.• '" . .... -~ / ·············~·························• • • -, • • T' / ·• - "' • • ) I .- • -, • / F , '- 1998 National Conference SOCIETY OF COMPOSERS, INC.

TABLE OF CONTENTS

SCI National Council and Executive Committee, Other Credits ...... ii

Schedule of Events ...... 1

Karel Husa, Keynote Speaker ...... 6

Concert Programs: Concert I, Wednesday, 1:00 p.m. . . . . 7 Concert II, Wednesday, 4: 15 p.m. .. . . 9 Concert III, Wednesday, 8:00 p.m. . 10 Concert IV, Thursday, 1:00 p.m . . 11 Concert V, Thursday, 3:00 p.m. . 12 Concert VI, Thursday, 5:00 p.m.. 14 Concert VII, Thursday, 8:00 p.m. 15 Concert VIII, Friday, 1:00 p.m . . 16 Concert IX, Friday, 3:00 p.m.... 17 Concert X, Friday, 5:00 p.m. . . . 18 Concert XI, Friday, 8:00 p.m.. .. 19 Concert XII, Saturday, 9:30 a.m .. 20 Opera Scenes, Saturday, 10:30 a.m. 21 Concert XIII, Saturday, 1:00 p.m. 23 Concert XIV, Saturday, 3:00 p.m... 24

Composers' Biographies, Program Notes and Abstracts ...... 25 ii SOCIE1Y OF COMPOSERS, INC. 1998 National Conference

SOCIETY OF COMPOSERS, INC.

National Council (1997-1998) David Gompper - President - University of Iowa Eric Sawyer - Region 1 - MIT Noel Zahler - Region 1 - Connecticut College Andrew Simpson - Region 2 - SUNY, Potsdam Samuel Pellman - Region 2 - Hamilton College James Haines - Region 3 - Elizabethtown College Bruno Amato - Region 3 - Peabody Conservatory Kari Henrik Juusela - Region 4 - Stetson University Vernon Taranto - Region 4 - Tampa Bay Composers' Forum James Chaudoir - Region 5 - University of Wisconsin, Oshkosh Rocky J. Reuter - Region 5 - Capital University Daniel Adams - Region 6 - Texas Southern University Samuel Magrill - Region 6 - University of Central Oklahoma Marshall Bialosky - Region 7 - California State University, Dominguez Hills Glenn Hackbarth - Region 7 - Arizona State University Charles Argersinger - Region 8 - Washington State University Cindy Cox - Region 8 - University of California, Berkeley

Executive Committee 0997-1998) Reynold Weidenaar - Chairman - William Paterson College Greg Steinke - President Emeritus John Allemeier - Co-editor, Newsletter - University of Iowa Jon Southwood - Co-editor, Newsletter - University of Iowa Bruce J. Taub - Editor, Journal of Music Scores - C. F. Peters Corporation Richard Brooks - Producer, CD Series - Nassau Community College William Ryan - Submissions Coordinator Bryan Burkett - Editor, SCION James Paul Sain - Chair, Student Chapters - University of Florida Kristine Burns - Listserv Coordinator Tom Lopez - Webmaster Barton McLean - Independent Composer Representative Dorothy Hindman - Local Chapters/Affiliated Groups Representative David Vayo - Membership Chair - Illinois Wesleyan University Fred Glesser - Editor, Monograph Series Thomas Well - Audio Streaming Project Manager, Ohio State University

SCI National Office Gerald Warfield - General Manager Martin Gonzalez - Executive Secretary

1998 National Conference Host: Don Freund, Indiana University School of Music Conference Coordinator/Assistant: Jason Bahr Program Book Preparation: Carrie Root

The Society for Composers, Inc. 1998 National Conference is supported by Arts Midwest members and friends, in partnership with the National Endowment for the Arts.

.:· . · 't.·... , .. .. ·.:.: . ·~. ~ARTS "-'.~ ' MIDWEST' 1998 National Conference SOCIE1Y OF COMPOSERS, INC.

SCHEDULE OF EVENTS

Tuesday, April 14, 1998 8:00 p.m. Indiana University Composition Department Student Recital Auer Hall

Wednesday, April 15, 1998 9:00 a.m. Registration MAC Lobby 10:00 Paper Session Mus.Lib. M .:; 3 Orlando Legname: Density Degree of Intervals and Chords 10:00 Paper Session Mus.Lib. M271 Keith Allan: The Rudhyar/Crawford Connection of Linear Prolongation and Proportionality 10:45 Paper Session Mus.Lib. M263 David Fuentes: The Universal System of Composing with Beats: What We All Do 10:45 Paper Session Mus.Lib. M271 Robert Peck: Interpretation Through Analysis of Shulamit Ran's Fantasy Variations for Violoncello 12: 00 p.m. Registration 1: 00 Concert I Recital Hall Chamber music by Alfred Prinz, Yang Yong, Vera Stanojevic, Bryan Burkett, David Gompper, Marc Satterwhite, S.M. Clark, Jerome Miskell and Donald Harris IU faculty and student performers: Trio Indiana, Thomas Robertello, Apolline Winds, and student chamber ensembles conducted by Imre Pall6 and Dana Collins Guest performers: Andrew Carlson and Eileen Davis 2:30 Registration MAC Lobby 3:30 Video Presentation Sweeney Hall Reynold Weidenaar: Magic Music from the Telharmonium 4:15 Concert II Recital Hall Chamber music by Judith Lang Zaimont, Martin Rokeach, John Elmquist, Orlando Garcia, Laura Hoffman, Scott Brickman, Janice Misurell-Mitchell and James Mobberley IU faculty performers: Kathryn Lukas, Nicholas Daniel and Emilio Col6n Guest performers: Sally Todd and Keith Benjamin 7:00 Registration MAC Lobby 8:00 Concert III Musical Arts Center Welcoming Remarks by David G. Woods, Dean, Indiana University School of Music Indiana University Symphony Orchestra Paul Biss, Conductor IU faculty soloists: Miriam Fried, Daniel Perantoni and Maria Williams Music by Richard Brooks, John C. Ross, David Baker and Donald Erb 2 SOCIE1Y OF COMPOSERS, INC. 1998 National Conference

Thursday, April 16, 1998 8:00 a.m. Registration MAC Lobby 8: 15 Paper Session Mus.Lib. M263 Mike Woods: Jazz and Abstract Truth 8: 15 Paper Session Mus.Lib. M267 Mikel Kuehn: The Phenomena of Phonemena: Milton Babbitt's Work for Soprano and Synthesized Tape 9:00 Paper Session Mus.Lib. M263 Ulf Grahn: The Rebirth of Symphonic Writing in Sweden 9:00 Paper Session Mus.Lib. M267 Sam Magrill: The Electric Collection: Preserving Music Made in Studios that No Longer Exist 9:00 Committee on Women and Minorities Meeting MAC Green Room Marshall Bialosky, Chair Guest speaker: Deon Nielsen Price, President of the International Alliance for Women in Music: "Celebrating Women in Music: the Goal of the IAWM" 9:00 Panel: "Audio and Music on the Web" MAC Lobby David Gompper, Roger Johnson, Thomas Wells 10:30 Panel: "Composer as Performer" MAC Green Room James Chaudoir, Betty Wishart, Douglas Ovens, Michael Kallstrom and Nick Demos 10:30 Electro-Acoustic Music MAC Lobby Judd Danby: Twelve Can Play at That Game Mikel Kuehn: Remembrance of things past Tom Lopez: Hollow Ground I Christopher Preissing: Jeu de l'oie Bob Sturm: Godcycles Cleve Scott: Once Mediated Generators 1:00 p.m. Concert IV Auer Hall Music by Warren Gooch, Robert Lemay, Karel Husa, Samuel Pellman, John D. White and Zack Browning IU faculty and student perfomers: IU Percussion Ensemble, Corigliano Quartet and IU Brass Choir Guest performer: Rudolf Haken 2:00 Registration MAC Lobby 3:00 Concert V Auer Hall Vocal chamber music by Roger Briggs, Alfonso Montecino, Victor Saucedo Tecayehuatzin, Charles Hoag, Fred Cohen, Andrea Clearfield, Jonathan Chenette, Anthony Barrese and Hayes Biggs IU faculty and student perfomers: Sarah Ribbens, Angela Jardim, Lisa Williamson, Howard Klug, Charles Webb, Bridget Wintermann, Kathryn Lukas, Joanna Morton, Kirsten Blase-Heilman, Andrew Hendricks and The Concord Ensemble; instrumental ensembles conducted by Carmen Tellez, Andrew Dionne and N. Lincoln Hanks 5:00 Concert VI Musical Arts Center Indiana University Concert Orchestra David Dzubay and Dan Allcott, Conductors Music by Paul Siskind, Andrew Simpson and David Dzubay 6:00 Meeting of the SCI National Council and Executive Committee MAC Parsifal Room 1998 National Conference SOCIETY OF COMPOSERS, INC. 3

7:00 Registration MAC Lobby 8:00 Keynote Speech by Karel Husa Musical Arts Center Concert VII Indiana University Symphonic Band Stephen W . Pratt, Conductor Music by Carleton Macy, Don Freund and Lamont Downs Indiana University Wind Ensemble Ray E. Cramer, Conductor IU faculty soloist: Edward Auer Music by Richard Willis, Jack Gallagher and Karel Husa

Reception for conference registrants following the concert, supported by Kenneth R.R. Gros Louis, Indiana University Vice-President for Academic Affairs and Bloomington Chancellor

Friday, April 1 7, 1998 8:00 a.m. Registration MAC Lobby 8:10 Region V Meeting MAC Parsifal Room James Chaudoir, Chair 8: 10 National Adjudicating Panel Mus.Lib. M267 9:00 "Midi Demos and Computer Music Production for CD" MAC Lobby Rob Frank, Larry Austin, Robert Patterson and Roger Johnston 9:00 "The McLean Mix in Asia" Ford Hall A Multimedia Exploration of Perspectives of New Asian Music and the McLeans' 4-month Asia Residency 10:00 Video Presentation Ford Hall Burton Beerman 10:30 Organ Recital Room MA 407 IU faculty and student performers: Christopher Young and Jiyoun Hyun Stephen Gryc: Kandinsky: Six Images for Organ David Vayo: Prayer: In Memoriam Olivier Messiaen 11:15 Meeting of the SCI National Council and Executive Committee MAC Parsifal Room 1:00 p.m. Concert VIII Auer Hall Music by Daniel McCarthy, Douglas Ovens, Allen Molineux, Charles Argersinger, Marilyn Shrude, Brian Bevelander and Mark Phillips IU faculty and student performers: IU Jazz Ensemble (Patrick Harbison, Director) , IU Brass Quintets, Brenda Brenner, Thomas Walsh and Kenneth Tse Guest performers: Douglas Ovens and Andrew Glendening 2:00 Registration MAC Lobby 3:00 Concert IX Auer Hall Music by Jason Bahr, Glenn Gass, David Taddie, David Heuser, Margaret Brouwer, Natasha Bog and William Albright IU faculty and student performers: Wendy Gillespie, James Campbell, Kathryn Lukas, Eugene Rousseau, Susan Moses, Charles Webb, Jethro Marks and Ann Yeung 5:00 Concert X Auer Hall Indiana University Chamber Orchestra Jan Harrington and Lynne Morrow, Conductors 4 SOCIE1Y OF COMPOSERS, INC. 1998 National Conference

(Concert V information cont.) IU faculty soloist: Stephen Boe Music by Frank LaRocca, Alice Ho, Yehuda Yannay and Edward J. Miller 6:00 SCI Business Meeting (all members invited) KAY A Korean-] apanese Restaurant, 1500 E. Third Street 7:00 Registration MAC Lobby 8:00 Concert XI Auer Hall Indiana University New Music Ensemble David Dzubay, Director; Dan Alcott, Conductor IU student soloists: Diane Coloton, Stephen Ng and Sujean Kim Music by Mathew Rosenblum, Ricardo Zohn-Muldoon, Augusta Read Thomas, Howard Yermish and Chan Ka Nin

Reception for conference registrants following the concert, sponsored by ASCAP

Saturday, April 18, 1998 9:00 a.m. Registration MAC Lobby 9:30 Concert XII Auer Hall Chamber music by Elliott Schwartz, Bruce Taub, Keith Fitch, Charles Mason and Tucker Robison IU faculty and student performers: IU Bassoon Ensemble, Kevin McCormick, sextet under the direction of Stephen Burns Guest performer: Sal Percoco 10:30 Opera scenes produced by IU Opera Workshop Opera Studio, MAC 301 Mark Clark, Director; Edwin Penhorwood, Music Director; Lynne Morrow, Conductor Michael Kallstrom: "I'm Living a Lie" from Ghosts!! Scenes from: John Beall: Ethan Frome Larry Austin: Euphonia 2344 Larry Christiansen: Antigone Phillip Rhodes: The Magic Pipe Donna Kelly Eastman: The Mirror Edwin Penhorwood: Too Many Sopranos 1:00 p.m. Concert XIII Auer Hall Indiana University Singers Jan Harrington, Conductor Music by N. Lincoln Hanks and Stephen Suber

Indiana University Contemporary Vocal Ensemble Carmen Tellez, Conductor Music by Dorothy Hindman, Scott Robbins, Herbert Bielawa and Cary Boyce

Indiana University International Vocal Ensemble Mary Goetze, Conductor Brent Michael Davids: Native American Suite 1998 National Conference SOCIEIY OF COMPOSERS, INC. 5

3:00 Concert XIV Auer Hall Chamber music by Daniel Godfrey, Paul Hayden, Larry Nelson, Robert Patterson, Morris Rosenzweig, David Kechley, Donald Hagar and Hillary Tann IU faculty performers: Janos Starker, Leonard Hokanson, Kim Walker, Thomas Robertello, Kathryn Lukas and Shigeo Neriki Guest performers: The Ryoanji Duo 5:30 Banquet Federal Room, Indiana Memorial Union Reservation and Ticket required 8:00 IU Opera Theater: Falstaff MAC Reservation and Ticket required 6 SOCIE1Y OF COMPOSERS, INC. 1998 Natioruil Conference

KAREL HUSA Keynote Speaker

Born in Prague in 1921, Karel Husa began his musical education at the Prague Conservatory, where his composition teacher was Jaroslav Ridky and his conducting teachers were Pavel Dedecek and Vaclav Talich. He later spent 6 years studying in Paris on a scholarship from the French Government. In Paris, his teachers were Nadia Boulanger and Arthur Honegger in composition and Eugene Bigot, Jean Fournet and Andre Cluytens in conducting.

Husa's international recognition reached prominence in 1948, when his String Quartet No. 1 had its premiere in Paris. The work proved so popu­ lar that it was repeated at the ISCM Festival in Brussels in 1950 and at Darmstadt in 1951, and was ultimately awarded the First Prize in the Gaudemus Festival later that year. Husa lived in Paris until 1954, and his composing and conducting careers flourished.

In 1954 Karel Husa was apppointed to the music faculty of Cornell Uni­ versity. While at Cornell he was professor of conducting and composing and conducted the university's orchestra. During this time he also served as the musical director of the Ithaca Chamber Orchestra. He has made many guest conducting apperances in the United States and abroad.

Husa's compositions are numerous and varied. Among the many composi­ tion awards he has received are the Lili Boulanger Prize in 1950, a Gug­ genheim Fellowship in 1964, and the Pulitzer Prize in 1969 for his String Quartet No. 3. His two works for concert band have become staples of the repertory: Music for Prague and Apotheosis of This Earth.

According to The New Grove Dictionary of Music and Musicians , Karel Husa's musical style, "while structurally classical in orientation, is never­ theless fresh and individual. His rhythms are powerful and his use of dra­ matic ostinato patterns reflects the influences of Honegger and Bartok. He is a brilliant orchestrator, and his writing for strings ... contains novel devices and techniques."

The 1998 Conference of the Society of Composers, Inc. is pleased to wel­ come Karel Husa as its keynote speaker. 1998 National Conference SOCIETY OF COMPOSERS, INC. 7

Concert I Wednesday, April 15, 1998 Recital Hall, 1 :00 p.m.

Trio (1997) ...... Alfred Prinz Furioso Adagio Tango Trio Indiana Eli Eban, E-Flat Clarinet James Campbell, Clarinet Howard Klug, Bass Clarinet

Twilight In A Cold Gorge Yang Yong Catherine Webster, Soprano Margaret Brydges, Flute Monica Duncan, Clarinet Alber Wu, Violin Brad wkins, Cello Carlos Ruiz de la Torre, Piano Jason Slota, Percussion Dana Collins, Conductor

Chamber Music ...... Vera Stanojevic Eileen Davis, Soprano Katherine Borst Jones, Flute Jane Ellsworth, Clarinet William Conable, Cello Thomas Wells, Piano

A Song and a Dance ...... Bryan Burkett Thomas Robertello, Flute Martin Kennedy, Piano

Duo for Violin and Piano ...... David Gompper Andrew Carlson, Violin David Gompper, Piano 8 SOCIETY OF COMPOSERS, INC. 1998 National Canference

And What Rough Beast ...... Marc Satterwhite Geoffrey Whitehead, Tuba Brian Nelson, Percussion

Zoological Lexicon ...... S. M. Clark The Apolline Winds Kerry Clinton, Flute Andrea Heyboer, Oboe Sebastien Duguet, Clarinet Kate Goldstone, Bassoon Robert Douglass, Horn

Commercial Timeout ...... Jerome Miskell Deanna Hahn, Flute Elizabeth Aronson, Oboe Nicholas DelGrazia, Clarinet Benjamin Coehlo, Bassoon Mitch Serslev, Horn

Pierrot Lieder . . Donald Harris Der Koch Nordpolfahrt Selbstmord Kristin Toedtman, Soprano Rebecca Powell, Flute Georg Klaas, Clarinet and Bass Clarinet Blythe Teh, Violin and Viola Yoon-Hae Kim, Cello Wins ton Choi, Piano Imre Pal16, Conductor 1998 National Conference SOCIE1Y OF COMPOSERS, INC. 9

Concert II Wednesday, April 15, 1998 Recital Hall, 4: 15 p.m.

Dance/Inner Dance ...... Judith Lang Zaimont Kathryn Lukas, Flute Nicholas Daniel, Oboe Emilio Col6n, Cello

Fantasy on Twelve Strings ...... Martin Rokeach Robert Sherman and David Devine, Guitars

Three Movements ...... John Elmquist Jeremy Koch, Saxophone John Elmquist, Piano recuerdos de otra musica para piano Orlando Garcia Sally Todd, Piano

Not Everyone Agrees ...... Laura Hoffman Michael Duke, Soprano Saxophone Steven Yarbro, Alto Saxophone Jack Pettit, Tenor Saxophone Anna Dusdieker, Baritone Saxophone

Air-Flight ...... Scott Brickman Stacy Wall, James Norman, Donna Held and Annie Richardson, Flutes

On Thin Ice ...... Janice Misurell-Mitchell Erika Leake, Flute Jeremy Mayne, Guitar

Icarus Wept ...... James Mobberley Strap On Your Lobster Intermezzoid No. 1: Getting Waxed Climbing the Blue Staircase Intermezzoid No. 2: Somebody Else's Face Eleven Feet from the Sun Keith Benjamin, T rumpet 10 SOCIETY OF COMPOSERS, INC. 1998 National Conference

Conc,ert III Wednesday, April 15, 1998 Musical Arts Center, 8:00 p.m.

