Katherine Balch Composition List
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Six Mallet Marimba MAKOTO NAKURA: Wood and Forest FRESH MARIMBA REPERTOIRE ISSUED NOV
October 16, 2012 | Contact: Sarah Baird Knight | [email protected] | t. 718/344-3690 | www.dotdotdotmusic.net ROBERT PATERSON: Six Mallet Marimba MAKOTO NAKURA: Wood and Forest FRESH MARIMBA REPERTOIRE ISSUED NOV. 13 ON AMERICAN MODERN RECORDINGS DOUBLE ALBUM RELEASE SHOW AT RUBIN MUSEUM OF ART, NOV. 14, 7PM FEATURING PERFORMANCES BY ROBERT PATERSON + MAKOTO NAKURA + AMERICAN MODERN ENSEMBLE American Modern Recordings, American Modern Ensemble (AME)’s lively outpost for studio albums, issues two full-length recordings of fresh marimba repertoire on Tuesday, November 13. Six Mallet Marimba, composed and performed by AME’s Robert Paterson, is comprised entirely of works born of Paterson’s newly-developed and impressive six-mallet technique. It is the first-ever album to feature only six-mallet works, advancing the repertoire significantly through Paterson’s technique, which allows for richer harmonic language and expanded range of motion. The second album, Wood and Forest, boasts an array of pieces by Paterson, Kenji Bunch, Jacob Bancks, Carlos Sanchez-Gutierrez, and Michael Torke, performed by Japanese marimba virtuoso, Makoto Nakura. Both discs will be ushered in by an exceptional release concert, “Modern Marimba,” on Wednesday, November 14, 7:00 PM at the Rubin Museum of Art (150 West 17 Street, New York, NY). The program will feature performances by Paterson, Nakura, and members of AME, showcasing selected works from each album. Paterson's performances will demonstrate his pioneering six-mallet technique, including the world premiere of his Mandala, for marimba duo, for NEW FROM AMERICAN MODERN RECORDINGS: Robert Paterson’s Six Mallet Marimba + Makoto Nakura’ – page 2 which he will be joined by Nakura. -
American Modern Ensemble at National Sawdust on Wednesday, November 1, 2017, at 7:00 Pm
American Modern Ensemble at National Sawdust on Wednesday, November 1, 2017, at 7:00 pm: “Lingua Franca,” A Program of Recent and Brand New Music About Mangled Text, ICU Sounds, Rising, Falling, and Clashing Cultures Guest Ensemble: SYBARITE5 Message on chopstick wrapper in David Feurzeig’s Lingua Franca AME pianist Blair McMillen (photo by Bob London), SYBARITE5 The third definition of the phrase “lingua franca” in the Merriam Webster dictionary is: “something resembling a common language.” Lingua Franca is the name of a work by David Feurzeig that titles American Modern Ensemble’s November 1 concert at Brooklyn’s National Sawdust – describing a program that also includes a diversity of recent and new works by three winners of AME’s 10th Annual Composition Competition – Pierce Gradone, Texu Kim, and Aaron Mencher – and AME founder Robert Paterson: • David Feurzeig’s Lingua Franca (2014, New York premiere) for cello and bass, five settings of “unedited texts from around the world, composed in appreciation of the range of global English expression” which are also recited by the players • Pierce Gradone’s The Art of Falling (2011) for solo piano American Modern Ensemble’s Lingua Franca, November 1, 2017, at National Sawdust - Page 2 of 4 • Texu Kim’s Co.Ko. – un poco Loco (2017) for solo piano, “a 10-minute musical essay in three movements, reflecting contemporary Korea, where its own traditions and Western influences mingle in a slightly crazy way” • Aaron Mencher’s Rise (2016) for solo cello, evoking its title both figuratively and literally • Robert Paterson’s Ouvir Estrelas (2017, world premiere), a song setting of a poem in Portuguese by Brazilian Parnassian poet Olavo Bilac • Robert Paterson’s I See You, the New York premiere of a version for string quintet and recording of this 2016 work, originally scored for string orchestra and recording, inspired by a week the composer spent by his father’s bedside in the ICU The acclaimed string quintet SYBARITE5, the program’s guest ensemble, will perform I See You. -
