society for new music music here & now innova 970 26:28 12:45 8:18 16:09 7:27 Recordings is the label of the (62:50) ® Glossolalia; For My Father; Hyperactive Sofa; For My Mother Sofa; For Hyperactive My Father; Glossolalia; For Zhou Tian Morning After the Deluge Grossmann Villavicencio Jorge Whistling Vessels Woods Mike ‘Doctuh’ Libations Mark Olivieri Concertino: Test: Stress

www.innova.mu www.societyfornewmusic.org www.innova.mu © Society for New Music. All Rights Reserved, 2017. innova American Composers Forum. Disc B 1. 2. 3. 4. 13:15 15:24 5:58 5:36 7:33 9:40 A Story Within a Story Within A Story The Madding Crowd Memorial When all is said and done... A Woman in Winter, Part I in Winter, A Woman Part II in Winter, A Woman (65:47) Music from Music from Rob Deemer Rob String; Wind Hammer; Cantos: Zohn-Muldoon Ricardo Nochera Zapateado; Jarabe; Marcha; Huapango; Son; Serenata; Jacaras: Canto; Gregory Wanamaker

5. 6. 7. Disc A 1. 2. 3. 4. from the heart of new york new of heart the from

Rob Deemer (b. 1970) Cantos, 2012 Kelly Covert, flute; John Friedrichs, clarinet/bass clarinet; Ralph Dudgeon, trumpet; Dave DiGennaro, trombone; Ann McIntyre & Sonya Williams, violin, Kit Dodd, viola; Greg Wood, cello; Ed Castilano, A doublebass; Rob Bridge, percussion; Adrienne Kim, piano; Cynthia Johnston Turner, conductor

Commissioned and premiered by the Society for New Music. Recorded at Subcat Studios Syracuse NY - October 2014 Engineered by James S. Abbott Edited, Mixed and Mastered by James S. Abbott

Ricardo Zohn-Muldoon (b. 1962) Jacaras, 2006 Hanna Hurwitz, violin; Ailbhe Mcdonagh, cello; Arthur Williford, piano

The recording was made possible thanks to a Professional Development Grant from the Eastman School of Music. Recorded at Red Creek Studio Rochester NY - May 2008 Engineered by Anton Machleder Produced by Hanna Hurwitz and Ricardo Zohn-Muldoon

Gregory Wanamaker (b. 1968) Music from A Story Within A Story, 2011, rev. 2013 Kelly Covert, flute/piccolo; John Friedrichs, clarinet/bass clarinet; Ann McIntyre, violin; Gregory Wood, cello; Rob Bridge, percussion; Rob Auler, piano; Cynthia Johnston Turner, conductor

Commissioned and premiered by the Society for New Music with funds provided by the National Endowment for the Arts & the New York State Council on the Arts Recorded at Onondaga Community College Syracuse NY - November 2014 Engineered by James S. Abbott Edited, Mixed and Mastered by James S. Abbott Zhou Tian (b. 1981) Morning After the Deluge, 2014 John Friedrichs, clarinet/bass clarinet; Ann McIntyre, violin; Blagomira Lipari, violin; Kid Dodd, viola; B Gregory Wood, cello; Sar Shalom Strong, piano Commissioned and premiered by the Society for New Music. Recorded at Subcat Studios Syracuse NY - March 2015 Engineered by James S. Abbott Edited and Mixed by Zhou Tian Mastered by James S. Abbott

Jorge Villavicencio Grossmann (b. 1973) Whistling Vessels, 2013 Cadence I: oboe, clarinet -- Episode I -- Cadence II: violin, cello -- Episode II -- Cadence III: piano, percussion -- Episode III Ann McIntyre, violin; John Friedrichs, clarinet/bass clarinet; Emily DiAngelo, oboe/english horn; Greg Wood, cello; Ida Trebicka, piano; Rob Bridge, percussion; Mikaela Derby, Bennett Coughlin, Nicholas Shafer, whistling vessels; Jorge Grossmann, conductor

Commissioned and premiered by the Society for New Music with a grant from the New York State Council on the Arts. Recorded at Subcat Studios Syracuse NY - January 2015 Engineered by James S. Abbott Edited, Mixed and Mastered by James S. Abbott

‘Doctuh’ Mike Woods (b. 1952) Libations, 2011 Rob Auler, piano; Blagomira Lipari, violin; Michael Woods, doublebass; Jennifer Vacanti & Rob Bridge, percussion

Commissioned and premiered by the Society for New Music.