Indiana University Symphony Orchestra

Paul Biss, Conductor

Seascape ...... Richard Brooks

After a Line by Theodore Roethke ...... John C. Ross Maria Williams, Soprano

Concerto for Tuba and Orchestra ...... David Baker Daniel Perantoni, Tuba

Violin Concerto ...... Donald Erb Miriam Fried, Violin 1998 National Canference SOCIE1Y OF COMPOSERS, INC. 11

Concert IV Thursday April 16, 1998 Auer Concert Hall, 1:00 p.m.

Out of the Primordial Ocean ...... Warren Gooch La Soif du Mal...Hommage a Orson Welles . Robert Lemay Indiana University Percussion Ensemble Wilber England, Director

String Quartet No. 3 ...... Karel Husa I. Allegro moderato II. Lento assai III. Allegro possibile IV. Adagio The Corigliano Quartet Michael Lim, Violin Sujean Kim, Violin Melia Watras, Viola David Beem, Cello

An Augural Fanfare . . Samuel Pellman Levalloisian Skyscraper John D. White Music Mobilis ...... James Beckel Indiana University Brass Choir Edmund Cord, Director

Sole Injection ...... Zack Browning Rudolf Haken, Five-String Electric Violin 12 SOCIEIT OF COMPOSERS, INC. 1998 National Conference

Concert V Thursday, April 16, 1998 Auer Concert Hall, 3:00 p.m.

Passing Chimes ...... Roger Briggs Sarah Ribbens, Soprano Paolo Bortolussi, Flute Scott Dasovich, Clarinet Heeyeon Lee, Violin Andrea Yun, Cello Mischa Zupko, Piano Chris Yearian, Percussion Andrew Dionne, Conductor

Balada ... ·...... Alfonso Montecino Angela Jardim, Soprano Howard Klug, Clarinet Emilio Col6n, Cello Jon Wacker, Percussion Carmen Tellez, Conductor

Kowit Songs ...... Victor Saucedo Tecayehuatzin Sean Fallen, Tenor Carlos Ruiz de la Torre, Piano

Mother's Day ...... Charles Hoag Lisa Williamson, Soprano Howard Klug, Clarinet Charles Webb, Piano

That Which Binds Us ...... Fred Cohen Bridget Wintermann, Soprano Kathryn Lukas, Flute 1998 National Conference SOCIE1Y OF COMPOSERS, INC. 13

Love Song ...... Andrea Clearfield Joanna Morton, Soprano Heather Guadagnino, Oboe Lisa Overholse-Becker, Piano

Prairie Autumn ...... Jonathan Chenette Kirsten Blase-Heilman, Soprano John Patrick Lane, Flute Kyo-Jin Lee, Harp Suzanne Casey, Violin Ann Winze, Violin Ethan Filner, Viola Brad Hawkins, Cello N. Lincoln Hanks, Conductor

Possente Spirito ...... Anthony Barrese Andrew Hendricks, Baritone Christine Howlett, Soprano Wanda Yang, Soprano Jennifer Durphy, Oboe Kevin McCormick, Guitar

Motets ...... Hayes Biggs Miserere Mei, Deus Cantate Dominum The Concord Ensemble Daniel Carberg, Tenor Daniel Cole, Bass Pablo Cora, Tenor Paul Flight, Countertenor N. Lincoln Hanks, Tenor Sumner Thompson, Baritone

with Catherine Webster, Soprano Wanda Yang, Soprano 14 SOCIE1Y OF COMPOSERS, INC. 1998 National Conference

Concert VI Thursday, April 16, 1998 Musical Arts Center, 5:00 p.m.

Indiana University Concert Orchestra

David Dzubay, Conductor

Fantasy Variations on a Fragment by Schoenberg ...... Paul Siskind

Petruchio ...... Andrew Simpson Dan Allcott, Conductor

Symphony No. 1 ...... David Dzubay I. Rage, rage ... II. ... they dance their glories into shadow III. ... as filaments of memory spin ... 1998 National Conference SOCIE1Y OF COMPOSERS, INC. 15

Concert VII Thursday, April 16, 1998 Musical Arts Center, 8:00 p.m.

Indiana University Symphonic Band

Stephen W. Pratt, Conductor

Summer Solstice ...... Carleton Macy

Perontinitis-a 12th Century Infection for Symphonic Band ...... Don Freund

DDA40X ...... Lamont Downs

Indiana University Wind Ensemble

Ray E. Cramer, Conductor

Sun Circles ...... Richard Willis

Proteus Rising from the Sea ...... Jack Gallagher

Concertina for Piano and Wind Ensemble ...... Karel Husa Edward Auer, Piano 16 SOCIE1Y OF COMPOSERS, INC. 1998 National Conference

Concert VIII Friday, April 17, 1998 Auer Concert Hall, 1:00 p.m.

The Age of Reason ...... Daniel McCarthy Indiana University Jazz Ensemble Patrick Harbison, Director

Improvisation No.5 ...... Douglas Ovens Douglas Ovens, Electronic Percussion

Lachrymae ...... Allen Molineux Brandon Craswell and Robert White, Trumpets Kerstin Ripa, Hom Toby Oft, Trombone Andrew Knight, Bass Trombone

Miniatures for Brass Quartet ...... Charles Argersinger Agitato Andante Adagio Risoluto Marcus Goddard and Jeff Overdorff, Trumpets Kerstin Ripa, Hom Kristin Lies-Warfield, Trombone

Notturno: In Memoriam Toru Takemitsu ...... Marilyn Shrude Brenda Brenner, Violin Thomas Walsh, Saxophone Yelena Polyanskaya, Piano

Synthecism No.3 for Alto Saxophone and Tape ...... Brian Bevelander Kenneth Tse, Alto Saxophone

T. Rex for Trombone and Tape ...... Mark Phillips Andrew Glendening, Trombone 1998 National Conference SOCIETY OF COMPOSERS, INC. 17

Concert IX Friday, April 17 , 1998 Auer Concert Hall, 3:00 p.m.

Fantasia on Ubi Caritas for Consort of Viols ...... Jason Bahr Wendy Gillespie, Treble Viol Emily McClain, Tenor Viol Colin Shipman, G. Victor Penniman, Bass Viols

Hide-and-Seek ...... Glenn Gass Jam es Campbell, Clarinet

Convergences for Harp and Tape ...... David Taddie Ann Yeung, Harp

3, 12 7 Notes for Solo Viola ...... David Heuser Jethro Marks, Viola

Skyriding ...... Margaret Brouwer Riding the Easy Five Mile Sluice Jinn Song The Hard Knock Jam Dara Freund, Flute Rochelle Davis, Violin Paula Kosower, Cello Don Freund, Piano

Opus Alchymicum ...... Natasha Bog Helen Cox and Kimberly Griffiths, Violins Patricia Hawkins, Viola Charlotte Williams, Cello

Rustles of Spring ( 1994) ...... William Albright I. Vernal Equinox II. The Wedding Dance (after Brueghel, 1566) III. Solar Eclipse, May 10 (in memoriam FSA 1907-1994) Kathryn Lukas, Flute Eugene Rousseau, Alto Saxophone Marc-Andre Gauthier, Violin Susan Moses, Cello Charles Webb, Piano 18 SOCIE'IY OF COMPOSERS, INC. 1998 National Conference

Concert X Friday, April 17, 1998 Auer Concert Hall, 5:00 p.m.

Indiana University Chamber Orchestra

Jan Harrington, Conductor

Crossing the Rubicon ...... Frank LaRocca Lynne Morrow, Conductor

Ice Path ...... Alice Ho

Concertino for Violin and Chamber Orchestra ...... Yehuda Yannay Stephen Boe, Violin

Images from the Eye of a Dolphin ...... Edward J. Miller 1998 National Conference SOCIETY OF COMPOSERS, INC. 19

Concert XI Friday, April 17 , 1998 Auer Concert Hall, 8:00 p.m.

Indiana University New Music Ensemble

David Dzubay, Director

Nu kuan tzu for Voices, Sampler and Chamber Ensemble ...... Mathew Rosenblum I. Le Depart II. Automne Malade Pre-12/11 III. Interlude I {12/11) VII. Han Shao VIII. Interlude III IX. Voyelles Diane Coloton, Soprano Lisa Ensinger, Mezzo-Soprano

De Tierra for Tenor, Flute, Clarinet, Viola, ...... Ricardo Zohn-Muldoon Trombone, Piano and Percussion Stephen Ng, Tenor Dan Allcott, Conductor

Spirit Musings for Violin and Chamber Ensemble ...... Augusta Read Thomas I. Spirited, clear and energetic II. Resonant and elegant III. Majestic and lyric Sujean Kim, Violin

From Five Images ...... Howard Yermish II. White on White (Robert Irwin) IV. Shades of Night Descending (Salvador Dali) I. Still Life with Picasso (Roy Lichtenstein)

Par-ci, par-la for chamber ensemble ...... Chan Ka Nin Dan Allcott, Conductor

Reception for conference registrants following the concert, sponsored by ASCAP 20 SOCIE1Y OF COMPOSERS, INC. 1998 National Conference

Concert XII Saturday, April 18, 1998 Auer Concert Hall, 9:30 a.m.

Reflections for Bassoon Sextet ...... Elliott Schwartz Kim Walker, Ezequiel Fainguersch, Kate Goldstone, Benjamin Coelho, Karen Paradis, Bassoons Vincent Godel, Contrabassoon

Adrian's Dream .. .. Bruce Taub

Dancing the Shadows Keith Fitch Margaret Bridges, Flute Sebastien Duguet, Clarinet Merwin Siu, Violin Joanna Felder, Cello Stephen Bertino, Piano Brian Vogel, Percussion Stephen Burns, Conductor

Mirrors, Stones and Cotton for Guitar and Tape ...... Charles Mason Kevin McCormick, Guitar

Trio for Trumpet and Two Loudspeakers ...... Tucker Robison· Sal Percoco, Trumpet 1998 National Conference SOCIE1Y OF COMPOSERS, INC. 21

Opera Scenes Saturday, April 18, 1998 Musical Arts Center Room 301, 10:30 a.m.

Indiana University Opera Works hop Mark Clark, Director Edwin Penhorwood, Music Director Edwin Penhorwood and Ruth Ann McDonald, Pianos

"I'm Living a Lie" from Ghosts! I ...... Michael Kallstrom Michael Kallstrom, Bass

Ethan Frame ...... John Beall Ethan: Jeffrey Monette Mattie: Rachel Holland

Euphonia 2344 ...... Larry Austin Mina/Nadira, celebrated Danish singer: Itsuko Shibata Fanny, Mina's maid: Tiffany Baxter · Mme. Happer, Mina's mother: Simone Vigilante Lynne Morrow, Conductor

Antigone ...... Larry Christiansen Antigone: Sarah Ribbens Haemon: Yoon Soo Shin

The Magic Pipe ...... Phillip Rhodes Mother Rigby, a witch: Heather Martin Scarecrow/Fumante, her creation: Duane Wittman Lynne Morrow, Conductor 22 SOCIETY OF COMPOSERS, INC. 1998 National Conference

The Mirror ...... Donna Kelly Eastman Widow: Simone Vigilante Kumi, widow's daughter: Joanna Morton Akoya: Matthew Chambers Old Monk: Taylor Hightower Pauline Reynolds, Tamara Lelkes, Recorders Ann Yeung, Harp Lynne Morrow, Conductor

Too Many Sopranos ...... Edwin Penhorwood Titmaus: Bridget Wintermann Just Jeannette: Kerrin Dunbar Pompous: Kaarin Safsten Doleful: April Golliver St. Peter: Randall Mayo Gabriel: John Howell 1998 National Conference SOCIETY OF COMPOSERS, INC. 23

Concert XIII Saturday, April 18, 1998 Auer Concert Hall, 1 :00 p.m.

Indiana University Singers

Jan Harrington, Conductor

Dixit Dominus ...... N. Lincoln Hanks Martin Kennedy and Michael Slon, Pianos Stacey Duggan and Jonathan Wacker, Percussion

Soleil ...... Stephen Suber

Indiana University Contemporary Vocal Ensemble

Carmen Tellez, Conductor

I Have Heard . Dorothy Hindman Sliver Moon . Scott Robbins Rants II . . Herbert Bielawa Ave Maria . . . Cary Boyce

Indiana University International Vocal Ensemble

Mary Goetze, Conductor

Native American Suite ...... Brent Michael Davids 24 SOCIE1Y OF COMPOSERS, INC. 1998 National Conference

Concert XIV Saturday, April 18, 1998 Auer Concert Hall, 3:00 p.m.

Arietta for Cello and Piano ...... Daniel Godfrey Janos Starker, Cello Leonard Hokanson, Piano

Guttersnipe for Solo Bassoon ...... Paul Hayden Walkabout Guttersnipe Lied Blatherskate Kim Walker, Bassoon

The Starry Messenger ...... Larry Nelson Thomas Robertello, Flute Martin Kennedy, Piano

New Tricks for an Old Doggerel ...... Robert Patterson Lisa Dondlinger, Violin Rira Watanabe, Violin Ann Gregg, Viola Paula Kosower, Cello

Dialogue in Three Parts for Flute and Tape ...... Morris Rosenzweig Kathryn Lukas, Flute

Driveline ...... David Kechley The Ryoanji Duo Frank Bongiorno, Alto Saxophone Robert Nathanson, Guitar

Sonata "par un beau soir" ...... Donald Hagar Kathryn Lukas, Flute Shigeo Neriki, Piano

From the Song of Amergin ...... Hilary Tann Thomas Robertello, Flute Sarah Sutton, Viola Julia Jamieson, Harp 1998 National Conference SOCIETY OF COMPOSERS, INC. 25

Composers' Biographies, Program Notes and Abstracts

WILLIAM ALBRIGHT, chair of the Composition JASON BAHR, B.M. University of Missouri-Kansas Department at the University of Michigan, studied City, 1995; also study at Kingston University in Lon­ composition with Olivier Messiaen, Aaron Copland, don, England; currently master's student at Indiana Ross Lee Finney and Leslie Bassett, among others. University Bloomington. He has studied with Eugene His honors include awards from the American Acad­ O'Brien, Don Freund, James Mobberley and Gerald emy of Arts and Letters, the Queen Marie-Jose Prize, Kemner. His works have been performed throughout two Fulbright Fellowships, two Guggenheim Awards, the midwest and in Europe. He was featured as a Koussevitzky Foundation, NEA commissions, and the guest composer at the 1996 C. Buell Lipa Festival of Distinguished Service Award of the University of Contemporary Music in Ames, Iowa. Lacerations Michigan. Admired in the United States and abroad (oboe and piano) will be included in a forthcoming for his performances of new music for organ, he is book on contemporary oboe techniques being written also in demand for piano concerts of ragtime and by Libby Van Cleve. early jazz. His orchestral music has been performed by Fantasia on Ubi Caritias is centered around the chant the Detroit Symphony, Bergen (Norway) Symphony, Ubi Caritas, a portion of which is played at the opening Budapest Philharmonic, Syracuse Symphony, Ann Ar­ of the piece. Though there is not a specific program to bor Symphony, Buffalo Philharmonic, American Com­ the work, I find hope and comfort in the words of the posers Orchestra, Eugene Symphony, Lansing Sym­ text. phony, and the St. Paul Chamber Orchestra. DAVID BAKER is a distinguished professor of music CHARLES ARGERSINGER, co-chair of the Pacific and chairman of the Jazz Studies Department at Indi­ Northwest region for the national council of the Soci­ ana University. After completing his master's degree ety of Composers, is currently coordinator of composi­ at Indiana University he performed widely with such tion and theory at Washington State University. He important figures as Stan Kenton, Maynard Ferguson has taught at California State University and DePaul and Quincy Jones. He is an international lecturer and University, and he was named the 1997 Composer of clinician and is the author of more than 60 books on the Year for the Washington State Music Teachers jazz and black music. He also has over 2,000 musical Association. compositions to his credit, many of which have been Miniatures for Brass Quartet, Fouth Movement, was recorded. Baker is a former member of the National the First Place winner of the United Nations Prize, 1995, Council on the Arts and currently serves as co-direc­ for a fanfare for the 50th Anniversary of the United Na­ tor of the Smithsonian Jazz Masterworks Orchestra. tions, a competition administered by the Bay Composers' Forum. The work appears on two CDs: Gradus ad Pamas­ ANTHONY BARRESE began studying composition sum on Discovery Records and Concerto for Piano and in 1993 with Robert Ceely at the New England Con­ other chamber works on Arizona University Recordings. servatory of Music. He has also studied with Timothy Kramer, Roberto Andreoni, Wolfgang Rihm, Karlhe­ Having retired from the University of North Texas in inz Stockhausen and Mathias Spahlinger. Last year, 1996, LARRY AUSTIN is continuing an active com­ Barrese won the only honorable mention award in the posing career. For the past two years he has been 1997 BMG National Young Composers Awards for his busy touring, recording and lecturing, and he main­ work Ave Maria for soprano, string quartet, and string tains composer-in-residence status in numerous loca­ orchestra. tions throughout Europe, Japan and the United Possente Spirito was written for an Italian opera class States. Austin's works have been widely performed by that I attended in Milan. I thought it fit to end where we some of the world's finest orchestras and ensembles. began, with the legend of Orpheus. The text is by A. Euphonia 2344 draws its story from episodes described Striggio from the opera Orfeo by Monteverdi. The part of by Berlioz in "The Twenty-fifth Evening" of this fanciful Orfeo is intended to sound like a castrato. The two voice set of satires on mid-19th century musical life and times, parts (either females or male falsettists) were conceived Evenings with the Orchestra. In Euphonia 2344 the orches­ as vocal fractions with an instrumental quality to them. tra is synthetic; i.e., the timbres are modeled as computer The oboe acts as a connecting unit betwen the purely in­ music realizations of hybrid orchestral instruments, creat­ strumental sonorities of the guitar and the purely vocal ing the fanciful effect of what Berlioz, in 1853, might sonorities of Orfeo, and the guitar is represencitive of Or­ have imagined the sound of a futuristic orchestra in feo' s lyre, which he uses to influence Pluto. The piece is 2344: a giant "orchestra piano," a huge gong, a viola­ dedicated with much admiration to my composition pro­ harpsichord, and various hybrid, voice-like instruments. fessor in Milan, Dr. Roberto Andreoni. 26 SOCIETY OF COMPOSERS, INC. 1998 National Conference

