Earplay San Francisco Season Concerts 2010 Season Herbst Theatre, 7:30 PM Pre-concert talk 6:45 p.m.

Earplay 25: Ear and there Monday, February 8, 2010

Bruce Christian Bennett , Sam Nichols,  Kaija Saariaho Carlos Sanchez-Gutiérrez, Seymour Shifrin Earplay 25: Ear and There Earplay 25: Outside In Monday, March 22, 2010 February 8, 2010 Lori Dobbins, Michael Finnissy, Chris Trebue Moore , Judith Weir

Earplay 25: Ports and Portals Monday, May 24, 2010 as part of the San Francisco International Arts Festival Jorge Liderman Hyo-shin NaWayne Peterson Tolga Yayalar

earplay commission/world premiere Earplay commission West-Coast Premiere 2009 Winner, Earplay Donald Aird Memorial Composition Competition elcome to Earplay’s 25th San Francisco season. Our mission is to nurture new — W composition, performance, and audience —all vital components. Each concert features the renowned members of the Earplay ensemble performing as soloists and ensemble artists, along with special guests. Over twenty-five years, Earplay has made an enormous contribution to the bay area music community with new works commissioned each season. The Earplay ensemble has performed hundreds of works by more than two hundred Earplay 2010 including presenting more than one hundred world Donald Aird premieres. This season the ensemble continues exploring by performing works by composers new to Earplay. Memorial The 2010 season highlights the tremendous amount Composers Competition of innovation that happens here in the Bay Area. The season is a nexus of composers and performers adventuring into new Downloadable application at: musical realms. Most of the composers this season have strong www.earplay.org/competitions ties to the Bay Area — as home, a place of study or a place they create. Deadline: March 31, 2010 These are difficult financial times and especially so for an organization like Earplay that is at the forefront of bringing new works to the concert hall. We appreciate your support and look forward to seeing you at all our concerts. Stephen Ness President, Board of Directors Special Thanks To: Earplay Earplay Staff Board of Directors Bruce Bennett Jennifer Burke, Industry Advisory Board Peter Josheff Stephen Ness, president Aislinn Scofield Scott Koué executive director Richard Felciano May Luke, secretary Steve Ness Bruce Bennett, treasurer Scott Koué MIchael Seth Orland William Kraft technical director/stage manager Chris Placencia Kent Nagano Terrie Baune Karen Rosenak Terrie Baune, musician representative scheduling coordinator Wayne Peterson School of Creative Arts, Mary Chun Diane Hie San Francisco State University Chen Yi Christopher Wendell Jones bookkeeping services Crystal Chun Wong SAN FRANCISCO WAR MEMORIAL AND PERFORMING ARTS CENTER HERBST THEATRE Monday Evening, February 8 at 7:30 p.m. The Herbst Theatre Owned and operated by the City and County of San Francisco through the Board of Trustees of the War Memorial of San Francisco The Honorable Gavin Newsom, Mayor EARPLAY 25: TRUSTEES Nancy H. Bechtle, President Ear and There Charlotte Mailliard Shultz, Vice President Wilkes Bashford Belva Davis Bella Farrow Mary Chun, conductor Thomas E. Horn Claude M. Jarman, Jr. Mrs. George R. Moscone Tod Brody, flutes Terrie Baune, violin MajGen J. Michael Myatt, USMC (Ret.) Peter Josheff, clarinets Ellen Ruth Rose, viola Paul Pelosi Karen Rosenak, piano Thalia Moore, cello

Elizabeth Murray, Managing Director Jennifer E. Norris, Assistant Managing Director Guest Artists

Michael Seth Orland, piano Chris Froh, percussion

Pre-concert talk 6:45 p.m. A conversation moderated by Chris Jones with Bruce Bennett and Sam Nichols

