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CMF 2019 Program Cover.Indd ETERNAL REFLECTIONS featuring works by Robert Paterson and celebrating music in times of trial Wed., October 23 – Fri., October 25, 2019 Guest Composer: Robert Paterson Ensemble-in-Residence: The Indianapolis Quartet Orchestra-in-Residence: Indianapolis Chamber Orchestra Composition Contest Winner: Michele Caniato CMF SPECIAL EVENT in collaboration with the CANDLES museum Eva: A-7063 – documentary and session with filmmaker Ted Green and composer Tyron Cooper Tuesday, October 15, 7:30 p.m. 53RD CONTEMPORARY MUSIC FESTIVAL October 23– 25, 2019 The School of Music at Indiana State University welcomes all participants to the performances, sessions, and other events that make up this 53rd Contemporary Music Festival. The school expresses its appreciation to the guest performers, composers, and speakers; to the local and extended audience; and to the sponsoring agencies that have made this festival possible. Guest Orchestra The Indianapolis Chamber Orchestra Matthew Kraemer, Music Director Principal Guest Composer Robert Paterson Composition Contest Winner Michele Caniato Guest Ensemble The Indianapolis Quartet Guest Soloist Mitzi Westra, mezzo-soprano Music Now Composition Contest Winners Calvin Hitchcock, Dalton Ringey, Erik Zurbin, Evgeniya Kozhevnikova, Spencer Arias, Addison Wong Guest Speakers Ted Green, Tyron Cooper School of Music Terre Haute, Indiana 47809 www.indstate.edu/cas/cmf SCHEDULE / CONTENTS Tuesday, October 15, 2019 Friday, October 25, 2019 7:30 p.m. Special Event: Eva: A-7063 Documentary .................... 6 9:00 a.m. Session: Music and the Holocaust, Dr. Davis & Dr. Rohde Film and Q&A with filmmaker Ted Green & composer Tyron Cooper Landini Center for Performing and Fine Arts, Room 159 University Hall Theater 10:30 a.m. Concert: ISU Faculty and Friends Chamber Recital ............ 11 Wednesday, October 23, 2019 Landini Center for Performing and Fine Arts, Boyce Recital Hall 7:30 p.m. Concert: Opening Festival Concert ......................... 7 1:30 p.m. Session: Music Now Composers The Indianapolis Quartet Landini Center for Performing and Fine Arts, Room 159 St. Stephen’s Episcopal Church 3:00 p.m. Concert: Music Now Recital ............................ 13 post-concert Reception Landini Center for Performing and Fine Arts, Boyce Recital Hall St. Stephen’s Episcopal Church, Great Hall 7:30 p.m. Concert: ISU Ensembles ............................... 14 Thursday, October 24, 2019 Tirey Hall, Tilson Auditorium 9:00 a.m. Session: Robert Paterson, Principal Guest Composer post-concert Reception: Tirey Hall, Heritage Ballroom Landini Center for Performing and Fine Arts, Room 159 10:30 a.m. Concert: ISU Student Performer and Composer Recital .......... 8 Principal Guest Composer: Robert Paterson .......................... 15 Landini Center for Performing and Fine Arts, Boyce Recital Hall Guest Ensemble: The Indianapolis Quartet ............................ 15 1:30 p.m. Session: Robert Paterson Master Class Guest Soloist: Mitzi Westra ....................................... 16 Landini Center for Performing and Fine Arts, Room 159 Composition Contest Winner: Michele Caniato ........................ 16 3:00 p.m. Open Rehearsal: The Indianapolis Chamber Orchestra Guest Speaker: Ted Green, Eva: A-7063 filmmaker. 17 Tirey Hall, Tilson Auditorium Guest Speaker: Tyron Cooper, Eva: A-7063 composer .................... 17 4:30 p.m. Session: Michele Caniato, Composition Contest Winner Landini Center for Performing and Fine Arts, Room 159 Music Now Composers .......................................... 17 Guest Orchestra: The Indianapolis Chamber Orchestra. 18 6:30 p.m. Concert Comments: Matthew Kraemer (ICO) & Guest Composers Matthew Kraemer, Music Director ............................... 19 Tirey Hall, Tilson Auditorium Past Participants .............................................. 21 7:30 p.m. Concert: The Indianapolis Chamber Orchestra ................ 10 Tirey Hall, Tilson Auditorium Acknowledgments ...................................inside back cover HISTORY OF THE CONTEMPORARY MUSIC FESTIVAL By Kathleen Hansen Sabaini When Izler Solomon, conductor of the Indianapolis chair and dean, respectively, of the Indiana University to generate public interest in modern music. It stands Symphony Orchestra, approached the Rockefeller School of Music. The foundation agreed to make a alone among other contemporary music festivals by Foundation in September 1965, he had in mind a grant to the Indiana State Symphony Society Inc. to emphasizing symphonic music and featuring a major foundation-supported project involving the orchestra fund premiere performances of symphonic works by professional orchestra. and colleges and universities in the Indianapolis area. American composers to be presented in Terre Haute