Mark Olivieri (b. 1972) Concertino: Stress Test, 2010 Rob Auler, piano; Kelly Covert, flute/piccolo; John Friedrichs, clarinet/bass clarinet; Ann McIntyre, violin; Gregory Wood, cello; Rob Bridge, percussion; Cynthia Johnson Turner, conductor

Commissioned and premiered by the Society for New Music with funds provided by the National Endowment for the Arts. Recorded at Onondaga Community College Syracuse NY - September 2014 Engineered by James S. Abbott Edited, Mixed and Mastered by James S. Abbott

ROB DEEMER (b.1970) Cantos was written in 2012 on commission from is a composer, conduc- the Society for New Music. The 3 movements are tor, educator, author, and I. Hammer II. String III. Wind. Having had years columnist who advocates of experience scoring for films, this project was for composers of all ages a unique experience. When scoring films the and explores the role that composer had a completed film with which to set contemporary concert music to and the resultant score would be subser- music plays in today’s vient to the dialogue and structure of the film. In society. His works have been commissioned this case, his collaborator Courtney Rile worked and performed by the Buffalo Philharmonic Or- with him in creating concepts for the three move- chestra, President’s Own Marine Band, Jeffrey ments. They connected things like the percussive Zeigler, Cornelius Dufallo, Tony Arnold, Lindsay nature of raindrops to the hammer-like articula- Goodman, Michael Mizrahi, Timothy McAllister, tions within the ensemble (including the tubular the Rasçher Saxophone Quartet, Great Noise bells being performed by a hammer itself), and Ensemble, American Contemporary Music En- the concept of wind as it relates to both creat- semble, U.S. Army Orchestra (Pershing’s Own), ing visual beauty with clouds and creating aural Society for New Music, Brightmusic Ensemble, beauty with a flute. Their intention withCantos and Gaudete Brass. His film scores have been was to allow the music and visuals to exist simul- heard in the Cannes Film festival, Directors taneously on an equal footing. Cantos with video Guilds of America in both Los Angeles and New by Courtney Rile can be seen on Youtube. York, the Festivale Pan African du Cinema in Ouagadougou, Africa and festivals in Chicago, The music of Mexican- Austin, San Antonio, Las Vegas and San Diego. born composer RICARDO As an author, Deemer has become well known for ZOHN-MULDOON is his writings for NewMusicBox, Sequenza21, and characterized by its me- the New York Times. He holds degrees from The ticulous sculpting, “kalei- University of Texas at Austin and Northern Illinois doscopic” counterpoint, University and an Advanced Certificate in Scor- and lyricism. Literature ing for Film and Television from the University of has provided the point Southern California. Deemer is Head of Composi- of departure for many of his compositions, such tion in the School of Music at the State University as the scenic cantata Comala, based on Pedro of New York at Fredonia and is the composer-in- Páramo, by Juan Rulfo. He has also collaborated residence with the Buffalo Chamber Players and with distinguished artists from other disciplines, Harmonia Chamber Singers. including cartoonist José Igna cio Solórzano (Jis), songwriter Alfredo Sánchez, PUSH Physical The- technical tour de force” ater, and Garth Fagan Dance. (Fanfare). His music has been commissioned and His works have been performed and recorded performed all over the internationally, and received support from the world by soloists, ensem- American Academy of Arts and Letters, Fromm bles, and consortiums of Foundation, Barlow Endowment, Guggenheim musicians ranging from Foundation, and México’s Sistema Nacional de top professionals to uni- Creadores de Arte, among other institutions in versity students to youth ensembles. the U.S. and abroad. He received a Ph.D. in com- position from the University of Pennsylvania, Fluent in all musical media, Wanamaker’s best- where his principal teacher was George Crumb. known works are his chamber works that exploit He is Professor of Composition at the Eastman unique timbral characteristics and technical ex- School of Music. tensions of wind instruments. To date, his virtuo- sic Duo Sonata for clarinet and saxophone has re- Jácaras, commissioned