Table of Contents

Letters of Welcome ...... 2

Descriptions ...... 4

Schedule of Events ...... 5

Lecturer Masterclasses ...... 5

Programs

Concert I ...... 6

Concert II ...... 7

Concert III ...... 8

Concert IV ...... 9

ConcertV ...... 10

Distinguished Guests' Biographies and Program Notes ...... 11

Composers' Biographies and Program Notes ...... 15

Guests and Faculty Performers' Biographies ...... 24

Ensembles' Information ...... 29

Composers' Directory ...... 30

1 Message from the Chair

Dear Composers and Performers,

Welcome to Rhodes College and the Society of Composers, Inc. Region IV Conference. Along with co-hosts Michael Timpson and Chihchun Lee, I offer my welcome from the Music Department of Rhodes College and from Memphis, and hope that your visit with us during the conference is inspirational as well as very comfortable.

It has been a rare opportunity for us to become acquainted with your music and to become immersed in contemporary composition during the course of this semester. Thank you for your creativity and for sharing it with us during these days. In some small way, we hope that this conference will serve as further affirmation of your good work and the appreciation we have for contemporary musical expression at Rhodes College.

If I can be of any assistance to you during your time with us, please do not hesitate to let me know. I look forward to conversations with you in between our several performances.

Sincerely,

TimothyW Sharp, DMA Department of Music, Chair Rhodes College

2 Message from the Co-hosts

Dear Composers & Performers,

We are so very honored to have your presence here at this festival of contemporary music. Your creative efforts are certainly adding to our culture and to the lifeblood of music. We certainly hope you enjoy your visit and find all the experiences surrounding this event fulfilling. It is through your support and energies dedicated to new music that inspires creation for years to come.

Sincerely,

Drs. Michael Timpson & Chihchun Lee MidSouth Composers' Forum, executive committee SCI Region IV conference, co-hosts November 1 & 2, 2002

3 SCI

The Society of Composers, Inc. is a professional society dedicated to the promotion of composition, performance, understanding and dissemination of new and contemporary music. Members include composers and performers both inside and outside of academia interested in addressing concerns for national and regional support of compositional activities.The organizational body of the Society is comprised of a National Council, co-chairs who represent regional activities, and the Executive Committee.

SCI conferences are at the regional, national, national levels.

Society of Composers, Inc. has 8 regions. SCI Region N:AL, FL, GA, KY, LA, MS, NC, SC,TN. Our conference extends to national level to include composers and performers from WA, IL, MI, CA, OH, AR, and WI.

http:// societyofcomposers.org/ The MidSouth Composers' Forum

Purpose:

To cultivate, promote, foster, sponsor, and develop public appreciation, understanding and support of New Music, primarily within a region to which Memphis,Tennessee is central.

To provide a format for public and private concerts, formal and informal hearings, and showings of compositions or any creative arts related to music.

For its members to involve themselves with other artists from the mutual organizations within the community in the performance of new musical compositions

To provide composers and other artists with collected information to help achieve the above purposes.

To solicit, collect and otherwise raise money, and to expand or contribute those funds for the above purposes.

4 SCHEDULE OF EVENTS

Friday, November 1, 2002

9:30 a.m. Registration Hassell Hall

10:20 a.m. Lauridsen Performance Masterclass Payne Recital Hall Music of Lauridsen, Be Still, My Soul, Be Still

11 :20 a.m. Lunch Break (on your own)

12:40 p .m. Lauridsen Composition Masterclass Payne Recital Hall Music of Garrett and Weigel

3:00 p .m. Concert !,"Solos & Sonatas" Hardie Auditorium Music of Dellinger, Chong, Schroeder, Fine, Fleisher, and Jensen

4:10 p.m. Workshop:An Open Rehearsal with Morten Lauridsen Hardie Auditorium

5:10 p .m . Dinner Break (on your own)

8:00 p .m. Springfield Music Lecture by Morten Lauridsen Maccallum Ballroom "CompositionalApproaches to Text Settings In The Choral Cycles ofMorten La,uridsen"

Saturday, November 2, 2002

10:00 a.m. Concert II, "Pipes & Mies" Evergreen Presbyterian Church Music of Hatt, Chen, Blauvelt, Goff, Mason, Kallstrom and Kreck

11:30 a.m. Lunch Banquet Hyde Hall

1:30 p.m. Concert III,"Poems &Tones" HardieAuditorium Music of Constantinides, Hindman, Wishart, Richards, Cotton and Davis

3:00 p.m. Haiqiong Deng Chinese zheng Lecture-Demonstration Payne Recital Hall "Zheng Music: the Beauty of Tradition and the Atmosphere of Contemporary Creation." Co-sponsored by the Rhodes College Department of Modern Languages and Literature

4:30 p .m. Concert IY, "Strings & Songs" Hardie Auditorium Music of Barnes, Crowley, Hu, Martin and Lauridsen

5:30 p .m. Dinner Break (on your own)

7:30 p.m. ConcertV,"lliusions & Fusions" Immaculate Conception Cathedral Music of Lauridsen, Timpson and Lee

Venues: Rhodes College, 2000 North Parkway, Memphis,TN 38112 Shirley M. Payne Recital Hall, Hassell Hall Hardie Auditorium, Palmer Hall Maccallum Ballroom, Bryan Campus Life Center Evergreen Presbyterian Church, 613 University Street,Memphis,TN 38112 Immaculate Conception Cathedral, 1695 CentralAvenue,Memphis,TN 38112 5 Concert I "Solos & Sonatas"

Friday, November 1, 2002 3:00 p.m., Hardie Auditorium

Flight oflmpulse for solo piano (1993) Sue Dellinger (b. 1958) Thomas Bryant, piano

Dual for solo bassoon (2002) Jong Yeoul Chong (b.1967) 1. Tenuto-accent 2. slow and fast 3. Back and forth Leyla Zamora, bassoon

From the Shadows ofA ngels (2001) Phillip Schroeder (b. 1956) Jeri-Mae Astolfi, piano

Elegy for Unaccompanied Viola, op. 15 (1980) Marshall Fine (b. 1956) Marshall Fine, viola

Secrets (1974) Robert Fleisher (b. 1953) Sarah Schissler, piano

Sonata for Flute and Piano (1994) James A. Jensen (b. 1944) II. Aria III. Introduction and Allegro Leigh Bonner, flute JemmiLou Rye Rushing, piano

6 Concert II "Pipes & Mies"

Saturday, November 2, 2002 10:00 a.m., Evergreen Presbyterian Church

Hail to Niels Bohr (2002) David Hatt (b. 1954) ::. Christopher Hanson, baritone David Hatt, organ

Points of Arrival (1998) Chin-Chin Chen (b.1964) Linda Hsu, violin

Elegy and Humoresque (1999) Peter Blauvelt (1956) Members of the Rhodes Wind Quintet c·· ··- , Christina Stinnett, English horn -Julia Jones, clarinet -Terese Holm, bassoon

Homage (2002) Brandon David Goff (b. 1973)

Fishing Through the Open Door (1999) Charles Norman Mason (b. 1955) Donnie Ashworth, flute

from Into The Deep (1992) Michael Kallstrom (b. 1956) "The Descent" ''The Abyss" Michael Kallstrom, bass

CELEBRATION for organ and electronics (1997) Lothar A. Kreck (b. 1927) David Hatt, organ

7 Concert ill "Poems & Tones"

Saturday, November 2, 2002 1:30 p.m., Hardie Auditorium

I Never Saw a Moor (1976/2002 revision) Dinor Constantinides (b. 1929) The Rhodes Women's Chorus Diane M. Clark, conductor - David Ramsey, piano Jacqueline Blankinship, Emily Burnett,Allison Cox,Ashley Crosland,Andrea Durham, Marissa Foshee, Laura Mc Wane Juliet Pearl,Albani Walker, Linda Ward, Katie Yoder

Trembling for flute (1998) Dorothy Hindman (b. 1966) Donnie Ashworth, flute

Toccata II (2000) Betty Wishart (b. 1949) Jeri-Mae Astolfi, piano

Magic Forest Scenes (2000) Paul Richards (b. 1969) I. Lazy Blues-Snake River God Courts the North Wind II. Tiny Hyper Spirit-Bear Escapes the Grumpy Goblins' Lair Russell Brown, clarinet

Peaceful and Inspired States: music for 2 guitars (2002) Adam Cotton (b.1979) i. two ii. sun in the shades iii. stirrings John Ross, guitar Corbin Miles, guitar

Family Portraits (2000) Doug Davis (b. 1948) I. My Letter to the World (Emily Dickinson) IV There Is Only Love (Doug Davis) Carole Blankenship, soprano Brian Ray, piano

8 Concert IV "Strings & Songs"

Saturday, November 2, 2002 4:30 p.m., Hardie Auditorium

Rainsongs (1992) Larry J; Barnes (b. 1950) I. Misterioso II. Moderato misterioso III. Lush, romantic Duo con Brio Ruth Ann McClain, alto flute Elizabeth Cobb Houston, harp

Impromptu II (2001) James Crowley (b. 1963) Eun-Joo Kwak, piano

Passions (2002) Ching-chu Hu (b.1969) Andrew Carlson, violin Lauren Schach-Clark, piano

Mobiles (2000) Edward Martin (b.1976) Andra Hawks, flute John Ross, guitar

A Winter Come (1967) Morten Lauridsen (b. 1943) 1. When Frost Md.fe Hast 2. As Bird Come Nearer 3. The Racing Waterfall 4. A Child Lay Down 5. Who Reads By Starlight 6. And What of Love Mona Kreitner, soprano Brian Ray, piano

9 Concert V "Illusions & Fusions"

Saturday, November 2, 2002 7:30 p.m., Immaculate Conception Cathedral

Les Chansons des Roses (premiered in'(l 993) Morten Lauridsen (b. 1943) THE RlIDDES SINGERS Timothy Sharp, conductor - David Ramsey, piano Jordan Badgett, Jacquelyn Blankinship, Kayti Fan, Margaret Gamer, Emily Goodman, Caitlin Goodrich, Evan Beth Goss, Caroline King, Margaret Love, Brooke McClelland, Shelby Monning,Addie Peyronnin, Caroline Vance,Julia Walsh, Liz Wiedemann, soprano Caroline Bishop, Kristin Campbell, Paige Carpenter, Sarah Clark, Christine Coy, Amie Demmel, Erin Gabbert,Anderson Hillen, Lauren Lachner, Juliet Pearl, Whitney Pickett, Nicole Vazquez, Lucy Waechter, Katherine Whitfield, alto Craig Cooper , Matt Durand,Adrian Killebrew, Bazile Lanneau, Stephen Ogden, Mills Ramsay, Adam Richardson,]. R.Tarabocchia, Stanley Vance, Tim Walsh, Travis Williams, tenor Daniel Anglin, Rick Davis, Robert Edgecombe,Alex Hornaday, Philippe Kohanowski , Aaron McNutt, Tom O'Hara, Dan Paull, Tim Robinson, Chris Talley, Will Tyler, Sam Weigle,Andrew Willey, bass

RefractingTimbre (2001) Michael Sidney Timpson (b.1970) Haiqiong Deng, zheng

Thgirbla . W (l 998) Chihchun Chi-Sun Lee (b. 1970) Haiqiong Deng, zheng

Lu:x:Aeterna (premiered in 1997) Morten Lauridsen (b. 1943) RHODES MASTERSINGERS CHORALE Libby Austin,Jordan Badgett, Carole Blankenship, Christine Dietz, Pam Dotson, Caroline Ferrari, Gina Hamblen, Patty Harris, Valerie Hartmann, Laura Hoffmeister, Rose Meri Hurt, Caroline King, Mona Kreitner, Elisabeth Lay, Lorinda Lewis, Margaret Love, Erin Maguire, Sarah May, Laura Mc Wane, Shelley Miller, Tammie Moore,Addie Peyronnin,Virginia Pianka, Sowgand Sheikholeslami, Gillian Steinhauer, Sheila Vamplin, Dorothy Wells, Margarett Zavodny, soprano Joyce Baker, Elisabeth Cooper, Ellen Flemmons, Lisa Harsch, Marci Hendrix, Amber Isom-Thompson, Ellen Koziel, Suzanne Lease, Marie Lindquist, Rebecca Luter, Susan Mallory, Mary Meister,Jean Schmidt, Oma Strickland, Maria Wright, alto Larry Ahokas,Jim Brinson, Greg Koziel, Lance Harris, Erin Johnston, David Lay, Kyle Linson,Allan Lummus, Christopher Luter, Jim Spencer, Isaac Thomas, Jim Vogel, Pat Walker, Travis Williams, tenor Daniel Anglin, Robert Kingbeil, Brad Kroeker, Christian Masters, Kevin Olsen, Bob Patterson,AndrewWilley, Dan Witherspoon, bass

10 Distinguished Guests' Biographies and Program Notes

HAIQIONG DENG, guest artist and presenter

A young master of the Chinese Zheng, Haiqiong Deng received her bachelor's degree in 1997 from Shanghai Conservatory of music. In 1995, she won the outstanding performer award in the Chinese National Zheng Competition. Since then, she has held recitals in Beijing, Singapore, Japan, and the U.S. and has also played with Singapore Chinese Orchestra, the Singapore Symphony Orchestra and with Music From China-New York's premiere Chinese chamber ensemble. Currently, Ms. Deng is director of the Chinese Ensemble at Florida State University and is releasing her debut solo CD in late 2002.