Earplay’s season is made possible with funding from the Foundation, the Alice M. Ditson Fund of , the Amphion Foundation, the Ann and Gordon Getty Foundation, the Bernard Osher Foundation, the LEF Foundation, the San Francisco Arts Commission, the San Francisco Foundation, the San Francisco Grants for the Arts, the William and Flora Hewlett Foundation, the Community Arts Committee of the Zellerbach Family Fund and Generous Donors. Program Donors (since March 2009) $10,000 + $200 + $50 + Carlos Sanchez-Gutiérrez and of course Henry the Horse (2006) The San Francisco Mark Applebaum William Beckerman West Coast Premiere Grants For the Arts Mel and Yen Bachmeier Herbert W. Bielawa The William and Flora Bruce Bennett David Cole and Linda I. Genghis? after Rodney Brooks II. Mandala Tequila after Iván Puig Hewlett Foundation Raymond Chun Bouchard II. Machine with Artichoke after Arthur Ganson IV. Things that Go after John Chowning Fischli and Weiss Hilary and Christopher $5,000 + Costin Lori Dobbins Mary Chun, Peter Josheff, Terrie The Aaron Copland Margaret Dorfman Janet Elliott Baune Karen Rosenak and Foundation Patti Noel Dueter Guillermo Galindo Ann and Gordon Getty Ellinor Hagedorn Arnold Go Michael Seth Orland Foundation Dan Kelly and Penny John and Lee Hause The National Endowment Sneed Peggy Merrifield for the Arts Sally and Philip Kipper Patricia Moy

Samuel Nichols Unnamed, Jr. (2010) Ruth Knier Sam Nichols & Laurie Earplay Commission/World Premiere $3,000 + Warren and Nancy San Martin The Amphion Foundation Krause Peter Josheff, Ellen Ruth Rose Wendy Niles The Bernard Osher Thalia Moore Allen Shearer & Claudia and Karen Rosenak Foundation Wayne Peterson Stevens The Community Arts Wayne and Winnie Wong Donald and Phyllis Kaija Saariaho Je sens un deuxième coeur (2003) Committee of the Sutherland The Zellerbach $100 + 1. Je dévoile ma peau (I reveal my skin) 2. Ouvre-moi, vite! (Open up, Family Foundation Karen Breslin Other Friends fast!) 3. Dans le rêve, elle l’attendait (In the dream, she waited) Thomas White and Leslie Tod Brody Frances L. Bennion Scalapino 4. Il faut que j’entre (I must come in) 5. Je sens un deuxième coeur qui William Beck & Yu-Hui Katherine Brody Chang Kenneth Bruchmeier bat tout près du mien (I feel a second heart beating close to mine) $1,000 + James & April Carlson Anne Callaway Alice M. Ditson Fund of John & Mary Caris Ernestine S. Cohn Ellen Ruth Rose, Thalia Moore and Columbia University Chen Yi and Zhou Long Alice Berg Cronin Terrie Baune Michael Seth Orland Chris Concolino Barbara and Sanford Jane Bernstein and Alena Cowan Dornbusch

Robert Ellis Pablo Furman Donald & Stephanie Mary Chun intermission Gary Eskelson Friedman Pamela George Gamaliel Galindo Louise Haiman The LEF Foundation Douglas Gong Louis Karchin May Luke Martha Callison Horst Seymour Shifrin The Modern Temper(1959) Bari & Stephen Ness Kenneth Johnson Karen Rosenak Joy Kent Aislinn Scofield Susan Kwock Karen Rosenak and Arthur Rose Michael Seth Orland $300 + William Schottstaedt Barbara Imbrie Mike Sharp Christopher Wendell Richard & Patricia Taylor Bruce Christian Bennett From the Ashes (2005) Jones Lee Earplay/Fromm Music Foundation Yoshiko Kakudo Amy Miller Levine Commission Antoinette Kuhry & Alexandra Morgan Mary Chun, Tod Brody, Peter Thomas A. Haeuser Nora Norden Kevin Neuhoff Elizabeth O’Malley Josheff, Terrie Baune, Ellen Ruth Larry Russo David Periera Rose, Thalia Moore, Karen Dan Scharlin Rosenak and Chris Froh Regina Sneed Olly & Louise Wilson Earplay Composers: Twenty-Five Years Notes on the Program

Eliane Aberdam John Felder Anne LeBaron Salvatore Sciarrino Sarah Aderholdt Morton Feldman Yinam Leef David Schiff Carlos Sanchez-Gutiérrez pays homage to, and is a commentary Thomas Adès Richard Festinger Fred Lerdahl David Schober Donald Aird Irving Fine Peter Scott Lewis Philippe Schoeller on a work of contemporary art. Eleanor Alberga Michael Finnissy Jorge Liderman Arnold Schoenberg Richard Aldag Tom Flaherty ...and of course Henry the (2006) “Genghis is a wobbly, six-legged robot Alexis Alrich Andrew Frank György Ligeti Horse... Allen Anderson David Froom Liza Lim Allen Shearer clarinets, violin and four-hand piano built in 1989 by Rodney Brooks Mark Applebaum Pablo Furman Mei-Fang Lin Seymour Shifrin Robert Basart Beat Fürrer Scott Lindroth Sheila Silver (Director of the MIT