by the Trío de las Améri- ceived over 350 performances world-wide and cas under the auspices of the National Endow- is featured on five commercial recordings. His ment for the Arts of México, is a set of variations Sonata deus sax machina is one of the required woven from ideas extracted from Hebras, a song pieces for finalists of the 2014 Adolphe Sax Inter- cycle that I composed in 2003. The variations national Competition in Dinant, Belgium. treat the original ideas as melodic, harmonic, and voice leading archetypes that continuously re- Gregory Wanamaker has collaborated with combine contrapuntally. “Jácaras” were popular American photographer and visual artist Car- ballads interspersed between the acts of a play to rie Mae Weems and the British award-winning entertain the audience. Each variation in my own director and writer, Garth Bardsley, with whom Jácaras evokes a type of folk music from México. he has composed several substantial works for chorus and orchestra. His commissions and col- Combining athletic virtuosity and lyrical expres- laborations have been supported by the National sionism, GREGORY WANAMAKER’s music has Endowment for the Arts, New York State Council been called “achingly beautiful” (Palm Beach on the Arts, Aaron Copland Fund for Music, and Daily News), “compelling” (Audiophile Audi- several other public and private organizations. tion) “outstanding” (American Record Guide) “cutting-edge” (Tallahassee Democrat) and “a Gregory Wanamaker has several recorded works on Innova, Albany, Centaur, Blue Griffin, Mark ed States.” The music with video by Carrie Mae Custom, White Pine, and Summit. He publishes Weems, A Madding Crowd, is on Youtube. his own music, which is available exclusively through his website at www.gregorywanamaker. “A Story Within A Story was commissioned by com. Wanamaker currently serves as Professor the Society for New Music for their 2011--2012 of Composition at the Crane School of Music at season with generous support from the National SUNY Potsdam where he has taught since 1997. Endowment for the Arts and the New York State He studied composition with William Averitt, Council on the Arts. It was premiered by the So- Thomas Albert, Anthony Branker and Ladislav ciety for New Music on October 23, 2011 in Hen- Kubík. dricks Chapel, Syracuse, NY. The version heard on this recording is of the 2013 revision pre- “In its complete form, A Story Within A Story is a sented at the opening of the CRAVE Festival of work for video, sound design, dancer (or danc- the Arts by the Society for New Music and dancer ers) and live musicians that reflects upon the Aisha Mitchell on September 20, 2013 at the persistent struggle for civil rights in the United Everson Museum of Art in Syracuse, NY.” --G.W. States. Carrie Mae Weems’ powerful video takes us through the passing of history from one gener- Described as “absolutely ation of women to the next, narrated by Weems, beautiful” and “utterly followed by a collage of found footage of civil satisfying” (Fanfare), the rights gatherings and protests from 1963-1974. works of Chinese-born Carrie’s self-shot film of her solo impromptu American composer performance at the Holocaust Memorial in Ber- ZHOU TIAN (JOH TEE- lin ends the video portion of the work as a live en) have been commis- dancer (or a group of live dancers) continue her sioned and/or performed performance.” by major orchestras in the United States and abroad, including the Cincinnati Symphony, the “As a stand-alone work, the music from A Story Minnesota Orchestra, the Pittsburgh Symphony, Within A Story takes its inspiration from my con- the Indianapolis Symphony, the Houston Sym- versations and collaboration with Carrie, and are phony, the Hong Kong Philharmonic, and by lead- reflections of her provocative and moving videos ing soloists and ensembles such as Yuja Wang, about the past and current socio-political climate Roberto Díaz, Jason Vieaux, the Eroica Trio, the concerning overt and passive discrimination on Arditti and Dover string quartets, the Empire the basis of gender, race, and religion in the Unit- Brass, and the Tanglewood Festival Chorus. His newest work, Concerto For Orchestra, with man was established. As a composer, I find (“stunning, tonal and engaging” —the Cincin- it