MORTEN IAURIDSEN, Guest Composer and Springfield Lecturer

Music by the distinguished American composer, Morten Lauridsen, (b. 1943), occupies a permanent place in the standard vocal repertoire of the Twentieth-Century. His six major vocal cycles-Les Chansons des Roses (Rilke), Mid-Winter Songs (Graves), Cuatro Canciones (Lorca), A Winter Come (Moss), Madrigali: Six "Firesongs" on Renaissance Italian Poems and Lux Aeterna-as well as his various individual songs and choral works are featured regularly by distinguished ensembles such as the Atlanta Symphony Chorus, anticleer, the Robert Shaw, Dale Warland and Elmer Iseler Singers, Los Angeles Guitar artet, the San Francisco Symphony Chorus, I Cantori and Dessoff Choirs of New York, ·cago a cappella, the Paul Hill Chorale and both the Los Angeles and San Francisco hamber Singers. Lauridsen's beloved "O Magnum Mysterium" and "Dirait-on" from Les Chansons des Roses have become the all-time best selling choral octavos distributed by Theodore Presser, in business since 1 783.

His works have been widely recorded in America and abroad (over four dozen recordings of 0 Magnum Mysterium alone) and the four all-Lauridsen CDs include the Grammy-nominated and best-selling Lux Aeterna by the Los Angeles Master Chorale, conducted by Paul Salamunovich.

The recent book,"Choral Music in the Twentieth Century" by Nick Strimple, describes Lauridsen as "profoundly influenced by Gregorian chant, not only in the primacy of pure melody but also in details of melodic contour and the way chant is married to the text." In his recent works the composer has developed a harmonic language exploiting the addition of the interval of a second or fourth to major triads. Further, he creates tension within this rather simple language by offering first inversion chords in the internal cadences, reserving root position chords for final cadences. Strimple adds that "the contrapuntal interplay of melodic elements combined with the constant realignment of a few vertical sonorities-a Renaissance technique-results in the undulating and glistening textures for which Lauridsen's music is justly famous."

In addition to his position as Composer-in-Residence of the LosAngeles Master Chorale from 1994 to 2001 ,Mr.Lauridsen has been a longtime Professor and Chair (1990-2002) of Composition at the University of Southern California Thornton School of Music.A native of the Pacific Northwest, he divides his time between Los Angeles and his summer home on a ote island off the northern coast ofWashington State.

position Commentary by Morten Lauridsen on his works:

11 Be Still., My Soul., Be Still

Be Still, My Soul, Be Still was commissioned by the Yoav Chamber Ensemble and was premiered by the Ensemble at the Schoenberg Institute on the campus of the University of Southern California on March 6, 1980 .Two principal themes ar developed primarily through contrapuntal means- canon, augmentation and diminution, inversion, fragmentation a in combination-and the overall setting is highly dramatic in keeping with Housman's richly passionate poem.

Be still, my soul, be still; And never find the reason The arms you bear are brittle, I pace the earth, and drink the air, Earth and high Heaven are fixt And feel the sun. Of old and founded strong. Be still, be still, my soul; Think rather, - call to thought, It is but for a season: If now you grieve a little, Let us endure an hour The days when we had rest, And see injustice done. 0 soul, for they were long. Ay, look: high heaven and earth Men loved unkindness then, Ail from the prime foundation But lightless in the quarry All thoughts to rive the heart I slept and saw not; Are here, and all are vain: Tears fell down, I did not mourn: Horror and scorn and hate Sweat ran and blood sprang out And fear and indignation - And I was never sorry: Oh, why did I awake? Then it was well with me, When shall I sleep again? In days ere I was born. Now, and I muse for why - A. E. Housman

A Winter Come

I was introduced to Howard Moss's poetry through the fine musical settings of his works by Ned Rorem and William Flanagan. A Winter Come seemed to me a natural for a song cycle and WRS composed in the late 1960's and premiered by soprano Rose Taylor and pianist Ralph Grierson in Los Angeles.The work has had numerous performances since then in the United States an abroad.The songs are tuneful and direct with much of the music derived from manipulations of the opening motive: E-flat, flat, C, B-flat. Howard Moss (1922-1987) was for many years poetry editor of the NEWYORKER. His "Selected Poems" (Athene received the 1972 National BookAward for Poetry

1 When frost moves fast and gardens lose their The racing waterfall that slowed in fall ground Has tbillned to a trickle or an icicle And goid goes downward in the trees, no sound And stands as quiet as the rocks it willed Accompanies departures of the leaves, To move.As though expecting it to fall, Except when the wind hurtles into air A listener stands upon a rim of silence, Dead shapes the coming winter will inter; Seeing a changed world prepared to change, Then the thinnest music starts to stir The waterfall silent on its breakneck shelf. A faint, crisp scraping in the startled ear: And silence a spectacle in itself. The leaves that feed the new leaves of next year. 4 2 A child lay down m his irllagined grav, As birds come nearer for a cmst of bread To see the form he'd make engraved . , '1w, Across the frozen snow, by hunger led But even that feigned hollow filled with snow To stamp fine footprints on a scroll ofwhi. •..: , And, rising on a landscape blurred a bit So winter is a world where appetite By shadows of an adumbrated blue, Grows bolder by necessity, where the fox He came upon two worlds he had not known: Betrays his fable, and the cold unlocks One was his being, one his mind let go Stiff beggars from the doorways.Time grows o' Until the light would take the blue from snow. In the knuckles of an old man blue with cold.

12 5 6 Who reads by starlight knows what fire is, And what of love that old men dead and gone The end of words, and how its mysteries Have wintered through, and written messages Go running in the flame too quick to see, In snow so travelers, who come too warm As language has a light too bright to be To what may grow too cold, be safe from harm? Mere fact or fiction. By ambiguity They know the fire of flesh is winter's cheat We make of frame a word that flame can burn, And how the icy wind makes young blood sweet And of love a stillness, though the world can turn In joining joy, which age can never have. On its moment, and be still. Or turn and turn. And that is what all old men know of love.

- Poems from "A Winter Come" by Howard Moss

Les Chanson des Roses

In addition to his vast output of German poetry, Rainer Maria Rilke (1875-1926) wrote nearly 400 poems in French. His poems on roses struck me as especially charming, filled with gorgeous lyricism, deftly crafted and elegant in their imagery. These exquisite poems are primarily light, joyous and playful, and the musical settings are designed to enhance these characteristics and capture their delicate beauty and sensuousness. Distinct melodic and harmonic materials recur throughout the cycle, especially between Rilke's poignant Cantre Qui, Rose (set as a wistful nocturne) and his moving La Rose Complete. The final piece, Dirait-on, is composed as a tuneful chanson populaire, or folksong, that weaves together two melodic ideas first heard in fragmentary form in preceding movements.

Les Chanson des Roses was composed for the professional chamber chorus Choral Cross-Ties of Portland, Oregon, who gave the premiere onApril 23, 1993.

I. En une seule fleur III. De ton reve trap plein C'est pourtant nous qui t'avom propose De ton reve trop plein, de remplz"r ton ca/ice. fleur en dedans nombreuse, Enchantee de cet artifice, mouil/ee comme une pleureuse, ton abondance l'avait ose. tu te penches sur le matin.

Tu etais assez riche, pour devenir cent Tes douces forces qui dorment, fois toi-meme en une seule fleur; dans un desir incertain, developpent ces tendres formeJ c'est l'etat de celui qui aime ... entre joues et seins. Mais tu n'as pas pense ailleurs. IV La rose complete II. Cantre qui, rose ]'ai une telle conscience de ton Contre qui, rose, etre, rose complete, avez-vous adopte que mon consentement te confond ces epines? avec mon coeur en fite. li0tre Joie trop fine vous a-t-elle Jorde Je te respire comme situ etais, de devenir cette chose rose, toute la vie, armee? et je me sens l'ami parfait d',,,,.,_,, t Pl!e amie. Mais de qui vous protege cette arme exageree.? V. Dirair-on Combien d'ennemis vous ai-je Abandon entoure d'abandon, en/eves tendresse touchant aux tendresses .. . qui ne la craignaient point? C'est ton interieur qui sans cesse Au contraire, d'ete en automne, se caresse, dirait-on; vous blessez !es soins qu'on vous donne. se caresse en soi-meme, par son propre reflet eclairi. Ainsi tu inventes le theme du Narcisse exaud.

- Rainer Maria Rilke, from Les Roses

13 LuxAeterna

LuxAeterna was composed for and is dedicated to the Los Angeles Master Chorale and conductor, Paul Salamunovich, who gave the world premiere of the work in the Dorothy Chandler Pavilion onApril 13, 1997.

The work is in five movements, played without pause.The texts for the work are drawn from sacred Latin sources, eacl containing references to Light. The piece opens and closes with the beginning and ending of the Requiem Mass witl the central three movements drawn respectively from the Te Deum, 0 Nata Lux, and Veni, Sancte Spiritus.

The instrumental introduction to the Introitus softly recalls motivic fragments from two pieces especially close to my heart (my settings of Rilke's Cantre Qui, Rose from Les Chansons des Roses, and 0 Magnum Mysterim) which recur throughout the work in various forms. Several new themes in the Introitus are then introduced by the chorus, including an extended canon on et lux perpetua. In Te, Domine, Speravi contains, among other musical elements, the cantus firmus Herzliebster jesu (from the Nuremberg Songbook, 1677) and a lengthy inverted canon on.fiat misericordia. 0 Nata Lux and Veni, Sancte Spiritus are paired songs, the former a central a cappella motet and the latter a spirited, jubilant canticle.A quiet setting of the Agnus Dei precedes the final Lux Aeterna, which reprises the opening section of the Jntroitus and concludes with a joyful Alleluia.

i. INTROITUS 4. VENI, SANCTE SPIRITUS Requiem aeternam dona eis, Domine: Veni, Sancte Spiritus, et emitte coelitus luc£s tuae radium. et lux perpetua luceat eis. Veni, pater pauperum, Veni, dator munerum, Veni, lumen Te decet hymnus Deus in Zion, cordium. et tibi redetur votum in Jerusalem: exaudi orationem meam, Consolator optime, dulcis hospes animae, dulce refrigerium. ad te omnis caro veniet. In labore requies, in aestu temperies, in fletu solatium. Requiem aeternam dona eis, Domine: et lux perpetua luceat eis. 0 lux beatissima, reple cordis intima tuorum fidelium. Sine tuo numine, nihil est in homine, nihil est innoxium. 2 . INTE, DOMINE, SPERAVI Tzt ad liberandum suscepturas hominem Lava quod est sordidum, riga quod est aridum, sana quod est non horruisti Virginis uterum, saucium. Tu devicto mortis aculeo, Flecte quod est rigidum,fove quod est frigidum, rege quod est aperuisti credentibus regna coelorum. devium. Exortum est in tenebris lumen rectis. Miserere nostri, Domine, miserere nostri. Da tuis fidelibus, in te confidentibus, sacrum septenarium. Fiat misericordia tua, Domine, super nos Da virtutis meritum, da salutis exitum, da perenne gaudium. quemadmodum speravimus in te. In te Domine, speravi: 5. AGNUS DEI: LUXAETERNA non confundar in aeternum. Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam. 3. ONATALUX 0 nata lux de lumine, Jesu redemptor saeculi, Lux aeterna luceat eis, Domine: dignare clemens supplicum laudes preces que sumere. Cum sanctis tuis in aeternum: %i carne quondam contegi dignatus es pro perditis. quia pius es. Nos membra confer effici, tui beati corporis. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

Alleluia. Amen.