JOHN BEALL is professor of music and composer­ corded Synthecisms No. 3 for CD on the OPUS ONE la­ in-residence at West Virginia University. Since 1992 bel. The score is published by the American Composers he has also chaired the program in theory and compo­ Alliance in New York. sition at the lnterlochen Center for the Arts. Beall formerly taught at Southwest Texas State and Eastern HERBERT BIELAWA earned his degrees in piano Illinois University. He has received commissions from and composition at the University of Illinois and the the National Endowment for the Arts, several univer­ University of Southern California. He has been a sities and the West Virginia Symphony Orchestra. His member of the faculties of Bethany College and San works have been performed by the Dallas, Rochester Francisco State University where he founded the Pro and Pittsburgh symphonies, Bach Choir of Pittsburgh, Music Nova and created the electronic music studio. chamber organizations such as the Pittsburgh New His written music spans a vast range of genres, and Music Ensemble and Aeolian Chamber Players, and many of his compositions have been performed by various university ensembles and professional soloists. some of the most prominent soloists and ensembles in the world. The two-act opera Ethan Frome was composed between January, 1994, and September, 1997, for the centennial Rant II of the School of Music at West Virginia University. It A Rant is a poem-line narrative that got its name from was staged there in November, 1997, with a cast of fac­ its author, Text-Sound composer and poet, Jeanne Pool. ulty and students and a production created by the Divi­ Often motivated by the foibles of her friends and herself, sions of Music and Theatre/Dance. The genesis of the op­ these jarring creations display a compelling blend of era goes back to 1966 however, when the idea of making tongue-twisting cyclic chatter which, when combined an opera from Edith Wharton's novel Ethan Frame was with a disarmingly fun-like spirit make them irresistible suggested to the composer by a college friend. It took the objects for musical seeing. "You Drive Me Crazy" is from centennial, a contest for new operas, and the creative a set of four pieces called Rants II which were written for brilliance of librettist Jack Held to actually get the pro­ Donald Aird of the Berkeley Chamber Singers and his ject going. The novel, told in flashback with a large num­ son, the violinist Brooke Aird. ber of characters, culminates in a celebrated suicidal sled ride. These story features were simplified by Held to six Known for his writing for solo voice and for chorus, characters and a time setting of 1910 for all but the final HAYES BIGGS has won numerous accolades for his scene which is set in 1930. work. He has been a fellow in composition at the Composers Conference and Chamber Music Center at Composer/clarinetist BURTON BEERMAN has Wellesley, the Tanglewood Music Center, Yaddo and been hailed by audiences as one of the leading clari­ the MacDowell Colony. Biggs currently teaches at the netists of contemporary and avant-garde music. He Manhattan School of Music and is the associate edi­ has widely concertized in the United States, Canada tor at C. F. Peters Corporation. and Europe. Performances of his works have taken place in New York, Paris, Brussels, Japan, Peru, Buda­ Miserere Mei, Deus was composed for the men of the pest, Prague and Mexico City. He has been a recipi­ Choir of All Saints Church, New York City, where I sing on Sundays. It was premiered by that ensemble under the ent of numerous commissions and awards including direction of David Hurd on Ash Wednesday of 1997. The the Martha K. Cooper Orchestra Prize and a Lip­ text, from Psalm 51, is for the most part sung simultane­ scomb prize. ously in English (by the choir) and Latin (by the tenor soloist). What strikes me now about the piece is the fact Composer/pianist BRIAN BEVELANDER has stud­ that to me the Latin portions, i.e. those in the "dead" ied at the New England Conservatory of Music, Hartt language, seem to be set to more overtly intense and ex­ College, Boston University and West Virginia Univer­ pressive music than those in English; in fact, in several sity. Currently he teaches at Heidelberg College in sections of the piece, including the very end of it, the choral part is actually drawn into singing the Latin text, Ohio. He has been the recipient of several composi­ almost in spite of itself. In retrospect, perhaps this sym­ tion fellowships, awards and residencies, and many of bolizes a desire to move from the mundane and vernacu­ his works have been performed throughout Europe lar to a higher plane by means of what Stravinsky, be­ and the United States. cause of its greater age and more venerable status, would Synthecisms No. 3 (for saxophone, electronics and pre­ have called a more "sacred" language. recorded tape) was written for saxophonist Joseph Mur­ phy for a performance at the World Saxophone Congress, NATASHA BOG composes music for solo instru­ Tokyo, Japan, in August, 1988. The tape part was real­ ments, chamber ensembles, symphony orchestra, elec­ ized from material generated at Bregman Electronic Stu­ tronics, new music theater, film, television and com­ dio at Dartmouth College, and the Institut voor Psy­ mercials. From 1991-97 she was an assistant professor choacustica en Elektronische Muziek (IPEM/BRT) in of composition at the University of Arts, School of Gent, Belgium. In December, 1993 Joseph Murphy re- 1998 National Conference SOCIETY OF COMPOSERS, INC. 27

Music in Belgrade. During the 1980s she co-founded Ave Maria two groups dedicated to researching and performing The Ave Maria has been sung, chanted, and prayed in programs that combine music and the visual arts. Bog churches, cathedrals, and cloisters since the Middle Ages. The prayer is found in St. Gregory's Liber Antiphonarius has received commissions from the European Festival from the year 604, and its present form is found in the of Experimental Music, Orleans 1988, North-South (8 writings of Savonarola from the end of the 15th century. radio stations located in Rome, Athens, Barcelona, The Ave Maria continues in liturgical use, penitential Belgrade, Oslo, Stockholm, Copenhagen, and Luxem­ prayers, and musical settings to the present day. The bourg), The Youth Music Forum, Kiev and Concerts chant (found in the Liber Usualis) permeates the texture for Peace, Tokyo. After being recognized by of this setting for 12 solo voices or triple divisi SATB UNESCO's Tribune des Compositeurs as one of the choir. This Ave Maria was composed at the request of world's top ten composers, her music has been per­ Carmen Tellez for the Indiana University Contemporary formed at concerts and festivals of contemporary mu­ Vocal Ensemble. sic and presented by the radio stations throughout the world. Assistant Professor of Music at the University of Maine at Fort Kent, SCOTT BRICKMAN not only Opus Alch')'micum: Transmutational Sonorities No.I and No.5 for String Quartet teaches music theory, but also conducts the Commu­ This work was commissioned by Mr. Katsuma Naka­ nity/University Chorus and the Jazz/Pop Ensemble. jima, Director of the Concert for World Peace Series. It Brickman holds a B.M. in Music Composition from premiered last year in Tokyo. Alchymia (Alchemy), an the University of Wisconsin and a Ph.D. in Music early form of chemistry with philosophical and magical Theory/Composition from Brandeis University. associations carried a mystic aura. Philosophers' Stone, Air-Flight (1997) for four flutes was commissioned by an imaginary substance from an alchemic laboratory, the Howlin' Winds Flute Ensemble and premiered by that played an important role in a method of power known as group in Farmington, Maine on February 13, 1998. The transmutation which results in the seemingly miraculous piece was subsequently performed two weeks later on the change of a thing into something better. The transmuta­ SCI Region IV Conference at the University of Texas-Ar­ tional process of alchemy was supposedly possible in the lington. In two movements, the piece is based on an or­ conversion of base metals into gold and silver. dered 12 note set whose first six pitches (and most of the I conceived this very process as a sound image in mo­ harmonies) are subsets of the octatonic scale. The rhyth­ tion framed in my own landscape of time. I tried to con­ mic language is derives from American Popular Music. struct the sound complexes, surfaces of rhythmical con­ figurations, intuitive sonorities like a particle of some for­ gotten modality's parallel time. I wanted to create a ROGER BRIGGS attended the University of Mem­ closed musical world of sonorousness transmutation: the phis where he received top honors in both piano per­ synthesis of variations made from Silence (Space) towards formance and composition. At the Eastman School of Sound (Sonority), using Time as Philosophers' Stone. Music he received both the prestigious Bernard The integral version of this work consists of 5 trans­ Sernofsky Award and the Lois Lane Orchestral Award mutated sonorities. Each part (sonority), however, could for excellence in composition. Briggs' compositions be performed separately or in any combination. have received numerous awards and have been per­ This performance is the American premiere of the work. formed in many of the worlds most prestigious ven­ ues. He also founded and conducted the Michiana New Music Ensemble for six years in South Bend, In­ CARY BOYCE's music has been presented in con­ diana. Briggs currently holds a composition/conduct­ certs, recitals and festivals across the United States ing position at Western Washington University where and Europe, as well as on nationally syndicated radio, he conducts the Contemporary Chamber Players and European television, and international film. During the University Symphony. the 199 5-1996 season, he wrote the music for the art film ARIA ou Les rumeurs de la Villa Medicis by French director Evelyne Clavaud. His next season in­ MARGARET BROUWER has won numerous cludes a second collaboration with Ms. Clavaud, a awards, grants and critical praise for her many compo­ commissioned work for the Dale Warland Singers as a sitions, which have been performed around the globe. finalist in the Singers' 1998 New Choral Music Com­ Hailed as one of the rising stars of composition, she is petition, and a work for Cologne-based American so­ the head of the Composition Department of the prano Alexandra Coku and orchestra. Boyce is also Cleveland Institute of Music, where she holds the active as a conductor, singer and pianist, and he is a Vincent K. and Edith H . Smit Chair in Composition. founding director and creative associate of Aguava, a She has also served as Composer-in-Residence with production company for New Music. He holds the po­ the Roanoke Symphony Orchestra in Virginia and sition of Promotions and Marketing Director for taught composition at Washington and Lee Univer­ WFIU Public Radio in Bloomington, Indiana. sity. Brouwer has held residencies at Bellagio, the 28 SOCIE1Y OF COMPOSERS, INC. 1998 National Conference

Charles Ives Center for American Music and the Vir­ Seascape: Overture to Moby Dick is a tone poem com­ ginia Center for the Creative Arts, as well as being prising the prelude and orchestral epilogue from a two act resident composer at the Bennington Chamber Music opera based on Melville's novel. It is cast in a highly im­ Festival and at the International Conference of pressionistic style and the composer hopes the listener will imagine the quiet, somewhat ominous presence of the Women Composers in Brazil. immensity of the ocean. Perhaps also sense the slow mo­ Skyriding tion of the great whale through the murky waters as Along with the development of pitch sets in each slight ripples grow into larger and stronger waves. The movement of this work, a definite attention was given to cries of seabirds brighten the somber mood as the waves the use of transparent textures, almost in the style of roll and crest. The Pequod catches the wind in her sails Mozart. In addition, the first movement, "Riding the Ea sy and is off on the great adventure. The wind and waves Five Mile Sluice," was planned according to a formula of build in intensity, developing into a powerful storm (per­ combining notes that was inspired by James Gleick's book haps a foretelling of the ship's ultimate destruction and Chaos. In the book, analysis of types of turbulence the tragic fate of her crew?). As the fearsome gale sub­ showed the predominantly predictable nature and yet sides, calm returns and with it the eternal serenity of the sometime chaotic moments of, for instance, the motion of majestic sea. water through a pipe or of wind currents in a tunnel. It also stated that " ... the attracting pull of four points ... cre­ ZACK BROWNING is a professor of music composi­ ates basins of attractions ... But each particle does not tion and theory at the University of Illinois. He is ac­ move independently-its motion depends very much on tive as a composer, conductor and performer, having the motion of its neighbors-and in a smooth flow, the degrees of freedom can be few ." These formulae of mo­ played trumpet with the Atlanta Symphony Orchestra tion through space seemed quite applicable to the sound­ and serving as the co-director o f the Atlanta New motion of music. Interestingly, as the music was develop­ Music Ensemble. Recently Mr. Browning was awarded ing, it reminded me of water flowing gently but always an Arnold 0 . Beckman Research Award from the continuously down a mountain sluice, turning, sometimes University of Illinois for his work in computer music very quickly, in new directions as the sluice turns (some­ composition. H is music has been performed at such times sharply) to skirt natural obstructions. The pitch festivals as the Asian Contemporary Music Festival materials, however, seemed to create an unearthly atmos­ (Korea), Atlanta New Music Festival, Bang On A phere. Thus, the movement began to sound to me like a Can (New York), Cork Festival of New Music (Ire­ water ride in a celestial amusement park. In this super­ land) , Imagine (Memphis), Society of Composers, Inc. natural setting, the jinn (mythological spirits that influ­ ence mankind for good and evil) would sing their simple National Conference (Miami), and the PAIN New "Jinn Song" accompanied by flute and guitar, while the Music Festival (Illinois). "Hard Knock Jam," with its percussive hammering and Sole Injection for amplified violin and computer-gener­ persistent beat, would be music rollicking in a cabaret a ted tape was written during the summer of 1996 and set. commissioned by Carbondale Community Arts for per­ formance at Arts in Celebration. This composition is the Since 1975, RICHARD BROOKS has been on the fifth in a series of works by the composer which uses the music faculty of Nassau Community College on Long magic square of the sun as a compositional model. A Island where he is professor and chair of the Music magic square consists of a series of numbers arranged so Department. From 1977 to 1982 he was chairman of that the sum of each row, column and diagonal is the same amount. Eleven different routes through the square the Executive Committee of the American Society of (the middle nine each having a duration of 55.5 seconds) University Composers (now the Society of Composers, are mapped onto a musical structure based upon the Inc.) on which he continues to serve as producer of magic square. The unique position of each number within the SCI CD Series. In 1981 he was elected to the the square is paralleled in the score by a particular musi­ Board of Governors of the American Composers Alli­ cal style, rhythm, density and orchestration. The musical ance and, after serving two terms as secretary and energy created by this structure is designed to produce a three terms as vice-president, he was elected presi­ physical as well as aural experience for the listener. The dent in 1993. He has composed over fifty works in all tape wa s produced using GACSS (Genetic Algorithms in media and is the recipient of several awards including Composition and Sound Synthesis) which is an original a major grant from the State University of New York, computer music software package developed by Benjamin Grosser. a Composer Fellowship from the National Endowment for the Arts, the American Music Center and several Meet the Composer grants. Recent commissions in­ BRYAN BURKETT, Assistant Editor of SCION, clude the New York State Music Teachers Associa­ the on-line newsletter of SCI, has received degrees tion, the Kent Philharmonia Orchestra in Grand Rap­ from Indiana University of Pennsylvania, Ithaca Col­ ids and several individual performers. lege and Florida State University. He has also studied electronic music at Indiana University in Bloom- 1998 National Conference SOCIE1Y OF COMPOSERS, INC. 29

ington, Indiana. His works have been performed and an opera based upon a short story by Willa across the United States as well as Australia and Swe­ Cather. den. His most recent honor was having one of his Prairie Autumn seeks to express the ardor of youth .. compositions premiered during the season opening breaking into song as it strains against a flat, dusky land­ concert of Samtida Musik in Stockholm. scape. The music is a setting of a poem by Willa Cather. A Song and a Dance (1997) It was premiered in 1993 as part of the opera Eric Her­ I had been planning on writing a piece for solo flute mannson's Soul where it introduces the lead female char­ for many years and had at one point many years ago even acter, a world-weary woman from the East whose spirits written a few measures, so when I was asked to write a are roused by the vast, open land of the Nebraska prairie. piece for flute and piano, some of the ideas from the solo piece naturally found their way into this one. The work LARRY CHRISTIANSEN has been on the faculty uses two intervals I'm not accustomed to working with, of Southwestern College since 1970. He has com­ major seconds and major thirds. A Song and a Dance is, as posed numerous works for choral groups, chamber en­ the title suggests, divided into two sections. The first sec­ sembles, solo instruments and vocal soloists with pi­ tion dwells mainly in the lower regions of the two instru­ ano. He has also written two chamber operas. In addi­ ments. The instruments share an on-going pattern of al­ tion to composing, Chistiansen is a lawyer with a spe­ ternating whole steps, which accompany a brooding me­ lodic line of long tones. The second section is quite a bit cial interest in copyright law. livelier, with disjunct patterns made up of large leaps, Antigone is based on the tragic drama written by Sopho­ and quick runs in thirds. This section focuses mainly on cles. It is set in Ancient Greece and deals with the tragic the upper regions of each instrument's range. death of Antigone for violating the King's decree that her brother, who was viewed as a traitor, not be buried. The CHAN KA NIN (Francis) studied composition at opera is written in an accessible tonal style. Indiana University with Professor Emeritus Bernhard Heiden, where he obtained his doctoral degree in S.M. CLARK is the recipient of two Meet-the-Com­ 1983. Since 1982, he has been teaching theory and poser grants, a Texas Arts Council Commissioning composition at the University of Toronto. His works Grant for an original ballet score and several fellow­ have been performed throughout Canada, the United ships from the MacDowell Colony, Yaddo, Djerassi States, Hong Kong and Europe. Foundation for the Arts, Millay Colony, Cummington Community for the Arts and the Sandpoint Festival. Par-ci, Par-la (1996) This composition is a social comment on the diversi­ He has also collaborated with playwrights, choreogra­ fied cultures of Canada. The French title reflects the phers, filmmakers and visual artists. composer's interest in Quebec's heritage. The works, par­ Zoological Lexicon, or 17 Bestial Vignettes from the ci, par-la (here and there), which are quite musical in Devil's Dictionary by Ambrose Bierce, was written in 1991. themselves, will be sung by the brass players in this one The pieces are based on definitions of mythical or not-so­ movement work. On a personal level, this work also re· mythical creatures from Bierce's darkly humorous collec­ flects the composer's search for his own identity. Being tion. Four movements will be performed at the confer­ born in Hong Kong as a British subject of Chinese origin, ence: "Dragon" [A leading Attraction in the Menagerie Chan has spent two-thirds of his life in Canada. The of the Antique Imagination. It seems to have escaped.]; composer laments the fact that when China took over "Kine" [Cows. If Kine is the plural of Cow, And the plu­ Hong Kong in 1997, his birthplace now treats him as a ral of Sow is Swine, Then Pumpkins may hang from a foreigner. The music expresses this inner conflict Vow, And Coronets rest upon Brine.]; "Fairy" [A Crea­ throughout. The spatial location of the musicians in rela­ ture, variously Fashioned and Endowed, that formerly in­ tion to the audience enhances visually and aurally this habited the Meadows and Forests. It was Noctural in its personal musical statement. Written in 1996, this work Habits, and somewhat Addicted to Dancing and the was commissioned by Ensemble Contemporain de Mon­ Theft of Children. The FAIRIES are now believed by treal with a grant from Canada Council. Naturalists to be Extinct although many have been seen, the sight so greatly Staggering the Witness as to make his Currently serving as Chair of the Department of Mu­ account incoherent!); and "Patriot" [One to whom the sic at Grinnell College, JONATHAN CHENETTE interest of a Part seem Superior to those of the Whole. holds the Blanche Johnson Endowed Professorship in The Dupe of Statesmen and the Tool of Conquerors.]. Music. His compositions have been performed by the Clark employs compositional intent in the same manner as Bierce uses his definitions, to darkly poke fun at some Des Moines Symphony, Grinnell Singers, St. Paul sacred cows, and to resolve the dizzying melange of patri· Chamber Orchestra and Netherlands Radio Chamber otic tunes into the haunting spiritual "Follow the Drink­ Orchestra. In the past few years, Chenette has pre­ ing Gourd," a guide song from the Underground Railroad. miered a choral/orchestral work in honor of Iowa's Rather than a depiction of a noble Arthurian beast this sesquicentennial as well as a song cycle/theater piece dragon is a quite specific sketch of Tolkien's sleeping Smaug. Bierce's fairies are menacing and frightening, not 30 SOCIETY OF COMPOSERS, INC. 1998 National Conference

