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N E W S L E T T E R C O N T E N T S XXXIX: 3, May–June 2009 Resources About Features SCItings New Site Join SCI Learn about the Three reviews of the Richard Zarou launched Newsletter, upcoming 2009 SCI National No Extra Notes, a SCI Events and our Conference in Sante Fe, podcast and website to many online resources New Mexico promote new music. SCI is an organization for . Our Message from the Performances, Awards, membership categories Editors, members of the Commissions, Honors, include full member, National Council/ Publications and other student member, retired Executive Committee Member Activities member or life member. Page 2 Page 3 Page 4 Page 7 Page 9 Page 10 F E A T U R E : 2 0 0 9 N A T I O N A L C O N F E R E N C E 2009 SCI National Conference Santa Fe, New Mexico, April 2–4 Review by Kari Besharse The SCI National Conference this ences normally get. However, I think year was held in conjunction with the that this was an excellent idea and Santa Fe International Festival of Elec- holding concerts in a variety of venues troacoustic Music. Although this in it- should be considered at all SCI confer- self was not readily apparent, there was ences. There was also an attempt to an enjoyable abundance of electroa- have some works performed outside of coustic works presented at the confer- the concert hall, which was also a ence. There was also a wide variety of commendable idea, but these were very these works presented—two or four- poorly attended due to logistics and channel fixed electroacoustic works, timing of the ‘real concerts.’ electroacoustic works with video, live Santa Fe is a picturesque and artsy instrument and electroacoustic music, town, and the concert venues reflected and a unique work for found objects that. The opening concert took place at and live electronics. SCI’s electroacous- a community art space and gal- tic composers had their chance to shine lery—Warehouse 21. While walking up at this conference. The conference host, to Warehouse 21, you were immedi- Steven Paxton selected several per- ately confronted by Michael Boyd’s formance venues around Santa Fe creat- work Assemblage for solo performer, ing a welcomed alternative to the usual found objects, and live electronics. conference sequestered away in univer- There was a table saw, many tools, and sity environment. It was great to be out a lot of duct tape. These objects were and about in Santa Fe, to get to know performed and processed through a the town, and to be out in the commu- Max/MSP patch. nity. Unfortunately, it did not seem like Highlights from Concert 1 included these off-campus concerts brought in two works by Mark Snyder for elec- any more of the public than SCI confer- tronics and video, and live instrument. (Continued on Page 4)

Society of Composers Newsletter, XXXIX: 3, May–June 2009 1 S C I R E S O U R C E S

About the Newsletter Upcoming SCI Events Internet & Email Editors: Anthony Cornicello Benjamin Williams 2009 Region V Conference www.societyofcomposers.org Circulation: 1400 October 8–10, 2009 • Conference dates and submission Access: available on the SCI website at Clarke College, Dubuque, Iowa guidelines http://www.societyofcomposers.org/data/ Host: Dr. Amy Dunker • Contact information and links to member publications/newsletter/current.pdf [[email protected]] web-pages Frequency of Publication: bimonthly Submission Deadline: April 15, 2009 • Student chapters and opportunities Newsletter Contact Information: Anthony Cornicello • CDs and journals produced by SCI Eastern Connecticut State University 2010 Region VIII Conference • Details on SCI such as membership Shafer Hall, Room 109 options, listings and contacts for officers, 83 Windham St March 5–6, 2010 Willimantic, CT 06226 University of Puget Sound regional structure, by-laws, newsletter (860) 236-3892 Host: Robert Hutchinson archives and more… [email protected] [[email protected]] Benjamin Williams SCION 504 Hemston Ct Submission Deadline: September 10, 2009 Gahanna, OH 43230 SCION is a listing of opportunities on our (330) 268-2590 website exclusively for members. It is [email protected] 2010 Region VI Conference updated on a continual basis so that it may For other SCI business: Spring 2010 (dates TBA) by checked at any time for the most current Society of Composers, Inc. Kansas State University notices. In addition, members are emailed P.O. Box 687 Manhattan, KS on the first Monday of each month to Mineral Wells, TX 76067-0687 [email protected] Host: Craig Weston remind them to visit the site for new or [[email protected]] recent postings. The large number of Copyright © 2008 Society of Composers, Inc. Submission deadline: TBA listings is easily managed by a table of All rights reserved. contents with links to the individual 2010 Student National notices. In-depth coverage; contest listings in full; all items listed until expiration; this How to Submit Items Spring, 2010 (date TBA) is a valuable resource that you may print in to the Newsletter Marshall University, Huntington, WV its entirety or in part at any time. Host: Mark Zanter John Bilotta, SCION Editor [[email protected]] [email protected] Articles: The Newsletter welcomes sub- Submission Deadline: TBA missions of articles to run in future issues. Articles, if accepted, may be edited for [scimembers] 2010 National Conference length and content. Please include a photo scimembers is a member-driven e-mail with all submissions if possible (photo November 11–14, 2010 mailing list that is intended to facilitate may be of author). University of South Carolina communication between members of the School of Music Society on topics of concern to composers Member News + Photos: Please send Host: Tayloe Harding of contemporary concert music. It conveys all member news and activities with a [[email protected]] whatever notices or messages are sent by its photo. Submitted items may be edited. Submission Deadline: TBA members, including announcements of performances and professional Ideas/Suggestions: The Editors wel- opportunities, as well as discussions on a come any other ideas or suggestions. See our website at wide variety of topics. For more information, including how to join and Submit to the newsletter via email at: http://www.societyofcomposers.org/ for more details. participate in the listserv: [email protected] http://www.societyofcomposers.org/data/ publications/listserv/listserv.html