Susanna Hancock Music
Susanna Hancock Curriculum Vitae 11 Maysville Ave. susannahancockmusic.com Mt. Sterling, KY 40353 [email protected] (321) 759-2594 [email protected] B I O G R A P H I C A L O V E R V I E W Susanna Hancock is an Asian-American composer whose works explore color, process, and acoustic phenomena. Her music draws from a wide array of influences including minimalism, spectralism, folk, and electronic mediums. Susanna’s music has been played by the JACK Quartet, ZAFA Collective, and Metropolis Ensemble, and members of the St. Louis Symphony. Her compositions have been featured in concerts and festivals throughout the world including the Bang on a Can Summer Music Festival and Dimitria Festival in Thessaloniki, Greece. Susanna is currently an Artist in Residence at National Sawdust with Kinds of Kings, a composer collective dedicated to making the music community a more equitable and inclusive space. She is also Co-Founder and Co-Artistic Director of Terroir New Music, a concert/event series that pairs the music of living composers with craft food and drink. E D U C A T I O N 2016 Master of Music Music Theory & Composition New York University | Steinhardt GPA: 4.0, Summa Cum Laude 2014 Bachelor of Music Acoustic/Electronic Composition, Bassoon Performance University of South Florida GPA: 3.97, Summa Cum Laude, With Honors 2010 Associate of Arts Eastern Florida State College (Formerly Brevard Community College) GPA: 4.0, Summa Cum Laude, With Honors *Conferred upon high school graduation P R I V A T E I N S T R U C T I O -
Concert Programdownload Pdf(349
The University at Buffalo Department of Music and The Robert & Carol Morris Center for 21st Century Music present Stockhausen's Mantra For Two Pianos Eric Huebner and Steven Beck, pianos Sound and electronic interface design: Ryan MacEvoy McCullough Sound projection: Chris Jacobs and Ryan MacEvoy McCullough Saturday, October 14, 2017 7:30pm Lippes Concert Hall in Slee Hall PROGRAM Mantra (1970) Karlheinz Stockhausen (1928 – 2007) Program Note by Katherine Chi To say it as simply as possible, Mantra, as it stands, is a miniature of the way a galaxy is composed. When I was composing the work, I had no accessory feelings or thoughts; I knew only that I had to fulfill the mantra. And it demanded itself, it just started blossoming. As it was being constructed through me, I somehow felt that it must be a very true picture of the way the cosmos is constructed, I’ve never worked on a piece before in which I was so sure that every note I was putting down was right. And this was due to the integral systemization - the combination of the scalar idea with the idea of deriving everything from the One. It shines very strongly. - Karlheinz Stockhausen Mantra is a seminal piece of the twentieth century, a pivotal work both in the context of Stockhausen’s compositional development and a tour de force contribution to the canon of music for two pianos. It was written in 1970 in two stages: the formal skeleton was conceived in Osaka, Japan (May 1 – June 20, 1970) and the remaining work was completed in Kürten, Germany (July 10 – August 18, 1970). -
2018 BAM Next Wave Festival #Bamnextwave
2018 BAM Next Wave Festival #BAMNextWave Brooklyn Academy of Music Adam E. Max, Katy Clark, Chairman of the Board President William I. Campbell, Joseph V. Melillo, Vice Chairman of the Board Executive Producer Place BAM Harvey Theater Oct 11—13 at 7:30pm; Oct 13 at 2pm Running time: approx. one hour 15 minutes, no intermission Created by Ted Hearne, Patricia McGregor, and Saul Williams Music by Ted Hearne Libretto by Saul Williams and Ted Hearne Directed by Patricia McGregor Conducted by Ted Hearne Scenic design by Tim Brown and Sanford Biggers Video design by Tim Brown Lighting design by Pablo Santiago Costume design by Rachel Myers and E.B. Brooks Sound design by Jody Elff Assistant director Jennifer Newman Co-produced by Beth Morrison