quicksilver Mendelssohnian sprites. They are also more was commissioned by the University of Wisconsin-Madi­ likely to be observed after a few rounds at the bar. son School of Music for my friend Mimmi Fulmer, and is dedicated with love to my wife, Judith Hobbs Cohen. ANDREA CLEARFIELD has written compositions for instrumental and vocal soloists, mixed chamber JUDD G. DANBY has composed works for a variety ensembles, orchestra, chorus, theatre and dance of acoustic ensembles as well as for the electronic me­ which have been performed internationally. She has dium. In 1993, he was nominated for a Charles Ives received numerous grants and commissions, and in Scholarship from the American Academy and Insti­ 1996 was awarded the Nancy Van de Vate Prize by tute of Arts and Letters. He has also attended two the International Alliance for Women in Music. She interdisciplinary sessions at the Atlantic Center for is a member of the music faculty at The University of the Arts as an associate artist. An accomplished per­ the Arts and an associate piano faculty at the Sara­ former on trumpet and flugelhorn as well as a com­ sota Music Festival. poser, Danby has been a member of the University of Illinois New Music Ensemble. Scored for soprano, oboe and piano, Love Song was composed for the Chamberworks Ensemble and premiered Twelve Can Play That Game (1993) in February, 1996 in Philadelphia. The text is written by The "twelve" of the title refers to the number of par­ Patrick Kelly, from his collection of works entitled The ticipating instruments (by which I mean the "virtual in­ Complete Poems of Emily Dickinson. Rhythmically exciting, struments" created through electronic sound synthesis); evocative and lyrical, Love Song explores the surreal, the the "game" is that of the attempt to establish in the elec­ laconic and the urban twists of love. Musicians enjoy per­ tronic medium an ensemble comprised of instruments of forming this piece, as it challenges the player's dramatic fixed and distinguishing qualities, but not limited to par­ sense by incorporating some improvisational freedom ticular gestures. Thus orchestration takes on the role within the structure of the work. often reserved only for the "acoustic" composer. Despite the title, this is, in fact, not a game at all, but rather a A composer and conductor living in Richmond, Vir­ most serious endeavor to explore new musical potentiali­ ties achievable only in the medium of electronics, pre­ ginia, FRED COHEN has been the recipient of a cisely by proceeding from a familiar point of departure; number of composition awards, including the ASCAP namely, the chamber ensemble. Framed by an introduc­ Grant to Young Composers, first place in the West­ tion and coda of distinctive and connected characters, field State College Inauguration Composition Compe­ the main body of the work-although continuous-is made tition and first place in the Virginia Music Teachers up of many sections whose textures, pacing, and, often, Association Commissioned Composer Contest. His orchestration contrast markedly. Twelve Can Play That works have been commissioned and performed by nu­ Game was commissioned by Scott A. Wyatt, director of merous organizations such as the Richmond Sym­ the University of Illinois Experimental Music Studios in phony, Cleveland Chamber Orchestra and the Boston Urbana-Champaign, in celebration of that facility's 35th Woodwind Trio, to name only a few. As a conductor anniversary. It is dedicated to Milton Babbitt on the oc­ casion of his 17th birthday. and artistic director, Fred Cohen has directed ac­ claimed orchestras and new music ensembles since 1978. He is currently associate professor and chair of DAVID DZUBAY, assistant professor of composi­ the Department of Music at the University of Rich­ tion and director of New Music Ensemble, Indiana mond. University. D.M., Indiana University, 1991. Recipient of NEA grant, AS CAP Young Composers a wards That Which Binds Us for soprano and flute is a setting (1988, 1989, 1990) and BMl-SCA awards (1987, of four poems by Jane Hirshfield from her collection, Of 1988). Compositions performed by the orchestras of Gravity and Angels. These are love poems of extraordinary Atlanta, Oakland, Detroit, Louisville, Honolulu, Van­ poignancy and depth. The images are both powerfully evocative and musically compelling. Silence moves, lovers couver, Aspen, Indianapolis and the New World and become one geography, darkness is gathered and drunk, Oregon Symphony Orchestras. Commissions from the the intensity of a manzanita seed waiting for fire (neces­ National Repertory Orchestra, New York Youth Sym­ sary for propagation) is vividly rendered. Upon reading phony, Stony Brook Contemporary Chamber Players, these works, I immediately felt the impact of the music and Voices of Change. Music published by MMB Mu­ within. In my reading of the poems, the lure lies "be­ sic. Former faculty member, University of North tween the lines," as it were, in "unspeakable" emotions Texas. and passions. These feelings are complex yet basic to our humanity, and in that manner simple. Upon reflection, I Symphony No. 1 was commissioned for James DePreist felt that the combination of soprano voice and a single, and the Oregon Symphony on the occasion of its Centen­ complementary instrument-the· flute-would best reflect nial, the Louisville Orchestra, and the Oakland East Bay the inner strengths of the poems and yield the truest re­ Symphony, and was made possible by a grant from the alization of the music as I felt it. That Which Binds Us Meet-the-Composer/Reader's Digest Commissioning Pro- 1998 National Conference SOCIE1Y OF COMPOSERS, INC. 31

gram, in partnership with the National Endowment for reverb for the saxophone, the second movement is two the Arts and the Lila Wallace-Reader's Digest Fund. dances, and the third is a waltz for french horns. During my high school years in Portland, Oregon, I was fortunate to know three exceptional human beings, After early musical training on the trumpet and serv­ all of whom taught music at Jefferson High School, and ing in the Navy, DONALD ERB toured the country all of whom died at young ages: Sonny King (jazz saxo­ phone), Dee Wiggins (percussion), and Richard Thorn­ playing jazz and arranging music for big bands. He burg (trumpet). Not only were these men superb musi­ subsequently earned degrees in composition from cians and teachers, they were absolutely three of the Kent State University, Cleveland Institute of Music most gentle, unselfish, and kind people I have known. and Indiana University, where his principal teachers This music has been composed in memory of these three were Harold Miles, Kenneth Gaburo, Marcel Dick good friends. Though the symphony as a whole is a reflec­ and Bernhard Heiden. He also studied briefly with tion on the life and death of all three men, there is a Nadia Boulanger in Paris. Erb has taught at Bowling particular association for each (I - Dee, II - Sonny, III - Green Sate University, Southern Methodist Univer­ Richard), which is reflected in the character and orches­ sity, Indiana University and the Cleveland Institute tration of each movement. of Music. Erb has also served as composer-in-resi­ James DePreist provided the impetus for this Sym­ phony, and it was composed for the Oregon Symphony dence for the Dallas Symphony and the Saint Louis and Maestro DePreist, whose support and encouragement Symphony. He has received numerous fellowships, over the years is greatly appreciated. The subtitle for grants and prizes, including an award from the Ameri­ movement I is from "Do not go gentle into that good can Academy and Institute of Arts and Letters. night" by Dylan Thomas. James DePreist's poems, "Some­ how we can" and "Its luminous links," found in The Dis­ KEITH FITCH began writing music at age nine and tant Siren, provide the subtitles for movements II and III. began formal musical training on the double bass at age eleven. While completing his doctorate at Indiana DONNA KELLY EASTMAN, a Fellow of the Char­ University, he studied composition with Frederick les Ives Center for American Music, Virginia Center Fox, Eugene O'Brien and Claude Baker, and double for the Creative Arts and Ragdale Foundation, has re­ bass with Bruce Bransby and Murray Grodner. The re­ ceived composition awards from many international cipient of numerous awards, Fitch currently resides in competitions. She is listed in Who's Who in American New York City, where he is the assistant director of Women, and will be listed in the 1998 edition of the Mannes College of Music Preparatory Division Who's Who in America. Eastman's music has been per­ and a member of the theory and composition faculty. formed in Japan, Thailand, Russia, Germany, France, Dancing the Shadows might be subtitled "Music for an and in many venues in the United States and Canada. Imaginary Ballet." After having written several large­ The Mirror was written following the composer's two­ scale, intensely dark and virtuosic scores, I thought it year stay in Japan in the 70's, where she studied the koto would be a nice change to try something in a lighter and Japanese folklore. Upon her return to the United vein. I have always been interested in dance music, par­ States, she began searching her collection of Japanese ticularly that of Stravinsky, and I am sure that many of folk tales for one she could set in a chamber opera as a the gestures found here may strike the listener as Stravin­ souvenir piece from her wonderful stay. The final story skian, though no direct comparison is intended. The came from elements of three different tales woven into a piece is in four sections (slow-fast-slow-fast), with sec­ single story. The piece calls for 4 singers, a koto, 2 tions three and four being loose variations on the first shakuhachi (wooden flutes, with parts playable by re­ and second, respectively. The opening of the work sets up corders), orchestra bells, and a gong. the basic principle of the piece: three sets of duos­ winds, strings, piano and percussion--<>ccasionally sharing JOHN ELMQUIST received his DMA in composi­ material, but often playing off, and against, each other. As in all my music, most of the melodic hand harmonic tion from Memphis State University where he studied material used in the entire piece can be found in the with Don Freund. He received his BM in composition opening minutes of the work. Dancing the Shadows was and his MM in piano from Virginia Commonwealth written between June and November 1994 with the sup­ University. Currently, Elmquist is music director at port of the Indiana Arts Commission and the National Ebenezer Lutheran Church in Chicago. He also works Endowment for the Arts and was premiered at Indiana regularly as a free-lance double bassist and teaches pi­ University in December of that same year. ano and theory at the People's Music School in Chi­ cago. His piece klash & kramp was recently performed DON FREUND has composed works ranging from on a ten-concert tour of Western Canada with saxo­ solo, chamber and orchestral music to music for phonist Susan Cook. dance and large theatre works. He is also active as a Three Movements is from a larger, six-movement work pianist, conductor and lecturer. Freund has received for oboe and piano. In the first movement the piano is grants and commissions from the National Endow- 32 SOCIE1Y OF COMPOSERS, INC. 1998 National Conference

ment for the Arts and Tennessee Arts Commis­ ture. Often described as slumbering in or near the seas, sion/Opera Memphis, and prizes including the Inter­ he was sometimes awakened by mortals who desired to national Society for Contemporary Music/League of wrest from him the secrets of the future. Proteus was said to resist such challenges by changing his shape into a Composers International Piano Music Competition, frightening, bewildering and overpowering succession of Hanson Prize, 22 ASCAP awards and a Macgeorge fearsome or intimidating creatures. Fellowship from the University of Melbourne, Austra­ The prevailing imagery of the piece, while not my­ lia. From 1972 to 1992 he was chairman of the Com­ thologically authentic, endeavors to depict a formidable position Department at Memphis State University. sea god who, disturbed from his slumbers by importunate Since 1992 Freund has been professor of composition mortals, proceeds to wreak a formidable wrath and venge­ at the Indiana University School of Music. ance. The musical argument is precipitated by the god's awakening (opening hammer strokes), after which the Perotinitis (a 12th century musical infection) is a fan­ piece begins quietly and enigmatically and proceeds tasy on the 3-voice organum Alleluia: Nativitas composed gradually to a display of considerable turbulence by the by Perotin, one of the first music masters of Notre Dame end. Cathedral in medieval Paris. Actually, the musical style The tide of the work is taken from the following lines of organum is in itself a fantasy on Gregorian chant; of Wordsworth: Perotin's organum is built over a plainchant Alleluia So might I. .. (which is played by the winds in octaves over driving Have sight of Proteus rising from the sea; drum rhythms in the middle of Perotinitis). In Perotin's Or hear old Triton blow his wreathed horn. organum the lowest voice sings the chant at an extremely -William Wordsworth, The World is Too Much With slow tempo creating monumental drones, while the top Us pair sings a lilting contrapuntal dance. Perotinitis uses Proteus was given its premiere by the Air Force Band great blocks of Perotin's polyphony, juxtaposed and super­ of Flight 28 January 1995 at East Tennessee State Uni­ imposed at multiple tempos and embroidered with some versity. It was later recorded and released on the ensem­ new materials echoing the Gothic style, in the hope of ble's compact disc entitled Images . giving this ecstatic, powerful sound of the 12th century enough exposure to get into the listener's blood. Born in Havana, Cuba in 1954, ORLANDO JAC­ INTO GARCIA has resided in the United States DAVID FUENTES is an associate professor of com­ since 1961. He currently directs the music theory and position at Berklee College of Music. He has written composition programs at Florida International Univer­ a counterpoint textbook based on several new theo­ sity. His works have been performed at numerous ries (some of which he will explore in his presenta­ concerts and national and international festivals by tion) , as well as many works for chamber ensembles. many highly distinguished soloists, ensembles and or­ chestras. Garcia spent the 1991-92 season in Caracas, JACK GALLAGHER is professor of music at The Venezuela as a Fulbright scholar and composer-in­ College of Wooster in Ohio. His compositions have residence, and in 1994 he was awarded a Cintas been performed or recorded by the Polish Radio and Foundation fellowship to support the commissioning Television Symphony Orchestra of Krakow, Ruse Phil­ of several new works. In 1996 he received another harmonic Orchestra (Bulgaria), Cleveland Chamber Fulbright award for a residency at the University of Symphony, Indiana University New Music Ensemble, Salamanca in Spain. Air Force Band of Flight and the Spoleto Festival recuerdos de otra musica para piano (remembrances Brass Quintet, to name but a few. He has had resi­ of another music for piano) was written in 1990 for Cu­ dencies at Yaddo, Atlantic Center for the Arts, Vir­ ban pianist Miguel Salvador who later premiered the ginia Center for the Creative Arts, and the Charles work. Salvador requested a short piece that pianists could Ives Center for American Music. In 1996, he was perform at competitions. Given that Garcia's music is listed in the 1996-97 International Who's Who in Mu­ generaly delicate, sparse and slowly evolving with most sic, as well as being named Ohio Composer of the pieces lasting 15-20 minutes, the request was quite a challenge. After much pondering, the result was a rela­ Year by the Ohio Music Teachers Association. tively short piece that allows the pianist moments of an Proteus Rising from the Sea was completed in 1994 albeit veiled traditional virtuosity contrasted with de­ during a Research Leave from The College of Wooster. mands for minute control of timbre. The sonorous world The work was commissioned by the Air Force Band of that results from the combination and juxtaposition of Flight, Wright-Patterson AFB, Ohio, Lt. Col. Richard A. abstract static materials with the obscured references to a Shelton, Commander and Conductor. more traditional piano music is the basis for the title. re­ In Greek mythology, Proteus was the sea god possessed cuerdos de otra musica para piano was recently recorded by of the power of changing his shape at will. Sometimes Martha Marchena and released on Albany Records. said to be the son or attendant of Poseidon, god of the seas, Proteus held as well the power of foretelling the fu- 1998 National Conference SOCIETY OF COMPOSERS, INC. 33

GLENN GASS is an associate professor of music at ers Guild, College Music Society, Music Educators Indiana University, where he teaches a series of National Conference, and numerous other organiza­ courses that he developed on the history of rock and tions. Currently, Gooch chairs the theory-composition popular music. He has been the recipient of grants area at Truman State University and has been a final­ from the National Endowment for the Arts, Meet-the­ ist for that university's Educator of the Year award. Composer and the Indiana Arts Commission. He is Out of the Pimordial Ocean is scored for eight percus­ the author of A History of Rock Music: The Rock & sionists. The piece involves the manipulation of a set of Roll Era, a 1994 publication by McGraw-Hill, and is a rhythm and pitch motives that gradually "evolve" as the member of the Education Advisory Board of the Rock seven-minute work progresses. Ocean begins quietly and & Roll Hall of Fame and Museum in Cleveland. builds to a sustained isorhythmic section, which then leads to an extended timpani solo. The piece closes with Hide-and-Seek is a one-movement work for solo clarinet a brief coda recalling earlier motivic material. The influ­ written in 1997 for David Keberle of University of Pitts­ ence of gamelan music is evident. Out of the Pimordial burgh. Hide-and-Seek is dedicated to the "restless energy Ocean was composed for W. Michael Hooley and the Tru­ and joyous spirit" of the composer's son, three-year-old man State University Percussion Ensemble, and was pre­ Mathew. miered in 1992 at a Percussive Arts Society conference.

DANIEL S. GODFREY, director of the School of A composer for all media, ULF GRAHN has re­ Music at Syracuse University, has received many ceived numerous prizes, grants, awards and commis­ awards and commissions, as well as the co-author of sions. In 1973 he founded the Contemporary Music Music Since 1945, published in 1993 by Schirmer Forum, Washington, D.C. During 1988-90 he was Ar­ Books. His works have been programmed by orches­ tistic and Managing Director of the Music at Lake tras and chamber ensembles throughout the United Siljan Festival, Sweden. He has taught at George States, along with a variety of performances overseas. Washington University and presently teaches Swedish Arietta for cello and piano was written for the Shrut­ language and culture at the Foreign Service Institute. Brantley Duo in 1990 and premiered in St. Paul Chapel, New York City, in May 1991. STEPHEN GRYC received his professional traning at the University of Michigan, earning his DMA in An associate professor of composition and director of 1983. He is currently associate professor of music the Center for New Music at the University of Iowa, composition at the Hartt School of the University of DAVID KARL GOMPPER has had his works per­ Hartford where he has served as chair of the composi­ formed around the world to critical acclaim. He also tion department, director of the Hartt Contemporary is the president of the Society of Composers, Inc. Players, director of the Insitute for Contemporary Last year, he traveled to Kwangju, South Korea for American Music, and co-director of the Center for the United States Information Agency, giving compo­ Compouter and Electronic Music. He has received sition and theory master classes at Chonnam Univer­ grants and fellowships from the ASCAP Foundation, sity. This past June, he was invited to perform and Connecticut Commission on the Arts, MacDowell lecture at the Music College of Thessaloniki, Greece. Colony, Charles Ives Center for American Music, Duo for violin and piano (1997), premiered in Thessa­ Deross Foundation, and University of Hartford. His loniki, Greece, is based on two Irish fiddle tunes, "The awards include the ASCAP Foundation's 1986 Rudolf Green Groves of Erin" and "The Flowers of Red Hill," Nissim Prize in orchestral music. His works have been made popular by the Bothy Band and more recently, the performed by such American ensembles as the Kansas string trio of Edgar Meyer, Mark O'Connor and Yo-Yo City Symphony and the Minnesota Orchestra, and by Ma. While its four-sectioned, one-movement form pre­ European performers such as the Agon Percussion sents Irish-Appalachia-Texas fiddle music embedded Quartet of Prague. within the context of art music (history has shown that much of art music relies on folk music for its inspiration), Kandinsky: Six Images for Organ was composed in my intention was to transform the music as feet-stomping 1991 for organist Barbara Harbach to whom the work is dance music through a labyrinth of rhythmic and textural dedicated. The first performance took place in Fresno, manipulations into a synthesis of playful excursions for California, on October 18, 1992. Russian painter Vasily both instruments. Kandinsky sought to achieve the spiritual power inherent in music by emulating its abstract qualities in his paint­ WARREN GOOCH has received recognition from ings, often using music titles for his canvases. In his ma ­ ture works, brightly colored geometric and abstract or­ the National Federation of Music Clubs, Minnesota ganic forms are placed in free but beautifully balanced Orchestra, American Choral Directors Association, compositions. The six images are not meant to be aural American Composers Forum, International Trumpet translations of the paintings but are musical interpreta­ Guild, Music Teachers National Association, Compos- tions of the underlying ideas or moods expressed by the 34 SOCIETY OF COMPOSERS, INC. 1998 National Conference