2 Society of Composers Newsletter, XXXIX: 3, May–June 2009 A B O U T S C I NATIONAL COUNCIL Message EXECUTIVE COMMITTEE from the President Chairman Thomas Wells Editors James Paul Sain Ohio State University University of Florida Region 1 For this special is- Editors, Newsletter Scott Brickman sue, we are pleased Anthony Cornicello University of Maine at Fort Kent to present three Eastern Connecticut State University Beth Wiemann complementary Benjamin Williams University of Maine reviews of the 2009 The Ohio State University Anthony Cornicello Region 2 SCI National Con- Editor, SCION Anneliese Weibel ference in Sante Fe, New Mexico, April 2–4. John G. Bilotta SUNY-Stony Brook The conference, as Editor, Journal of Music Scores Daniel Weymouth hosted by Steve Pax- Bruce J. Taub SUNY-Stony Brook ton, involved so Producer, CD Series Region 3 much, that it only Harvey Stokes Richard Brooks seemed possible to Hampton University Capstone Records get an accurate rep- Bruno Amato Manager, Audio Streaming Project resentation of all Peabody Conservatory Thomas Wells that occurred by The Ohio State University Region 4 Mark Engebretson taking a look into Coordinator, Submissions University of North Carolina at Greensboro the experience of Lee Hartman University of Delaware Paul Osterfield three separate com- Benjamin Williams Middle Tennessee State University posers. Enjoy! Representative, Independent Anthony Cornicello Anne Kilstofte Region 5 Phoenix Arizona Mark Phillips Benjamin Williams Representative, Student Chapters Ohio University Editors, SCI Newsletter Nickitas Demos Frank Felice Georgia State University Butler University Message from the President Representative, Students Region 6 I want to call to your attention the won- Alexander Sigman Eric Honour Amsterdam, The Netherlands University of Central Missouri derful job Steve Paxton did in organizing and presenting our 2009 SCI National Con- Coordinator, SCI/ASCAP Student Ken Metz Competition and Grants ference. The natural beauty of Santa Fe pro- The University of the Incarnate Word Kari Juusela Region 7 vided an inspiring backdrop for excellent Berklee College programming and interesting concert ven- Bruce Reiprich Webmaster Northern Arizona State University ues. Thank you, Steve! Mike McFerron Glenn Hackbarth A good time was had by all at the Friday Lewis University Arizona State University evening reception sponsored by the SCI Na- Web Content Manager Region 8 tional Office at The Cowgirl BBQ, where we Matthew McCabe Charles Argersinger celebrated our friend and colleague Richard University of Florida Washington State University Brooks’s accomplishments and service to SCI Chair Emeritus Patrick Williams and the cause of new music. William Ryan University of Montana Richard’s Capstone with its Grand Valley State University National Conference Host lengthy catalog of contemporary American Steve Paxton music was recently acquired by Bob Lord of Sante Fe, New Mexico Parma Recordings in what promises to be a Student Conference continuing fruitful, exciting and beneficial Ball State University association with SCI. We look forward to President Emeritus working with Bob on a number of SCI/ Greg Steinke Parma projects in the near future. Thomas Wells President, SCI

Society of Composers Newsletter, XXXIX: 3, May–June 2009 3 2 0 0 9 N A T I O N A L C O N F E R E N C E ( C O N T I N U E D ) 2009 SCI National Conference (Continued from Page 1)

Mark Snyder played clarinet during sections with more intense intricate concert was programmed effectively Harvey and accordion during Alluvium. scalar and chordal passages. with a variety of styles represented. Both works were smooth and effortless, Concert IV was the only concert to David Vayo’s Music for Violin was a nu- the video for both changing slightly take place at the College of Santa Fe. It anced work wonderfully performed by from instant to instant in response to took place in O’Shaughnessy Perform- Kai-Shek Tan, who was also required to the instrument and electronics. Harvey ance Space—an interesting space where sing at certain points of the piece. The was vibrant, while Alluvium displayed a large garage door could be partially work was meditative and colorful and a dark, granulated palette that steadily opened to the outdoors. After the more wove in and out of different areas in descended down the screen like rain on traditional concert portion of this con- seamless fashion. Silica, an electroa- a car window at seventy miles per hour. cert, the audience was allowed to freely coustic work by Jake Rundall, used Concert 3 was the first morning promenade around the campus to hear sounds created by glass bottles to create concert of the conference and was fairly four other works at separate outdoor a delicate sonic world interspersed with well attended. It took place in St. Fran- locations—Jack Stamps’ Lulled by an more dramatic sections. David cis Auditorium, an interesting Imploding Lotus, Kari Besharse’s Ompha- Psenicka’s Concentrics for piano (per- cathedral-like space inside the Santa Fe los, Ulf Grahn’s Primack’s Safari, and formed by the composer on an electric Art Museum. There were seven large Mark Prince Lee’s Solo #3 for Cello. All piano) was stylistically distinct from frescos in muted tones showing scenes four works were presented simultane- other works of the conference. The from lives of the Saints and the high ously and were performed several work was created algorithmically using ceiling was supported by large, dark times. This created a freer alternative a microtonal tuning system with har- beams of wood with delicate carving listening environment where the audi- monies generated by matching piano running their length painted like beads ence (and the occasional, unsuspecting spectra to bell-like sounds. The listener on a necklace. The concert began with College of Santa Fe student) could was presented with a barrage of new Openings by Christopher Shultis, a col- move around and create its own listen- intervals and harmonies at an ex- orful and energetic work for wind en- ing experience. Although the works tremely rapid pace creating a fascinat- semble in four movements performed were separated spatially, sounds of the ing experience. by the University of New Mexico Wind other pieces occasionally wafted in, Overall, the conference hosts cre- Symphony with Eric Rombach-Kendall, creating an unintentional intermingling ated a very enjoyable event. Many dif- conductor. Jay Batzner’s work Carnival of sound. As the pieces cycled through ferent styles were well represented Daring-Do, with video by Carla Poin- from beginning to end, interesting coin- showing the diversity of SCI. Thanks dexter, creates a quirky but abstracted cidences and synchronicities were cre- and best wishes to all the students and fantasy world full of dark floating ated, and the birds and roving conver- faculty of the Contemporary Music seedpod creatures over detailed land- sations of college students added to the Program at the College of Santa Fe. scapes. Music Box for guitar was ex- experience. Kari Besharse pertly performed and composed by Saturday morning, conference at- [email protected] William Clay. It was a virtuosic explo- tendees once again returned to St. Fran- sion that mixed some softer ‘music box’ cis Auditorium for Concert VII. This Review by Luke Gullickson