Projects and LA Phil Season Sponsor: Leadership support for music programs at BAM provided by the Baisley Powell Elebash Fund Major support for Place provided by Agnes Gund Place FEATURING Steven Bradshaw Sophia Byrd Josephine Lee Isaiah Robinson Sol Ruiz Ayanna Woods INSTRUMENTAL ENSEMBLE Rachel Drehmann French Horn Diana Wade Viola Jacob Garchik Trombone Nathan Schram Viola Matt Wright Trombone Erin Wight Viola Clara Warnaar Percussion Ashley Bathgate Cello Ron Wiltrout Drum Set Melody Giron Cello Taylor Levine Electric Guitar John Popham Cello Braylon Lacy Electric Bass Eileen Mack Bass Clarinet/Clarinet RC Williams Keyboard Christa Van Alstine Bass Clarinet/Contrabass Philip White Electronics Clarinet James Johnston Rehearsal pianist Gareth Flowers Trumpet ADDITIONAL PRODUCTION CREDITS Carolina Ortiz Herrera Lighting Associate Lindsey Turteltaub Stage Manager Shayna Penn Assistant Stage Manager Co-commissioned by the Los Angeles Phil, Beth Morrison Projects, Barbican Centre, Lynn Loacker and Elizabeth & Justus Schlichting with additional commissioning support from Sue Bienkowski, Nancy & Barry Sanders, and the Francis Goelet Charitable Lead Trusts. -
Academic Career Selected Awards and Commissions
CURRICULUM VITAE JUDITH SHATIN 1938 Lewis Mountain Rd. Charlottesville, VA 22903 [email protected] Education 1979 Princeton Ph.D. University 1976 MFA 1974 The Juilliard MM (Abraham Ellstein Award) School 1971 Douglass College AB (Phi Beta Kappa, Graduation with Honors) Academic Career 2018- University of Virginia William R. Kenan, Jr. Professor Emerita 1999- 2018 University of Virginia William R. Kenan, Jr. Professor 1995-2002 University of Virginia Chair, McIntire Department of Music 1990-1999 University of Virginia Professor 1987- Virginia Center for Founder Computer Music 1985-1989 University of Virginia Associate Professor 1979-1984 University of Virginia Assistant Professor Selected Awards and Commissions Date Source Type Work 2020 Kassia Ensemble Commission Kassia’s Song 2020 YIVO Commission unter soreles vigele 2019 Bennington Chamber Commission Cinqchronie Music Festival 2019 Fintan Farrelly Commission In a Flash 2019 San Jose Chamber Commission Respecting the First Orchestra (Amendment) 2018 Illinois Wesleyan Commission I Love University 2018 Amy Johnson Commission Patterns 2017 San Jose Chamber Commission Ice Becomes Water Orchestra 2017 Gail Archer Commission Dust & Shadow 2016 Carnegie Hall and the Commission Black Moon Judith Shatin American Composers Orchestra 2016 Ensemble of These Times Commission A Line-Storm Song & the LA Jewish Music Commission 2015 Clay Endowment Fellowship Trace Elements Project 2015 Atar Trio Commission Gregor’s Dream 2015 Ensemble Musica Nova – Commission Storm Tel Aviv 2014-15 UVA Percussion -
PRINTABLE PROGRAM Bernard Rands
The University at Buffalo Department of Music and The Robert & Carol Morris Center for 21st Century Music present Honoring Composer Bernard Rands Tuesday, October 24, 2017 7:30pm Lippes Concert Hall in Slee Hall PROGRAM Coleccion Nocturna David Felder (b. 1953) Adrián Sandí, clarinet Eric Huebner, piano "now again" – fragments from Sappho Bernard Rands (b. 1934) Tiffany Du Mouchelle, mezzo-soprano solo Slee Sinfonietta Matthew Chamberlin, conductor Intermission Linea Luciano Berio (1925 – 2003) Eric Huebner and Christopher Guzman, piano Tom Kolor and Stephen Solook, percussion Folk Songs Bernard Rands I. Missus Murphy’s Chowder II. The Water is Wide III. Mi Hamaca IV. Dafydd Y Garreg Wen V. On Ilkley Moor Baht ‘At VI. I Died for Love VII. Über d’ Alma VIII. Ar Hyd y Nos IX. La Vera Sorrentina Tiffany Du Mouchelle, soprano Slee Sinfonietta Matthew Chamberlin, conductor Slee Sinfonietta Matthew Chamberlin, conductor Emlyn Johnson, flute Erin Lensing, oboe Adrián Sandí, clarinet Michael Tumiel, clarinet Jon Nelson, trumpet Kristen Theriault, harp Eric Huebner, piano Chris Guzman, piano Tom Kolor, percussion Steve Solook, percussion Tiffany Du Mouchelle, soprano (solo) Julia Cordani, soprano Minxin She, alto Hanna Hurwitz, violin Victor Lowrie, viola Katie Weissman, ‘cello About Bernard Rands Through a catalog of more than a hundred published works and many recordings, Bernard Rands is established as a major figure in contemporary music. His work Canti del Sole, premiered by Paul Sperry, Zubin Mehta, and the New York Philharmonic, won the 1984 Pulitzer Prize in Music. His large orchestral suites Le Tambourin, won the 1986 Kennedy Center Friedheim Award. His work Canti d'Amor, recorded by Chanticleer, won a Grammy award in 2000. -