Artificial Ross Bauer Guillermo Galindo David Liptak Reynold Simpson Michael Gandolfi Zhou Long Intelligence Lab), which, upon being Bruce Christian Bennett Paul Siskind Guy Garnett Jing Jing Luo ... and of course Henry the horse... was Ronald Bruce Smith switched on, doesn’t vacuum one’s Jonathan Berger Stacy Garrop Witold Lutoslawski commissioned by Continuum with John Gibson Drake Mabry David Soley floors or build the newest Chevrolet. Christophe Bertrand James Giroudonv John MacDonald Harvey Sollberger funds from the New York State Herb Bielawa Glenn Glasow Claudio Spies Instead, it simply ‘does what is in its Susan Blaustein Daniel Godfrey Katherine Malyi Jeff Stadelman Council on the Arts. The Stephen Blumberg Alexander Goehr Ursula Mamlock Kurt Stallman nature.’ writes: Linda Bouchard Perry Goldstein Dorrance Stalvey Michelle Green David Meckstroth “Mandala Tequila was inspired by the Eitan Steinberg Martin Boykan Mark Grey Marjorie Merryman “The source of the title for this Frank Stemper installation piece Mandalas para la Carolyn Bremer Stephen Michael Gryc Olivier Messiaen collection of short pieces should be Benjamin Britten Susan Harding Donal Michalsky Mark Stickman vida moderna (Mandalas for Modern Christopher Burns Lou Harrison Darius Milhaud obvious to any Beatles fan. ‘Being Ann Callaway Ellen Ruth Harrison Kotoka Suzuki Life) by Mexican artist Iván Puig, Ronald Caltabiano Stephen Hartke Chris Treubue Moore Toru Takemitsu for the Benefit of Mr. Kite’—a Paul Moravec Edmund Campion Hugh Hartwell Bruce Taub where an endless mechanical mallet James Carr Jonathan Harvey Gustavo Moretto hallucinatory electronic waltz with John Thow Tristan Murail weaves a mantric melody when Leilei Tian colorful characters and an aura of Chris Chafe Martin Herman Thea Musgrave hitting a collection of tequila bottles Yu-Hui Chang Jennifer Higdon Hyo-Shin Na Ushio Torikai decadence, nostalgia and futurism— Eric Chasalow Alexander Hills William Neil arranged in a circle. Thanks to a small Yi Chen Vincent Chee-yung Ho Olga Neuwirth Christopher Trapani intrigued and amazed me long before Miguel Chuagui Sunji Hong Sam Nichols Bertram Turetzky light bulb installed on the mallet, a Timothy Vincent Clark Martha Callison Horst Roger Nixon Nicolas Tzortzis I could understand what the lyrics Toshio Hosokawa Joao Pedro Oliveira series of cogwheel-like shadows are Steven Clark Jason Uech Aaron Copland Joan Huang Henry Onderdonk said. Galina Ustvol’skaya i projected onto the walls, creating Eleanor Cory Lee Hyla Pablo Ortiz Cindy Cox Igor Iachimciuc Gabriela Ortiz David Vayo “I’d like to think of the four little a perpetual counterpoint of light, Ruth Crawford Seeger Victor Ialeggio Jose Antonio Orts Curt Veeneman pieces that make up this collection George Crumb Shintaro Imai Hèctor Para Claude Vivier sound and movement. Beth Custer Andrew Imbrie Caspar Johannes Walter Jeffrey Perry of music for four-hand piano, clarinet Marc-Andre Dalbavie Charles Ives Xi-Lin Wang “Machine with Artichoke takes its title Edward Jacobs Greg D’Alessio Wayne Peterson Anton von Webern and violin as proponents of some Stephen Jaffe Alexander Post from one of the awesome machines Judith Weir James Dashow David Jaffe Laurie Radford of the same qualities I like about Daniel Weymouth built by the American artist Arthur Mario Davidovsky Ping Jin ‘Mr. Kite’. My pieces, like most Peter Maxwell Davies Betsy Jolas Shulamit Ran Scott Wheeler Ganson—a self-described cross Adriana Verdié de Vas Christopher Wendell Jones Barbara White circus acts, employ a menagerie of Romero Peter Josheff Maurice Ravel Frances White between a mechanical engineer and Tamar Diesendruck Louis Karchin Belinda Reynolds Beth Wiemann ‘technological’ devices (in the case Lori Dobbins Arthur Keiger Steve Ricks Olly Wilson a choreographer. Ganson’s machines Hi-Kyung Kim Andrew Rindfleisch of my music, these are rhythmic and Mark Winges Kui Dong Jody Rockmaker are simple and profound, quiet and Walter Winslow structurally ‘imperfect’ mechanisms) Jérome Dorival Jerome Kitzke Kurt Rohde eloquent, high-tech and low-tech, Jacob Druckman Barbara Kolb Mathew Rosenblum Stefan Wolpe that are precisely engineered; yet Edwin Dugger Anthony Korf Morris Rosenzweig finite and eternal. Joel Durand Paul Kozel Chris Roze Iannis Xenakis precariously realized. The pieces are David Dzubay William Kraft Kaija Saariaho “Things that Go dreams about the world Tolga Yayalar simple and complex, as well as a bit Jason Eckardt Meyer Kupferman Virginia Samuel Pagh-Paan Younghi of Swiss artists Peter Fischli and David George Edwards Gyorgy Kurtag Laurie San Martin Isang Yun funny and very dangerous. Each piece Aaron Einbond Bun-ching Lam Carlos Sanchez-Gutiérrez specifically their masterful film Eric Zivian Weiss, Mirtru Escalona-Mijares David Lang Marc Satterwhite Leo Eylar Massimo Lauricella Eric Sawyer Ricardo Zohn-Muldoon Fredrik Fahlman Richard Lavenda Arnold Schoenberg Ellen Taafe Zwilich Richard Felciano Mario Lavista Ralph Shapey The Way Things Go, a sort of perpetual received two B.M.I. composition Award and Golden Reel (Titanic, Earplay Recorded cycle where fire, air, gravity and awards, the Mozart Medal from the Best Sound). He also collaborated corrosive liquids make it possible governments of Mexico and Austria, with photographer David Waldorf in and a Fulbright Fellowship. Sanchez- Experience & Exchange: Documentary for mops, buckets, wood planks Cindy Cox and old bottles to stage a carefully Gutiérrez’s work is performed and as the Art of Collaboration, Kent Geode (1996) choreographed dance that is part recorded frequently in the U.S, Latin State University. Scott’s formal training (Earplay commission) chain-reaction, part circus-act – Being America, Europe and Asia. includes Theatrical Design at U.C. Davis. Axis Mundi (2004) for the Benefit of Ms. Seltzer and Mr. (Earplay/Fromm Music Foundation Sachs! ©2006, --C.S.G. commission) Aislinn Scofield (executive Sam Nichols, Unnamed, Jr. (2010) clarinet, viola and piano director) has extensive experience Libby Larsen C a r lo s S a n c h e z - Earplay Commission/World Premiere with a wide range of Asian Every Man Jack (2006) Gutiérrez (b. 1964) performing arts when Manager of was born in Mexico Unnamed, Jr. is scored for clarinet, Cultural Programs at the Asian Art City, he grew up in viola, and piano. It’s the offspring of Jorge Liderman Museum where she received Guadalajara, and later a work in progress, a chamber opera Swirling Streams (2004) numerous awards for her work. studied at Princeton titled Unnamed (or, the Unnamed). I began work on the opera about two Formal studies include a B.A. in and Tanglewood under Henri Theater, Washington State William Kraft Dutilleux, Jacob Druckman, and years ago, but once I figured out University, a B.A. in Studio Art and Vintage Renaissance and Martin Bresnick. He is currently that I needed to revise the libretto I’d written, I set it aside. Part of the an MA. Interdisciplinary Art, San Beyond (2005) Associate Professor of Composition Francisco State University. (Earplay/Koussevitzky Music Foundation at the Eastman School of Music in problem with the libretto was that commission) Rochester, New York. I had trouble imagining exactly the kind of music I wanted to write (a chicken-and-egg situation: without Individual donations are vital to Earplay’s Among the many awards he has the libretto, no music; without the success and we appreciate your generosity. received are the 2007 Barlow Prize, music, no libretto). I decided that a If your company has a matching policy, we a Finalist Prize at the 2004 Malaysian companion piece would help me break would be most grateful. Call us, see our Philharmonic Orchestral Composer out of this impasse. Unnamed, Jr. is a website to make an electronic donation: Competition, as well as the 2003 series of sketches toward the larger Lee Ettelson Composition Award. piece. It’s a kind of holding pen for all www.earplay.org He has also been honored in recent of