On Friday morning I walked from making something out of nothing and intimate gallery space at the Santa Fe downtown Santa Fe to the Museum of selling it.” The commonality of aims complex, and the College of Santa Fe’s International Folk Art. This proved to between today’s composers and the small, open-air concert space, not to be a significant undertaking, but I was makers of the countless crafts at the mention outdoor performances and enjoying the mountain air and views folk art museum vastly outweighs the installations around the CSF quad. Es- up to the foothills, so I had no problem differences in execution. We should de- pecially in the context of numerous ignoring the traffic and pretending I rive strength from this bond with artists concerts spread over three days, this was out hiking. This particular mu- and artisans around the world and shifting setting was invaluable, and the seum seemed like the right choice on throughout the ages, right? Cheers. different atmospheres of each hall lent this trip, because I was ostensibly in I saw several parallels between the themselves to unique perceptual re- town for the purpose of digesting three many and unexpected joys at the mu- sults. My own piece Terlingua Medita- days of high art in the form of new con- seum and those of the 2009 SCI Na- tions was played at the Santa Fe com- cert music. Folk art, then, seemed a tional Conference, work of the many- plex at the “late night wine/cheese/ natural counterbalance. hatted Steven Paxton (composer, ad- beer concert,” sharing the bill with a I’ll tip my hand and say that to me, ministrator, conductor, percussion- Joseph Post piece for rock band called it’s really all folk art, and both the con- ist…). The aspect of the experience I’d Bartok and the Pyramids. The group that ference and the museum confirmed my like to emphasize here, though, is sim- played Joseph’s piece, Nautilus, took a suspicions in this regard. The twentieth ply variety. Two types of variety, in par- set of their own material after the con- century being over, I hope that its art ticular: that of medium, and that of ference pieces had been presented. Not has by now thoroughly cleansed us of venue. your average academic setting, and I our notion of refinement, or at least The latter seems mundane, but the think we all benefited from this array of called it seriously into question; this atmosphere of a concert has a profound different types of concerts. means of distinguishing the high art effect on the musical experience, and Then we have variety of medium. from the low is no longer reliable. I Santa Fe offered us the beautiful and The initial call for scores for this confer- yield to Frank Zappa, who said, “art is historic St. Francis Auditorium, a more ence was appealing in its intentional