Pierrot Ensemble
UCLA Contemporary Music Score Collection Title Three Precocious Children's Poems Permalink https://escholarship.org/uc/item/9zm4f5f3 Author Van Tassel, Charles Publication Date 2020 eScholarship.org Powered by the California Digital Library University of California Three Precocious Children’s Poems By Charles M. Van Tassel Three Precocious Children’s Poems By Charles M. Van Tassel Text by Blair Dishon (5:00’) Instrumentation: Flute Clarinet in Bb/Bass Clarinet Marimba Piano Soprano Voice Violin Cello I. Hairflowers Charles M. Van Tassel q = 152 Text by Blair Dishon Flute ° U U U &4 ∑ 41 ∑ 4 ∑ ∑ 41 ∑ 4 Ó Œ œ ppp U U U Clarinet in Bb &4 ∑ 41 ∑ 4 ∑ ∑ 41 ∑ 4 Ó ˙ ¢ ppp U U U &4 ∑ 41 ∑ 4 ∑ ∑ 41 ∑ 4 ∑ Marimba U U U ? 4 ∑ 1 ∑ 4 ∑ ∑ 1 ∑ 4 ∑ { 4 4 4 4 4 U U U &4 ∑ 41 ∑ 4 ∑ ∑ 41 ∑ 4 ∑ Piano U U U ? 4 ∑ 1 ∑ 4 ∑ ∑ 1 ∑ 4 ∑ { 4 4 4 4 4 U U U Soprano &4 ∑ 41 ∑ 4 ∑ ∑ 41 ∑ 4 ∑ q = 152 Violin ° U U U &4 ∑ 41 ∑ 4 ∑ ∑ 41 ∑ 4 ∑ normale U U : % ; sul pont. : % ; sul pont. U Violoncello ? 4 1 ∑ 4 w~ 1 ∑ 4 4ww~ 4 4 w 4 4 ¢ pp w mf pp w mf Copyright © 2017 2 7 accel. rit. accel. rit. Fl. ° œ œ œ œ œ™ œ & w œ Œ Ó Ó Œ œ w œ Œ Ó ∑ ‰™ mf ppp ppp mf ppp mp p . Cl. #œ™ œ œ œ œ œ™ œ & w ˙ Ó Ó ˙ w ˙ Ó ∑ ¢ mf ppp ppp mf ppp mp f mp 3 3 3 3 ∑ ∑ Ó ∑ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ∑ Ó & œ œ œ œ œ œ æ æ p. -
News Release
news release FOR IMMEDIATE RELEASE PRESS CONTACT: Maggie Stapleton, Jensen Artists September 25, 2019 646.536.7864 x2; [email protected] American Composers Orchestra Announces 2019-2020 Season Derek Bermel, Artistic Director & George Manahan, Music Director Two Concerts presented by Carnegie Hall New England Echoes on November 13, 2019 & The Natural Order on April 2, 2020 at Zankel Hall Premieres by Mark Adamo, John Luther Adams, Matthew Aucoin, Hilary Purrington, & Nina C. Young Featuring soloists Jamie Barton, mezzo-soprano; JIJI, guitar; David Tinervia, baritone & Jeffrey Zeigler, cello The 29th Annual Underwood New Music Readings March 12 & 13, 2020 at Aaron Davis Hall at The City College of New York ACO’s annual roundup of the country’s brightest young and emerging composers EarShot Readings January 28 & 29, 2020 with Buffalo Philharmonic Orchestra May 5 & 6, 2020 with Houston Symphony Third Annual Commission Club with composer Mark Adamo to support the creation of Last Year ACO Gala 2020 honoring Anthony Roth Constanzo, Jesse Rosen, & Yolanda Wyns March 4, 2020 at Bryant Park Grill www.americancomposers.org New York, NY – American Composers Orchestra (ACO) announces its full 2019-2020 season of performances and engagements, under the leadership of Artistic Director Derek Bermel, Music Director George Manahan, and President Edward Yim. ACO continues its commitment to the creation, performance, preservation, and promotion of music by 1 American Composers Orchestra – 2019-2020 Season Overview American composers with programming that sparks curiosity and reflects geographic, stylistic, racial and gender diversity. ACO’s concerts at Carnegie Hall on November 13, 2019 and April 2, 2020 include major premieres by 2015 Rome Prize winner Mark Adamo, 2014 Pulitzer Prize winner John Luther Adams, 2018 MacArthur Fellow Matthew Aucoin, 2017 ACO Underwood Commission winner Hilary Purrington, and 2013 ACO Underwood Audience Choice Award winner Nina C. -
Composer Robert Paterson Celebrates 50Th Birthday with Premieres and a New Album the Four Seasons – out April 24