14 Composers' Biographies and Program Notes

LARRY J. BARNES (b. 1950) is currently professor of music at Transylvania University in Lexington, Kentucky. His mpositions have been performed throughout the United States and Europe. His "Solar Winds" won the Cleveland rchestra composition contest, and his "Morning Gigue" is recorded by the Slovak Radio Symphony Orchestra on MMC cordings. His music is published by Southern and See-Saw Music Corporations.

Barnes holds a Bachelor and Master of Music from the Cleveland Institute of Music, and won a National Endowment for the Arts Composer Fellowship to compose his first Piano Concerto while earning a doctoral degree at the Eastman School. Since coming to Lexington he has received several Kentucky Arts Council Awards for new compositions and an AI Smith award for travel and research in Ireland. While on sabbatical in 2001, he composed original music for the pilot episode of a new series to be broadcast on Florida Public Television, and traveled to China on a Kenan Faculty Development grant.

All of Barnes's music since 1980 has be~n composed on commission from performing organizations throughout the U.S.These performers include the Phil~delphia Orchestra String Quartet; Bertram Turetzky, contrabassist; Marilyn Mason, organist; Bert Phillips, Philadelphia Orchestra cellist; Victoria Neve, professor of piano at San Francisco State University; Kentucky Music Teachers' Association; the Cincinnati Composers' Guild; and The Bizet Trio, the Jefferson Duo, the Sine Nomine Singers, and the Quadrant Ensemble, all of Lexington. He has received seventeen consecutive awards from the American Society of Composers,Authors and Publishers (ASCAP.)

Barnes also served as host of a weekly contemporary music program airing on public radio KPAC-FM in San Antonio, and as contributing music critic for the San Antonio Light and the Lexington Herald-Leader.

Rainsongs (1992) was commissioned by the city of Lexington, Kentucky for The Jefferson Duo (Merrilee Elliott, flute and Arlene Rector, harp.) It was inspired by the sound of the Peruvian rain stick, which the harpist is required to play as accompaniment to a slowly unwinding melody in the first movement.The four movements are set in a slow-fast-slow-fast pattern, the first and third for alto flute.The first two movements are mysterious in mood, the last two lyrical.

PETER BLAUVELT (b. 1956) was born in France and grew up in Germany, where he began his studies if!- composition and piano. In 1975, he came to the U.S. , where he studied at Harvard University in Cambridge, MA. There he received ree degrees-including a doctorate in composition-and taught theory, composition and piano.

ce 1968, he has often given public and radio recitals-not only of his own pieces-in the United States, France, and Germany and has received several prizes for both composition and piano. Meanwhile, he has also been performed in other countries in Europe and North America. ,.. \.. After leaving the Boston area for Florida in 1984, he co-founded the Tampa Bay Composers' Forum in 1989 for which he 1· · 11 has served as treasurer, vice-president and president.Around the same time, he also founded " Creative Arts and Tutoring 1.. Services."To date, he has written over 100 compositions, mostly chamber music.

Elegy and Humoresque (1999) is a two-movement piece for woodwind trio.The titles of each of the movements sum up the character of each of those movements fairly accurately, as they form a clear contrast to each other. Other contrasts within movements are created by juxtaposing solistic with tutti sections and more traditional sections with those using a modicum of extended techniques. Finally, this composition gives the English horn a chance to have a prominent role in a chamber music piece.

CHIN-CHIN CHEN (b. 1964), composer and Director of the Grand Valley State University Music Technology Center, joined the music faculty in 1999. Prior to coming to GVSU, she taught at Millikin University in Decatur, IL. She holdr · the D.M.A. degree in Composition(fheory, the M. Mus. in Music Theory, as well as M. Mus. in Piano Performance at th ~ / University of Illinois (Urbana/Champaign), and the B. A. in Social Work from Fu-Jen Catholic University in her nativ · ., Taiwan. Ms. Chen's electroacoustic works Points of No Return (1997, for two-channel tape) and Points ofArrival (199 , · for violin and tape) won First .Prize and Honorable Mention, respectively, in the Concorso /nternazionale Luigi Russolo ' 1 in Varese, Italy. Her works have received international performances and broadcasts. She is published by Media Press. \ i Points of Arrival (1998) explores the relationships between a solo live performer and a musique concrete sonic\ environment, created through MIDI.The opening section (for tape alone) creates a ferocious but harmless environment, hich is soon contrasted by a lyrical exploration by the soloist, supported by the tape.

e subsequent return of the violin exhibits the virtuoso aspect of the instrument, this time interacting with the tape. e last section finds the lyrical material recapitulated, in new dramatic garb.

JONG YEOUL CHONG (b.1967) is a Ph.D candidate in music composition at the University of Chicago. He has studied composition with Schulamit Ran, John Eaton, Chinary Ung, and Martha Ptaszynska. 15 Dual (2002) for solo bassoon consists of 3 movements that h ::ive ctifferent se•" of musical ideas. I trif'd to preseji 1 different sets of"dual images" musically in this piece. - DINOS CONSTANTINIDES (b. 1929) is a Boyd Professor and coordinator of composition at LSU. He also directs_ilie Louisiana Sinfonietta and is the composition board member of CMS. He holds degrees from the Greek Conservatory, t Juilliard School, Indiana University, and Michigan State. Recently, in Greece, four concerts presented his music and a( included two of his students.

I Never Saw a Moor (1976/rev. 2002) was written on poetry by Emily Dickinson. It was composed for my daughtcif, Lenna, and tp.e Kenilworth Junior High Choir directed by Sally Norem. It is modal in nature.

I never saw a Moor. I never saw the sea; Yet know I how the heather looks, And what a wave must be.

I never spoke with God, Nor visited in heaven; Yet certain am I of the spot As if the chart were given.

- Emily Dickinson [

ADAM COTION (b. 1979) grew up in Austin, Texas where he lived until he was 18. He started playing guitar when he was 12, inspired by seeing how much fun some performers seemed to have and driven by a gnawing need of som~ sort of creative outlet. He moved to Santa Cruz, California at 18 to attend the UC there. With initial abstract ideas of his academic focus, he soon found himself gravitating towards the intensive music program. He became immersed i;i the program, eventually studying composition, classical guitar and electronic music. He was an honored recipient .of a Deans Undergraduate award for a string quartet he composed based on metaphorical "waves". Having spent much time outdoors, he became fascinated with the activities and creations of nature, He seeks, in some ways, to mimic thes_e_ tendencies, occurrences and patterns in his music, painting them onto a human canvas; creating something organic, universally coherent and enjoyable. He is very interested in the healing, transmuting, and uniting properties music offe:i'S ~11rf intend to continlle these musical explorations in comDo,ition and oerfr-""'"nce indefinitely. · _,,. ' .· ~ ' ...... - -= ' Aclam was LVu1missi6bed to write Peaceful ana Inspired States (2002) oy hls g~oo Iriend,James Moore, as a result 0 ?· conversation that occurred within the mouth of a dormant volcano on the island of Maui.The agreement w as for that ,_·ach movement Adam composed,James would cook him dinner (and promised to learn the part.) It was a good enough ' · ~xcuse for him to write guitar music. Perhaps fueled by some memorable experiences in Hawaii, the suite became...;i. ~p ?f rather peaceful and µ:spir~tional musical illustratio_ns nf nleasant states of minci <1nd beautiful imagery.

~S ~h.OWLEY (iJ. 1963) was born in cltica-g·o. He ear~ea the BM in Co~positiu . 1 Iro~ the.University of Illino~s , completed the MM and DM in Composition at Northwestern University, and is currently Associate Professor of Music at the University of Wisconsin-Parkside. His music has been performed by the Minnesota Orchestra, the Eastman Wind Symphony, Civic Orchestra of Chicago, the Aspen Contemporary Ensemble, the InterlochenAcademy Symphonic Band-, the Millar Brass Ensemble,Arizona New Music Ensemble, and many other ensembles. He was awarded the 1991 Faricy Prize in Composition by Northwestern and has received commissions and awards from the Music Teachers NationLyric Opera of Chicago. In 1991 h_~ ­ held a Teaching Fellowship at the Aspen Music Festival, and he taught at Drury University from 1994 to 1998. J Impromptu II (2001) is the second in a series of works for solo piano: the first dates from 1994.Aside from juvenilia., these are my only compositions for this ubiquitous medium. During the seven year span of 1994 to 2001 , several changes took place in my life, worldview, and musical inclination. The soundworld of this new piece reflects this new attitud~ and perspective, with a new emphasis upon resonance, kinetics, momentum, and harmony (dissonant and otherwise). The rigorous and angular counterpoint of the earlier piece is largely absent, while a rhapsodic and casual evolution of material outlines the form.Impromptu II is dedicated to Dr. Eun-Joo Kwak.

A summa cum laude graduate of the University of Tennessee studying with David Van Vactor, DOUG DAVIS (b. 1948 went on to complete his Ph.D. degree from Harvard University where he .studied with Earl Kim and Leon Kirchner. Harvard, he was selected by Leonard Bernstein to be the student member of the Norton Lectures Discussion Grou Recent performances include "Psalm for an Orange Angel" by the Hungarian Symphony and "Token" for voice· an orchestra featured at the Ukrainian "Contrasts" festival. Several of his compositions have been recorded by jazz greats, including Chick Corea, Larry Coryell, and Bennie Wallace. Davis is a Professor of Music at California State University, ~ Bakersfield. Davis was selected the outstanding professor at California State University, Baker~fitjd where he is the ) . . •· ..,. director of theory, composition, and jazz studies.

The initial impetus for th.is song cycle, Family Portraits (2000), w as a Christmas present from his da~htcr. It was a framed poem that began:"Chaotic canvas gushing imprecise."

e immediately recognized she was talking his language and began the most precise matter of notating music. Hearing effi rt is wife handed him a poem th~t she created after the untimely death of a friend from cancer. They were her friend's principal care-givers during her final sev n months when she required round-the-clock assistance. This cathartic song seemed almost to be already written.The o songs heard at this performance come from two aspects of ~extended family.The first song, Emily Dickinson's "M Letter to the World" seemed to encapsulate a perspective with which)Js.is familiar. The second song was written with he hope that its sentiments might help his student who was facing the most difficult time for any family, the death of er young child.The cycle concludes with an "Alleluia" which includes an entreaty to return from paradise only to exten its glory, certainly a point of view he does not plan to "top."

·tfrJ This is my letter to the World 'IV There is only love. I ~ That never wrote to Me \ There is only peace. The simple News that Nature told All things abide in lo,:. With tender Majesty Let our love surroun? you. Her Message is committed Let our care enfol~ou. To Hands I cannot see Let us hold and co fort, For love of her we who so dearly J ve you .... Sweet countrymen for within you Jt'he light of the worlffe. Judge tenderly of Me -Doug Davis - Emily Dickinson

SUE DEllINGER'S (b. 1958) compositions include solo and chamber pieces as well as electronic works, symphonic band works, and orchestral works. Her works have received numerous performances at festivals, conferences, and recitals across the country. Some of these include performances by Synchronia (St. Louis), Continuum (New York), The Contemporary Music Festival at Indiana State University, The Butler University Wind Ensemble, Tampa Bay Composers 'orum, the Virginia CBDNA New Band Music Symposium XXV, the International Horn Society Festival in Beijing, China, s well as various national and regional Society of Composers conferences. She is in the process of completing her octorate in music composition at Indiana University in Bloomington, Indiana. She has also taught various music courses at Indiana State University in Terre Haute, Indiana and Butler University in Indianapolis. She is currently residing in Charlotte, North Carolina.

• ii - : r , ...... Flight of Impulse (1993) is a piece for solo piano in which essence of motion is conveyed through both linear and vertical movement. This movement is drawn from three primary motives that alternate throughout. The intervallic activity is generally chromatic, however the intervals of the minor second, minor third, and tritone predominate. Periodic exceptions to the sensation of unbridled motion provide contrast and relief before the work drives to an end.The title refers to the fast, driving nature of the piece. The word, "impulse" can be interpreted in a variety of ways, all of which apply to the expression of the music - driving onward, motion, spontaneity, and pulse.