4 Society of Composers Newsletter, XXXIX: 3, May–June 2009 2 0 0 9 N A T I O N A L C O N F E R E N C E ( C O N T I N U E D ) emphases on various media: electroa- about them after the concert—but he “has been recognized by,” “studied coustic music especially, but also acous- was dismissive, saying he’d been under with,” “commissioned by.” This was a tic ecology and pieces for traditional the spell of the minimalists and clever choice, because it points out the and folk instruments. The preponder- “doesn’t really write that kind of music short connecting units, leaving out that ance of electroacoustic music at the con- anymore.” I was a bit disappointed, which, in reality, represents the vast ference provided for variety of pro- yes, but honestly, I was mostly just im- majority of the word count in our bios: grams and removed a lot of pressure pressed that one would write a mani- not these verbs, but the nouns that fol- from the performers. It was also a joy to festo that applied to only one piece, and low them. Too often, we’re guilty of have the electroacoustic selections scat- then “move on” stylistically. That takes ignoring the verbs—the work that we tered throughout each conference pro- a certain kind of moxie. do—in favor of nouns—the people and gram, rather than segregated to their Speaking of moxie, on the same organizations that have publicly ap- own concert. Normally this is a neces- concert we had Jen-Kuang Chang’s …et proved of said work. sity resulting from equipment issues, I cetera. Jen-Kuang, I don’t know if I can To be fair, though, I noticed some- suppose, but the dialogue between say that I “liked” your piece in the tra- thing a bit different at this conference, acoustic and electronic music that re- ditional sense, but I can tell you that it and as a compulsive bio-reader, I feel sulted from this intermixing was quite had the significant virtue of being qualified to judge that there were some stimulating. memorable, and especially in this for- interesting cats in attendance, evi- I, for one, am a tremendous fan of mat, that is no small accomplishment. denced by the inclusion of some unex- the movement of writing notated music To give those who weren’t in atten- pected verbs along with the typical for folk instruments, and was thrilled to dance an idea, the piece was scored for faceless lists of award names. The com- see pieces involving banjos, electric gui- saxophone, piano, percussion and elec- posers I met in Santa Fe have degrees in tars, dulcimers, and shakuhachis on the tronics, and started with the sax player math, play professionally in Vegas program. One composer in attendance turning on a center-stage television nightclubs, tour with psychedelic rock made the complaint that some of this while telling the audience, “shhh.” The bands, write rap tracks for NFL players, music was not, in his view, new music piece was very loud, it was very long, live in Belfast, work in graphic design, for folk instruments, but just folk mu- and it absolutely refused to be ignored. and translate orchestration manuals for sic. A valid point, depending of course I hope the composer takes that as a traditional Japanese instruments. I on how you want to define “new mu- greater compliment than a tepid post- mention this all not to make an injunc- sic.” Some would say it’s all new music. concert handshake. tion that all composers should have I would tend to go the other way and On the more subtle side of things secondary interests, but simply to pre- say, to return to my point above, that was a piece by my undergraduate sent some evidence that composers in it’s really all folk music. We are the folk, teacher David Vayo, Music for Violin, 2009 are not insular creatures trapped after all. No one else. which title and studious, pizzicato in the tower. They’re out there doing Another manifestation of the con- opening led to an immediate impres- stuff, and we should be proud of that. ference’s diversity was the indefatiga- sion of a serious, abstract piece. And Underlying all of this vibrancy was ble and enthusiastic presence of our then, after a moment or two of music the sobering plight of our host institu- keynote speaker Annea Lockwood. Her had passed, the violinist began to vocal- tion, the College of Santa Fe. The school talk on her work was eloquent, and ize. It is such a simple idea that one has evidently been in financial trouble especially enjoyable because her music might doubt its affective power, but the for some time, and a recent legislative was vastly different than that of basi- way in which that soft cut session saw efforts for the State of New cally any of the other attendees. An- through my first impressions was dra- Mexico to acquire CSF fall short. Gov- nea’s piece Thirst, which juxtaposed the matic. It really made the piece jump off ernor Bill Richardson has announced sounds of a train station with a the stage, filling a sensuous space that it the formation of a task force that will woman’s reminisces about her grand- could then play in for the duration of work on plans for CSF’s future, but for parents’ garden, was a highlight. the music. the moment, the college will be closing I suppose I’ll discuss some more Then there was Jeremy Podgur- its doors at the end of the semester. All specific pieces, with a caveat: I mention sky’s Residues [or don’ts] for cello and who attended the conference witnessed these works and composers not neces- Max/MSP, which began much as one the effects of this institution on Santa Fe sarily because I thought they were the might expect before coalescing into and on New Mexico, and can attest to best—whatever that means—but be- passages of ethereal beauty in its sec- the school’s strengths and charms—I, cause they raise points worthy of con- ond movement, “Which Way Comet for one, went to a similarly small col- sideration. Tails?”. This was another moment that lege, and had no recourse to a gamelan One of the most mystifying conver- maximized its impact by sneaking up room or an improvisation ensemble. sations of the weekend took place the on the listener. The College of Santa Fe is clearly a first night: Charles Ditto’s Porch Music I also had a great deal of fun with unique and vital entity for a group of from Earth opened the first concert, sev- Ulf Grahn’s Primack’s Safari, which was outgoing students and wonderful eral movements featuring a whole or- performed outdoors at the College of musician-teachers—many of whom chestra of folk instruments. The confer- Santa Fe. Every quad deserves a per- took part in the conference—as well as ence program even included a docu- cussion ensemble. We should draft for the region as a whole. The culture of ment by Ditto, “Porch Music Mani- some legislation to this effect. Santa Fe is intertwined with CSF. I hope festo,” which outlined the composer’s We had a healthily self-reflexive that we all will continue to send our intentions: a fun, folksy music focused laugh as a result of Brian Belet’s Name best energies their way for a positive on the players, not on conventional vir- Droppings, which incorporated text solution. tuosity but on the joy and social mean- snippets from bios of various academic Luke Gullickson ing of music-making. These ideas reso- composers. Belet’s piece focused on the [email protected] nated with me, and I asked the author ubiquitous, easily-mocked phrases:

Society of Composers Newsletter, XXXIX: 3, May–June 2009 5 2 0 0 9 N A T I O N A L C O N F E R E N C E ( C O N T I N U E D )