the melodic, harmonic, textural, or take a pre-addressed envelope tonight. years with awards and fellowships gestural and dramatic ideas that have � Thank you! from the Koussevitzky, Guggenheim, been emerging as I think about the Fromm, Rockefeller and Camargo opera. Unnamed, Jr. is dedicated, with Foundations. He was the 2000-01 great respect and admiration, to Mary American Academy of Arts and Chun and the musicians of Earplay. Letters Charles Ives Fellow and has - S. N. Sam Nichols Kaija Saariaho, Je sens (b.1972,) is a composer un deuxième coeur (I feel a who lives and works in second heart) (2003) viola, cello, piano Northern California. My original idea was to write musical His music has been portraits of the four characters in performed by eighth blackbird, the the opera Adriana Mater, but when Empyrean Ensemble, and the Left I began reworking the material Coast Chamber Ensemble, among in the context of chamber music, other groups. Recent projects include concentrating on developing the Monkey Fist for cellist David Russell, ideas to fit the three instruments of and Crank for pianist Amy Briggs. New my trio, the piece grew further from arplay nurtures new chamber music. projects include pieces for several Bay the opera. EARPLAY links audiences, performers, and Area ensembles, including Earplay and ecomposers through concerts, commissions, the Left Coast Chamber Ensemble. Compositionally, I started from and recordings of the finest music of our time. Upcoming projects include new solo concrete, high profile ideas and works for percussionist Chris Froh advanced towards abstract, purely and cellist David Russell. He’s also Founded in 1985 by a consortium of composers and musical concerns. So, for example, currently working on Unnamed, or, musicians, Earplay is dedicated to the performance of new the title of the first section,Je dévoile the Unnamed, a chamber opera for chamber music offering audiences a unique opportunity to ma peau, became a metaphor: the Guerilla Opera. hear eloquent, vivid performances of some of today’s finest musical material introduced was chamber music. Earplay concerts feature the Earplayers, orchestrated to reveal the individual seven artists who, as a group, have developed a lyrical and An ongoing collaboration with sculptor characters of the three instruments ferocious style. Earplay has performed over 425 works Robin Hill has produced two multi- and their interrelations. The second in its 25-year history including 107 world premieres and media installations. One of these, and fourth parts both start from over 50 new works commissioned by the ensemble. The Kardex, was featured at the Mondavi ideas of physical violence. 2010 season reinforces EARPLAY’s unwavering track Center for the Performing Arts in record of presenting exceptional music in the 21st century. Davis, CA. In the context of this trio the violence has turned into two studies He attended Vassar College and on instrumental energy. . For the past six Part three is a colour study in which years he has worked as a lecturer in the three identities are melded into the UC Davis Music Department; he one complex sound object. also teaches in collaboration with the Technocultural Studies Department. The last section brings us to the thematic starting point of my opera, again very physical: the two hearts beating in a pregnant woman’s body. continued studies there for another and she currently performs with C h r i s F r o h I am fascinated by the idea of the year. Afterward, she enrolled at the those groups. She studied modern (percussion) is a San secret relationship between a mother Musikhochschule in Freiburg, Germany, piano with Carlo Bussotti and Nathan Francisco freelance and an unborn child. Musically, the to study with British composer Brian Schwartz, and credits Margaret percussionist special- two heartbeats and their constantly Ferneyhough and Germany’s Klaus Fabrizio with introducing her to the izing in new music changing rhythmic polyphony have