MARSHALL FINE (b. 1956), a composer/performer on both violin and viola, is the son and student of Boston Symphony violist Burton Fine. He is currently Assistant Principal Violist of the Memphis Symphony Orchestra, and teaches at the University of North Alabama. The IRJS Chamber Orchestra, with which he also performs, is scheduled to premiere his Tango In Time ofWar this season.

Th.is Elegy (1980) is the earliest of Fine's unaccompanied works and transcripL1ons, a congenial touring format for him. It was originally written in 1980, and premiered in 1982 alongside the Stravinsky Elegie. In fact, the form is much like that of the Stravinsky, allowing for the more virtuoso style.The main theme, though quiet and mournful, is prefaced by a grinding minor seventh, which is in the background of the work and is developed in the transitions and at the climax. The violent, dramatic middle section consists of a fanfare based on the opening interval, followed by a fugue that carries into the recapitulation. ..-

ROBERT FLEISHER (b. 1953) is professor and coordinator of music theory and composition at Northern Illinois niversity (DeKalb). He earned his baccalaureate degree at the University of Colorado and his M.M. and D.M.A. at the ·versity of Illinois (Urbana-Champaign). He has contributed articles and reviews to journals in the USA and abroad, and s book, Twenty Israeli Composers: Voices of a Culture, is published by the Wayne State University Press (Detroit).

r . ~ c. The focus of Secrets (1974) is the sonority of the piano; the form of the work evolves as a patchwork of recurring gestures appearing both unchanged. and transformed, in ever-changing contexts. Secrets is performed by Tomoko Deguchi on Syncopated La..,dy (Capstone CPS-8665; 199: I ARWEN GARREIT (b. 1980) is a senior at Rhodes College. She studies flute with Ruth Ann McClain, and composition with Dr. Michael Timpson. In 2002, she was the recipient of Rhodes's Ruth Sherman Hyde Award.

Vignette (2001) is a short theme an~ variations based upon the intervals of a tritone and a minor second.The title refercs. to its nature as a short "story" explonng a smgle thought. •

BRANDON DAVID GOFF (b. 1973) received both a Bachelor of Music and a Master of Music from Arkansas State University in Jonesboro.There he studied under Dr.Jared Spears and Dr.Tom O'Connor.

During his time at Arkansas State, Goff received numerous honors, including the Arnold Sallop Award for Composition. He was also recognized as a finalist in the international young composer's competition sponsored by BMG.

Since completing his master's degree, Goff has pursed a variety of musical interests. Goff serves as the director of the music library at Rhodes College in Memphis. He owns and operates a recording studio as well as performs internationally with the pop group Pierce.

Currently, he is pursuing a Doctorate of Musical Arts at the University of Memphis where he is studying under Dr. Kamran Ince; he Jives in West Memphis,Arkansas with his wife and daughter.

Homage (2002) is an electronic work that attempts to portray the entire University of Memphis experience in an abbreviated amount of time. It has three clearly defined sections that correspond to the different stages of development of a student. The first, trepidation, shows us the fear a new student feels when entering such a culturally diverse atmospbere. The second, understanding, portrays the growth and acceptance as the student begins to find their place in this environment.The third, celebration, is just that- a celebration of all the diversity that makes the University what it is.All sounds in the piece were taken from the University itself: cars passing on Central Avenue, a leaf blowing across concrete, a slow walk up a hollow staircase.There are recorded excerpts of no fewer than seven different languages, all of which, at some point, recite the phrase "celebrate diversity"

Homage was composed as part of the inaugural celebration for the new University President and was premiered on April 15, 2002 .

DAVID HAIT (b. 1954) is the Assistant Cathedral Organist at St. Mary's Cathedral in San Francisco. He obtained the Master of Arts Degree from U. C. Riverside, following organ study with Raymond Boese and Anthony Newman ana composition study with Barney Childs. Wayne Leupold Editions has just published his Apollo 13 for organ and narraro-r, a virtuosic treatment of spaceflight. With percussionist Gino Robair he has presented programs of duo improvisations. He is a former Dean of the San Jose Chapter of the A .G.O.

Hail to Niels Bohr (2002) is a setting for baritone and organ of an anonymous poem, which was "discovered" in Copenhagen by George Gamow and supposedly penned by a fellow Russian student.The organ part uses filled arpeggios as an illustration of quantum theory, in which levels are filled with electrons. The vocal part contains a serial phrase on the words "Alpha to Zed."

Fill up the tankards and brighten the fire! Quantum reveres you, at edicts you utter, Drink to him, drink to him, toast him once more! Each tiny electron examines his plight; Plucking the strings of our latterday lyre, Confined in his orbit he flies in a flutter We sing to our hero and idol, Niels Bohr! Rushes and radiates, estimates height, Prejudges the motion and dreams up the notion, Prosperous days to you, honor and praise to you, Mixing up cause and confusion in fright, Bohr the colossus we fear and adore! To leap from his mother orb straight to another orb, Endless your merits are, none can deny it. Seeking, if vainly, a refuge in flight. What if your theory is madly obscure? You have proclaimed it, we dassent defy it. Hail to Niels Bohr from the worshipful nations! Your words, like God's words, are totally pure. You are the master by whom we are led, Niels you Apollo, you, humbly we follow you! Awed by your cryptic and proud affirmations, Laws you devise are devised to endure. Each of us driven half out of his head, Yet remains true to you, wouldn't say "boo" to you, Swallows your theory from alpha to zed, Even if - Drink to him! Tankards must clink to him! None of us fathoms a word you have said1

- anonymous, discovered by George Gamow

18 DOROTHY HINDMAN'S (b. 1966) music has been performed in the U.S., France, Italy, Russia, Romania, and the Czech Republic. She was the recipient of an Alabama MusicTeachersAssociation/MTNA Commission for their 2002 conference, and recently completed Louise: The Story of a Magdalen, a full-length opera commissioned by Alabama Operaworks. Other awards and recognition include the Atlanta Prize in the 2001 Hultgren Biennial Solo Cello Works Competition, an abama State Council on the Arts IndividualArtist Fellowship, the NACUSA Young Composers Competition, the Abraham rost Composition Competition, the ASCA/National Symphony Orchestra Commission Competition, the G. Schirmer oung Americans Choral Competition, and the Percussive Arts Society's International Solo Marimba Composition Competition .. She has participated in conferences, workshops and artistic residences including SCI National and Regional Conferences, Imagine, May in Miami, June in Buffalo, the Atlantic Center for the Arts, and the Hambidge Center, and she co-hosted the SEAMUS 1996 National Conference at Birmingham-Southern College. She holds degrees with honors from Duke University and the University of Miami, and her teachers include Dennis Kam, Stephen Jaffe, Louis Andriessen, Thomas Oboe Lee, and John Van der Slice. She is a founding member of the Birmingham Art Music Alliance, and has served on the Board of Directors of the Society of Composers, Inc. She currently resides in Birmingham,Alabama, where she is Assistant Professor of theory and composition at Birmingham-Southern College .

Trembling for 11'!.! ce (l~98) .cveals its c, ___ unifyini> motive slowly and circumspectly vvt.- the course ur the work. It conceals its true melody: a slow, lyrical line, with a high degree of fragmentation, ornaments, extreme dynamics, gestures and timbral distractions. In short, it trembles before revealing itself. It is not, however, a reluctant or introspective work; but rather a tantalizing and frenetic series of exhibitionist delays.The piece w:i.s written for flutist and dear friend Donald Ash\ 'O'"+h at his request.

CHING-CHU HU (b. 1969) is an Assista...n rrofessor of Music at Denison University in Granville, Ohio. Born in Iowa City, Iowa, he studied at Yale University, Freiburg Musikhochschule in Freiburg, Germany, The University of Iowa, and the University of Michigan, where he earned his Doctorate of Musical Arts in Composition in 2001. He has been a composition fellow at the Aspen Music Festival, Bowdoin Music Festival, May in Miami Festival, and June in Buffalo. Recent honors include composer-in-residence at the 2002 Piccolo Spoleto Festival, an ASCAP/SCI Commissioning Program Winner, and an ASCAP Award. Ching-chu, who is active as a pianist and conductor, wrote the score for The Life and Times ofjimmy B., a film by Alison McDonald, which recently received several awards including a Director's Guild of America Award. Ching-chu's music has been performed at a variety of national and regional festivals, concerts, and other venues. Additionally, he has received performances in England, Germany, Russia, Austria, China, Taiwan, and Australia. Recently violinist Wolfgang Sengstschmid and pianist Daniel Grimwood performed Passions at Wigmore Hall · London, England. Other notable performers include flutist Betty Bang Mather, bassist Robert Black, conductor Donald ortnoy, and the Charleston Symphony Orchestra. His composition teachers include William Bolcom, Michael Daugherty, .eslie Bassett, William Albright, Bright Sheng, Evan Chambers, and David Gompper.

Passions (2002) deals with the intermingling of influences in my life as an Asian American: the folk tunes that have surrounded me since my childhood and the western-based education of classical music and twentieth-century techniques. For Passions, I composed music idiomatic for the er-hu (Chinese fiddle) and sheng (Chinese aerophone) and combined attributes for Wolfgang's lines. As a contrast, music for the piano alternates between various pentatonic tapestries and neo-romantic, neo-tonal influences.

JAMES A. JENSEN (b. 1944) is Professor of Music and Chair of Theory/Composition in the Division of Music, School of Performing Arts, Samford University in Birmingham, Alabama, where he also teaches clarinet. He obtained the BM and MM Degrees from Pittsburg State University, and the D. Mus. Degree from Florida State University. His composition teachers have included John Boda, Carlisle Floyd, and David Cope. He has written many musical compositions in a variety of genres. His music has been performed throughout the southeast and at both regional and national conferences of SCI. He is a member of the International Clarinet Association, International Association of Jazz Educators, Board Member and past President of the Birmingham Chamber Music Society, Phi Mu Alpha Sinfonia,American Federation of Musicians, Reserve Officer's Association, Society of Composers, Inc., a founding member of the Birmingham Art Music Alliance-a 1 consort;11m of local composers, and currently serves as Commander of the 313 h United States Army Band

The Sonata for Flute and Piano (1994) follows me traditional mree-movement pattern ;YICh regard to contrasting tempos and styles. The melodic and harmonic structure of the work is generated from a six-note symmetrical interval series that forms a tertian polychord.This background construction naturally lends itself to polytonal treatment, aspects of which are explored in each of the works three movements.The first two movements feature more lyrical treatment of the signature polychord in moderate and slow tempos.The third movement, after a slow introduction, expresses a more aggressive rhythmic style with changing, asymmetric meters.The aggressive rnain theme is then alternated with a slower song-like passage in a hroadly sketched rondo format

ICHAEL KALLSTROM (b. 1956) 1~ an active co111poser and performer, and the creator of ELECTRIC OPERA, a series of lo musical theater works with electronic tape, puppets and videos that have been performed over 150 times in the U.S. d Canada. His other works have also been performed in Russia, Spain, France, the Netherlands, Slovenia, Italy, England, Brazil, Chile,Argentina, Costa Rica, the Dominican Republic and Kenya. His ballet score, FRANKENSTEIN, was premiered .by the Fort Wayne Ballet in September 2002. His music is available on compact discs from Capstone Recordings, Editioni della Foundazione, and from the TransAtlantic Horn Quartet. The TransAtlantic Horn Quartet commissioned 19 and premiered STARFLAME in London, England and also performed it for the Tanglewood Summer Music Festival and the Benjamin Britten/Peter Pears Music Festival.The Macon Symphony premiered JEEPERS , for horn quartet and string orchestra, in September 1999. His music is published by RM Williams Publishing and Dorn Publications. Dr. Kallstrom is currently Professor of Music and Coordinator of Composition and Theory at Western Kentucky University (Bowling Green).

Into The Deep (1992) is the third work in the ELECTRJC OPERA series and is a fantasy on the Biblical story of Jonah in the belly of the leviathan.The middle sections feature bass voice, video projections, and electronic music.They depict Jonah's descent into the ocean and despair.

The Descent The Abyss

Three days and three nights, Abyss, soundless, sightless, three years beyond the sight of surface lights translucent skin, jellied eye, pale monolith glides by. three fathoms down below, Bony wraith, savage jaw, flaccid hulk, gaping maw. three miles beyond where sea creatures go. Centuries old, untouched millennium, frozen soul, spiritless death, In failing liquid light, the quiet is complete ocean's toll. And falls through the blue, plumed currents of ocean's calm.