fascinating, as it is both visually expressive nati Enquirer), commissioned by the Cincinnati and suggestive of musical ideas. The shifting Symphony, premiered in the orchestra’s 2015-16 landscape dissolving into layers of mist against season finale, conducted by music director Louis a rising sun inspired me to design the same for Langrée. Critically acclaimed for his lush and the music, which begins with a single melody distinctive musical voice, his music has been per- shifted through different modes and slowly dis- formed at prestigious venues such as Carnegie solves into a growing counterpoint of 2-part, Hall, Lincoln Center, and Kennedy Center for 3-part, then 4-part, and so on; and when all six the Performing Arts, and broadcast on NPR and members of ensemble finally come together, we PBS. His large-scale symphonic suite for soloists, begin “seeing” the first light of the dawn. A new, orchestra, and chorus, The Grand Canal, was per- lively motif emerges. Bright and colorful, the mu- formed during a nationally televised celebration sic bears influence from Chinese folk dances. The of the 60th anniversary of the founding of the opening theme also formed the last part of the People’s Republic of China. He holds music de- piece, which is reflective of a sunset. Here, the grees from Curtis (B.M.), Juilliard (M.M.), and USC ensemble slowly fades, one instrument at a time, (D.M.A.), is a first-prize winner of Washington into the silence of the darkness.” Morning After International Composers Competition, and held the Deluge was commissioned and premiered by composition fellowships from Tanglewood and Society for New Music. Aspen music festivals. He is an associate profes- sor of composition at Michigan State University JORGE VILLAVICENCIO College of Music. Visit ZhouTianMusic.com for GROSSMANN (b. 1973) more. has had his music per- formed throughout the Zhou writes: “Some inspiration for Morning after U.S., Latin America and the Deluge, a 13-minute piece for clarinet, piano Europe by ensembles and string quartet (adapted from an earlier work such as the Norwegian for violin sextet), comes from William Turner’s Radio Orchestra, Nation- similarly-named painting from 1843, Light and al Symphony of Ukraine, Sao Paulo Symphony, Colour (Goethe’s Theory) -- the Morning After Peruvian National Symphony, New England Phil- the Deluge -- Moses Writing the Book of Gen- harmonic, Aspen Sinfonia, Kiev Camerata, Nou- esis. The painting depicts dawn emerging from vel Enemble Moderne, Da Capo, Pierrot Lunaire the ruin of the great flood when God’s covenant Ensemble Wien, Society for New Music and Jack Quartet. His works find inspiration in a Whistling Vessels, 2013 for oboe/english horn, wide range of subjects, from medieval music to clarinet, violin, cello, piano, percussion, and Latin American modern art. His awards include whistling vessels was commissioned by the So- a Fromm Commission, Guggenheim fellowship, ciety for New Music and completed while in resi- Aaron Copland Award, Charles Ives Scholar- dence at the MacDowell Colony, 2013, funded by ships (American Academy of Arts and Letters), a grant from the New York State Council of the Fulbright grant, and fellowships from Vitae (Bra- Arts via the Society for New Music and premiered zil) and the Nevada Arts Council. His residencies Nov. 10, 2013 (whistling vessels are indigenous include the Copland House, MacDowell Colony, Peruvian 'singing vessels'). Whistling Vessels is Atlantic Center for the Arts, and Bogliasco Center. comprised of six sections all of which are played without pause. The structure is as follows: Ca- His orchestral work Pasiphae was the recipient denza I: oboe, clarinet; Episode I; Cadenza II: of the Druckman Award from Aspen, first prize in violin, cello; Episode II; Cadenza III: piano, per- the New England Philharmonic Call for Scores, cussion; Episode III. and honorable mention in the Lepo Sumera Or- chestral Competition in Estonia. He has done The cadenzas are written for instrumental duos, guest-composer appearances in Europe, Latin namely woodwinds, strings, and piano/percus- America and the U.S. Recent performances in- sion, all with the addition of whistling vessels. The clude chamber works by Nomos Ensemble of episodes (the last of which acts as an epilogue) Valencia, Spain; Boston