Huber.... In the mid-1980s, Saariaho’s fortepiano during her graduate work written for solo and chamber settings. already served as an inspiration in my works began garnering much attention in early music at Stanford University. He received his Bachelor’s and music; now the connections between and she received many prestigious She has found the balance between old Master’s degrees at the University the the two minds added another awards, such as the Kranichsteiner Prize and new music, and between old and of Michigan and has also studied at layer of communication. in 1986, the Prix Italia in 1988, and the new pianos, to be an ongoing, most the Eastman School of Music and the following year the Ars Electronica for satisfying pursuit. Since 1990, she has Toho Gakuen Conservatory of Music, her works Stilleben (1987-1988) and Io been on the faculty at UC Berkeley, These ideas guided the musical where he was a special audit student (1986-1987). She also attracted several where she teaches musicianship and development how to share the of marimbist Keiko Abe. He has impressive commissions, including contemporary chamber music. intense dually-constructed material taught percussion at California State one from the Lincoln Center, which among the three trio instruments University, Sacramento, and currently resulted in the chamber work Nymphea and to let it grow within their specific teaches at UC Davis. (1987), which was premiered by the characters. Finally the title became Kronos Quartet. By the early 1990s, also a metaphor for music making: Guest� Artists her music was beginning to appear with isn’t it with the ‘other’ we want to greater frequency on the concert stage communicate through our music? and with some regularity on record Michael Seth As written over the last movement, labels. Saariaho had become one of the Orland (piano) Staff Doloroso, sempre con amore.-- K.S 2004 few composers to write in a modern, studied with Margaret � though not particularly dissonant, style Kohn and is a graduate Scott Koué (technical director/ who has achieved a good measure of of the UC Berkeley Kaija Saariaho stage manager) is a sound recordist, popularity. -- Music Department, (b.1952) is not only excerpted from Robert editor and designer with years of among the most Cummings. See the complete bio at www. where he studied harpsichord with earplay.org. experience in film, advertising and Davitt Moroney and composition with important Finnish the theater. His work can be heard in composers of her Gérard Grisey. He later continued over thirty films including The Legend of his study of composition with David time, but must be ranked as one S e y m o u r S h i f r i n Drunken Master (starring Jackie Chan) and of the leading composers of the Sheinfeld. The Modern Temper (1959) the award-winning Titanic. His credits late twentieth and early twenty four-hand piano on these and other projects include first centuries. ... In 1976, she began Shifrin’s music tends to be very Orland has appeared extensively in sound supervisor, sound editor, creator composition studies at the Sibelius chromatic, highly dissonant, and always the Bay Area as a chamber musician. of specialized sound effects and Foley Academy with Paavo Heininen. She a model of elegant counterpoint. The Orland is on the music faculty at UC recordist. Industry awards include the obtained a degree in composition Modern Temper for piano, four hands, Berkeley and also teaches there in the SILVER HUGO, New York Festival, from the academy in 1980, but is unusually light-hearted for Shifrin. Young Musicians Program. the London International Advertising on the equivalent relative consonance/ Quartet, Earplay, the Ensemble Performers dissonance of the melodic intervals. InterContemporain, the New Orleans The resulting series of harmonic fields New Music Ensemble, Sirius, and creates what could be thought of as performers such as Tom Dambly, Jerry Terrie Baune He maintains an active freelance a harmonic topography, which