Did I live above this bloated green bubble of this awful deep? Did I? Was there a life of sun and land and moving breath, something other than this awful deep, this dead peace?

Sinking without a hold, this pale light above fades. I feel as though I've dreamt and slept a long, still time.

Three days and three nights, three years beyond the sight of surface lights three fathoms down below, three miles beyond where sea creatures go.

LOTHAR A. KRECK (b. 1927) grew up and lived in Germany, in several other European countries and since 1960 in the United States. In addition, extensive travels have given him the chance to experience many cultures that are now expressed in his music. He did not undertake formal studies in composition, but rather absorbed music by playing in orchestras in the US, Austria and Germany, (e:g. Washington/Idaho Symphony, 1972-1997, cellist). His early efforts in composition date back to 1953 .All of today's compositions are the culmination of efforts that began again in 1983.

Kreck's music first combined the traditional music elements of his early European roots with North American jazz elements so imbedded in the culture of his chosen country, sometimes called Third Stream Music. Later he based his music on a rather moderate free tonality. He makes extensive use of folk songs that he believes are the richest sources of music anywhere and other poetic material.

He is a member of the American Music Center, the Society of Composers and the Internet Cello Society. His compositions have been performed by the Maui Symphony Orchestra, the Eugene Symphony Orchestra, at the Society of Composer's Conference (region VIII), in San Francisco at a public piano I organ recital (2001).

CELEBRATION (1997) is for organ and electronics.The organ, an ideal instrument for lyrical and virtuoso potentialities, opens the composition with a trumpet-like signal to announce with urgency the greatness of life. This is followed by a lively moving introduction, mellifluous and tender, which soon presents the two times five notes motive, representing the stimulating diversity of humans. Using a variation of the motive, a powerful statement about the bright side of life is revealed.This is then discussed by the individuals in a canon-type mode and in a somewhat accelerated fashion, only to return soon to the earlier mode. Once more the lively moving motive returns, spreading tranquility over the scene.The composition concludes with celebrating life in a triumphal, jubilant, crowning finish.An underlying tender electronics voice is added, to support the mission of the organ.

MORTEN IAURIDSEN (see Biographies of Distinguished Guests section)

CHIHClflJN CHI-SUN LEE (b. 1970), originally from Kaohsiung, Taiwan, received degrees from the University of Michigan (DMA Composition), Ohio University (MM Composition/MA Film Scoring), and Soochow University in Taipei (BFA Theory and Composition.) Her teachers included William Albright, William Bolcom, Yien-Chung Huang, Yien Lu, 20 Mark Phillips, Bright Sheng and Loong-Hsing Wen. She has received numerous honors; these include the Harvard Fromm Fellowship, Taiwan National Culture and Arts Foundation commission, a K.langforum Wein commission, the SCl/ASCAP Sn1dent Composer Commission, ISCM/League of Composers Competition, the Margaret Blackburn Competition, the Hong Kong Chou Scholarship, the Joyce Dutka Arts Foundation, the "Music Taipei" award, NACUSA, the Taiwan Environmental otection Bureau Music Contest, the Taiwan Provincial Music Competition, the Taiwan National Songwriting Prize, a Taiwan temational Community Radio grant, and the Taiwan International Young Composers Competition. She is composer-in sidence with Taiwan's premiere traditional Chinese instrument group, China Found Music Workshop. Her music has ad numerous performances and broadcasts worldwide in Australia, Austria, Canada, Croatia, the Czech Republic, France, Germany, Hawaii, the Philippines, Poland, Singapore, Taiwan, Costa Rica, and around the continental United States. She has taught at Johnson County Community College, Washburn University, Rhodes College, and the University of Michigan. Her works appear on CDs from the Albany/Capstone label and have been published by World-Wide-Music.

Thgirbla . W (1998) was written in memoriam of my mentor, Professor William Albright. He was a great composer, organist and teacher. His works have been performed and commissioned worldwide. It was a great pleasure and joy to be his student at the University of Michigan.

Unfortunately, he passed away on September 17, 1998 at the age of 54. His death is definitely a great loss in music world.

The piece starts with the East Asian restraint that symbolizes the sadness upon his death, while also alluding to the meditative and mysterious side of the man himself. The middle section reflects his outer personality and his signature compositional style- interesting, spectacular and unpredictable. The music develops through both smooth and _,>Qnt~ting moments. The ending recapitulates the sadness from the beginning; this represents the shock of suddenly loosing15omeone so important.

The title is thci.._retrograde of WAibright and thus represents the unpredictability of lif _

EDWARD MARTIN (b. 1976), originally from Bethlehem, Pennsylvania, holds a Masters" Degree in Composition from The University ofTexas at Austin and a Bacheloh Degree in Composition from the University of Florida. His composition teachers have included Dan Welcher, Donald Grantham, Steven Montague, James Paul Sain and Budd Udell and he has studied piano with Kevin Sharpe. His music has received many performances including those at Society of Composers, nc. regional and national student conferences. He is currently working towards a DMA in Composition at the University Illinois studying composition with St.:- ..,hen Taylor and Scott Wyatt.

obiles (2000), for flute and guitar, is a musical a cpicuon of spinning and rotation. Many aspect:> of this work, in cluding the melodic lines, harmonic progressions, and form, were derived from the idea of rotation around an axis. Throughout the piece, one instrument reacts to the other as an object suspended on the mobile would be set in motion by the subtlest breeze.This cause and effect relationship becomes most prevalent at the piece's climax >vhere the increasinglv violent five anrl six-note chords in the guitar propel the ml1<;ic;il mobile past its limit.

CHARLES l"loRM.n,.-, .lfl.ASON's (b. 1955) composin0ns nave received numerous awards including a 1998 Prem Internacional de Composici6 Musical Ciutat de Tarragona Orchestra Music prize, a 1994 National Endowment of the Arts Individual Composers Grant, 2002 First Prize in the Atlanta Clarinet Association competition, a 2000 Individual Artist award fromAlabama State Council on the Arts, a 2000 commission from the National Music Teachers Association, a 1995 Delius Prize, a 1996 Dale Warland Singers Commission Prize, a 1980 BMI Award for Young Composers, First Prize in the Panoply of the Arts competition, First Prize in the City Stages Classical Music competition, the International Bourges Electro-Acoustic Competition, and a 1997 commission award from the Fairbanks Symphony Association. His works are available on nine different Compact Discs. He has held residencies in Alaska, Prague, New York, the Hambidge Center and the Seaside Institute in Seaside, Florida. Dr. Mason is vice-president of programs for Society for Electro-Acoustic Music in the U.S. (SEAMUS), is founder of Living Artist Recordings, is founder and past president of the Birmingham Art Music Alliance, is composition chair of the Alabama Music Teachers Association and teaches composition at Birmingham­ Southern College.

The image for Fishing Through _the Open Door (1999) was sparked by encountering a text passage related to metempsychosis (i.e. the transmigration of a soul into a different body, possibly of a different species).As I contemplated this idea, I imagined a courtship between the new body and the old soul rather than a sudden inhabitation. The term open door is often used by different religions to symbolize dying.

the piece, Melodic Lines of various lengths occur throughout the piece with similar pitch material, some of which last entire length of the piece, while others last only a second.The sounds on the tape are derived from flute samples.

UL RICHARDS (b. 1969),Assistant Professor of Composition and Theory at The University of Florida, is the recipient of numerous national and international prizes and commissions. He has previously taught at Baylor University, and holds degrees from The University of Texas at Austin and The University of Arizona. Prizes include the Jacksonville Symphony Fresh Ink 2002 Composers' Competition, the 2000 New Music for Sligo/IMRO Composition Award, the 2001 Truman 21 State University/M.A.C.R.O. Composition Competition, Second Prize in the 2001 International Horn Society Composition Competition, Fourth Prize in the 2000 Britten-on-the-Bay Series X Competition, First Place in the 1999 Voices of Change Composers Competition, two First Place prizes in the Guild of Temple Musicians Young Composers Award (1994-5 , 1995-6), and ASCAP Standard Awards. Richards' music is recorded on the Capstone, Mark, and Summit labels, and is published by Southern Music, Mnemes - Alfieri e Ranieri , and the International Horn Society Press. Current projec include commissions from the Jacksonville Symphony Orchestra,Third Angle New Music Ensemble, another from a Jar consortium of wind ensembles, anrl a compositi0n residency in North Cyprus in th!': fall of 2002.

Magic Forest Scenes (2000), composed for clarinet virtuoso foitchell .t:strin, are a pairA.11 surreal evocations from a composite imaginary other-world drawn •:-0IJ1" lifelong love of fiction and mythology.

PHILLIP SCHROEDER (b. 1956) was born in l.'-.vrthern California. His life as a musician began early and has paralleled the diversity of surroundings, now 12 states: trumpet in concert bands, boys and mixed choirs, electric bass in rock bands, orchestral and chamber conducting, experimental improvisation ensembles; and piano performance.

A recipient of numerous awards and commissions, Schroeder has composed music for orchestra, wind ensemble, live-electronics, chamber ensembles, choir, instrumental solos, and voice. His music has been variously described as continuing "a tradition of brilliance and openness" with "powerful expressive qualities that focus on subtle shadings and nuances." He has appeared as a featured guest composer, lecturer, and performer at festivals, conferences, and universities throughout the United States and Europe, and has held residencies at the MacDowell Colony, Palenville Interarts Colony, Millay Colony, and Charles Ives Center for American Music. His awards include the Delius Composition Contest, Rhode Island Philharmonic Composers Award, and New Music for Young Ensembles Competition.

Phillip Schroeder is on the faculty at Henderson State University, teaching composition, theory, and aural skills. He received a BM from the University of Redlands, MM at Butler University, and PhD from Kent State University. His compositional studies included work with Barney Childs, Larry Solomon, Michael Schelle,Thomas Janson, and Frank Wiley.

Soon after moving toArkadelphia,Arkansas in July of2001 to teach at Henderson State University, pianist Dylan Savage and I began talking about the possibilities of writing and performing solo piano music. Since we quickly discovered that our sense of tl1e spiritual and intellectual were so very similar, the potential for many of these types of projects began to emerge. I then spent five days in the Los Angeles area editing and mastering a CD, and staying with the composer Jim Fox, a very old and dear friend, and a resource fora wealth of great sounds,!'', and ideas.During my stay there From the Shadows o£i Angels (2001) began to emerge, and by the time I arrived back in Arkansas, it took two days to get it on paper.

MICHAEL SIDNEY TIMPSON (b. 1970) received composition degrees from the University of Michigan (DMA), th Eastman School of Music (MA) and the University of Southern California (BM). His primary composition teachers included Samuel Adler, William Albright, Donald Crockett, Ian Krouse, Morten Lauridsen, Frederick Lesemann,Andrew Mead, Milcho Leviev (for jazz), Allen Schindler (for computer music) and Pulitzer Prize winners William Bolcom and Joseph Schwantner. His works have been featured all over the United States (Arizona, California, Florida, Hawaii, Illinois, Indiana, Iowa, Kansas, Massachusetts, Michigan, New York, North Carolina, Virginia, and Washington) and internationally (Canada, the Caribbean, the Czech Republic, France, Japan, Korea, Singapore, and Taiwan.) Notable groups, such as the New York New Music Ensemble, the Society for New Music, Composers Inc, and Music From China, have performed his works.Timpson has also received several composition awards.These include honors from ASCAP, BMI, the Brian M. Israel Prize, DownBeat Magazine, the Joyce Dutka Arts Foundation, the Kathryn Thomas Flute Composition Competition, the Lee Ettelson Composer's Award, the Music From China International Composition Competition, NACUSA, and the NFMC's Beyer and Youse Competitions. Recently, he was nominated for the American Academy of Arts and Letters composition award. His works will appear on recordings released by Albany/ Capstone and CRS and have been published byWorld­ Wide-Music.

Previously, Timpson taught composition and ear-training at the University of Michigan and was an assistant professor of music theory and composition at University of Kansas, where he w as director of the Electronic Music Studio, co­ conductor for the New Music Ensemble, and an associate of the Center of East Asian Studies. Currently, he teaches at Rhodes College in Memphis, where he is an assistant professor and is coordinator of Music Theory, Composition, and Technology.