Review by Mark Phillips

One of the things I find interesting videos by Jen-Kuang Chang (Drishti III) former her S\’e4ntis Thoughts for violin about SCI conferences is that each one and Samuel Pellman (The Home Planet), and piano. The concert concluded with has its own distinct character, influ- which played before and after the con- Jen-Kuang Chang’s visually striking … enced by the host, the location, and per- cert 1. et cetera for saxophone, piano, and live formance matters (especially venues The conference then moved to St. electronics and percussion, performed and local performing resources). True to Francis auditorium, a marvelous, his- effectively by Kyle Sweitzer, Yu-Han form, the 2009 Santa Fe SCI National toric venue right in the center of town Huang, and the composer. Conference, hosted by Steven Paxton for the evening concert. The program Friday afternoon, the conference on April 2–4 had a character all its own. opened with Charles Ditto’s Porch Mu- moved to the Santa Fe Complex, an- Concerts were held in four venues— sic from Earth, featuring the composer other community arts venue with it’s Warehouse 21 (concert 1) , St. Francis and Matt Vaughn along with a dozen or own intimate and distinctive character, Auditorium (concerts 2,3,7,8,9), Tipton more members of the College of Santa for the next three concerts. On the 4PM Hall at the College of Santa Fe (concert Fe Collegium XXI under the direction concert, a group of seven faculty and 4), and the Santa Fe Complex (concerts of conference host Steve Paxton. In- student musicians from the University 5 & 6)—all with a strong local character. spired by the composer’s Porch Music of New Mexico (Jennifer & Eric Lau, Conference coordinator Paxton was Manifesto (“Playing music is fun.” “… Keith Lemmons, Denise Turner, Anna ably assisted by Paul Brown (handling enjoy performing on instruments which Perea, John Skillman, and Scott Ney) technology matters), as performed Zae Munn’s well as a small army of Broken Tulip. Mark Dal students and a few col- Porto, with help from leagues to ensure that the oboist Tracy Carr and entire conference ran s o p r a n o J e a n n i e smoothly. Throughout Wozencraft-Ornellas, all the weekend Steve and from Eastern New Mex- Paul seemed to be eve- ico University, performed rywhere—including on his of Light. Ming- stage as performers. (I Hsiu Yen gave the small even ran into Paul in the grand piano delivered airport on my way home that afternoon a serious as he was en route to workout in an impressive Europe by way of NYC performance of her Two for some performances.) Old Postcards from For- Held in conjunction with mosa. To end the concert the Santa Fe International Keith Lemmons returned Festival of Electronic with Steve Paxton and Music (SFIFEM), the Joshua Wilson to perform weekend also featured a Jerod Sommerfeldt’s somewhat higher num- walking away from Schu- ber of works utilizing eler. electronic media than Immediately following many past SCI confer- Bob Lord, President of Parma Recordings, and Richard Brooks the concert the conference ences. moved to the colorful The venue for Warehouse 21, a they are not totally familiar.”), the Cowgirl Bar and Grill for a memorable community arts center for Santa Fe group performed on a wide range of reception honoring Richard Brooks for teens, provided an intimate black box folk instruments from various cultures his years of service running Capstone theater experience, well-suited for the (hammered dulcimer, kalimba, accor- Records and Bob Lord of Parma Re- works on the program. Kanstantinos dion, guitars, melodica, etc.) and defi- cords, who will be taking up the reigns Karathanasis (Pollock’s Dream: Liquified nitely seemed to be having fun and and continuing the Capstone label as Sounds) and Jason Bolte (And Death…) contributed plenty of local flavor to the part of his operations. presented fixed media electro-acoustic conference. The concert continued with The 7PM concert in the complex works. Virginia O. Bachman gave a works by Richard Zarou (Marrian, Age 7 featured Simon Fink’s electroacoustic convincingly virtuousic performance of electro-acoustic music), Paul Lombardi work Something Flickered for a minute, a solo flute piece by Nick Omiccioli (Segue performed by saxophonist Eric and then it vanished and was gone, then (Gestures). Mark Snyder, performing Lau), and Igor Karaca, who performed followed The Leaves Are Gone, a medita- first on clarinet and then accordion, his Scallop Shell of Quiet with Laura Tal- tive work for bass flute, percussion, and produced evocative renditions of two of bott, violin and George Speed, bass. kubuki blocks, by Bruce Reiprich, per- his works (Harvey and Alluviu) with Performing on electric guitars and bass, formed by Emily McKay, Steve Hem- electronic music, live audio processing Peter Chase, Nick Leonard, Michael phill, and Nathan Youmans. Jerry Hui’s and video. Eric Honour gave a spirited Bamford and Pete Williams played White Tiger Evil Star was given a virtu- performance of his Phantasm for saxo- Douglas Harbin’s Black on Blue III. Pian- osic performance by violinist Chia- phone, electronic music, and live audio ist Jerome Reed performed Prayers and Chien Goh. Rebecca Ann Kemper Scar- processing. The Warehouse 21 entrance Meditations by N. Lincoln Hanks and nati, performing on English horn, gave and lobby area plus a second perform- Maria Neiderberger brought perform- my own Elegy and Honk an effective and ance space were utilized for an informal ers Rene Kubelik and Partizio Mazzola live performance by Michael Boyd, plus from her native Switzerland to per- (Continued on Page 9)