is then Kuderna, Alexandra Kocheva, Hugh (violin), in addition career, teaches at the University of navigated by the composition. Livingston, Gary Scavone, and Michael to being a member California, Davis, and directs the San Zbyszynski; his electroacoustic music of Earplay, she is Co- Francisco Bay Area Chapter of the has been presented at curated events The poetic impulse for the piece is Concertmaster of the American Composers Forum. such as the Electric Rainbow Coalition inspired by the myth of the Phoenix -- Oakland-East Bay Festival at Dartmouth, Natural a cycle of destruction and rebirth. The Symphony and Concertmaster of a r y h u n Disasters exhibit in New Orleans, the M C composition is primarily concerned Pulse Field exhibition in Atlanta, the the North State Symphony and a (conductor) has pre- with what is born out of catastrophe. Electronic Music Midwest Festival, member of the Empyrean Ensemble. miered the works Moments of extreme violence give way Sonic Circuits II, Cultural Labyrinth in Her professional credits include of many composers, to periods of calm, and this dichotomy San Francisco, EX-STATIC and Sonic concertmaster positions with the including John Adams shapes the dialectic of the piece. Residues in Melbourne, Australia, Women’s Philharmonic, Fresno earthquake romance from the ashes was composed for and at ICMA, SEAMUS, and SCI Philharmonic, Santa Cruz County I Was Looking at the Ceiling and Then I Saw Earplay at the request of violist Ellen conferences. In addition to an active Symphony, and Rohnert Park Symphony. the Sky, which she conducted in Paris, Ruth Rose and conductor Mary Chun, performing and composing career, he A member of the National Symphony Hamburg, and Montreal. In demand and was made possible by a grant teaches composition, , Orchestra for four years, she also as a collaborator for new lyric work from the Fromm Music Foundation. counterpoint, and 20th-Century music spent two years as a member of the and traditionl operatic repertoire, she It is dedicated to the memory of John at San Francisco State University. He Auckland Philharmonia Orchestra of has worked with opera companies in Rush. -- B. B. was a visiting artist at Reed College New Zealand, where she toured and Europe and the U.S. such as Opera de in 2005–2006 and visiting assistant recorded for Radio New Zealand with Lyon, La Monnaie, Kosice State Opera, professor of music at Tulane University the Gabrielli Trio and performed with Hawaii Opera Theater, Opera Theater Bruce from 2003–2005. He received his the New Zealand Symphony Orchestra. of Saint Louis, Opera Idaho, the Texas Christian Ph.D. in music composition from the Shakespeare Festival, Cleveland Lyric Bennett(b.1968,) University of California, Berkeley in Opera, Pacific Repertory Opera, the is a native of Seattle, 1999, his M.M. in composition from Los Angeles Music Center Opera and currently residing in T o d B r o d y the San Francisco Conservatory of San Francisco Opera. In Fall 2006 Pacifica, California. (flute) has been in Music in 1993, and his B.A. in music the fore-front of she premiered Every Man Jack, a new He is an active performer of improvised from Reed College in 1990. He has contemporary music chamber opera based on the life music, and as a composer, his works received several honors, including the activity in northern of writer Jack London, written by have been played throughout the Prix Maurice Ravel at Fontainebleau, California through his composer Libby Larsen and librettist United States and abroad by such a commission from the Fromm Philip Littell, and commissioned by the groups as the Arditti String Quartet, performances and recordings with the San Foundation, and grants from Meet the Sonoma City Opera. the CityWinds, the Del Sol String Francisco Contemporary Music Players, Composer. Earplay, and the Empyrean Ensemble. P ete r J o s h eff Ellen Ruth Rose He was commissioned by Peggy and Boston Symphony Orchestra, the (clarinet) has been a (viola) relocated to Milton