Refracting Timbre (2001) was conceived tu combine and bridge several different musical influences. It begins in reflection of the slow-moving, almost still feeling of ancient Asian music, like the flow of nature. However, occasional harmonic nuances allude to colors of modern jazz and classical music. Eventually, the simplistic repeated motives form a grand transitional heterophony (the traditional Asian music texture, in which several different versions of melody are played simultaneously.) This heats up into a grooving blues using abstract modern classical harmoni Finally, at its climax, the work bridges back to whence it came, resolving back to the ancient world. Refracting Timb was commissioned by Taiwanese zheng player, Hsing-Hui Chen, and premiered on January 8, 2001 in Taiwan Nation­ Concert Hall, Taipei.

SAM WEIGLE (b. 1980) was born and raised in Panama City, Florida. He attended Covenant Presbyterian School and Gulf 22 Coast Community College before coming to Memphis. He is currently in his fourth year at Rhodes College, pursuing a Bachelor of Arts in music. Sam's musical training began with piano lessons starting at age 6, and at 16 he took up the guitar. His real involvement with music did not begin until his college years, when he began studying classical guitar d composition. Sam performs with various student ensembles, as well as with local bands, and also teaches guitar at Germantown Baptist Church Music Conservatory. He plans to attend graduate school and pursue a Masters Degree composition.

ese two short movements for double wind quintet are part of an unfinished suite, entitled Dream Suite (2002), in which the composer sought to utilize various styles of harmony, rhythm, and texture. Nightmare was almost entirely composed using the octatonic scale. It is made up of three sections, each of which explores the many harmonic possibilities of the scale, as well as contrasting textural ideas. REM is a fast movement in modified rondo form, with numerous meter and tempo modulations. Its harmonic palette ranges from octatonic and hexatonic to pentatonic and diatonic/modal schemes.

BETIY WISHART (b 1949) holds degrees from Queens University and the University of North Carolina where she now teaches. In addition to writing concert, sacred and pedagogical music, she has also presented workshops on "Contemporary Piano Music for Students", and has adjudicated numerous piano competitions including the Baldwin Piano Competition, Campbell University Scholarship Competition, and National Piano Guild Auditions.

She has been recognized by Who's Who in Music, Foremost Women of the Twentieth Century, International Leaders in Achievement, World Who's Who of Women, and has received awards from ASCAP, Composers Guild, and the American College of Musicians. She is currently secretary of the Southeastern Composers League, Inc.

Toccata II (2000) was dedicated to" M,..:nael zenge, my former teacher, upon his retirement from UNC in 2000.The piece features fast repeated notes and triplet figurations ("endless hours of practice") interspersed with arpeggiated flourishes ("performances") that flow into brief chordal interludes.

23 Perforiners'Biographies

Flutist and composer, DONNIE ASHWORTH is a strong advocate of the new arts.Ashworth has performed new works at various venues throughout the southeast. Ashworth has premiered, commissioned, and recorded works by man composers including Dorothy Hindman, Chuck Mason, and Monroe Golden. Donnie is currently in his eighth year as member of Birmingham Art Music Alliance.

A native of Canada, JERI-MAE G. ASTOLFI began formal piano studies at an early age, receiving an Associate of Music degree while still in high school. From there she earned a Bachelor of Music degree from the University of Alberta and a Master of Music degree from McGill University, both in piano performance. Dr.Astolfi has appeared as a soloist with the University of Alberta Symphony Orchestra, its affiliate members, and as a chamber musician with the McGill Contemporary Music Ensemble. Her keen interest in new music has led to her involvement in the premiere and commission of many new compositions, including the Minnesota premiere of several piano works by Einojuhani Rautavaara, including Sonata No. 2, "The Fire Sermon", a topic which she presented at the Minnesota Music Teacher's Association's 2002 convention.A winner of numerous awards, scholarships and grants, formal studies and performances have taken her throughout Canada, Italy and the United States where she recently completed a Doctorate of Musical Arts degree in piano performance at the University of Minnesota under pianist, Lydia Artymiw. Dr.Astolfi is currently an Assistant Professor of Music at Henderson State University in Arkansas.

Soprano CAROLE BLANKENSHIP is an adjunct instructor of voice at Rhodes College. In addition to a BA in Music from Rhodes, she also holds the MM in Voice Performance from the University of Memphis. She is heard regularly in recitals, chamber music concerts, and choral works at Rhodes and many venues in the local area. She is a charter member of the Memphis Vocal Arts Ensemble and the Rhodes MasterSingers Chorale and has appeared as soloist with both groups as well as the University of Memphis Opera Theatre, the Memphis Symphony Orchestra Baroque Series, the University of Memphis Imagine Festival and as recitalist for the MefllPhis Chamber Music Society. In 1999, Carole was featured in two recitals at Germany's Bayerische Musickakademie Marktoberdorf. She may be heard on the compact disc, Lullabies with Duo Vance. Carole's performances this year have included Villa-Lobos' Bachianas Brasileiras with 8 cellos, Poulenc's Gloria, Vaughan-Willams' Hodie, and Bach's Mass in B Minor with Chorus and Orchestra as well as a recital of opera and operetta for the Beethoven Club of Memphis. This May Carole was soloist representing Opera Memphis for the Czar's Dinner at the Wonders Exhibit of Memphis. For the past six years Carole has served as the President of the Memphis chapter of the National Association of Teachers of Singing.

LEIGH BONNER is a freshman at Rhodes and a graduate ofWhite Station High School in Memphis. From childhood, h father cultivated her strong background in music by giving her a great appreciation for instrumental music. Music is large part of Leigh's life. She has been named to the All-West Tennessee Band as well as the All-South Honor Band held a the University of Southern Mississippi. She enjoys playing music for her church and for her family.

RUSSELL BROWN studied Clarinet Performance at Valdosta State University, where he received a B.M. He received a MM in Clarinet Performance from The Ohio State University and is now pursuing an MM in Music Composition at the University of Florida. Mr. Brown was awarded a University Fellowship from the Ohio State University and a Teaching Assistantship at the University of Florida. He currently performs with the Gainesville Chamber Orchestra. Mr. Brown's clarinet instructors include: Prof. Mitchell Estrin, Prof. James Pyne, and Dr. Jeffrey Olson. His composition teachers include: Dr. Paul Richards, Dr.Thomas Wells, Dr.Tayloe Harding, and Prof. Ed Barr.

THOMAS BRYANT received his B.M. and M.M. Degrees from the University of Georgia, and completed his D.M.A. degree at Northwestern University in Chicago, IL. Dr. Bryant lists his piano teachers and mentors to include Despy Karlas, Jane Douglas, Hans Petermandl, Maria Regina Seidlhofer-Luponi, and Donall Isaak. He has studied accompanying with Laurence David and Erik Werba. Dr. Bryant has earned an impressive reputation both as a solo pianist as well as an artistic accompanist. He is active throughout the region as a concert artist, and is in high demand as a recital accompanist. In addition to his rigorous performing activity locally, he travels nationally and internationally in his piano performance. Dr. Bryant teaches piano, accompanying, and music theory at Rhodes College.

ANDREW CARLSON has performed as a soloist and as a chamber musician throughout the United States. Of his 1998 Merkin Hall performance the New York Times wrote "Mr. Carlson is a demon fiddler and his performance here was serious and concentrated." He has earned both a MM and BMUS from the University of Georgia and a DMA in Performance and Pedagogy from the University of Iowa. In addition to his experience as a classical violinist,Andy began learning traditional fiddle music from his grandfather at age 5. He has won numerous fiddle contests and has twice been named the Georgia State Champion Fiddler and was named the 2000 Ohio Grand Champion fiddler. His book entitled A Guide to American Fiddling has recently been released by Mel Bay Publishers.As a studio musician and string arranger he ha recorded for companies including Warner Bros. ,Atlantic, Elektra, Geffen, Polydor, and Capricorn. His most recent maj label appearance is with the band "R.E.M ." An active teacher,Andrew has served as a faculty member at Morehead Stat University and the Preucil School of Music. He has served as a faculty member at Suzuki institutes including Ithaca, , The University of Memphis, Capital University (Columbus, OH), and South Carolina (Furman University). Currently an Assistant Professor at Denison University in Granville, Ohio, he teaches violin, music history, and directs the orchestra. 24 Dr. DIANE M. CLARK, a native Memphian, is Associate Professor of Music at Rhodes College, where she teaches voice and public speaking and is Conductor of the Rhodes Women's Chorus. She has twice chaired the Department of Music, and is currently Coordinator of the Performance Division and the Voice Area. She holds music degrees from Rhodes, diana University, and the University of Mississippi, and a Certificate in Transpersonal Studies from the Institute of spersonal Psychology. Dr. Clark is a member of the National Association ofTeachers of Singing, the American Choral ectors Association, and Music Educators National Conference. She is also active in Sweet Adelines, International, ere she is a Certified Chorus Director and Education Coordinator for the five-state Heart of Dixie Region.As a vocal oloist, she has been active in recital, church music, opera, and music theatre. She is also active as a composer of vocal and choral music and a barbershop arranger.

LAUREN SCHACK CLARK is active as a pianist, both in solo and collaborative performances. She has performed with principal players of the Boston Symphony, Boston Pops, St. Paul Chamber Orchestra, Slovenian Radio Symphony, and Memphis Symphony, and with faculty members from the Eastman School of Music, Oberlin Conservatory, New England Conservatory, University of North Texas, University of Washington-Seattle, Florida State University, the University of Southern Mississippi, and the University of Memphis. She has appeared with the Anderson String Quartet, Memphis Chamber Music Society, and Opera Memphis. She is Director of the Community Music School at the University of Memphis, where she also teaches. With her husband, bassoonist Dale Clark, she has performed at the University of Texas-Austin, University of Washington, University of Nebraska, University ofTennessee-Knoxville,The Joslyn Museum in Omaha, the Shrine to Music Museum in South Dakota, and at Boston Conservatory. She was principal pianist for the MidSouth Double Reeds Conference and the Flute Festival MidSouth. In 1997, she concertized in Paris in conjunction with the Institute for Advanced Vocal Study, and returned to Paris in 2001 to perform at the French Piano Institute. In 2002, she received an Honorable Mention in her division at the Bartok-Kabalevsky-Prokofiev International Piano Competition. She has taught at Atlantic Union College, Longy School of Music, New England Conservatory Preparatory Division, and Brookline (MA) Music School. Dr. Clark holds a Doctor of Music Arts degree from Boston University, a Master's from Northwestern, a Graduate Diploma from the Longy School of Music, and a Bachelor's from the Hartt School. She is certified in Piano and Pedagogy through the Music Teacher's National Association, serves as Secretary of the Greater Memphis Music Teachers Association, and has published in Clavier magazine.

Clarinetist RENA FELLER earned the Bachelor of Music degree at the Oberlin College Conservatory of Music and the Masters degree at the Juilliard School of Music. Since 1986 she has held the position of E-flat Clarinet/Second Clarinet with the Memphis Symphony Orchestra. She also teaches at Rhodes College, Memphis and maintains an active private aching studio. From 1991 to 1999 she was principal clarinetist with the Berkshire Opera.As a solo recitalist and ber musician, Ms. Feller has premiered and recorded numerous contemporary compositions.

HALL FINE (see Composers' Biographies and Program Notes section)

Baritone CHRISTOPHER HANSON is a native of Norfolk, VA. Educated at Old Dominion University, he was an active performer in opera, oratorio, and recital. He has performed several major roles with opera companies including Masetto in Don Giovanni with the Rome Opera Festival. He studied voice with Ryan Edwards, Norman Paige and Phyllis Hunter. Christopher currently serves as Bass soloist for Idlewild Presbyterian Church in Memphis and is a sales representative for American Camera.

ANDRA HAWKS is originally from Stone Mountain, Georgia. She has studied flute with Marsha Hood at Converse College in Spartanburg, South Carolina, and Jean Harling at the University of Hawai'i at Manoa.While at the University of Hawai'I,Andra was named to the University of Hawai'i Merit List for Achievement in Performance. She was also a substitute flutist with the Honolulu Symphony, and performed professional recitals after earning her master's degree in performance. Currently she is studying flute with Bruce Erskine at the University of Memphis, finishing her doctoral degree in flute performance.While in Memphis,Andra has performed as principal flutist with the university orchestra, as a concerto soloist on a university European tour, and in the pit ord1estra at the Orpheum Theatre. She also won first place in the 2002 Beethoven Club Young Artist Competition, and was awarded the University of Memphis Graduate Performance Award.Andra is a member of the Mid-South Flute Society, the National Flute Association, Delta Omicron, and Pi Kappa Lambda. She enjoys teaching her flute students and directing her church choir in Memphis,Tennessee .