Musica Viva, and a com- are, in turn, written for the entire ensemble. The mission from the Sao Paulo Symphony (under central episode mirrors the structure of the en- Marin Alsop), Peruvian National Symphony and tire piece. This central (and longest) episode is Percorso Ensemble of Sao Paulo. After studies in made of four sub-sections in which the main role violin and composition in his native Lima and in (or leading layer) is assigned to each instrumen- Sao Paulo, Grossmann studied in the U.S., earn- tal pair, one at a time, in the same sequence as ing a DMA in composition at Boston University. the cadenzas. A climactic section, played by the While on the University of Nevada, Las Vegas entire ensemble, closes this central episode. The faculty, he was co-director of N.E.O.N., Nevada epilogue acts as an afterthought and leaves the Encounters of New Music. In 2010 he joined the piece open-ended, concluding with a question faculty of Ithaca College, where he also directs rather than a definite answer. the Ithaca College Contemporary Ensemble. He is also head of composition at the Valencia Inter- national Performance Academy in Spain. 'Doctuh' MICHAEL MARK OLIVIERI (b. WOODS (b. 1952) ma- 1972) is a Professor of jored in composition and Music at Hobart and Wil- minored in string bass at liam Smith Colleges. A Indiana University (MM) productive composer, and the University of Olivieri receives numer- Oklahoma (DMA). He was ous commissions and the first African-American performances of his work to receive a doctorate in composition from Okla- from artists throughout the U.S. and abroad. Ol- homa University. He also received an MM degree ivieri's compositions are equally inspired and in- in jazz studies from Indiana University. Woods has formed as much by Black Sabbath and Thelonius written more than 600 compositions in various Monk as they are by traditional concert music. His styles, including choral, orchestral, and chamber experience as an improvising musician and jazz works, as well as jazz combo and big band charts. arranger also informs his work as a composer. He has had his compositions performed by the Albany Symphony, North Arkansas Symphony, Olivieri's Spectacular Vernaculars for solo piano Society for New Music, Central New York Jazz were recorded by pianist Nicholas Phillips for Orchestra, and the Tulsa Philharmonic. Woods his American Vernaculars CD released in Janu- is director and bassist for the Zoe Jazz Band, ary 2014 on New Focus Recordings. Spectacular and bassist for the Omniverse jazz ensemble. Vernaculars received high praise from the New Both groups often perform his compositions. At York Times, describing Olivieri's contributions Hamilton College Woods teaches courses in jazz to the project as "glittering pop-infused etudes." history, jazz arranging and jazz improvisation, as His recently completed score for the 1920 silent well as directing the College's Jazz Ensemble. film,The Mark of Zorro premiered at the Syracuse International Film Festival in the spring of 2016 Libations is written as if it were a drink used in a by the acclaimed Society for New Music. Oliv- ceremony. However, the wine and/or the inebria- ieri's newest commission, a triple concerto for tion is the effect of the jazz solos. This is accentu- flute, viola, and piano is scheduled to premiere in ated by the bass doubled with the scat vocal solo. Medellín, Colombia with the Orchestra EAFIT in The work is playful but challenging to perform. the spring of 2017. The solos for violin and vibes are written out. The solos for piano and bass are improvised. "Concertino: Stress Test forges together Oliv- ieri's experience as a performer of popular musical rhetorics such as rock, jazz, and funk nova, Naxos, Koch Classics, Raven, Summit, War- and his deep knowledge of the concert music ner Brothers, and Endeavor Classics. His clients context. Stress Test is another example of Oliv- include well-known ensembles, organizations ieri's ability to seamlessly weave through these and musicians, including the Boston Brass, Albany diverse musical styles to create music that is alto- Symphony, Cassatt Quartet, Corigliano Quartet, gether innovative, sophisticated and has a broad Thomas Lanners, Syracuse Children's Chorus, appeal to musicians and audiences." -- Trevor