Salkind to write it for the Minneapolis Symphony Orchestra, clarinetist, composer the Bay Area in 1998 Composers Forum in San Francisco. the Juilliard, Fine Arts, and Galimir and advocate of after having spent He completed it in 1959, during his Quartets, and Alfred Brendel, contemporary music several years in tenure at UC Berkeley. It is a short Stephen Bishop, Bethany Beardslee, in the Bay Area for Cologne, Germany, (eight minutes) single movement and Jan de Gaetani. He received which actually contains three numerous honors, including the over twenty years. He is a founding where she first became immersed in miniature movements played without Boston Symphony’s Horblit Award, member of Earplay, the San Francisco- contemporary music. As a member pause (fast-slow-fast). as well as grants from the National based new music ensemble, as well of the experimental ensembles Musik Endowment for the Arts, the National as a member of the Paul Dresher Fabrik and Thürmchen Ensemble, and -- Karen Rosenak Institute of Arts and Letters, and Ensemble, the Empyrean Ensemble, as a frequent guest with Frankfurt’s the Koussevitzky, Guggenheim, and and the Berkeley Contemporary Ensemble Modern, she toured Seymour Shifrin Chamber Players. He performs throughout Europe, premiering and Fulbright foundations. (1926-1959) was born frequently with the San Francisco recording countless works. She has in Brooklyn, New York Contemporary Music Players, performed as soloist where she first After graduating from Melody of China, and Composers Inc. became immersed in contemporary the New York High He has performed as a clarinetist on music. She has performed as soloist Bruce Christian Bennett, School of Music and many commercial recordings. Peter’s with the West German Radio (2005) Art, he studied privately with the From the Ashes, recent works include Caught Between Chorus and appeared at the Cologne (Earplay/Fromm Music Foundation composer William Schuman, and then Two Worlds, Three Poems by Dorothy Triennial, Berlin Biennial, Salzburg Commission) attended Columbia University, where Cary (2009) and Inferno (2008). Zeitfluss, Brussels Ars Nova, Venice flute/piccolo, clarinet/bass clarinet, he received the BA and the MA in violin,viola, cello, piano and percussion Biennial, and Budapest Autumn festivals. Ms. Rose holds degrees in 1947 and 1949, respectively. From the Ashes is based on an underlying Thalia Moore viola performance from The Juilliard structural melody that provides not (cello), attended the School and the Northwest German only melodic profile but also form Juilliard School of His principal composition teacher at Music Academy; and a degree in and harmonic content. This melody Music as a scholar- Columbia was Otto Luening. Shifrin English and American history and is not heard explicitly throughout ship student of Lynn taught at Columbia in 1949-1950 and most of the composition, though Harrell, and received literature from . at the City College of New York in 1950-51. The next year, he studied in it does surface at a few key points. her bachelor’s and master’s degrees Paris with Darius Milhaud. In 1952 he From this ur-melody, significant in 1979 and 1980. Since 1982, Ms. Karen Rosenak was appointed to the faculty of the structural pitches are identified and Moore has been Associate Principal (piano) is an “almost University of California at Berkeley, then used to generate harmonies Cellist of the San Francisco Opera native” of the Bay Area. where he remained until 1966, when based on frequency modulation Orchestra, and in 1989 joined the She was founding he became a professor at Brandeis synthesis. This technique has proved cello section of the San Francisco member/pianist of Bay University. Shifrin’s works have effective in controlling the relative Ballet Orchestra. Area new-music groups been performed by many prominent consonance and dissonance of the Earplay and the Empyrean Ensemble, ensembles and soloists, including the generated harmonic fields depending