FEBRUARY 19, 2020 CONTACT: STUART WOLFERMAN [email protected] 718-938-7679 Composer Robert Paterson celebrates 50th birthday with premieres and a new album The Four Seasons – Out April 24 This spring, the composer enjoys three Carnegie Hall performances, including two world premieres, and the culmination of his 20-year-long “Four Seasons” project. Spring 2020 marks a particularly busy and celebratory period for composer Robert Paterson. Called a “modern day master” by the New York Times, Paterson’s String Quartet No. 3 will be premiered at Carnegie Hall’s Weill Hall on March 5 by the Indianapolis String Quartet. On April 17, he celebrates his 50th birthday and the release of his 21-song Four Seasons project (out April 24 on Paterson’s American Modern Recordings). On May 6, the Oratorio Society of New York, under Kent Tritle, will perform Paterson’s Whitman’s America. Paterson’s ability to set text has been widely praised, with Gramophone stating that he “could probably set a telephone book to music and create something that captivates.” In The Four Seasons the composer has set the poems of Ann Stanford, Sharan Strange, Wallace Stevens, keep reading Dorothea Tanning, to name a few. The world premiere recording consists of four song-cycles (21 songs), written over the last 20 years, for four voice types (each representing a different season). The four singers on the album are soprano Marnie Breckenridge, mezzo-soprano Blythe Gaissert, tenor Alok Kumar, and bass-baritone David Neal. In 2014, the six Winter Songs were released as part of a broader collection. -
Louis Fleury and the Early Life of Pierrot Lunaire
VOLUME 3 9 , NO . 1 F ALL 2 0 1 3 THE LUTI ST QUARTERLY Louis Fleury and the Early Life of Pierrot lunaire The Center of Gravity in Flute Pedagogy and Performance The Inner Flute: A Transcript of Music and Words THEOFFICIALMAGAZINEOFTHENATIONALFLUTEASSOCIATION, INC 695RB-CODA Split E THE ONLY SERIES WHERE CUSTOM Sterling Silver Lip Plate IS COMPLETELY STANDARD 1ok Gold Lip Plate Dolce and Elegante Series instruments from Pearl offer custom performance options to the aspiring C# TrillC# Key student and a level of artisan craftsmanship as found on no other instrument in this price range. Choose B Footjoint from a variety of personalized options that make this flute perform like it was hand made just for you. Dolce and Elegante Series instruments are available in 12 unique models starting at just $1600, and like all Pearl flutes, they feature our advanced pinless mechanism for fast, fluid action and years of reliable service. Dolce and Elegante. When you compare them to other flutes in this price range, you’ll find there is no comparison. pearlflutes.com Table of CONTENTSTHE FLUTIST QUARTERLY VOLUME 39, NO. 1 FALL 2013 DEPARTMENTS 11 From the Chair 47 Passing Tones 13 From the Executive Director 52 Honor Roll of Donors to the NFA 16 High Notes 54 New Products 36 From the Research Chair 56 Reviews 37 Across the Miles 37 The Inner Flute: A Transcript of 70 NFA Office, Coordinators, Music and Words Committee Chairs 43 Notes from Around the World 75 Index of Advertisers 20 FEATURES 20 Louis Fleury and the Early Life of Pierrot lunaire by Nancy Toff Front and center in new-music happenings of the early 1900s, Louis Fleury helped introduce Schönberg’s seminal work in Paris, London, and Italy. -
Middlesex University Research Repository an Open Access Repository Of
Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Dromey, Christopher ORCID: https://orcid.org/0000-0002-3275-4777 (2020) Stravinsky’s ear for instruments. In: Stravinsky in Context. Griffiths, Graham, ed. Composers in Context . Cambridge University Press, pp. 170-178. ISBN 9781108422192, e-ISBN 9781108381086, e-ISBN 9781108390262. [Book Section] (doi:10.1017/9781108381086.024) Final accepted version (with author’s formatting) This version is available at: https://eprints.mdx.ac.uk/28757/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award.