paintings' titles. The organ is an ideal instrument to real­ his own composmon, Pierrot Lunaire, in 1912. The pro­ ize in the sound Kandinsky's flair for bold colors and ject was created with funds from the National Endow­ shapes. The composer has attempted to organize fanciful ment for the Arts and the California Arts Council to musical ideas into forms which are succinct, clear and or­ commemorate the 75th anniversary of Schoenberg's semi­ derly. nal masterpiece. Schoenberg used the 1893 German translation of Otto N. LINCOLN HANKS completed his Bachelor and Erich Hartleben in his settings. All participating compos­ ers used the same. In addition we were confined to the Master's degrees from Lipscomb University and is now original Pierrot instrumentation (flute-piccolo, clarinet­ finishing his Doctorate in Composition at Indiana bass clarinet, violin-viola, cello, piano). We had the op­ University. His teachers include Don Freund, tion of using sprechgesang, as in the original, if we so Frederick Fox, Claude Baker, John Harbison and Ber­ chose. nard Rands. He was named National Collegiate Win­ ner of the M.T.N .A. Composition Competition in PAUL HAYDEN has received awards, grants and 1993 and was also awarded in 1997 the Indiana Uni­ recognition from ASCAP, American Music Center, versity School of Music Dean's Prize in Composition. Charles Ives Center for American Music, Delius Na­ He has also been a participating composer in the tional Composition Competition, National Flute As­ 1997 Chorus America National Conference and was sociation Newly Published Music Competition and the recently selected to participate as a commissioned Virginia College Band Directors National Association. composer in the Dale Warland Singers New Choral His music has been performed in Europe, Russia, Music Program. As an active vocalist, Hanks is a China and throughout the United States. In addition founding member of The Concord Ensemble. to being an active composer, he has taught theory Dixit Dominus and composition at Louisiana State University and at The seven verses of the Latin text, Dixit Dominus Eastern Illinois University. · (Psalm 109) is one of the most powerful messianic scrip­ tures found in the Old Testament of the Bible. As each Guttersnipe was commissioned by and is dedicated to verse is read, a diversity of emotional content is revealed William Ludwig, professor of bassoon at Louisiana State including the reflective depiction of a communicating University. Working closely with Mr. Ludwig, I discov­ Godhead of verse one; the calm, assuring promise of God ered the extraordinarily wide range of timbres available void of emotion of verse four; and the confused milieu of from the bassoon. Many of these sounds have been inves­ judgment day in verses five and six. Such a text gives a tigated by others (including Bruno Bartolozzi and Charles composer setting this Psalm an incredible opportunity to Lipp) . However, two of the sounds used in the first move­ paint a wide variety of powerful moods. ment of this piece were found simply through experimen­ tation: tongue slaps combined with subtones (in the low­ est register of the bassoon), and short, loud, overblown DONALD HARRIS served on the faculties and as harmonics. an administrator at the New England Conservatory of Guttersnipe is in three short movements: Walkabout, Music and the Hartt School of Music, University of Guttersnipe Lied, and Blatherskate. Walkabout is a day­ Hartford, before becoming dean of the College of the drea~r perhaps more appropriately, a nightmare. Gut­ Arts and professor of music at Ohio State in 1988. tersnipe Lied follows the first movement after a very short Last year he stepped down as dean and rejoined the pause and makes extensive use of quarter-tones. Blather­ OSU faculty in composition. From 1954 until 1968, skate (a bombastic person) is a scherzo utilizing several loud multiphonics. A short coda recalls the first two Harris lived and composed in Paris, where, among movements. other things, he was music consultant to the United I first thought of the word "guttersnipe" while listen­ States Information Service and produced the city's ing to some of the unusual sounds the bassoon can pro­ first postwar Festival of Contemporary American Mu­ duce. Webster's dictionary defines the word as "a person sic. He has received numerous commissions, including of the lowest moral station." However, I prefer to think the Serge Koussevitzky Music Foundation, Elizabeth of the word as evoking the sounds produced by some sort Sprague Coolidge Foundation in the Library of Con­ of fantastic animal. gress, and Radio France, to name just a few. Pierrot Lieder (1988) DAVID HEUSER has studied with Samuel Adler, In February, 1988, I was asked by Leonard Stein, Di­ Claude Baker, Joseph Schwantner, David Liptak, rector of the Arnold Schoenberg Institute at the Univer­ Warren Benson, Frederick Fox, Wayne Peterson, Don sity of Southern California, to participate in the "Pierrot Freund and Jeffrey Hass. Currently he teaches theory Project." A group of some sixteen American composers and composition courses and runs the electronic mu­ had been invited to set the remaining 29 poems in the sic studio at the University of Texas at San Antonio. collection, Pierrot Lunaire: Rondels Bergamasques, by the The winner of numerous awards, grants and commis­ Belgian poet, Albert Giraud, first published in 1884, from sions, his music has been performed by various groups which Schoenberg had selected the twenty-one poems in 1998 National Conference SOCIEIT OF COMPOSERS, INC. 35

and individuals at festivals and conferences through­ Ice Path is an imaginary title which contains a pictorial out the United States and abroad. and philosophical meaning. The "quietness" and "harsh­ ness" of "ice" is reflected through various tranquil and 3,127 Notes for solo viola was written in the Spring of violent sections. The Buddhist chant like opening melody 1996 and is about seven-and-a-half minutes long. The also signifies "path" in the religious sense of the word. work roughly takes the shape of a rondo in eight parts: The composition is a variation based on the modal ABACABDA. The reoccurring A music is aggressive and chant. The metallic sound displaced by different mallet features a pedal point on the open G string and double­ percussive instruments is a prominent feature of the stops. By contrast the B music is slower and more lyrical, work. and the C music much softer and played sul ponticello. The return of the slow B-section tune (louder this time) rushes into the short, flashy D section which precedes the CHARLES HOAG is a professor of music and direc­ final return of the opening music. tor of music theory and composition at the University of Kansas. He received a Ph.D. in composition at the University of Iowa. He has recently completed two DOROTHY HINDMAN, assistant editor of Living Music and professor of theory and composition at Bir­ compositions for orchestra. A third work will be pub­ lished soon by the Theodore Presser Company. mingham-Southern College, also serves on the Board of Directors of SCI as Local and Affiliate Group Rep­ Mothers' Day is a song for soprano, clarinet and piano resentative. Her works have been performed through­ on a poem by the Nicaraguan poet Daisy Zamora. The out the United States, Italy, Russia, Romania and the poet was active in the National Sandinista Liberacion Czech Republic. Recently she held a five-day resi­ Front that overthrew the dictatorship in 1979. She later dency in Fairbanks, Alaska where one of her composi­ served as vice minister of culture and returned to writing poetry about family relations, in particular, the life of tions was premiered. women in her country. Of the work she says: "I thought I The text for I Have Heard... is an excerpt from Walt deserved a poem for myself, to tell my children how they Whitman's "Song of Myself' from his Leaves of Grass, first have to think that I am a person, too, and that I deserve published under this title in 1881-1882. I chose this text to be a person, distinct from them." because of its emphasis on an "I" which is often meant to be universal. The theme of celebration of the self greatly Currently an assistant professor on the part-time fac­ appealed to me at the time I wrote the piece, and the ulty of the Dalhousie University Music Department, form and rhythm of Whitman's poetry has powerful musi­ Halifax, Nova Scotia, LAURA HOFFMAN has been cal implications. The direct repetition of the poetry, and the contrasting imagery of universal and personal themes an active member of the Southeastern Composers' merge well with my ideas of textural independence and League. She is the secretary of the Atlantic Canadian focus in creating musical forms. This work is an a capella Composers' Association and is also a member of the arrangement of the second of four movements of Whit­ Association of Canadian Women Composers and the man's poetry that I have set for choir and orchestra. Canadian League of Composers. Hoffman's music has been performed in Canada, the United States and ALICE HO is a recipient of numerous awards, in­ Australia. cluding the du Maurier Arts Ltd. New Music Festival Canadian Composers Competition, Hamilton Philhar­ An active composer and performer, MICHAEL monic Young Composers Festival, Percussive Arts So­ KALLSTROM is the creator of Electric Opera, a se­ ciety Composition Competition, Tribune Nationale ries of solo vocal works with electronic tape, puppets des Jeunes Compositeurs, PRO Young Composers of and videos that have been performed more than 80 Canada Composition Competition, and the Interna­ times. He has received scores of grants and awards for tional League of Women Composers Composition his innovative works, which have been performed in · Competition. She has received commissions from the the United States, Russia, Spain, Slovenia, Italy, Eng­ Ontario Arts Council, Laidlaw Foundation, Toronto land, Brazil, Chile, Argentina, Costa Rica and Kenya. Arts Council, the new music group Continuum, Currently he is an associate professor of music and Ardeleana Trio, Scarborough Philharmonic Orchestra, coordinator of theory and composition at Western and a percussion concerto for Beverley Johnston. Ho Kentucky University. is also an advocate of contemporary music and active Ghosts!! is a musical theater work for solo singer (bass), pianist. Her solo recital featuring piano works by con­ puppets, masks and electronic tape in two acts. It fea­ temporary Canadian and Chinese composers was re­ tures comic and serious settings of Appalachian ghost sto­ corded for CBC's Two New Hours. Her music had ries and original material by the composer. The singer been featured nationally and internationally at many portrays a cast of people, ghosts and monsters by using a festivals by various ensembles and orchestras. variety of puppets, and masks. Stories in the first act in­ clude: "Find my Tombstone," in which the ghost of a fid­ dler continues to haunt his former home, now occupied 36 SOCIEIT OF COMPOSERS, INC. 1998 Nati.anal Conference

by a banjo player, until a tombstone in his honor is Miami. Kramer was also awarded third place in the placed on his grave; and "Ghostly Dancers," in which a 1996 First Annual UM Graduate Student Re­ late night traveller hears the music and laughing voices search/Creativity Forum for theoretical work on the of a wild, country dance coming from a nearby house, but music of Ruth Crawford Seeger. He has studied com­ can see no one each time he peeks through a window un­ position and theory with Thomas Delio, Paul Wilson, til dancing ghosts appear overhead. In the second act, "I'm Living A Lie" adapts the familiar "give me back my Stuart Saunders Smith and John Van der Slice. toe" campfire tale of a passerby who finds a toe, picks it The Rudhyar I Crawford Connection of Linear Pro­ up and takes it home, and is then haunted by the awful gression and Proportionality: An Analysis of Dane creature who has lost the toe. Throughout both acts, Rudhyar's Salutation to the depths and Ruth Crawford's "When John Gets Here," the story of ghosts who warn Prelude No. 2 about "John," the scariest specter of all, is woven around This paper deals with a pinnacle point in the history the other tales. All the stories have been given a comic of the early twentieth century American avant-garde. twist in these adaptations. Comic situations are balanced The Dane Rudhyar I Ruth Crawford connection has been by more serious reflections on humankind's fascination well established in the literature on the two composers with the unknown and supernatural. (most of which has been under the guise of works written about Ruth Crawford). But the extent of Rudhyar's influ­ DAVID KECHLEY's compositions have been per­ ence on Crawford is not so well documented. Rudhyar's formed and commissioned by the Seattle Symphony, name and music have all but disappeared from the basic repertoire of twentieth century art music. Yet his influ­ Minnesota Orchestra, Cleveland Orchestra, Boston ence was very strong, and in the early part of the century Pops, Kronos Quartet and many others. His works he was known as a leader of the American avant-garde have also been featured at several national and inter­ movement. national conferences such as the College Music Soci­ This exploration exploits analysis of two representative ety, World Saxophone Congress and Guitar Founda­ works, one from Rudhyar and one from Crawford, in rhe tion of America. He received the only Artist Fellow­ hope to connect, compare and comprehend the thou u ship awarded to a composer in 1985-86 by the North processes between the two composers. This connection Carolina Arts Council and in 1995 received an Artist also has strong ties to the Scriabin influence on the com­ Grant from the Massachusetts Cultural Council. A re­ positional aesthetics and ideals of the time. cipient of ASCAP awards since 1979, Kechley is pro­ This discourse will provide an insight on a pivotal point in music history, a time when tertian based tonality fessor of music at Williams College. was breaking down in favor of a quartal and centric based DRIVELINE: A Powerwalk for Guitar and Alto music. The high level of craft exhibited by the composers Saxophone was commissioned by The Ryoanji Duo, will be a feature of this discussion as well, dealing with Robert Nathanson, guitar and Frank Bongiorno, Saxo­ overall form, explaining the proportionality and pitch phone for premiere at the 1997 World Saxophone Con­ progressions that define these formal elements. gress in Valencia, Spain. The title DRIVELINE refers to the single unison line MIKEL KUEHN has been a recipient of awards from which opens the work with its characteristic energy and ASCAP, BM!, Eastman and the League of Compos­ rhythmic momentum. This "line" is elaborated further by each instrument in its own way and this virtuoso vari­ ers/ISCM. His works have been performed by Ensem­ ation is the structural basis of the work. The meaning of ble 21 at New York's Merkin Recital Hall, the New "driveline" as the link or transfer of power between the York New Music Ensemble and members of the New engine and wheels of a car, truck, etc., is quite appropri­ Millennium Ensemble, to name a few. In addition, ate as well. The tempo of the opening is that of an ag­ several of his compositions have been presented a t gressive "walking bass line" or "powerwalk." It is also no new music conferences and festivals, including the coincidence that during the creation of this work the Bonk Festival, June in Buffalo, New Music and Art composer, living in Seattle near a local lake observed from Bowling Green and Society of Composers, Inc. true powerwalking on a regular basis on his own daily outings. •. • remembrance of things past ••• , composed in the DRIVELINE: A Powerwalk for Guitar and Alto Saxo­ spring and summer of 1997, is an electro-acoustic work phone celebrates the memory of Abraham C. Keller, a based on the recitation of Shakespeare's Sonnet XXX. dear friend, who died in Seattle when the first sketches This work was spawned by an interest in developing the of the work were being created. Although the work has timbral possibilities of the spoken voice through computer reflective moments, it is primarily forward moving, ener­ manipulation. I chose one of Shakespeare's sonnets be­ getic and optimistic. These are all qualities for which cause of their colorful language and rigorous structure Abe Keller is remembered. (14 lines of 10 syllables each), which, even after much distortion, enable them to retain a sense of "fuzzy" recog­ nition. I was also interested in basing the work's form KEITH ALLEN KRAMER, the winner of the 1998 upon the reader's spoken inflections and sense of meter. UMSO Composition Competition, is currently finish­ The piece consists of two parts: the extended sound ing his D.M.A. in composition at the University of sculpting of the sonnet, and the recitation (performed by 1998 National Canference SOCIETY OF COMPOSERS, INC. 37

wife, soprano Deborah Norin-Kuehn). The first part lasts years I came to question its validity as a means of com­ ten times the length of the recorded recitation, using the munication between composer and audience. The care­ timings of each word in succession, multiplied by a factor fully argued reasons for its development and adoption by of ten, as a "window" for processing multiple instances of composers as the new "common practice" seemed insig­ the word. The poetic tension level of each of the sonnet's nificant in light of what I perceived as its hermetic, self­ lines is also built in to the work's form. Lines with more referential quality and, ultimately, its emotional reti­ dramatic stress are more difficult to perceive as their cence. Thus I was torn between what was deemed "cor­ word "windows" overlap to a certain degree. The amount rect" among most of my colleagues, and the growing con­ of overlap depends on the stress of the line: lines with viction that this stylistic approach was, at least for me, a low stress have no overlap, while lines with the highest creative dead end. amount of stress have up to three overlapping word win­ Deeply troubled by this conflict, I withdrew from com­ dows. The coda-like recitation reflects this linear tension posing for almost two years. During this time I searched through its spatial position: hard right for low stress, hard through my formative musical experiences and influences left for high stress. an eclectic melange of classical, jazz and rock 'n roll (the .. . remembrance of things past . .. was realized on an three B's of my youth were Bach, Basie and the Beatles) Intel Pentium-based machine using Barry Vercoe's in an attempt to rediscover the magic and mystery of mu­ Csound and various sound editing utilities. sic that inspired me to become a composer in the first place. Crossing the Rubicon is the fruit of this effort. The The Phenomena of Phonemena: Milton Babbitt's title does not allude to Caesar's historic crossing into It­ Work for Soprano and Synthesized Tape aly to wage civil war with the forces of Pompeii, but to A look at structure and its relationship to large-scale its more popular connotation: "to start on a course of ac­ aspects of the musical surface in Milton Babbitt's Phone­ tion from which there is no turning back, to take a final, mena (1969-70), this paper reveals the composer's never- irrevocable step." . ending quest for projecting a total saturation of related Crossing the Rubicon was premiered by the California sonic material at the listener, creating a rich musical sur­ Symphony, Barry Jekowsy conducting. face containing self-similarities on multiple levels. By ex­ amining classic all-partition array structures of Babbitt's ORLANDO LEGNAME has been a student and as­ second period, Kuehn explains the derivation of Phone­ sistant to the composer Hans-Joachim Koellreutter for mena's unique text and colorful world of sound, and of­ the last 14 years. He was professor at the Sao Paulo fers insights into the relatively unexplored realm of pitch, State University UNESP, Brazil from 1988 to 1993, timbre, and dynamic realization by the RCA Mark II Syn­ where he taught composition and acoustics. Between thesizer. Other issues addressed are aspects of rhythm, in­ cluding a detailed examination of the time-point array's 1986 and 1996 he was the director of ARTIUM Re­ modular units and their aural function, and some general cording Studio and School of Arts in Sao Paulo, Bra­ implications of the array's design. zil. He is living in Washington D.C. and continues This survey of Phonemena's compositional structures his work in doctoral course at University of Maryland and their realization, offers a great deal of general infor­ financed by CAPES Brazilian Agency. mation that is applicable to the majority of Babbitt's Density Degree of Intervals and Chords work. Compositionally suggestive, it will also be of inter­ Paul Hindemith exposed his acoustical harmony theory in est to the contemporary theorist. The Craft of Musical Composition. Based on natural phe­ nomena of overtone series and combination tones, the FRANK LaROCCA is the recipient of an NEA Com­ author proposed a different treatment of harmony and poser's Fellowship, a California Arts Council Artist's melody with the concept of dissonance fluctuation. How­ Fellowship and a Young Composers' Award from the ever, some of the physical facts were used in a wrong ASCAP Foundation. He has also been awarded grants way. This paper reviews these concepts and suggests a a nd prizes from the American Music Center, Meet­ new theory. Legname proposes a visual analysis of the in­ the-Composer, the California State University Foun­ terval waveform graph and the relation between .its com­ dation, Amherst College and the University of Cali­ plexity and the interval level of dissonance. Then, a cal­ culation leads to a substitution of consonance/dissonance fornia. In addition, he has received four awards for polarity with a smooth-curve notion of density degree. outstanding teaching and professional accomplish­ Furthermore, three analyses, of Bach, Stravinsky and ment from California State University, where he is Ligeti, reveal new perspectives and the practical applica­ the head of composition and theory. LaRocca's works tion of this theory, for both composers and theorists. have been performed throughout the United States, Canada and Europe. ROBERT LEMAY's works have been performed in Crossing the Rubicon Canada, the United States, Japan, France, Denmark, Mastering the abstract, freely chromatic style of composi­ Germany, Italy and the Netherlands, as well as receiv­ tion that was de Rigeur in my days as a graduate student ing broadcasts on Radio-Canada, CBC, and Bavarian was not unlike learning a second language. While I devel­ State Radio. He is an associate composer of the Cana­ oped considerable fluency in this language, in recent dian Music Centre and the Canadian League of Com- 38 SOCIE1Y OF COMPOSERS, INC. 1998 National Conference