C. Glimmerglass Opera, Cleveland Chamber Sym- Bjorklund phony, Society for New Music, Andrew Russo, David Cossin, James Ehnes, and Hilary Hahn. “I am grateful to Neva Pilgrim, Artistic Director for The Society for New Music, for providing me with Widely considered to be a specialist in the re- an opportunity to write for the incredibly gifted cording of new music, Mr. Abbott has recorded group of performers who play with The Society the work of many contemporary composers for New Music. I would like to thank my family, including Libby Larsen, Augusta Read Thomas, especially my wonderful parents for whom I have Gabriela Lena Frank, Ross Lee Finney, David dedicated the second and fourth movements of Lang, Gunther Schuller, Aaron Jay Kernis, and this piece, and to my wife, Alaina, for her unlim- John Corigliano. A 2007 release on Black Box, ited support and encouragement.” -- M.O. John Corigliano Violin Sonata Etude Fantasy with Andrew Russo and Corey Cerovsek, received hhh a Grammy nomination in the Best Chamber Mu- sic Recording category. In 2010, Serendipity, a JAMES S. ABBOTT, Engineer is a Professor of project Mr. Abbott engineered for the Society Practice at the Setnor School of Music Syracuse, for New Music and released on Innova, won a NY, where he directs the Sound Recording Tech- SAMMY (Syracuse Area Music Award). Mr. Abbott nology (SRT) and Music Technology Access Proj- is currently engineering projects that include or- ect (MTAP) programs. He holds degrees from the chestral film scores and orchestrated music video University of Miami, Coral Gables, FL (BS Music sessions for popular artists with hit songs (East- Engineering) and Syracuse University (MS Engi- West Studios, Hollywood, CA). neering). Over the span of 25 years as a profes- sional in the industry, Mr. Abbott has engineered PERFORMERS countless commercially released recordings in The award-winning Society for New Music is most musical genres. His work can be heard on comprised of a core of dedicated professionals NPR, PBS, Centaur, New World, CRI, Albany, GM, who live in the heart of New York State, but who Sanctuary Classics (Black Box), Victor, Mark, In- are nationally and internationally renowned. Most CREDITS have performed and recorded together for 15-20 These commissioned works and the Society for years or more. These musicians have earned ad- New Music are supported in part with funds from vanced degrees from the finest universities and the New York State Council on the Arts, with the conservatories, e.g. Indiana University, Eastman, support of Gov. Cuomo & the NYS Legislature, Juilliard, Yale, Curtis, Cincinnati-College Conser- National Endowment for the Arts, the Copland vatory, Univ. of Michigan, LSU, Ithaca College, Fund, Amphion Foundation, Richard Shineman and other comparable schools. They all bring Foundation, Alice M. Ditson Fund of Columbia their passion for new music to the enterprise. University, Gladys Krieble Delmas Foundation, Richard Mather Fund, Syracuse Sounds of Music Society for New Music: President Rob Bridge Assoc., Inc., County of Onondaga, administered Program Advisors: Sam Pellman, Neva Pilgrim, by CNY Arts, Jim & Juli Boeheim Foundation, the Steven Stucky estate of Earl & Miggie George, the estate of The large working board represents the diverse Tressa Sopher, and private donations. population of Central New York, including high school and college student composer representa- SNM Producer: Neva Pilgrim tives. Sculptures from Stone Quarry Hill Artpark: Rodger Mack: Jazz Getz Society for New Music’s mission is to commis- Frank Gonzales: Gnomen sion, premiere & record new works by regional Photos: Bob Gates composers; advocate for new music via the Initial design concept: Peter Tschirhart website & Fresh Ink on WCNY-FM & its affili- ates; provide regional musicians an opportunity innova is supported by an endowment from the to perform the music of their peers; encourage McKnight Foundation. young composers via the Israel Prize, Rising Philip Blackburn, director, design Stars, Young Composers Corner and workshops; Chris Campbell, operations director and bring new music to as broad an audience as Steve McPherson, publicist possible through performances in a wide variety of venues plus composers-in-residence in the public schools.