MAE ZENKE ORVIS AUDITORIUM JULY 3,1969 8:00 P.M. Thursd y, July 3, 1969 Mae Zenke Orvis Auditorium 8:00 p.m.

Progr m

Peter Coraggio and Allen Trubitt (Sound) Aria da Capo (1969)

Duane Preble (Light) (A multi-media interpretation of a play by Edna St. Vincent Millay) *

Characters Voices Mimes Columbine Gloria Ramos Jean lams Pierrot Richard Van Dam Matthew Raszka Cothurnus Wayne Ohashi Thyr is Raymond Sasaki Theater of Madness Corydon Jose Mordeno Arabella Bengson, vqice coach

World Premiere

Int rmission

Armand Ru sell Brillig Requiem (1969) (For chorus, audience and tape) I. Starting Music (for choru II. Entering Mu ic for choru ) III. Center Piece (for choru and audience IV. Ending Piece (for choru and tape)

niversity Summer Conc rt Choir John Van der Slice, tape Armand Russell and eil McKay, conductors

World Premiere

*Aria da Capo, Harper &Row. Copyright 1929, 1947 by Edna St. Vincent Millay. By permission of orma Millay Elli . Toshi Ichiyanagi Music for Electric Metronomes (1968)

Metronomes: June Chun Vivian Kuan Leo Fishman Tom Lachmund Dian Grossman Gary Washburn Phyllis Jardine Paula Yee

First Performance in Hawaii

Barney Childs Music for a Celebration (1965) Richard Arnest, piccolo Dave OIds, bass drum

First Performance in Hawaii

George Cacioppo Cassiopeia (1967)

Pianists: Kathleen Adver alo Phyllis Jardine Grant Okamura Yang Kuo Chang Gayathri Kassabaum Mona Sen Russell Ching Jeraldine Kotani Raymond Shigeoka Cynthia Chun Vivian Kuan Sumy Takesue June Chun Alberta Leong Pauline Terashima Do Bao San Marilyn Liu John Van der Slice Leo Fishman Tom Lockmund Gary Washburn Susan Fukushima Elaine Ma Eloraine Yamato Dian Gro sman Lynda Mair Paula Yee

First Performance in Hawaii Program Notes In Aria da Capo, by intermingling comic and tragic elements, the author has produced a work of sin­ gular unity within the Baroque aria form. Surrounded by a shower of frivolous persiflage, the barriers which separate men and nations form the tragic central theme of the work which, despite its veneer, is extremely timely ... P.C. and A.T.

The Brillig Requiem uses the text of "Jabberwock" from Through the Looking Glass by Lewis Carroll (Charles Dodgson). In the Center Piece the audience becomes a functioning part of the performing group. Portions of this movement are recorded at the time of the performance and played back in the final Ending Piece as nostalgic memories of a sort ... A.K.R.

The score for Music for a Celebration indicates that it is written "For anyone who wants to Celebrate" ... P.C. and A.T. and A.K.R.

In Cassiopeia, graphic notation has been used by the composer to design a work in which the visual element is juxtaposed with the aural. Within a prescribed framework, one individual performance is allo,ved considerable latitude through aleatoric selection ... P.C. and A.T.

Note: Since Cassiopeia will be performed in various locations in and around the Music Building Com­ plex, the audience should feel free to rise and circulate in order to experience various portions of the work.

PETER CORAGGIO, upon completion of his Master of Science Degree at the Juilliard School of Music, continued studies in electronic music composition with Vladimir Ussachevsky at the Columbia­ Princeton Electronic Music Center. Since joining the University of Hawaii Music Faculty in 1965, he has composed music for numerous theater productions, films and ballets, has designed sound environ­ ments for light shows and has presented numerous lecture demonstrations on today's music. He is presently active in studying the interplay between the audio and the visual senses.

ALLEN TRUBITT received his degrees in music from Roosevelt University and Indiana University. He studied composition with Karel Jirak and Bernhard Heiden. Currently on the faculty of the Uni­ versity of Hawaii Music Department, his compositions have been heard in previous Festivals of the Arts of This Century.

ARMAND RUSSELL, Chairman of the University of Hawaii Music Department, studied composi­ tion at the University of Washington with George McKay and John Verrall and at Eastman School of Music with Bernard Rogers and Howard Hanson. In 1968 he spent several months in Mexico City and Yucatan composing and writing. One of the works composed at that time was a chamber dance-opera, The Penguin Dragon.

TOSHI ICHIYANAGI was born in Kobe, Japan, where he studied with Chieko Hara and Tomojiro Ikenouchi. He has also worked in the United States with John Cage. His compositions are widely per­ formed throughout the world in festivals of new music and include solo piano pieces, chamber works for traditional Japanese instruments, tape music, Iive electronic music, film scores, and sound environ­ ments. His works are recorded by Columbia and Victor (Japan).

BARNEY CHILDS, a Rhodes Scholar and Ph.D. in English, is a composer, poet and literary editor. He has studied composition with Aaron Copland, Carlos Chavez and Elliot Carter and has received many awards and commissions from organizations in the United States, Canada and England and has published many avant garde works. Since 1965, Dr. Childs has been Dean of Deep Springs College in California.