posers, a three-time winner of the CAPAC competi­ craft and computer graphics by Andy Dillon and Nate tion, and the recipient of numerous grants from the Pagel. Canada Council, the Ministere des Affaires Cul­ Performances have occurred under the auspices of the turelles du Quebec and the Conseil des Arts et des Texas Computer Musician's Network, Oberlin Conserva­ tory of Music, International Symposium on Electronic Lettres du Quebec. During 1996-97, Lemay was visit­ Arts, Atlantic Center for the Arts, Symposium for Arts ing assistant professor in composition at the Univer­ and Technology, Electro-Acoustic Recital Series (Austin, sity of Saskatchewan. Lemay's participation in the Texas), American College Dance Festival (Kennedy Cen­ SCI National Conference is made possible with a ter), Discoveries (Aberdeen, Scotland), Center for Com­ grant from the Conseil des Arts et des Lettres du puter Music (Brooklyn College), SXSW and SIGGRAPH. Quebec. La soif du mal .•. Hommage a Orson Welles is part of CARLETON MACY is a composer of works ranging a series of compositions written in homage to great film­ from vocal and orchestral to jazz and music for non­ makers. The cycle includes Wim Wenders, Frans:ois Truf· Western instruments. His compositions have been faut, Martin Scorcese, Orson Welles, Claude Jurras, and performed throughout the United States and Europe. will end with John Cassavetes. I am an ardent cinephile Macy currently teaches music theory, composition, and feel drawn to those directors who created their own and music education at Macalester College, and di­ personal language. Thus, I felt it appropriate to honour rects the Jazz Band, Collegium Musicum and New the artisans of this major twentieth century art form. Music Ensemble. Macy has an active interest in non­ Although it is not descriptive music, this piece is di­ rectly inspired by the film Touch of Evil, produced by Or­ Western music, presently serving as artistic director, son Welles in 1958. I chose the French title of the movie conductor and performer with the Minnesota Chinese because Welles, who was a polyglot, detested the English Music Ensemble. title which its backers had chosen, but approved of the Summer Solstice ( 1995) makes extensive use of Sumer French name. Despite the film's having been commis­ is Icumen In, the thirteenth century English canon which sioned, it is, along with Citizen Kane, The Trial, and Fal­ is one of the oldest known examples of polyphony. Sum­ staff, a rich and personal film, probably one of his most mer Solstice employs the original canonic possibilities as mature and complex works. In the pure style of American well as additional canons, counterpoints and variations. film noir, Touch of Evil was adapted from a drugstore The piece is intended to be evocative of the period of the novel, Badge of Evil by Whit Masterson. Welles plays a summer solstice, the longest day-light period of the year: dishonest, corrupt and decadent sheriff. Orson Welles warmth and smoothness mixed with occasional moments liked to portray tough characters whose nature was often of excitement, and underscored by continuous motion. deep and complex. Here, he displayed himself in all his Summer Solstice was commissioned in 1995 by the Univer­ extremes: obese (his size exaggerated by the low angle sity of Georgia Bands, Dwight Satterwhite, conductor. camera shots), alcoholic, ugly, dirty and smelly. The at­ mosphere of this film is very heavy and unhealthy. La soif du mal ... Hommage a Orson Welles was commis­ Associate professor and composer-in-residence SA­ sioned by Julien Gregoire, percussionist of the Nouvel En­ MUEL MAGRILL coordinates the theory and com­ semble Moderne, for his recording. I dedicate it to him, position division and directs the computer music stu­ with all my friendship. dio at the University of Central Oklahoma. His works have been performed at festivals around the world While studying with Conrad Cummings at Oberlin and have garnered numerous awards and grants. In College, TOM LOPEZ devised an independent major addition to his work as a composer, he is an avid ac­ in computer music, graduating in 1989 with a BA. He companist, performing with many noted musicians in­ pursued his MFA from the California Institute of the cluding Sergei Zagny. Arts and spent one year as an exchange student at the Centre International de Recherche Musicale in CHARLES NORMAN MASON's compositions Nice, France. After finishing his MFA, he was have received many awards, including a 1994 Na­ awarded a Fulbright Fellowship enabling his return to tional Endowment for the Arts Individual Composers CIRM as a composer-in-residence. Lopez is currently Grant, 1995 Delius Prize, 1996 Dale Warland Singers pursuing his doctorate at the University of Texas at Commission Prize, International Bourges Electro­ Austin. Acoustic Competition, and a 1997 commission award One of the more striki.ng qualities of Hollow Ground I from the Fairbanks Symphony Association, to name a is its shape; which has the most rough and energetic ma­ few. Mason is vice-president of programs for the Soci­ terial in the first third and then slowly lightens and al­ ety for Electroacoustic Music in the United States most floats away before a short coda of the initial mate­ (SEAMUS), managing editor of Living Music, presi­ rial brings it back to groundedness. Hollow Ground I has dent of the Birmingham Art Music Alliance and been used for the dance, IIxV +, choreographed by Yacov chairs the division of fine and performing arts at Bir­ Sharir with painting by Linda Dumont, video by Jay Ash- mingham-Southern College. 1998 National Conference SOCIEIT OF COMPOSERS, INC. 39

Mirrors, Stones, and Cotton for guitar and tape was month residency in Malaysia, which will also be briefly composed during a residency at the Hambidge Center and shown and heard. was realized in the Birmingham-Southern Electronic Mu­ sic Studio. It was supported with a National Endowment EDWARD J. MILLER, professor of composition and for the Arts composition fellowship. The title relates to music theory at Oberlin College, has had his composi­ multiple aspects of the piece including the timbres de­ tions performed by the Berlin Philharmonic, Buffalo signed, the environment in which the piece was com­ posed, and the piece itself. Symphony, Cleveland Orchestra, Dallas Symphony, Hartford Symphony, Minnesota Orchestra, San Fran­ cisco Symphony, Indianapolis Symphony and others. Numerous performances, recordings, prizes and publi­ He has garnered awards such as a Guggenheim Fel­ cations have won DANIEL McCARTHY interna­ lowship to Rome, Library of Congress/Koussevitzky tional acclaim for work in diverse musical genres. A Foundation Commission, Ohio Arts Council Individ­ former lead trumpet player with the Cleveland Jazz ual Composer's Award, National Endowment for the Orchestra, McCarthy has performed with and ar­ Arts Two-Year Composition Award, and was named a ranged for artists such as The Temptations, Spyro Resident Scholar at Rockefeller Foundation's Bella­ Gyra, Kool and the Gang and Pat Boone. Currently, gio, Italy Study and Conference Center. he is an associate professor of composition and theory at Indiana State University, visiting associate profes­ Images from the Eye of a Dolphin (1987 , revised sor of composition at DePauw University and instruc­ 1989) was commissioned by and is dedicated to the tor of composition, theory and computer music at the Cleveland Chamber Symphony, Edwin London, Musical Interlochen Arts Camp. Director. It was funded in part by the Ohio Arts Council. The constellation Delphinus is named for a dolphin The Age of Reason was commissioned by the Lakeland who, at the invitation of Poseidon, leaped to the sky to Jazz Orchestra for saxophonist Pete Christlieb of the marry Amphitrite and become one with the stars. "Tonite Show Orchestra" and his appearance at the Lakeland Jazz Festival in Mentor, Ohio, 1990. This piece JEROME MISKELL has won numerous awards and was later recorded on the compact disc New Music From praise as both a composer and performer. His orches­ Ohio by the Lakeland Jazz Orchestra in 1991. The Age of Reason was added to the "Tonite Show Orchestra" reper­ tral music has been performed by the Conductors' In­ toire after the premiere in Ohio. stitute Orchestra, Akron Symphony Orchestra, Bloomfield Symphony, and University of Akron Sym­ BARTON AND PRISCILLA McLEAN graduated phony. He has performed with musicians as diverse as from Indiana University and subsequently undertook Robert Plant and Jimmy Page to the University of Ak­ teaching positions at IU-South Bend (Bart), St. ron New Music Group and the Daedalus String Quar­ Mary's College (Pris), University of Texas (Bart), tet. Currently he is the director of the Music Com­ University of Hawaii (Pris) and others. In 1983 they puter Lab at Mount Union College. embarked on a full-time composer/performer career as The McLean Mix, with subsequent residencies at a JANICE MISURELL-MITCHELL, composer, flutist number of universities. As The McLean Mix, they and performance artist, is on the faculty of the De­ have performed in 42 states and many European and Paul University School of Music in Chicago. An ac­ Asian countries, specializing in "mini residencies" tive proponent of new music, she has been co-artistic lasting up to one week in duration, where they pro­ di rec tor of the contemporary chamber ensemble duce audience-interactive performance installations. CUBE since 1989 and is also involved in the creation of programs and courses about women in music. Her The McLean Mix in Asia-a Multimedia Exploration honors include grants from the Illinois Arts Council, of Perspective of New Asian Music and the the Chicago Department of Cultural Affairs, Meet­ McLeans' 4-Month Residency Imagine a parallel universe where an organization not the-Composer, residencies at the Atlantic Center for unlike SCI exists in Asia, and you will have what we the Arts and the Ragdale Foundation. She has also found with our participation in the Asian Composers' received awards and commissions from the National . League International Conference Tunugan '97, held in Flute Association, International League of Women Manila. This will be an exploration of some unique exam­ Composers, Northwestern University, The Loop ples of what is transpiring with the Asian equivalent of Group and others. new music. Videotape excerpts of a number of countries' presentations will be shown (Taiwan, Korea, Philippines, On Thin Ice was commissioned by The Loop Group, a Indonesia, etc.). Many of these are quite different in form contemporary performance ensemble which was active in and approach from those in the Western countries, and Chicago during the 1980's. The piece derives its material these differences and similarities will be explored. Also from a series of improvisations by guitarist Paul Hinrichs presented at Tunugan '97 was our own work with our 3- and myself for several performance organizations at Ohio State University during the 1970's. The original material 40 SOCIE1Y OF COMPOSERS, INC. 1998 National Conference

has been altered, developed and recombined, using a tone and triangle) was written in 1992. Carmen Tellez pre­ row with limited transpositions and a scale with a penta­ miered it in Bloomington in 1993. The next year it was tonic character. The title refers to several aspects of the performed at the Museum of Modern Art in New York piece: the risks involved in creating pieces through im­ under the baton of Joel Sachs. The text is by Gabriela provisation; the risks of juxtaposing several ideas in a Mistral, the Chilean poet who in 1945 received the Nobel short time; and the continuous forward motion necessary Prize of poetry. The composer has tried to convey the dif­ in skating on thin ice in order to avoid breaking through. ferent emotions of the betrayed woman: anger, sorrow, anguish and finally resignation. The work ends as she JAMES MOBBERLEY is currently professor of mu­ sees the lovers disappear slowly in the horizon. sic at the Conservatory of Music at the University of Missouri-Kansas City and composer-in-residence for LARRY NELSON is on the faculty at West Chester the Kansas City Symphony. University School of Music, where he is professor of composition, director of the Center for Music Tech ­ Icarus Wept is a five-movement work commissioned by nology, and co-director of the Concerts of New Music Keith Benjamin for trumpet and organ duo Clarion, with concert series. Nelson has received grants from the organist Melody Turnquist-Steed. This version of the work is for trumpet and tape only, with the organ sounds National Endowment for the Arts, Pennsylvan ia on tape. It was funded by a Composers Fellowship from Council on the Arts and Meet-the-Composer, and fe l­ the National Endowment for the Arts. The title Icarus lowships from the Norlin Foundation and the Mac­ Wept was loosely inspired by the legendary flight of Icarus Dowell Colony. toward the sun and the sudden realization of the fatal The Starry Messenger, for flute and piano, explores the mistake. relationships between the flute-lyrical, then percussive, sometimes sustained, other times in sweeping lines; and ALLEN MOLINEUX has been teaching theory, piano--sometimes percussive, sometimes matching and composition, applied winds and brass and jazz band at sometimes contradicting the lines of the flute. Chipola Junior College in Florida since 1988. Prior to that he taught for eleven years at Barton College (for­ DOUGLAS OVENS has had recent performances of mally Atlantic Christian College) in North Carolina. his music in New York City, Berlin, Chapel H ill, His published works range from solos and ensembles Philadelphia and Salt Lake C ity. He has received for woodwinds, brass and percussion to choral works. commissions from the Allentown Symphony, Lehigh Lachry mae Valley Chamber Orchestra, Asheville Symphony, Uni­ At first, this work was intended to only be a contem­ versity of Callfornia-Santa Barbara Symphony and porary interpretation of the word "lachrymae" (i.e. "flow dance companies in Philadelphia and North Carolina. my tears") . I had no intentions of using the famous Dow­ Currently he is associate professor and chairman of land song of the same name as Benjamin Britten did for the Music Department at Muhlenberg College in Al­ his viola "lachrymae." But as the work progressed, mo­ lentown, Pennsylvania. tives and then phrases of Dowland's song began to appear and become integral to the piece. So much so, that the Improvisation No. 5 continues a line of development final climatic section is a layering of each instrument pre­ begun with my Improvisation N o. 1 for Solo Marimba senting portions of Dowland's song, thus obliterating for (1982) and continuing through three other works for solo a moment, all of my original materials. percussion. The improvisational character of these works Having admitted to the above, I nevertheless wish to is to be found in the rhythmic language of the scores. have the work listened to with my initial intention. I Gestures are shown to go from fa st to slow or vice versa hope that this work displays a deeper than usual amount but often in a rather free notation that encourages the of emotional content for the brass quintet medium. player to find his or her own "ideal" tempo. This new "improvisation" is particularly exciting for me as the use of the MalletKat controller allows for the inclusion of After graduating from the National Conservatory of sounds that can be "monumental" as only heavily proc­ Chile, ALFONSO MONTECINO came to the essed electronic sounds (or better, a huge orchestra) can United States to study piano with Claudio Arrau and be, and also for performance possibilities n ot always composition with Roger Sessions, Edgar Varese, and available in mallet percussion such as bent notes. Bohuslav Martinu. After a successful Carnegie Hall debut, he embarked on a long and intense interna­ A composer and horn player, ROBERT PATTER­ tional concert career. He joined the Indiana Univer­ SON's compositions have been performed throughout sity piano faculty in 1963 and retired in 1988. As a the United States as well as in several other coun­ composer, he has written over 40 works, mainly for tries. His compositions have received numerous chamber music groups. awards, including the 1994 International Composition The Balada (Ballad) Op. 35 for soprano, cello, clarinet Prize from the City of Tarragona in Spain and the and percussion (timpani, vibraphone, suspended cymbals, 1998 National Conference SOCIETY OF COMPOSERS, INC. 41

1990 Distinguished Composer of the Year award from also the author of An Introduction to the Creation of the Music Teachers National Association. Electroacoustic Music, published by Wadsworth, Inc. Presently he is a professor of music at Hamilton Col­ New Tricks for an Old Doggerel Once while driving I heard a set of variations-pre­ lege, in Clinton, New York, where he teaches theory sumably dating from the nineteenth century--on the and composition, and is director of the Studio for American traditional song, "Yankee Doodle." I never Contemporary Music. learned the name of the piece nor who wrote it, but hear­ An Augural Fanfare was composed in 1988 for the ing it left me filled with longing for all the variations the Hamilton College Brass Choir for the occasion of the in­ composer did not write, and I helplessly found myself be­ auguration of Harry C. Payne as the seventeenth presi­ ginning to write some of these variations out. This piece dent of Hamilton College. is the result of that effort.

MARK PHILLIPS holds a B.M. degree from West Composer and theorist ROBERT PECK is a v1s1tmg Virginia University and both an M .M. degree and a assistant professor of music theory at Louisiana State D.M. degree from Indiana University. His works have University. He has previously served on the music been performed by such ensembles as the Saint Louis faculties of Indiana University and Louisiana Tech Symphony, Cleveland Orchestra, NHK Symphony Or­ University. He has composed numerous works for chestra of Japan, Bahia Blanca Symphony Orchestra, solo, chamber and large ensemble media, and he has Pittsburgh New Music Ensemble, Ensemble Eclipse written for The New Grove Dictionary of Music and (Beijing), and the Icelandic Symphony. He has won Musicians and RILM Abstracts. Also an active cellist numerous prizes and awards, including the 1994 and performer of new music, Peck has appeared in re­ Newly Published Flute Music Competition, 1988 Bar­ citals in New York, Chicago, San Francisco and vari­ low International Competition, 1990 Delius Chamber ous cities in Indiana and Louisiana. Music Award, ASCAP Standard Awards, to name Interpretation Through Analysis of Shulamit Ran's only a few. His music has been featured at the Blos­ Fantasy Variations for Violoncello som Festival, Chautauqua Summer Music Festival, Shulamit Ran's Fantasy Variations for Violoncello is rep­ and the national conferences of both the Society of resentative of the composer's free atonal style. Her works Composers, Inc. and the Society of Electro-Acoustic in this style, dating from the late 1970s and early 1980s, Musicians in the United States. Phillips joined the are marked by their virtuosity, expressivity and multi­ composition faculty at the Ohio University School of facetedness. Underlying these surface aspects of the mu­ sic, patterns of symmetry and organization exist which Music in the fall of 1984. From 1982-84 he was a vis­ may inform performance of the Fantasy Variations, as well iting instructor of composition at Indiana University. other works by Ran in this style. T . Rex [rex is Latin for "king" ... but does the ambiguous Shulamit Ran has spoken at length of her music and initial T stand for "tyrannosaurus" or "trombone?"] is in her compositional philosophy. She has sought a balance four connected movements contrasting in dynamics, between the intuitive, the "fantasy," and conscious deci­ rhythms and tempo: soft and slow, with much rubato; sion, the "discipline." The Fantasy Variations manifests loud and rhythmic, in a moderate tempo; soft and slow, these characteristics through its repetition of thematic with much rubato; loud and rhythmic, in a fast tempo. fragments, in which no two statements occur in the same When I came up with the idea of doing a trombone and context. This composition reveals an organicism, which tape piece with all the sounds on the tape derived from contributes to its sense of unity and cohesion. In the Fan­ recordings sent to me by various trombonists around the tasy Variations, Ran has integrated spontaneous elements, country, I first approached John Marcellus, who gladly particularly with regard to the work's motivic recur­ agreed and gave me names of other trombonists to con­ rences, with an overall sense of inevitability resulting tact. In the end, I recruited four more: Andrew Glenden­ from the work's correspondence between formal levels. ing, Kevin James, Roger Oyster, and Tom Pisek. All five The present analysis incorporates two relations among submitted DAT cassettes with an astonishing variety of pitch-class sets. Specifically, this analytic technique con­ trombone sounds, which became the source material for siders the set of interval cycles upon which the members the tape music. All sounds heard on the tape come from of a pcset lie, and the operations which map these sets of these recordings or from noises I made with my own very cycles into, or onto, those of other pcsets. The first of old bass trombone. Dozens of individual sounds were se­ these relations possesses the reflexive and transitive prop­ lected and transferred to a Kurzweil sampling synthesizer, erties; it suggests a process of resolution from more com­ to facilitate filtering and pitch shifting, which can be ex­ plex se ts of cycles into simpler sets. The other possesses treme in some places (mvt. 3) or rather slight (mvts. 2 the reflexive, transitive and symmetric properties. and 4) . Another technique used extensively in mvt. 4 in­ volved digitally compressing and stretching the duration Many of SAMUEL PELLMAN's works have been re­ of a sound bite without altering the pitch, which allows corded by the Musical Heritage Society, Cornell Uni­ loops of bizarre rhythmic trombone noises to be synchro­ versity Wind Ensemble, and Redwood Records. He is nized to a Latin-influenced dance beat. 42 SOCIE1Y OF COMPOSERS, INC. 1998 National Conference