6 Society of Composers Newsletter, XXXIX: 3, May–June 2009 S C I T I N G S : M E M B E R N E W S A N D A C T I V I T I E S tional Association of Composers, USA. Monica Lynn was featured at the SCItings On The University of Memphis Percus- University of Hartford in concerts Member News and Activities sion Ensemble, under the direction of given on March 11—12 and 14 at The Frank Shaffer, performed Diffusion Two Hartt School. The composer appeared Performances, Awards, Commissions, on April 7. On March 30 the Georgia as Guest Lecturer March 11 at The Uni- Honors, Publications and other Member State University Percussion Ensemble versity of Hartford. Activities. performed Diffusion Two at the Fulton The March 11 Contemporary Con- Joel Feigin County High School Night of Percus- cert featured The Hartt Contemporary Mountains and Rivers Trio (revised sion held at on at Centennial High Composers Ensemble with Monica version) for piano, violin, and cello was School in Roswell, Georgia and at the Lynn as Guest Composer, including a given its world premiere by the Rialto Center for the Arts in Atlanta on performance of her Soliloquy for solo Khatchaturyan Trio in Yerevan, Arme- April 14 with Stuart Gerber as artistic clarinet and a post-concert discussion nia,on January 26, 2009. director. On April 15th Diffusion Two by the composer. The March 14 Com- Elegy in Memoriam Otto Luening was was performed by the Sam Houston posers Concert I—Chamber Works in- performed by the UCSB Symphony State University Percussion Ensemble cluded Monica Lynn’s Sylvia for flute Orchestra in Lotte Lehmann Hall at the (Huntsville, Texas) directed by John and marimba. University of California, Santa Barbara Lane as part of the SHSU 47th Annual Keith Dippre on March 11, 2009. Contemporary Music Festival. On March 15, 2009 Keith Dippre’s Variations on Empty Space for piano, The Stephen F. Austin University Year of the Rat was given its world pre- commissioned by pianist Margaret Faculty Brass Ensemble at the 2009 mier by internationally-renowned Duo Mills, was given its world premiere by Conference of the Texas Chapter of the 46, (Matt Gould, guitar, and Beth her at Weill Recital Hall at Carnegie National Association of Composers, Schneider, violin). The performance Hall on December 2, 2008. The same USA performed Fanfare for Tomorrow for took place at St. Patrick’s Catholic program included the New York pre- brass quintet on February 21. Church in Fayetteville, North Carolina. miere of Four Meditations from Dogen for Double Nostalgia for tenor saxo- The first piece that Dippre incorpo- piano. Both of these works were re- phone solo received its premiere at the rated into Year of the Rat was Tarrega’s peated by Ms. Mills (Variations on Houston Composers Alliance March 2 Recuerdos de la Alhambra. The slower, Empty Space receiving its West Coast Richard Nunemaker at Cullen Hall on somewhat more pensive movement premiere) in Geiringer Hall, University the campus of the University of St. that follows pays tribute to Torroba’s of California, Santa Barbara, on April 1, Thomas, Houston. Double Nostalgia was Sonatina in A Major. The third move- 2009, and were recorded there for fu- also performed on March 13 by Todd ment, “The Year After,” is a slow ha- ture CD release. Oxford at the South Central Chapter banera and coyly references De Falla Il Paradiso Terrestre and Aria from Meeting of the College Music Society and Debussy from the Homenaje, Le Mountains and Rivers were performed held at the University of Oklahoma, Tombeau de Debussy. The fourth and fi- by Katherine Saxon, soprano, and Stella Norman. nal installment, “Esteban’s Glasses,” is Hsin Hsu, piano at UC Santa Barbara Two Antiphonal Portraits for 12 per- admittedly experimental and allows for on April 4, 2009. cussionists was performed on April 2 at some improvisation. Rodrigo’s Za- West Chester University of Pennsylva- pateado becomes a momentum building nia with Robert McCormick as guest tarantella for this funkdefied conclud- conductor. ing romp, and the violinist is asked to On April 7 Horace Alexander employ guitar-like techniques found in Young premiered Serpentine Glow for Rimsky-Korsakov’s Capriccio Espagnol. bass flute solo at the Texas Southern Mark Winges University Fine Arts Faculty Recital. But This Is This, a CD of Mark The recital was held in the Rhinehart Winges’ chamber music, is now avail- Auditorium, Houston, Texas. able from Centaur recordings. It fea- Adams’s Between Stillness and Mo- tures excellent performances from some tion for piano solo was performed by of the bay area’s finest new music guest artist Christopher Oldfather at sound-shaping experts plus informa- the C.A. Roberson Theatre at the Tar- tive and engaging program notes by rant County College Southeast Cam- Michelle Dulak Thompson. pus, Arlington, Texas on April 17 as The CD is available from: part of the Texas Chapter of The Na- ArchivMusic: tional Association of Composers / USA http://www.arkivmusic.com/classical/ recital of solo piano compositions by Namedrill?album_group=1&name_id composers from Texas and Long Island. =149694&name_role=2 Aaron Alon hbdirect: Daniel Adams On March 11, 2009, acclaimed flut- http://www.hbdirect.com/album_detai ist Leone Buyse (of the Webster Trio l.php?pid=1064876 Daniel Adams Japan) gave Aaron Alon’s solo flute Qualiton: Diffusion Two, a snare drum quartet piece, Hibakusha, its international pre- http://www.qualiton.com/mm5/mercha by Daniel Adams received five per- miere at one of Japan’s premier venues, nt.mvc?Screen=PROD&Store_Code= formances during the spring of 2009. the Tokyo Bunka Kaikan. QILTD&Product_Code=CENTAUR+2 On February 21 it was performed by Monica Lynn 933&Category_Code=2CNR the Stephen F. Austin University Per- The music of composer Monica Individual tracks as well as the en- cussion Ensemble under the direction Lynn was featured March 11-14 at The tire can be download from Clas- of Scott Harris as part of the 2009 Con- 9th Annual Women Composers Festival sics Online: ference of the Texas Chapter of the Na- of Hartford, Connecticut.