Over the last fifty-three years, the festival has featured Solomon told Martin Bookspan, the foundation’s music and Bloomington. numerous nationally and internationally known consultant, that foundation support could add a week A nationwide advertisement called for scores that were performers, conductors, and composers. Eighteen of to the ISO concert season. The orchestra in turn would screened by ISU music faculty members Sanford Watts them now have the Pulitzer Prize for Music, and four devote the week to publicly rehearsing and performing and Jon Polifrone, further evaluated by Barnes, and have received the Grawemeyer Award. Some of them music by American composers, giving preference turned over to Solomon for final selection. The result? were guests of the festival several years before they to works that had not been performed before in the The first Symposium of Contemporary American Music received these awards. Festival planners built into the Indianapolis area. This meeting was the genesis of at Indiana State University—several open rehearsals and program lectures, symposia, open rehearsals, and Indiana State University’s Contemporary Music Festival, one orchestral concert—took place May 8 –11, 1967, social events to foster interaction between the visiting which celebrates its 53rd anniversary this year. after a week of similar activities at Indiana University. musicians and the public. An annual competition Solomon’s proposal led to another meeting, when for orchestral compositions, part of the festival since Since then, the mission of the festival has grown to foundation officials met in New York with ISU its inception, has provided many young composers give students a glimpse of the lives of professional Department of Music chairperson James Barnes, with the invaluable experience of hearing their works composers, performers, critics, and scholars; to along with William Thomson and Wilfred Bain, theory rehearsed and performed by a professional orchestra. promote the work of young American composers; and 3 After the festival’s first two years, however, foundation included a modern-dance workshop, a seminar Wuorinen’s Orchestral and Electronic Exchanges support ceased. ISU President Alan Rankin, a in multimedia composition, and a synthesizer (1967)—included non-orchestral elements. But musician himself, saw not only the artistic value of demonstration. “Music to the People,” the title of the electronic and synthesized music soon became an the event but also the prestige it had brought to the special festival edition of the ISU student newspaper, annual component of the festival. institution and allocated university funds to keep the mirrored the anti-elitism that had begun to pervade Atonality, twelve-tone and total serialism, multimedia, festival going. higher education. and aleatoric compositional methods were represented, In 1971, under the leadership of ISU percussionist The idea that art music could be relevant to youth was as were the influences of ethnic musical styles, jazz, Neil Fluegel, the format of the festival underwent major reflected by concert programs and newspaper articles and rock. Some representative guest composers were changes. One well-established composer—that year equating these young, longhaired composers in blue David Cope, Ross Lee Finney, and Will Gay Bottje. it was Michael Colgrass, who would win the Pulitzer in jeans with the iconoclastic masters of the century’s Nonstandard notation became commonplace. Slides, 1978—was invited to participate with the competition earlier years. Now the emphasis was on student films, and other visual elements were introduced. winners. A solo and chamber ensemble concert by involvement: performing, composing, and participating Altered instruments (such as prepared piano) and faculty and students, featuring the chamber music in panel discussions. They no longer just observed unfamiliar techniques (such as plucked or bowed of the participating composers, was added. The musicians and composers as role models on a stage piano) were used. Much attention was given to world daytime event schedule was expanded as orchestra or in front of a class, but interacted with them at their premiere pieces. The festival clearly reflected the “do section leaders held master classes, and the principal instruments, at the lunch table, or on the softball field. your own thing” era. guest composer led a composition seminar. The The 1972 festival died in a strike by Indianapolis For several years, many were attracted to the novelty of additions have been preserved, with some changes, Symphony Orchestra union musicians, but in 1973 the festival. But public tastes change with time, and the since that time. the festival continued to move in new directions. inflation of the late-1970s
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