T. Rex has been releasd on a CD entitled Pathways: Sliver Moon New Music for Trombone, by Andrew Glendening on the The ideas for what eventually became Sliver Moon be­ Mark label. gan to coalesce in the spring and summer of 1995, when my family and I were still living in Tallahassee, Florida. ALFRED PRINZ was a member of the clarinet sec­ Obviously, the first and strongest inspiration comes from Tomas McColt's poem, which is quite imagery-laden in a tion of the Vienna State Opera and the Vienna Phil­ manner I find somewhat reminiscent of Rilke. As a com­ harmonic for years, most of which was as solo 50 poser in search of inspiration, I was attracted to the lev­ clarinetist. He has performed and recorded all of the els of embodiment the moon-image undergoes in the standard clarinet chamber music. In addition to his poem: from inert, hanging moon to smiling, winking clarinet activities, Prinz completed his piano studies moon, and, finally, a part of the hand of an indicting with Bruno Seidlhofer and continued to compose dur­ God. Perhaps the quasi-fundamentalist message of the ing his half century with the Vienna State Opera. poem's last line is not necessarily in keeping with the Prinz has composed in all genres except opera: six "feel-good" mentality that pervades much religiously-in­ symphonies, two clarinet concertos, single concertos fluenced music today, but I must admit that it was great for violin, piano, bassoon and flute, five piano sona­ fun to set such an ominous vision in music. Musically, Sliver Moon is very straight-forward, partly tas, many chamber music works, a few songs and in response to my desire to reclaim a more direct and many clarinet pieces (duets, trios, quartets, quintets) . choralistic style of vocal writing. The operative term to Trio (1997) was written for, and premiered by, Trio In­ describe the atmosphere of Sliver Moon is "noctumal"­ diana: James Campbell, Eli Eban and Howard Klug. the piece begins with a persistent, murmuring piano fig­ ure and wordless voices enter with long, drooping, "Span­ ish moss-draped" vocal gestures. Compared to other, more PHILLIP RHODES is composer-in-residence and traditional choral works, Sliver Moon is not too terribly Andrew Mellon Professor of the Humanities at W. polyphonic. Instead of the time-honored practice found in Carleton College. Rhodes has been awarded numerous great choral works of many voices singing many parts at commissions and composition awards, including different times, this work is basically many voices singing grants from the National Endowment for the Arts and one part together, so that in places the chorus becomes a the National Endowment for the Humanities, a cita­ sort of "supervoice," with different vocal rypes providing tion and award from the American Academy of Arts coloration and support in much the same way as the in­ and Letters, a Guggenheim Fellowship, a McKnight struments in an orchestra may double one another. Fellowship, two Fromm Foundation Commissions, and a Bush Foundation Fellowship for Artists. TUCKER ROBISON's compositions, including works for orchestra, chamber ensembles, solo instru­ In Scene I of The Magic Pipe, the curtain rises on a semi-darkened stage. We can just make out the outlines ments, voices and various electronic media, have of the cluttered interior of Mother Rigby's cottage. been presented in a variety of settings throughout the Mother Rigby, a witch, is making a scarecrow to stand in United States and in England, Italy and Austria. In her corn patch. As the lights come up, we hear Mother addition to being an active composer, he has taught Rigby screaming for Dickon, an unseen little "devil," who at the University of Illinois at Urbana-Champaign, helps her perform her black magic. When the Scarecrow Parkland College and Eastern Illinois University. is finished, Mother Rigby is so delighted with the quality of her work that she decides to bring the Scarecrow to Trio derives its title from the three distinct sound life. Using her black arts, she gives the Scarecrow her sources involved in a performance of the piece. Each own pipe, urging him to breathe the breath of life from loudspeaker has its own characteristic timbre, and both of its smoky depths. these timbres have envelopes with rather short attack times (most of the time). By limiting the timbral variety and by using sharp attacks in all sound sources, I have SCOTT ROBBINS' music has been gathering in­ tried to focus attention on the rhythmic aspects of the creasing attention in recent years in the form of piece. awards, commissions, performances and recordings. Pulse plays an important role in Trio . Often, there are Among his prizes are an ASCAP Foundation Grant two or more pulses present at a given time. My intent is for Young Composers as well as several ASCAP not so much to obscure the beat as to make it ambiguous. Standard Awards, Yale University's Norfolk National Structure in Trio is determined largely by changes in Composition Prize, NACUSA Young Composers tempo and in the rate of change of pitch and rhythm. I Award, Florida Individual Artist Fellowship and have attempted to play tempo and rate of change against each other so that, for example, the most rapid tempo awards from Britten-on-the-Bay, Composers Guild does not necessarily carry the fastest music. and Thamyris. Since 1995, Robbins has been com­ poser-in-residence and coordinator of music theory earned bachelor's and mas­ and composition at Southwestern Oklahoma State MARTIN ROKEACH University. ter's degrees from San Francisco State University, and 1998 National Conference SOCIETY OF COMPOSERS, INC. 43

his Ph.D. in music composition and theory from The constituent three segments of the work are in­ Michigan State University. His music has been per­ tended to contrast one another, while extending and re­ fored thoughout the United States, Europe and Aus­ flecting one another as well. tralia, and he has won numerous awards, including The tape part was conceived away from the studio in score and later realized at the Vladimir Ussachevsky Cen­ first prize in the 1985 CRS Composition Competition, ter for Electro/Acoustic Studies at the University of grand prize in the 1982 Delius Composition Contest, Utah. The relation of the flute to the tape part is in­ and a recording contract award from the Society of tensely competitive and participatory. Composers. Rokeach teaches at St. Mary's College of Written for flute, the "Chorale" operates very much California and is one of the founders and artistic di­ like a traditional chorale prelude. The "Caprice," featur­ rectors of San Francisco's Contemporary Music Con­ ing piccolo, is the most intertwined of all these segments; cert Series. it gives way to a contrasting trio which pits the alto flute against a metrically regular accompaniment. The music heard at the beginning of the "Caprice" is again enacted MATHEW ROSENBLUM currently teaches compo­ and leads into the "Chorale/Chaconne." This last section sition at the University of Pittsburgh. His recent hon­ returns to the music of the opening "Chorale," but sus­ ors include a NEA Composers Fellowship Grant, a pends the arrival of the works strongest centric point, C, New York Foundation for the Arts Artists Fellowship until the conclusion of the "Chaconne." Grant and commissions from the Rascher Saxophone Quartet, Fromm Foundation, Newband, and Stony JOHN C. ROSS received his MM in composltlon Brook Contemporary Chamber Players. He has also from Florida State University, where his teachers received awards and fellowships from the Rockefeller were John Boda and Roy Johnson; and his Ph.D. in Foundation, New Jersey State Council on the Arts, composition from the University of Iowa, where his BM!, Institute of Contemporary American Music, teachers were Martin Jenni and Eric Ziolek.. In addi­ MacDowell Colony, Djerassi Foundation and Yaddo. tion, he has studied twice at the American Conserva­ Nu kuan t:i:u is a nine movement twenty-two minute tory in Fountainbleau, France and for one year as a piece commissioned by the National Endowment for the Fulbright recipient at the Conservatoire National Su­ Arts and completed in 1996. It is scored for soprano, perieur de Musique in Lyon, France, where, in each mezzo-soprano and eleven instrumentalists. The textual place, his teacher was Philippe Manoury. Currently, makeup of the piece is perhaps its most distinguishing he is a visiting professor of theory and composition at characteristic. The work uses source texts (both pre-re­ Sam Houston State University in Huntsville, Texas. corded and sung) from Sung Dynasty "music poems" (in two dialects) in combination with poems by Appolinaire After A Line By Theordore Roethke and Rimbaud. Digitally sampled texts are interwoven with In 1992 I first met Marvin Bell. After reading through the live singers who are sometimes singing in French, two books of his poetry, I knew that someday I would set Chinese, or combinations of the two languages. Each "After A Line By Theodore Roethke." I also knew that it movement is very different stylistically and ranges from would ask a lot of me. My first sketches were during the impressionism to microtonal music to pop. summer of 1993, and for the next two years I only worked on this piece during the summer when my gradu­ MORRIS ROSENZWEIG's works have been per­ ate studies had subsided. In 1995 I took the piece to France and worked on it for 8 months, making numerous formed by many noted ensembles and soloists revisions of my previous sketches. When I returned to the throughout the United States and abroad, including states, I continued to work on it, irregularly, for 6 Philippe Entremont with the New Orleans Symphony, months more. I found that the longer I lived with the Joseph Silverstein with the Utah Symphony, Emerson poem, the more I thought of new things I could do, and Quartet-violist Lawrence Dutton, hornist William the more I made changes to what I had done. And there Purvis, Earplay and Speculum Musicae. He has re­ seemed no end to this process. Finally, it is not that I ceived numerous awards from the Guggenheim Foun­ have finished with the poem, but rather that the poem dation, National Academy of Arts and Letters and has finished with me. From it I have learned to shift the the Fromm Foundation to name only a few. Since boundary of what I thought possible for me; and I know 1987, he has served on the faculty of the University more intimately what my current limitations are. And were I to pick up this poem again a few year hence, I of Utah, where he directs the new music ensemble, would be able to do even more. One day, I might even do Canyonlands. it justice. Dialogue in Three Parts was composed during 1994 for flutist Carlton Vickers, who specified that the work be Composer and bassist MARC SATTERWHITE has written for piccolo, flute and alto flute to an electronic studied with John Eaton, Eugene O'Brien, Ramon accompaniment. Zupko, Earle Brown and double-bass instructors Mur­ ray Grodner and Virginia Bodman. His compositions have been performed in diverse venues all over the 44 SOCIEIT OF COMPOSERS, INC. 1998 National Conference

United States, as well as in Australia, Europe and Reflections was composed for the 199 5 International Latin America. He has received many commissions Double Reed Society Conference in Rotterdam. The work and grants, including a Kentucky Arts Council fellow­ is scored for a sextet of 5 bassoons and contrabassoon, ship and residencies at the MacDowell Colony and and consists of five brief (but connected) movements, en­ titled Scherzo, Arietta, Musing, Memories, and Scherzo the Atlantic Center for the Arts. He is currently on Revisited. In creating the piece, I started with the title, the faculty of the School of Music at the University particularly its suggestions of a lyric, meditative state. I of Louisville. wa s soon drawn to other interpretations of the word "re­ flections," however: memory, musing, echo effects, mirror And What Rough Beast... ? (1995) images (canon, retrograde, inversion) , and familiar icons I had for some years been discussing with tubist Gene of existing music literature whose titles or content are Pokorny the possibility of writing a piece for him, but somehow "reflective"-for example, the Miroirs of Ravel, somehow it never quite seemed to happen. Then, in the Reflet dans l'eau of Debussy, the "Mondefleck" of Schoen­ summer of 1995, towards the end of a wonderful five­ berg's Pierrot Lunaire, Schubert's Der Doppelganger, a per­ week residency at the MacDowell Colony in New Hamp­ petual round by Orlando di Lasso, and the pop class ic shire, I found myself with time on my hands as I had fin­ "Me and My Shadow." All of these have found their way ished the projects I had gone there to work on. Accord­ into my piece. ing! y, it seemed like a good time to finally turn out a work for tuba. Somehow writing for unaccompanied tuba CLEVE SCOTT is a professor of music at Ball State or tuba and piano didn't appeal to me, but percussion, University and director of the Music Engineering which can match the tuba for volume at both the soft and loud ends of the dynamic spectrum, seemed like a Technology program. He has been working with real­ natural partner. time electroacoustic performance for over thirty The title of this · composition is , of course, taken from years. His dissertation and subsequent compositions the final two lines of William Butler Yeats' great and ter­ involve the real-time processing of acoustic informa­ rifying apocalyptic poem, "The Second Coming": "And tion and the invention of new music notation for the what rough beast, its hour come round at last,/Slouches coordination of acoustic instrument and live elec­ towards Bethlehem to be born?" tronic performance. His career has been dedicated to How I came to use this passage as a source for a title the principle of science in the service of art. He has is perhaps worth recounting. I usually have the title for a been a consultant for the electronic modification of piece before I begin to write it, and for several years I music information, acoustics, microphonics, sound re­ have rarely written pieces with "generic" titles like So­ nata or Quartet. Accordingly, when I resolved to write a inforcement and the development of music distribu­ piece for tuba and percussion I needed a good title. It tion systems. For the past twenty years Scott has been happened that composer Barbara Kolb was also in resi­ involved in curriculum development in music technol­ dence that summer at the MacDowell Colony, and we ogy and how this technology services the music com­ played a game or two of Scrabble almost every night after munity. He is the architect of the Music Engineering dinner. One night she put down the relatively unusual Technology program at Ball State University and is word "gyre," and I began quoting the opening lines of designing a program for intermedia engineering. "The Second Coming": "Turning and turning in the wid­ ening gyre/The falcon cannot hear the falconer;/Things Once Mediated Generators is a subset of my larger fall apart; the center cannot hold." composition environment TransActional Composition. I then thought of the poem's famous conclusion and TransActional Composition (TAC) is a programmed envi­ had my title. ronment for the generation and modification of music in­ formation in real-time. It is currently structured to han­ dle a small acoustic ensemble, the Buchla Hyper-instru­ ELLIOTT SCHWARTZ has been a member of the ment and a composer/conductor mediated program enti­ Bowdoin College faculty since 1964, and was recently tled TransAct. named to the Robert K. Beckwith Professorship of TAC balances a composed structure of formal features music at Bowdoin. His compositions have been per­ with the improvisation on composed gestural features that formed by such groups as the Indianapolis Symphony, are transformed by constrained random operations. The Cincinnati Symphony, Minnesota Orchestra, Chicago formal structure relies on canonic principles where voices Chamber Orchestra, Atlanta Virtuosi and New York are introduced and then combined canonicially with sub­ Chamber Soloists. Several festivals, including Tangle­ tle variation. wood, Monday Evening Concerts of Los Angeles and Once Mediated Generators (OMG) uses the Buchla Hy­ per-instrument and a subset of the TransAct program, the Bath Festival have also featured his works. In re­ this time under the control of the performer. The Buchla cent years he has appeared as a visiting composer at Hyper-instrument is the Buchla Thunder MIDI instru­ the University of the Pacific, University of Minne­ ment (a programmable MIDI controller), The Korg Wav­ sota, College of William & Mary, Spoleto Festival, estation AID (a multi-timbral synthesizer), and a set of and European Youth Orchestra Festival. MIDI process and control devices that communicate with the transAct program. OMG begins with the introduction 1998 National Conference SOCIE1Y OF COMPOSERS, INC. 45

of four instruments, each generating melodic gestures house comedy, and many broken dishes! Petruchio and that are recorded during performance. These recording Kate are seductively strong and vital, qualities emulated are then recombined and "commented on" during the last in the tone poem. half of the piece. Petruchio is a study in variation technique: in this OMG therefore uses TransAct in a one-pass imple­ case, variations on a rhythmic motive. The motive-four mentation and provides for the generation of music infor­ consecutive eighth-notes, the second of which is accented mation, the recording, the transposition, duration modifi­ -is a rhythmic setting of the word "Petruchio." This cation, instrumentation and combination of music compo­ "Petruchio" motive is transformed in many ways through­ nents. This "instance" or performance of OMG is called a out the piece: it is lengthened, shortened, reversed, its variable, in this case, Variable 8. accented note given prominence through registral or col­ oristic means. Almost every rhythmic or thematic idea in MARILYN SHRUDE received degrees from Alverno the piece has its genesis in the "Petruchio" motive. College and Northwestern University, where she stud­ ied with Alan Stout and M. William Karlins. Her PAUL SISKIND's music has been performed across works have been performed at the Kennedy Center, the United States and abroad by numerous ensembles, Carnegie Recital Hall, Merkin Hall and Brussels including the Minnesota Orchestra, Arditti String Town Hall, and on the Chamber Music Society of Quartet, Dale Warland Singers, Continuum, and so­ Lincoln Center Series, Fromm Music Series and St. prano Cheryl Marshall. His recent honors include the Louis Orchestra Chamber Series. Her honors include G. Schirmer Art Song Competition, Omaha Sym­ The Academy Award in Music from the American phony Prize, and a Fellowship from the McKnight Academy of Arts and Letters (1997), the Ohioana Foundation. He currently teaches at St. Olaf College Award (1997) and the Kennedy Center Friedheim and is a composer-in-residence for the education de­ Awards for Orchestral Music (1984), the Chamber partment of Minnesota Opera. Music America/ASCAP Award for Adventuresome Fantasy-Variations on a Fragment by Schoenberg Programming (1993) and numerous other grants and was originally a short piano piece, written over a two-day fellowships. Since 1977 she has been on the faculty of period in 1991 as part of the comprehensive examinations Bowling Green State University, where she teaches, for my PhD. I soon decided to orchestrate the piano directs the MidAmerican Center for Contemporary piece, and finished sketches within a few weeks; however, Music and co-directs the Annual New Music & Art because I did not see any prospects for a performance, I Festival. She is also active as a pianist and clinician did not actually complete the orchestral score until 1995. The source material for my Fantasy-Variations is the with saxophonist John Sampen. opening of Schoenberg's Piano Piece Op. 11 No. 1. How­ Notturno: In Memoriam Toru Takemitsu was pre­ ever, this is not heard as a "theme" in an unaltered form miered by Maria Sampen, violin; John Sampen, alto saxo­ until the coda (in a high violin solo). Rather, the piece phone; and Marilyn Shrude, piano on June 10, 1996 in opens with a short fantasy on all of the various aspects of the Bruno Walter Auditorium of The New York Public the original fragment that will be developed throughout Library for the Performing Arts at Lincoln Center. my variations. There are a number of hidden jokes throughout the Indiana native ANDREW SIMPSON received a BM Fantasy-Variations. What seems to be the theme (clearly stated in the cellos) is actually the original melody in­ from Butler University, where he was a student of Mi­ verted. I likewise mimic a number of gestures taken from chael Schelle, a MusM in Composition from Boston later in the Schoenberg original, even the opening of Op. University, studying with Lukas Foss, and a DM from 11 No. 2. An even more humorous tweak occurs when Indiana University, studying with Frederick Fox, the pitches of the Schoenberg Piano Piece are superim­ Claude Baker and Eugene O'Brien. A former faculty posed on top of the rhythms of his String Quartet No. 4. member of the Crane School of Music, SUNY While these jokes are perhaps somewhat obscure, they Potsdam, he is currently assistant professor at the contribute to the overall sense of quirkiness which the Catholic University of America. Simpson has written Variations project; perhaps I was thumbing my nose at for virtually every major medium. A compact disc of the requirements of doctoral exams, and wishing that I his instrumental music, Exhortations, is scheduled for had more than two days to write the piece. Fantasy-Variations was premiered by Eiji Oue and the release in this spring on the Athena label. An active Minnesota Orchestra in January of 1997, having been se­ pianist as well, Simpson has appeared in performances lected from their inaugural Perfect Pitch reading session. of contemporary music across the United States. Petrucbio is a thirteen-minute tone poem for orchestra, Currently, BOB L. STURM is an undergraduate at inspired by characters in Shakespeare's The Taming of the the University of Colorado and will receive his B.A. Shrew. Petruchio, the play's irreverent hero, forces his in physics this May. "For graduate school,'' Bob is way into courtship of and marriage with Kate, the formi­ happy to say, "I am going to unite my physics and dable daughter of a Paduan nobleman; the mighty clash of wills which follows creates misunderstandings, rough- 46 SOCIEIT OF COMPOSERS, INC. 1998 National Conference