TERESE HOLM is a sophmore from Newton MA. She studies bassoon with Leyla Zamora and is going to be a minor in music. She plans to be a cllemistry major, and is a member of Alpha Omicron Pi sorority

EilZABETH COBB HOUSTON, Second Harpist with the Memphis Symphony Orchestra, received her BA in Fine Arts from Rider University, and MA in Christian Education from Princeton Theological Seminary. She has studied harp with r mother, Ruth Moore Cobb, former longtime Memphis Symphony Harpist, and also with Jeanne Chalifoux, Alice · oux, and Reinhardt Elster. She is a member of the American Harp Society, Memphis Chapter, The Renaissance Music le, and the Memphis Symphony League, and teaches privately.

DAVID HATT (see Composers' Biographies and Program Notes section)

IJNDA HSU is Assistant Professor at UCA and concertmaster of the Conway Symphony Orchestra. Active as a 25 soloist, chamber and orchestral musician, she has performed in Asia, Europe and the United States, including New York Debut Recital at Carnegie Weill Recital Hall, recitals at the National Taiwan Recital Hall, and solo performances with the National Symphony Orchestra of Taiwan, the Taipei Century Symphony, the Greece Symphony Orchestra of New York, and the Conway Symphony Orchestra. She studied at the Manhattan School of Music, Yale Universi Hochschule fur Musil:: Manllheim, and the Eastman School of Music, where she completed her Master and Docto degrees. Her violin teachers include Albert Markov, Sidney Harth, Camilla Wicks, Catherine Tait, and Jeremy Zh

JULIA W. JONES is a native of Paris, Kentucky. She is a senior at Rhodes College studying biology and music. She enjoys working as a student assistant at the Univeristy of Tennessee Health Science Center. She is also a member of Kappa Delta Sorority, and a volunteer at the Memphis-Shelby County Humane Society. Currently, she is a student of Rena Feller and plays with the Rhodes Orchestra, Wind Ensemble and Woodwind quintet.

MICHAEL KALLSTROM (see Composers' Biographies and Program Notes section)

Soprano MONA KREITNER has appeared in solo recitals and chamber music concerts at Rhodes College, Christian Brothers University, Lyon College, Memphis Chamber Music Society, Birmingham Arts Festival, and the University of Memphis Imagine Festival. Recent solo appearances with orchestra include performances of the Bach _Magnijicat, Haydn Creation, and Poulenc Gloria. She is also the vocal soloist for the Great Western Rocky Mountain Brass Band. Mona sings regularly with the Memphis Chamber Choir, the Memphis Consortium for Early Music, and the Kamran Ince Ensemble.With Kamran Ince she has recorded original scores for the films Love Under Siege, Sarkici, and Aphrodisiac, and completed two international tours to Turkey and Northern Cypms. She may be heard in recordings with the Memphis Chamber Choir on the Pro Organo label, and the Kamran Ince Ensemble on the Raksmusik label. Mona holds a Master of Music in Vocal Performance and the Performer's Certificate in Voice from the Eastman School of Music. She teaches on the faculties of Rhodes College and the University of Memphis.

EUN-JOO KWAK enjoys a musical career as both a soloist and chamber musician. Her solo performances have led her to Russia, Asia and throughout the United States, including appearances at the Dame Myra Hess Memorial Concerts in Chicago, the American Landmark Festival in New York, and the Seoul Arts Center in Korea. Kwak has performed as a featured soloist with the Northwestern University Symphony Orchestra, Chicago Chamber Orchestra, Ottumwa Symphony Orchestra, Truman State University Symphony Orchestra, and most recently with the Sun-Hwa Symphony Orchestra in Korea. In addition to winning the Concerto Competition at Northwestern University, she has earned prizes in prestigious competitions such as the Samick Piano Competition in Seoul, and the International Beethoven Sonata Competition i Memphis. Kwak received her Bachelor of Music degree in Piano Performance from Seoul National University, Master Music from Chicago Musical College of Roosevelt University, and Doctor of Music from Northwestern University. She currently Assistant Professor of Music at Cardinal Stritch University in Milwaukee.

PHYLLIS LONG is currently a cellist with the Memphis Symphony Orchestra, and an active freelance musician and clinician in the Mid-South area. She is an adjunct instructor at Rhodes College. Phyllis was on the faculty of the University of Memphis Suzuki String Program for thirteen years. She currently has a private studio of cello students at home. Her chamber music experience includes nine years with the Fontaine Trio (String), two years with the Bluff City String Quartet, and six years with the Seasons String Quartet. Phyllis served as the Interim Coordinator for the University of Memphis Suzuki String Program during the 1990 - 1991 school year and was the assistant director, as well as the director of Strings for the University of Memphis Suzuki Institute for several summers. She is currently on the faculty of the Rhodes Chamber Music Camp for Strings, the Chamber Music for Strings Workshops, and the University of Memphis Suzuki Summer Institute.

RUTH ANN McCLAIN is flute instmctor at Rhodes, and also has a private studio. She has given concerts and masterclass es in Slovenia, London, Italy, Germany, and the Netherlands, as well as in the US. She is co-founder of the Mid South Flute Socity, former NFA Exhibits Liaison, and editor of the Technology section of the Flutist Quarterly. Her students have won competitions at local, state, and national levels, and she has taught at the Tennessee Governor's School for the Arts. McClain performs regularly with Duo Bravo, flute and guitar with John Ross, and with Duo con Brio, flute and harp with Elizabeth Houston. She received both Bachelor and Master of Music degrees in flute performance from the University of Memphis where she studied with Paul Eaheart and Bruce Erskine.

CORBIN MILES started his early musical training at the Swift Creek Academy for the performing arts in Richmond VA. He earned a Bachelor of Music in Guitar Performance at East Carolina University under the tutelage of Dr. Elliot Frank. He then continued his education atThe University of Memphis where he received a Master's degree in Guitar Performance. Since 1995 Corbin has taught classical guitar at Rhodes College. Corbin has received numerous awards and scholarships including the A.]. Fletcher. He has been a performer in numerous master classes for many distinguished artists such The L.A. Guitar Quartet, Ronald Pearl,Julian Gray, Robert Guthrie, Douglas Neidt, Steve Aaron, Mary Ackerman, andAar Shearer. He has debuted several pieces for guitar including several duets for guitar and violin. Corbin has recently be in the studio at work on several recording projects as well as composing a series of short pieces for guitar.

DAVID RAMSEY, Distinguished Service professor of music at Rhodes College, is associate conductor and accompanist for the Rhodes Singers, MasterSingers, and Women's Chorus, as well as instructor in organ and music history and 26 literature. He is departmental coordinator of the Keyboard Area. He received a bachelor's degree in music from Rhodes, and a master's in sacred music from the Union Theological Seminary School of Sacred Music, New York. In addition to Rhodes involvements, David is currently Director of Music and Organist for First Presbyterian Church. Memphis and regional sports enthusiasts know and hear David as the seasoned baseball organist for the Class AAA Memphis Redbirds, position he has held twenty-seven years. David is an accompanist for singers, instrumentalists and choirs, in addition solo concert engagements. For thirty-eight years he has been organist, harpsichordist or interim conductor of del's Messiah at Calvary Episcopal Church, and for the last six years has accompanied the annual Festival Lessons and ols for the Memphis Boychoir and Chamber Choir.Among other involvements, David has been on the administrative aff of the Sewanee Church Music Conference of the Episcopal Church for nearly forty years.

BRIAN RAY earned the BM in Piano Performance from The University of Tennessee at Martin, the MM in Piano Performance from the University of Memphis and is currently finishing the DMA in Piano Performance atThe University of Memphis. Brian has performed as a soloist as well as collaborative pianist in recitals at Rhodes College, the University of Memphis, the University of Tennessee at Martin, and Christian Brothers University. He has been a soloist with the . University of Memphis Orchestra and the Memphis Civic Orchestra. He has also been a harpsichord soloist with the University of Memphis Orchestra in]. S. Bach's Concerto for Four Harpsichords and Orchestra. l Mr. Ray has participated in the New Music Festival at the University of Memphis. He has served as coach/accompanist for productions of Le Nozze di Figaro, Albert Herring, and Gianni Schicchi at the University of Memphis and the University of Kentucky. He has also performed extensively as an assisting pianist in voice recitals. His most recent collaborative ventures have included art song recitals of works by Richard Hundley, Samuel Barber, and a women's composers program that featured works by Libby Larsen and Rebecca Clarke. Mr. Ray was assistant conductor and assisting pianist of the Rhodes Women's Chorus in 2001-2002. In addition to private piano instruction at Rhodes College, Mr. Ray is the departmental collaborative pianist. He also teaches piano classes at the University of Memphis. His areas of research include the piano works of Joseph Marx, piano repertoire of the 20th century, works for piano ensemble, and harpsichord. He was a member of the music faculty at Christian Brothers University in Memphis and he initiated its CBU Concert Series. He has been a student of Allison Nelson, and he currently studies with Joan Gilbert.

For nine years, JOHN ROSS has been a member of the Music Faculty at Rhodes College, where he teaches Classical Guitar. Prior to moving to Memphis with his family, Mr. Ross taught Guitar at Rockford College and Rock Valley College, both in Rockford, Illinois, and at Beloit College in Beloit, Wisconsin. He has been teaching Guitar over twenty years at the college level. Mr. Ross has performed Guitar and Lute concerts throughout the Midwest and Midsouth. He has also hosted and sponsored several Master Classes featuring among others, Sharon Isbin, Douglas Rubio, Elliot Frank and Fran­ sc de Paula Soler.

Mil.OU RYE RUSHING, University of Memphis Adjunct Professor of Voice, is an active performer in concert, ital, and opera, as well as a sought-after vocal coach and piano accompanist. Ms. Ryes versatility affords her various performance opportunities both in the United States and in Europe. She performed extensively throughout Europe with the Bayerische Kammeroper Veitshchheim and in television, CD, and radio productions at Westdeutscherunclfunk in Koeln, Germany. Ms. Rye studied voice with Professor Dietger Jacob at the Staatliche Hochschule fuer Musik Rheinland in Kin, Germany, after earning the Bachelor of Arts degree in Voice and Piano from Arkansas Tech University and the Master of Music Education degree from North Texas State University. She is currently a candidate for the Doctor of Musical Arts in Performance degree at the University of North Texas.

TIMOTHY W. SHARP is Chair of the Department of Music at Rhodes College. He is conductor of the Rhodes Singers, MasterSingers Chorale, and Rhodes Orchestra. He teaches conducting and music history and literature. Sharp has established himself and the ensembles of Rhodes College as premiere artistic offerings in the region. Dr. Sharp is at home on the podium for choral, operatic, and orchestral concerts. In the summer of 2001 he led the MasterSingers Chorale and Rhodes Singers on a concert tour throughout Italy, culminating in Bern, Switzerland, where the ensembles were featured at the International Church Music Festival under the artistic direction of Sir David Willcocks. Sharp holds the Elizabeth G. Daughdrill Chair in the Fine Arts at Rhodes College. Sharp is author of Precision Conducting (Lorenz) and a contributing author to Up Front! Becoming the Complete Choral Conductor (E.C. Schirmer). He has numerous compositions, recordings, and articles to his credit, and writes the regular featured column "Hallelujah!" for Choral journal, the official journal of the American Choral Directors Association, as well as serves on the Choral Journal Editorial Board and the ACDA Research and Publications Committee. He received the "Booklist Award" from the American Library Association for his publication "Mendelssohn's Elijah for Young Voices", and his most recent publication with Church Street Music is the collection and recording "An Early American Service of Lessons and Carols." Sharp is featured in conducting and choral workshops throughout the United States and abroad. He presented the paper "Moravians in Two Worlds" at the International Congress of the International Musicological Society in Leuven, Belgium, in the summer of 2002. He has completed further work in conducting at the Aspen Music School, work in musicology at Harvard University, and itional studies in Belgium through a Rotary scholarship.