Society of Composers Newsletter, XXXIX: 3, May–June 2009 7 S C I T I N G S ( C O N T I N U E D ) http://www.classicsonline.com/catalog spondence and collaboration between of Colorado College of Music in Boul- ue/product.aspx?pid=710923 Arnold Schoenberg, Wasilly Kandinsky, der, CO, at 2:00p on Thursday, April 23. Jenni Brandon and Gabrielle Munter in the years lead- The work is a collaboration among T h e V i e n t o s T r i o ing up to WWI. Bratz, Hamm, and photographer Joe (www.vientostrio.com) with Rose Information about the opera can be Decker of San Jose, CA Chen-piano, performed Jenni Bran- found here: (http://www.rockslidephoto.com). don’s new piece Sea Quartet for oboe, http://www.southwestern.edu/sarofim/ Each of the four movements of the clarinet, bassoon, and piano March 29, story.php?id=652 composition is inspired by an image 2009 at the Brand Library in Glendale. A recent Austin-Statesman article from Mr. Decker’s Signatures of the Sun This piece was commissioned by the (with audio) can be seen/heard here: series, and the performance includes L . A . M u s i c a l S a l o n http://www.austin360.com/search/cont projections of the images: 1. Lightfall, 2. (www.lamusicalsalon.org) for her resi- ent/arts/stories/2009/03/0329dissonance Still, 3. Glowing Runes, 4. Waves. dency with the Vientos Trio, and it tells .html A website for the work has been the story of the sea. Orlando Jacinto Garcia established at: Curtis Bryant April 10 and 11, 2009 the Brazz http://www.signaturesofthesun.com April 1, 2009 the world premiere of Dance Company presented the pre- Scott A. Shoemaker Curtis Bryant’s Redeemer Evening Prayer: miere of Dreaming Amazonia at the Col- The premiere of Scott Shoemaker’s A Lenten Vespers took place at Lutheran ony Theater on Miami Beach, FL. The new work for saxophone and piano Church of the Redeemer, 731 Peachtree work features choreography and con- Waters of Oblivion, was given April 25, Street, NE. The service includes eight cept by Augusto Soledade with visual 2009 in the Pomerantz Center on the new compositions framing the tradi- images by Jacek Kolasinski and my University of Iowa campus and fea- tional Vespers service. This program electronic musical score. An abstract tured Scott Sandberg on Tenor Saxo- was part of the Faith Partners Resi- depiction of the counterpoint that exists phone and Jason Sifford on piano. dency Program of the American Com- between nature and the urban world, it Allen Cohen posers Forum, enabling religious insti- includes attractive imagery and move- Allen Cohen’s piece Two Twilight tutions to select a composer to create ment by a very talented group of danc- Sketches for small orchestra was pre- original musical works for use in the ers. miered on May 3, 2009 by the Mission worship services of participating con- The premiere of Garcia’s video op- Chamber Orchestra, conducted by gregations. Bryant collaborated with era, Transcending Time, was presented as Emily Ray, at Le Petit Trianon in San three Atlanta poets, Marcia King, Doug part of the Biennale being held in Za- Jose, CA. It was part of an all-American Cumming and William Allen on the greb. The work includes video images concert that also includes a premiere of creation of texts for the choral settings. by Jacek Kolasinski and John Stuart as a piece by Nancy Bloomer Deussen. Don Bowyer well as text by poet Campbell McGrath. The world-premiere of Don Bow- The 75 minute work is for chamber or- yer’s 40-Year Requiem, which mixes chestra, 5 singers, electronics, and video classical and jazz elements throughout, and was premiered on April 22. took place April 3, 2009 in the UAH Tina Davidson Roberts Recital Hall in Huntsville, Ala- The world premiere of Summer of bamba. This 40-minute work is com- the Swans was presented the weekend posed for three singers, brass, percus- of April 25–26, 2009 in the William Penn sion, and jazz rhythm section. Formally, Campus Auditorium in Harrisburg, PA. the composition follows the typical Summer of the Swans a new work for requiem mass outline used by countless family audiences, explores contempo- composers over the centuries, stylisti- rary culture as it grapples with how to cally juxtaposed with ideas drawn from accept diversity and disabilities. At the jazz, R&B, and New Orleans brass tra- heart of the opera are the themes of ditions. love, family, acceptance, and more im- More information about the 40-Year portantly, difference. Sara, just fourteen, Requiem, including and program is wrestling with adolescence, loss of Brandon Hendrix notes, is available here: her mother and the absence of her fa- http://www.uah.edu/music/bowyer/req ther. Her brother Charlie has cognitive Brandon Hendrix uiem.html learning disabilities and lives in his Brandon Hendrix’s Quintet for Adreienne Albert own silent world. When Charlie gets Winds was performed by the Oklahoma Adrienne Albert’s new work for lost, Sara goes out to search for him. City University Graduate Quintet on piano trio, MUSESCAPES, was pre- After a long search, she finally finds February 28, 2009. The performance miered April 3, 2009. Co-commissioned him, and a new understanding and was part of the Society of Composers, by The Newstead Trio and Carol S. Gee, compassion for those who are different. Inc. Region VI Conference. MUSESCAPES was performed in the The opera is based on the award win- Brandon Hendrix’s The Rise of the new Pennsylvania Academy of Music ning children’s book Summer of the Incans for concert band was performed Hall designed by noted architects Swans by Betsy Byars. by the Holcomb High School Band on Philip Johnson and Alan Ritchie in con- Samuel J. Hamm, Jr. May 12, 2009 in Holcomb, Kansas. The junction with acoustical designer, Cyril Jennifer Bratz, piano, and Sam performance was a result of the Path- Harris. Hamm, composer, from Rocky Moun- ways Band Composition Competition, a Jason Hoogerhyde tain College in Billings, MT, will be pre- nationwide call for grade 1–4 band The premiere of Jason Hooger- senting the premiere of Dr. Hamm’s scores. The work will also be published hyde’s opera, The Color of Dissonance, composition for piano Signatures of the this summer by Imagine Music Publish- was presented the weekend of April 3– Sun in a lecture-recital at the University ing. 5. The opera is about the historic corre-