music, and study electroacoustic composition and into a perpetuum mobile in the latter stages of the work, technology, two things I have passion for." while the blurred gliss-like and repeated/looping gestures coalesce on the tape part in the coda of the piece. Godcycles utilizes my spoken voice as the instrument; it is a text-sound composition. I sampled myself asking a four-word question, then cut it into its separate words. Since 1980, HILARY TANN has lived in upstate Each cut of the original sample became an instrument New York where she chairs the Department of Per­ which required a certain note duration to sound the en­ forming Arts at Union College, Schenectady. Numer­ tire word. The piece begins with the first word at a very ous organizations have supported her work, including short duration, only revealing the beginning of the "ka," the Welsh Arts Council, New York State Council on which expands until the whole word is revealed. By using the Arts, the Meet-the-Composer/ Reader's Digest this same technique for a second set of instruments, Consortium Commissioning Program, and Meet-the­ which is only the words of the phrase reversed, and over­ Composer/Arts Endowment Commissioning Mu­ lapping the two sets of instruments, a myriad of voices sic/USA. Her study of the ancient Japanese vertical appear. Toward the end of the piece, a magnificent exam­ bamboo flute (the shakuhachi) led her to co-edit a ple of serendipity occurs as the samples congeal in just the right way to produce two answers to my original (rhe­ symposium of articles called "Tradition and Renewal torical) question. in the Music of Japan," published in Perspectives of New Music, Vol. XXVII/2. Since 1982, STEPHEN SUBER has taught music From the Song of Amergin, for flute, viola and harp, is theory and composition at Southeastern Louisiana in five sections, played without a break. Three lines from University. He has composed for a wide variety of me­ Robert Graves' restoration of the text of an ancient dia, and three of his works have been recorded: Sym­ Celtic calendar-alphabet, the "Song of Amergin," directly phony: Of Wind and Light, The Descent and Enchant­ inspired the piece: I am a wind: on a deep lake, ments. His primary teachers in composition have been I am a tear: the Sun lets fall, Reinhart Ross, Robert Ashley, Terry Riley and I am a hawk: above the cliff. Frederick Fox. The inner sections of From the Song of Amergin are Soleil is a setting of Mesomedes' Hymn to the Sun (c. 130 shaped by the twinned images wind/deep lake, tear/Sun, A.O.) . In addition to the Greek text, "sun" words from and hawk/cliff. The piece begins and ends with an invo­ various languages occur in accompanimental passages. cation of "I am." The title of the work can be taken as a triple pun: soleil Commissioned by the Criccieth Festival with funds (French), sol (Latin), lai (Hawaiian) all mean "sun." The provided in part by the Welsh Arts Council, From the piece ends on the "moveable-do" solfege syllables "sol" Song of Amergin was premiered in Pwllheli, North Wales, and "le." June 26th 1995, by harpist Elinor Bennett with members of the London-based Lontano Ensemble. DAVID TADD IE is currently a full-time visiting lec­ turer in music at University of Massachusetts-Dart­ BRUCE J. TAUB is currently the editor-in-chief for mouth, where he heads the Electronic Music Studios. C.F. Peters Corporation, Music Publis.hers. From Many new music ensembles, including Alea III, New 1974-76 he served as the chairman of the Executive Millenium Ensemble, and Cleveland Chamber Sym­ Committee of the American Society of University phony have performed his works. Among his most re­ Composers and from 1977 through the present he has cent awards are a Charles Ives Scholarship from the been the editor of the SCI (A.S.U.C.) Journal of Mu­ American Academy of Arts and Letters and the Music sic Scores . His distinguished career as a composer has Teachers National Association-Shepherd 1995 Distin­ led to awards such as the Joseph H. Beams Prize in guished Composer of the Year. Music, an NEA Fellowship, a commission from the Cleveland Chamber Symphony and a Fellowship to Convergences for amplified harp and electronic tape the Charles Ives Center for American Music. was written on commission from the Massachusetts Music Teachers Association and is dedicated to Jocelyn Chang. Adrian's Dream (diabolus in musica) wa s written in The tape part was done on computer using both purely 1996 and commissioned by the Fromm Foundation at electronic sounds and previously recorded harp samples Harvard University for the New York New Music Ensem­ - which were then altered via computer. The title reflects ble. The title comes from the book, Doctor Faustus (The the composer's concerns in this piece with sound-space Life of the German Composer Adrian Leverkohn, as told and ge sture. The electronic sounds are often employed to by a Friend) by Thomas Mann which I had just finished expand the apparent acoustical size or sound-space of the reading. The interval of the tritone (diablous in musica) harp (as well as to create new hybrid timbres) , a thread is particularly important in this work, especially B-natural which runs throughout the piece. At the gestural level, (the "offending" pitch) to F (as well as G-sharp to D, the rapid melodic fragments which occur throughout the completing the diminished seventh chord) . In fact, the early sections of the piece merge (some in altered form) entire piece revolves around the pitch B and the number 12 (rhythm and duration as well as pitch and techniques 1998 National Conference SOCIETY OF COMPOSERS, INC. 47

taken from the twelve-tone method of Schoenberg). The DAVID V AYO, associate professor of compos1t10n, piece is in three sections A, B, A' with a repeat of A' twentieth-century music and Latin American music at followed by a brief coda. Illinois Wesleyan University, also coordinates the The following "Author's Note" appears at the end of Symposium of Contemporary Music and the New Mu­ Doctor Faustus: "It does not seem supererogatory to in­ sic Cafe concert series. He has received awards from form the reader that the form of musical composition de­ lineated in Chapter XXII, known as the twelve-tone or ASCAP, American Academy and Institute of Arts row system, is in truth the intellectual property of a con­ and Letters, American Music Center, and National temporary composer and theoretician, Arnold Schoen­ Association of Composers USA. Many of his works berg. l have transferred this technique in a certain idea­ have been performed in Seoul, Atlanta, Amsterdam, tional context to the fictitious figure of a musician, the Bogota, Hong Kong and Mexico City. Vayo also tragic hero of my novel. In fact, the passages of this book serves as membership chair for the Society of Com­ that deal with musical theory are indebted in numerous posers, Inc. details to Schoenberg's Hannonielehre." Schoenberg was reportedly upset about this, but I ac­ Prayer: In Memoriam Olivier Messiaen (1992) tually found Mann's "layman's" explanation of the In the summer of 1992, when I began writing the or­ twelve-tone system or style of strict composition to be gan work which my colleague David Gehrenbeck had so quite wonderful in many ways. Perhaps Schoenberg simply kindly requested of me, I soon realized chat the spirit of a didn't want to be associated with the devil. recently-departed master was present. Olivier Messiaen, who had passed away that April at the age of 83, was one of the most important composers, teachers and organists VICTOR SAUCEDO TECAYEHUATZIN was of the century. My admiration for the man and his music born in Auga Manza, Alta California, Mexico. He re­ runs deep. Messiaen's compositions, often deeply religious ceived his degrees from USC and UCLA, has studied in nature, are frequently described as expressing a sensu­ composition in Germany and has attended summer ous piety; unique among contemporary composers, he computer music seminars at various institutions such found a common ground between the emotions of our as Stanford and Dartmouth. He has published works worldly life and our mystical yearnings for the infinite. with Henri Elkan and recorded various works. A new Like a subtle incense, Messiaen's spirit naturally per­ CD of his music, Mood Music, was released in August, vaded my composition from the moment I began writing it. Just as a speaker paying tribute to an admired person 1997. His works include computer generated sounds. will include that persons ideas in their own comments, so He lives with his family in Chula Vista, California, I have included a number of Messiaen's musical touch­ where he teaches at Southwestern College. stones, used in my own way, to express my gratitude: the rapturous harmonies, the ear for tone color, the moods of AUGUSTA READ THOMAS studied at Northwest­ eternity, exuberance, playfulness. In the closing bars, ern University, Yale University and the Royal Acad­ Messiaen's spirit ascends into that realm which he had emy of Music. She is a member of the composition the gift of bringing much closer to all of us. faculty at the Eastman School of Music and was been appointed to a three-year term as Composer-in-Resi­ REYNOLD WEIDENAAR is presently assistant pro­ dence with the Chicago Symphony Orchestra in June fessor of communication at William Paterson Univer- 1997. Conductors including Mstislav Rostropovich, . sity, Wayne, New Jersey. With Robert Moog he Pierre Boulez, Seiji Ozawa, Hans Vonk, Gerard helped found the Independent Electronic Music Cen­ Schwarz and Lawrence Leighton Smith have pro­ te , and went on to become editor of Electronic Music grammed her works. Thomas' chamber-opera Ligeia, Review. He has won numerous awards for his work, commissioned by Mstislav Rostropovich and Tencon­ including Director's Choice at the Sinking Creek Film tres Musicales d'Evian, won the prestigious Interna­ Celebration, Winner of the National Video Competi­ tional Orpheus Prize. A large number of her composi­ tion, Golden Athena at the Athens Video Festival, tions have been recorded by world-class aritsts. and a CINE Golden Eagle. In addition, he has taught at the Cleveland Institute of Music, New School for Spirit Musings for violin and chamber orchestra Music of all kinds constantly amazes, surprises, propels Social Research and New York University. and seduces me into a wonderful and powerful journey. I Magic Music from the Telharmonium Color Video am happiest when I am listening to music and in the Program with Stereo Sound ( 1997) process of composing music. I care deeply that music is It was 1906. "Get Music on Tap Like Gas or Water" not anonymous and generic or easily assimilated and just promised the headlines, and soon the public was en­ as easily dismissed. I would say that Spirit Musings has ur­ chanted with inventor Thaddeus Cahill's (1867-1934) gent, seductive and compelling qualities of sometimes electrical music by wire. The Telharmonium was a 200- complex, but always logical thought, allied to sensuous ton behemoth that created numerous musical timbres and and engaging sonic profiles. Spirit Musings is a version of could flood many rooms with sound. Beginning with the my Van Straaten Concerto No. 1 for flute and chamber first instrument, constructed in the 1890's, and continu­ orchestra. ing with the installation of the second instrument at Tel- 48 SOCIETY OF COMPOSERS, INC. 1998 National Conference

harmonic Hall in New York, the rise and fall of commer­ and the listener. The musical language is clearly inspired cial service, the attempted comeback of the third Telhar­ by the rich violin repertory of early 20th-century Central monium, and ending with efforts to find a home for the European composers. This piece, more than any other in only surviving instrument in 1951, this documentary pro­ Yannay's oeuvre, harks back to the musical milieu of his vides a definitive account of the first comprehensive mu­ European birthplac·e. Like fleeting apparitions, thematic sic synthesizer. ideas swirl around in a great haste. The piece, attempting to avoid the obvious neo-romantic melt down, stops in its JOHN D. WHITE, currently chair of the Philosophy tracks rather than ends, leaving the stage with a single Department at Talladega, is a pianist and composer contrabass thud. whose works have been selected for performance at numerous regional, national and international confer­ HOWARD YERMISH is currently a doctoral stu­ ences of composer and performers. White has written dent and graduate assistant at the University of for all combinations of vocal and instrumental genres, Southern California, teaching aural skills and compo­ from short unaccompanied wind solos to chorus and sition for non-majors. He was recently named the re­ orchestra compositions. He currently teaches humani­ gional winner and national finalist of the Society of ties, philosophy and logic, and maintains an active Composers student composition competition. Yermish schedule of concertizing throughout the United has won many composition prizes including the Hal­ States. In the summer of 1991, he was recipient of a sey Stevens prize, Jimmy McHugh prize, Hans J. Sal­ Lilly Foundation Grant. ter prize, Louis Lane prize, an ASCAP Young Com­ poser's Award and the Max Dreyfus Scholarship. Sadly, RICHARD WILLIS died July 15, 1997 at his Five Images for flute, clarinet, percussion, piano, vio­ home in Waco, Texas. The performance of his Sun lin, viola, and cello (1997) Circles is dedicated to his memory. Willis received his 2. White on White (Robert Irwin) bachelor's degree from the University of Alabama, 4. Shades of Night Descending (Salvador Dali) and both his master's degree and doctorate from the 1. Still Life with Picasso (Roy Lichtenstein) I have always been fascinated by the correlation be­ Eastman School of Music. He was a prolific composer tween music and painting. Each movement of Five Images whose works were performed throughout the United is based on a different painting by a different artist. States and around the world. In 1956 he received the Rather than try to depict the painting in musical terms, I Prix de Rome, a prestigious award which took him to found that the material for each movement came from a Italy for a year of residence at the American Acad­ very personal reaction to the p·ainting. The five move­ emy in Rome. Among his many awards for orchestral ments of the work literally frame its emotional core. compositions were the Joseph Bearns Prize and the "White on White" is a direct emotional response to Howard Hanson Prize. He was also a recipient of the seeing Robert Irwin's Untitled (1967) painting. From a Ostwald Composition Award. At the time of his distance, the Irwin painting appears to be completely death, Willis was emeritus professor of music compo­ blank, but it is a complex arrangement of colored shapes, creating an optical illusion of white noise. sition and composer-in-residence at Baylor University. The fourth movement comes from a desolate painting by Dali, Shades of Night Descending. The quasi-passacaglia Professor of music at the University of Wisconsin­ motion in this movement allows the continuation of the Milwaukee, YEHUDA YANNAY is founder of the melodic outpouring of the third movement. However, any "Music From Almost Yesterday" concert series at the optimism that might have remained is lost in the corrup­ university. Yannay is a prolific and versatile com­ tion of the dark corners of the Dali painting. poser, conductor and media artist of international "Still Life with Picasso," based on the Roy Lichten­ reputation whose list of more than 100 works include stein painting of the same title, humorously combines music for orchestra, electronic, live electronic and atonal technique with blatant rock and roll music. synthesizer pieces, environmental compositions, film, music-theater and a large body of vocal and chamber YANG YONG, a faculty member at the New Eng­ music pieces. land Conservatory of Music, has received grants and commissions from the National Endowment for the Concertino for violin and orchestra was composed in the Arts, Meet-the-Composer, Massachusetts Cultural summer of 1980 on a commission by the Wisconsin Council, Pittsburgh New Music Ensemble, and Chi­ Chamber Orchestra for the well-known Polish soloist nese Opera and Ballet House. Currently, he is work­ Piotr Janowski. The commission stipulated a relatively short composition and the 11-minute Concertino packs in ing on pieces for the San Jose Symphony, American an extraordinary range of musical ideas ranging from the saxophonist Kenneth Radnofs ky, Shanghai Symphony expressive drama, jazzy textures and calm passages in the in China, and New England Conservatory Symphony. tonality of B-flat. There is no moment of rest for the vio­ lin solo: it requires total absorption from the performer 1998 National Conference SOCIE1Y OF COMPOSERS, INC. 49

JUDITH LANG ZAIMONT is an internationally The text that I have set to music is composed of four recognized composer with an impressive catalogue of short fragments extracted from the scene of Juan Pre­ nearly 100 works, many of which are prize-winning ciado's death. The first three fragments, belonging to the same original paragraph, are set for the tenor. The fourth compositions. Formerly a member of the faculties of fragment is spoken by the instrumentalists. Queens College and Baltimore's Peabody Conserva­ tory of Music, where she was named Teacher of the Year in 1985, Zaimont is a distinguished teacher and held the post of professor of music and chair of the Music Department at Adelphi University from 1989- 91. Since 1992, she has been professor of composition at the University of Minnesota School of Music. She is also creator and editor-in-chief of the critically ac­ claimed book series, The Musical Woman: An Interna­ tional Perspective. Dance/Inner Dance is a study in fives . Written in 1985, this one-movement work for flute, oboe and cello also highlights textural variety, as the instruments constantly re-combine in intricately changing alliances. Although this trio is cast in three main sections-two outer scher­ zos , principally in 5/8, frame the slower, more luxuriant mid-section, quasi marcia, in 5/4--the whole never rests, pressing forward until the very last measures. Dance/Inner Dance was awarded First Prize in the 1990 Friends and Enemies of New Music Composition Compe­ tition. It was commissioned by the Huntingdon Trio, who premiered it in Philadelphia in July 1985, and is recorded on Neon Rhythm--Chamber Music of Judith Lang Zaimont (Arabesque).

Mexican literature has provided the point of depar­ ture for many of RICARDO ZOHN-MULDOON's compositions. Some of his previous works have been based on the pre-Hispanic myth of Quetzalc-atl and on the novel Pedro Paramo, by the great Mexican writer Juan Rulfo. His music has been selected for various international festivals, including the Gaudea­ mus International Music Week, Festival A Devantgarde, ISCM World Music Days, June in Buf­ falo, Society of Composers Inc., Foro de Musica Nueva and Festival Internacional Cervantino, among others. In January of 1997, he joined the faculty of the College-Conservatory of Music of the University of Cincinnati as assistant professor of composition. De Tierra was finished during my term as a fellow of the Guggenheim Foundation, in 1996. The work is part of a very large cycle of works based on the novel Pedro Paramo by Juan Rulfo, which was begun under the aus­ pices of the Fondo para la Cultura y las Artes de Jalisco in 1995. The work was premiered in 1997 at Hofstra Uni­ versity, by the Prism Ensemble of New York, under the direction of Dr. Jeannine Wagar. Thanks to a grant from the U.S./Mexico Fund for Culture (sponsored by the Rockefeller Foundation and the Fondo para la Cultura y las Artes de Mexico), Dr. Wagar recently commissioned me to expand this work into a song cycle for the Prism Ensemble.