MARIE SCHISSLER received her Master's degree in piano performance from the University of Louisville and Cluated magna cum Iaude with a Bachelor of Music degree from the Blair School of Music at Vanderbilt University. She has been a student of Amy Dorfman and Lee Luvisi.While attending the University of Louisville, Ms. Schissler performed with the New Music Ensemble.As an undergraduate, Ms. Schissler taught at the WO. Smith Music School in Nashville, was a 1997 Blair School of Music Concerto Winner, performed in Student Showcases as a soloist and chamber musician, and 27 gave two solo piano recitals. Ms. Schissler has performed in Master Classes at Vanderbilt and the University of Louisville with Aldo Mancinelli, Claude Frank, Gilbert Kalish, Misha Dieter, and Russell Sherman. Ms. Schissler is an adjunct instructor in the department of music at Rhodes College and an instructor for the Academy of Music.

YALIN SONG, cellist, has studied cello since he was 6 years old.After graduating from the Beijing Conservatory of Mu in China in 1996, he received his master's of music from the RoyalAcademy of Music in London, where he studied w· Steven Isserlis.While in London,Yalin won 2"d prize in the May Mukle Cello Competition, received a British/China T award, and was invited as a soloist to perform at Lyon Modern Music Festival in France.Yalin came to the United States at 1998, where he won First Place in the American Music Teacher Association Competition. From September 2000 to September 2002, he was appointed as the principal cellist in the Memphis Symphony Orchestra. He also serves on the faculty of Rhodes College. Recently, he joined the Fort Worth Symphony Orchestra in TX.

ClffiISTINA PAIGE STINNETI is the daughter of Dr. and Mrs. Thomas Stinnett of Dardanelle, AR. Currently, she is a freshman music minor at Rhodes College, with an undecided major. In high school, she was an all-region oboist, an all­ state oboist, and received awards such as "Overall Outstanding Musician,'' and the "John Phillip Sousa Award in Musical Excellence."

WEN Yill YOU received his diploma of music from the National Taiwan Academy of Arts and master's degree and a certificate of professional study from Mannes College of Music in New York City. Before moving to United States, Mr. You served as assistant concertmaster in Taipei City Symphony Orchestra and was featured as a soloist with Taipei City Symphony orchestra, the Orchestra of National Defense of Taiwan and the Orchestra of National Taiwan Academy of Arts. Mr. You has also performed concerts in chamber music with cellist Leslie Parnas from the chamber music society of Lincoln center, and his teacher, violinist Nina Beilina in New York. While living in New York, Mr. You has served as concertmaster and coach in 92"d street Y Symphonic Workshop Orchestra. He also acted as a principle member and performed with Bachanalia music Festival Orchestra and Korean Chamber orchestra in New York.Apart from that, he had also performed with The New Philharmonic of New Jersey Orchestra, The Cape May Music Festival in New Jersey and Colorado Music Festival in Boulder, Colorado. He is currently the member of Memphis Symphony Orchestra. He joined the faculty of the music department of Rhodes College in 2001.

LEYIA ZAMORA is the principal bassoonist with the Memphis Symphony Orchestra.A native of Costa Rica, she studied bassoon at the Tchaikovsky Conservatory in Moscow, the former Soviet Union, and Baylor University in the United States. Before coming to Memphis, Zamora held positions in Civic Orchestra of Chicago, Waco Symphony, Costa Rica Nation Symphony, and Colombia Youth Symphony. Zamora has participated in national and international festivals such as Br Festival 2001-2002, International Orchestra 1999 in Japan, Spoleto Music Festival 1997, 2000 in Italy, Cassals Festi 1987 in Puerto Rico,Apple Hill Center 1996, 97, 98, and 2001 in New Hampshire. In addition to the Memphis Sympho Zamora is an active chamber musician and has performed concerto and recitals in Costa Rica, Panama, Colombia, Europe and the former Soviet Union.

28 Ensemble Information:

The RHODES MASTERSINGERS CHORALE sings four concerts annually, including Hodie by Ralph Vaughan Williams, d other performances of varied repertoire.The 2002-2003 year includes Antonio Vivaldi's Gloria, with the women of chorale singing an SSAA arrangement of the popular work, and performances of Prokofiev's Alexander Nevsky in ch and Great Opera Choruses in May. Every fifth year marks a performance with the Rhodes Singers of Mass in B or of]. S.Bach.The conductor of the Rhodes MasterSingers Chorale isTimothyW Sharp and the associate conductor and accompanist is David Ramsey.

The RHODES SINGERS is the longtime concert choir of the college. The ensemble annually participates in the performance of Hodie by Ralph Vaughan Williams, and Christmas at St. Mary's. The sixty-fifth annual tour will take place in early 2003, with appearances in Arkansas, Texas and Louisiana. The Singers began their tradition of touring abroad in 1976. Most recently, a 2001 international tour took the Singers to Italy and Switzerland, where in Bern they were a featured choir at the International Church Music Festival. A 2004 summer tour to Ghana is in preparation.The conductor of the Rhodes Singers is Timothy W Sharp and the associate conductor and accompanist is David Ramsey.

The RHODES WOMEN'S CHORUS is the newest vocal ensemble in the Rhodes Music Department, having been organized in the fall of 2001.The Conductor of the group is Dr. Diane M. Clark, the Associate Conductor and Accompanist is Professor David Ramsey; the Student Conductor is junior music minor, Marissa Foshee. During the 2001-2002 school year, the chorus performed at First, Evergreen, and Buntyn Presbyterian Churches, Peterson Lake Baptist Church, and Grace-St. Luke's Episcopal School, as well as in several performances on the Rhodes campus. They presented a spring campus concert onApril 3 in conjunction with the Rhodes Wind Ensemble.Their repertory spans several musical genres, including classical, folk, sacred, music theatre, and barbershop.

29 COMPOSER CONTACT INFORMATION

Name: Larry]. Barnes Name: Doug Davis E-mail: [email protected] E-mail: [email protected] Address: Division of Fine Arts Address: 2125 MingAve. Transylvania University Bakersfield, CA 93304 300 N. Broadway Tel: (661) 834-0115 Lexington, KY 40508 Fax: (661) 827-8303 Tel: (859) 233-8179 (o) Web: www.geocities.com/doug_davis2000/ (859) 278-5059 (h) www.bakersfieldjazz.com/doug_davis.html

Name: Peter Blauvelt Name: Sue Dellinger E-mail: [email protected] E-mail: [email protected] Address: 503 Lillian Dr. Address: 1161 lverleigh Trail Madeira Beach, FL 33708 Charlotte, NC 28270 Tel/Fax: (727) 391-8461 Tel: (704) 814-0683 Web: peterblauvelt.com/ Name: Marshall Fine Name: Chin-Chin Chen Email: [email protected] E-mail: [email protected] Address: 38 N. Highland St. Address: 11568 Brookland Dr., Memphis,TN 38111 Allendale, MI 49401 Tel: (901) 323-5279 Tel: (616) 895-7520 Web: faculty.gvsu.edu/chenc Name: Robert Fleisher E-mail: [email protected] Name: Jong Yeoul Chong. Adress: School of Music E-mail: jychong@midway. uchicago .edu Northern Illinois University Address: 1369 E.Hyde Park Blvd.#810 DeKalb, IL 60115 Chicago, IL. 60615 Tel: (815) 753-0642 Tel: (773) 643-2801 Fax: (815) 753-1759 Fax: (773) 643-2801 Web: www.niu.edu\music

Name: Dinos Constantinides Name: Arwen Garrett ~-mail : [email protected] E-mail: [email protected] Address: School of Music Address: Rhodes College Box 1591 Louisiana State University 2000 North Parkway Baton Rouge, LA 70803-2504 Memphis,TN 38112 Tel: (225) 578-4010 Tel: (901) 843-5652 Fax: (225) 578-2562. Name: Brandon Goff Name: Adam Cotton Email: [email protected] E-mail: [email protected] Address: 520 Balfour Address: 144 Seaborg Pl. West Memphis,AR 72301 Santa Cruz, CA 95060 Tel: (901) 843-3446 (0) Tel: (831) 421-9881 Cell: (901) 359-7495 (901) 219-7496 Name: James Crowley E-mail: [email protected] Name: David Hatt Address: University ofWisconsin-Parkside E-mail: [email protected] Music Department Address: 1348 Sacramento St. #l 7 Kenosha, WI, 53141-2000 San Francisco, CA 94109 Tel: (262) 595-2528 Tel: (415) 292-5714 Fax: (262) 595-2271 Fax: (510) 7 45-3826 Web: www.uwp.edu/-crowley Web: www.artistrecitals,com

30 Name: Dorothy Hindman Name: Edward Martin E-mail: [email protected] E-mail: [email protected] Address: Birmingham-Southern College Address: 2503 W Springfield Ave. #D2 Music Dept., Box 549033 Champaign, IL 61821 Birmingham,AL 35254 Tel: (217) 356-7669 Tel: (205) 226-4964 Web: www.students.uiuc.edu/-emartinl/ Fax: (205) 226-3058 Web: panther.bsc.edu/-dhindman/ Name: Charles Norman Mason E-mail: [email protected] Name: Ching-chu Hu Address: 3915 7thAvenue South E-mail: [email protected] Birmingham,AL 35222 Address: Denison University Tel: (205) 226-4957 Music Department, Box M Fax: (205) 226-3058 Granville, OH 43023 Web: panther.bsc.edu/-cmason/ Tel: (740) 587-5761 Fax: (740) 587-6509 Name: Paul Richards E-mail: [email protected] Name: James A.Jensen Address: S chool of Music E-mail: [email protected] University of Florida Address: 353 BedfordAvenue Box 117900 Birmingham,AL 35226 Gainesville, FL 32611-7900 Tel: (205) 822-9607 (home) Tel: (352) 392-0223x233 (205) 726-2852 (office) Fax: (352) 392-0461 Fax: (205) 822-4413 Web: www.arts.ufl.edu/faculty/faculty /richards.html

Name: Michael Kallstrom Name: Phillip Schroeder E-mail: [email protected] E-mail: [email protected] Address: Department of Music Address: 1401 Wilson Street Western Kentucky University Arkadelphia,AR 71923 Bowling Green, KY 42101 Tel: (870) 246-8358 Tel: (270) 745-5400 Fax: (270) 745-6855 Name: Michael SidneyTimpson Web: www.wku.edu/Music/Kallstrom.html E-mail: [email protected] Address: 909 Oakmont Place Name: Lothar A. Kreck Memphis, TN 38107 E-mail: [email protected] Tel: (901) 272-0823 Address: SW 818 Crestview Fax: (901) 726-9285 Pullman, WA 99163-2042 Web: www.rhodes.edu/music/faculty/timpson Tel: (509) 334-2638 Name: Samuel C.Weigle Jr. Name: Morten Lauridsen E-mail: [email protected] E-mail: [email protected] .edu Address: Rhodes College Box 2577 Department of Composition 2000 North Parkway USC Thornton School of Music MemphisTN 38112 Los Angeles, CA 90089-0851 Tel: (901) 843-5703 Tel: (213) 740-7416 Fax: (213) 740-3217 Name: Betty Wishart Web: www.peermusic.com/classical/Lauridsen.htm E-mail: [email protected] Address: 6205 Farrington Rd. F-4 Name: Chihchun Chi-sun Lee Chapel Hill, NC 27517 E-mail: [email protected] Tel: (919) 419-4833 Address: 909 Oakmont Place Fax: (919) 419-1061 Memphis,TN 38107 Tel: (901) 272-0823 Fax: (901) 726-9285 Web: www.rhodes.edu/music/faculty/lee

31 Aclrnowledgements

Thanks to everyone who helped with the score selection process Timothy Sharp, chair of Rhodes College Department of Music John Rone, Director of College Events/Publication, Communications Department Barbara Maxey, secretary of Department of Music Ming Dong Gu, Professor of Chinese language Tim Watkins, editor of program Larry Ahokas, designer of program book, Communications Department Virginia Davis, News Specialist, Communications Department Roy White, poster design Tineke Farley, Catering Director Brandon Goff, recording engineer David Ramsey, organ concert location booking Our student helpers & All the performers whose hard work made this conference possible

Paul Richards &Tayloe Harding, Region IV co-chairs Thomas Wells, President of SCI Gerald Warfield, SCI General Manager

Michael Timpson, musical director Chihchun Lee, administrative director

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