8 Society of Composers Newsletter, XXXIX: 3, May–June 2009 2 0 0 9 N A T I O N A L C O N F E R E N C E ( C O N T I N U E D ) 2009 SCI National Conference (Continued from Page 6)

entirely appropriate bipolar perform- we were treated to some memorable self in the role of narrator/singer. SCI/ ance. Concluding the concert was the performances by local musicians from ASCAP Composition Commission video Natural Energy by Barton and the Santa Fe Symphony and/or the Col- winner (2nd place in 2007), Krzysztof Priscilla McLean, which seemed aptly lege of Santa Fe. Anne Kilstofte’s Sono- Wolek was well-represented by flutist well-suited to the ambience and milieu ran Tapestry received an strong per- Carol Redman in the world premiere of the conference as well as this venue. formance by pianist, Sergio Rodriguez. performance of his Arguro, for flute and Concert VIII, in St. Francis audito- Duologue 11 by Allen Brings was given electroacoustic music. Elena Sopoci re- rium, began and ended with electoa- an effective performance by Elena So- turned with colleagues from the Santa coustic music (Circadian Rhythms by poci (violin) and David Tolen (timpani) Fe Symphony, Lee Harvey (viola) and Tsai-yun Huang and 2 Days in the Tank, that made the pairing of instruments Deborah Barbe (cello), for a winsome by William Price, respectively). Mat- seem completely natural. A band a six and “stylish” performance (wearing thew Schildt brought two colleagues musicians from the College led by con- berets!) of Bruce Mahin’s Paris inspired with him from Alamosa, Colorado, ference coordinator Steven Paxton gave le Sens. Tracy Doyle (flute) and William Lipke a spirited and thoroughly entertaining Mark Phillips (piano), to perform his Nocturnal Pas- performance of William Vollinger’s [email protected] sage. For the remainder of the concert, Rasberry Man, with the composer him- No Extra Notes by Richard Zarou

No Extra Notes was started in March of 2009 by composer Richard Zarou as a means of getting new music heard. Each week a different up-and-coming composer is featured beginning on Sunday night. This includes an interview about the composer’s background, style and current projects as well as listen- ing to two works of the composer’s choice. By April, over thirty composers have already been invited and agreed to participate with the goal to feature over 50 composers each year. The No Extra Notes website also holds a concert calendar which invites composers from all across the country to submit their concert details. The calendar is broken up into regions of the United States so that concert goers can quickly find a concert in their area. Website: noextranotes.wordpress.com Twitter: twitter.com/noextranotes Podcast RSS: http://feeds2.feedburner.com/NoExtraNotes

S C I R E S O U R C E S ( C O N T I N U E D ) SCI has launched a new on-line Call for Submissions (no deadline): iSCI: journal for the publication of music Please send submissions to Craig scholarship by composers and for Weston at [email protected]. Also The Composers composers, edited by Jason Bahr and include an abstract of no more than 300 Craig Weston. We hope to present the words describing your work. Abstracts Perspective composer’s unique point of view should be submitted as an .rtf or .pdf file The Internet Journal of the through an exciting mix of theory and attached to an email. Works maybe Society of Composers, Inc. analysis, “shop talk,” pedagogy, and submitted as traditional papers, multi- practice. This list in not inclusive: this is media presentation, podcasts or other the place for colloquy on everything that formats. Past presentations from SCI matters to composers. Contributors are Conferences are eligible. Inquiries are encouraged to exploit the multi-media welcome—please address them to both possibilities of on-line publication. editors. Jason Bahr Craig Weston Mississipi State University Kansas State University [email protected] [email protected]

Society of Composers Newsletter, XXXIX: 3, May–June 2009 9 H O W T O J O I N S C I MEMBERSHIP INFORMATION For complete details, please visit http://www.societyofcomposers.org/data/organization/membership.html. FULL MEMBERSHIP ($55/year): Eligible to submit scores to the National Conferences, regional conferences, SCI Recording Series, SCI Journal of Music Scores. Access to the SCI Newsletter in electronic form. Optional subscription to [scimembers], the SCI listserv and all other SCI publications. Eligible to vote on Society Matters and in elections for the National Council.

JOINT MEMBERSHIP ($75/year): Same benefits as full members

SENIOR MEMBERSHIP ($27.50/year): Open to those 65 years of age or older, or retired. Same benefits as full members.

ASSOCIATE MEMBERSHIP ($27.50/year): Open to performers and other interested professionals. Receives the SCI Newsletter in electronic form and can participate in national and regional conferences.

STUDENT MEMBERSHIP ($27.50/year): Eligible to submit to national and regional conferences and to vote in society matters. Access to all SCI publications.

STUDENT CHAPTER MEMBERSHIP ($17.50/year): Same benefits as student members, but only available on campuses having Student Chapters.

INSTITUTIONAL MEMBERSHIP ($25/year): Organizations receive hard copy of the SCI Newsletter and other mailings.

LIFETIME MEMBERSHIP ($1100 or $120/year for 10 years): Benefits the same as full members, for life. PUBLICATIONS Publications include the SCI Newsletter, SCI Recording Series, Performers CD Series, SCI Journal of Music Scores, and SCION (monthly e-mail listing of announcements and opportunities for composers). ANNOUNCEMENTS Announcements of contests, calls for scores, and other solicitation appear in the SCI Newsletter and SCION as a service to SCI members. While every effort is made to assure the accuracy of these announcements, SCI cannot accept responsibility for errors, misrepresentations, or misinterpretations. Pixel Perfect Photos of SCI Members Photos submitted by Tom Wells 2009 SCI National Conference Mark Phillips, David Vayo, Joe Koykkar

Tom Wells presents plaque to Richard Brooks, Zae Munn, honoring Brooks’ service to SCI Gerald Warfield, Peter Lucas Hulen, Tom Wells

10 Society of Composers Newsletter, XXXIX: 3, May–June 2009