Earplay San Francisco Season Concerts 2008-09 Season Herbst Theatre, 7:30 PM Pre-concert talk 6:45 pm

Earplay 24: American Tapestry Monday, October 20, 2008 , Pablo Furman, Jennifer Higdon, William Kraft, Eric Zivian

Earplay 24: Time Landscapes Monday, March 2, 2009 Elliott Carter, Alexander Hills, ,  Andrew Imbrie, Mei-Fang Lin March 2, 2009

Earplay 24: Lyric Kaleidoscope Wednesday, May 20, 2009 as part of the San Francisco International Arts Festival Linda Bouchard, Elliott Carter, Jonathan Harvey, , Nicolas Tzortzis Earplay 24 Time Landscapes

earplay commission/world premiere 2008 Winner, Earplay Donald Aird Memorial Composition Competition elcome to Earplay’s 24th San Francisco season. Our mission is to nurture new --composition, performance, and audience--all vital Wcomponents. Each concert features the renowned members of the Earplay performing as soloists and ensemble artists, along with special guests. Over twenty-four years, Earplay has made an enormous contribution to the bay area music community with new works commission each season. The Earplay ensemble has performed hundreds of works by more than two hundred Earplay including presenting more than one hundred world premieres. Donald Aird The 2008-09 season links the rich variety of new Memorial chamber music being created here in our own backyard with Composers Competition the music of the 20th century. A “mini-survey” of music by renowned American Elliott Carter serves as a gateway between the traditions of the late 20th century to the new music Downloadable application at: of the 21st century. www.earplay.org/competitions

These are difficult financial times and especially so for Deadline: an organization like Earplay that is at the forefront of bringing July 31, 2009 new works to the recital hall. Enjoy this evening and we look to seeing you for the rest of the season. Stephen Ness President, Board of Directors

Special Thanks To: Earplay Earplay Staff Board of Directors Nigel Gilchrist, Absolutely Music Advisory Board Dennis Wadlington, Sherman-Clay Stephen Ness, president Aislinn Scofield Jennifer Burke, Industry May Luke secretary executive director Richard Felciano , Scott Koué Dan Scharlin treasurer , Scott Koué Loren Mach William Kraft technical director/stage manager Steve Ness Terrie Baune musician representative Terrie Baune , Ellen Ruth Rose Wayne Peterson Mary Chun scheduling coordinator Karen Rosenak Christopher Wendell Jones Bill Beckerman Eric Zivian Chen Yi bookkeeping services SAN FRANCISCO WAR MEMORIAL AND PERFORMING ARTS CENTER HERBST THEATRE Monday Evening, March 2 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 24: Time Landscapes TRUSTEES Mary Chun, conductor Nancy H. Bechtle, President Charlotte Mailliard Shultz, Vice President Wilkes Bashford Tod Brody, flutes Terrie Baune, violin Belva Davis Peter Josheff, clarinets Ellen Ruth Rose, viola Bella Farrow Karen Rosenak, Thalia Moore, cello Thomas E. Horn Claude M. Jarman, Jr. Mrs. George R. Moscone Guest Artists MajGen J. Michael Myatt, USMC (Ret.) Paul Pelosi Eric Zivian, piano Loren Mach, vibraphone Eleni Tsakopoulos-Kounalakis

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

Pre-concert talk 6:45 p.m. A conversation moderated by Bruce Bennett with Mei-Fang Lin

Earplay’s season is made possible with funding from the Fund for Music, the Alice M. Ditson Fund of , the Amphion Foundation, the Ann and Gordon Getty Foundation, the Bernard Osher Foundation, the National Endowment for the Arts, the Ross McKee Foundation, 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 January 2008) $10,000 + $200 + $50 + The San Francisco Jane Bernstein and Linda Allen Toshio Hosokawa Vertical Time Study III (1994) Grants For the Arts Robert Ellis Mark Applebaum Terrie Baune and Karen Rosenak The Aaron Copland John & Mary Caris William Beckerman Foundation Raymond Chun Ann Callaway The William and Flora Patti Noel Dueter David Cole and Linda Hewlett Foundation Ellinor Hagedorn Bouchard Mei-Fang Lin Friction (2008) Mary Montella Chris Concolino World Premiere/Earplay Commission $5,000 + Florence Neuhoff Lori Dobbins Ann and Gordon Getty Wayne Chun Wong Hal Fischer Foundation Guillermo Galindo Tod Brody and Ellen Ruth Rose The National Endowment $100 + Konstantin Gavrilov and for the Arts Tod Brody H. Cross Friction was commissioned by the Earplay The San Francisco William Beck & Yu-Hui Margot Golding New Music Ensemble through the American Foundation Chang Benjamin Harrison Composers Forum’s Northern California Herbert W. Bielawa John and Lee Hause Composers Commissioning Program. $3,000 + James & April Carlson Valerie Herr The Amphion Foundation John & Mary Caris William Kraft The Bernard Osher John Chowning Arthur Kreiger Foundation Marilyn & Jackie Davis Paul & Ellen McKaskle Andrew Imbrie To a Traveler (1971) The Ross McKee Seth Brenzel & Malcolm Nancy & Howard Mel

Foundation Gaines Terrie Baune, Peter Josheff, Samuel Nichols & Laurie The Community Arts Chen Yi and Zhou Long San Martin Eric Zivian Committee of the Alena Cowan Pablo Ortiz The Zellerbach Pablo Furman Kurt Rohde Family Foundation Douglas Gong Jerome Rosen intermission Mark Haiman & Ellen Mathew Rosenblum $1,000 + Ruth Rose Allen Shearer & Claudia Alice M. Ditson Fund of Martha Callison Horst Stevens Columbia University Kenneth Johnson Kim Stokoe Alexander Hills Line Study (2004) The Leff Foundation Louis Karchin Applera Antoinette Kuhry & Other Friends Mary Chun Mary Chun, Peter Josheff, Eric Zivian, Thomas A. Haeuser Frances L. Bennion Loren Mach Richard Festinger Richard & Patricia Taylor Kenneth Bruchmeier Yoshiko Kakudo Lee Anne Callaway May Luke Amy Miller Levine Ernestine S. Cohn Bari & Stephen Ness Mary Montella Alice Berg Cronin Karen Rosenak Nora Norden Barbara and Sanford Elliott Carter Cello (1948) Elizabeth O’Malley Dornbusch $300 + David Periera Donald & Stephanie Anonymous (1) Wayne Peterson Friedman Thalia Moore and Karen Rosenak Terrie Baune C. M. Richards Stephen J. Harrison Andrew W. Imbrie Dan Scharlin Alden Jenks (in memoriam) Sibylle Scholz Arthur Kreiger Christopher Wendell Donald and Phyllis Lin Mantell Jones Sutherland Amelie C. Mel De Ruth Knier Olly & Louise Wilson Fontenay Kevin Neuhoff Wendy Niles Larry Russo Peter Von Der Nahmer Aislinn Scofield William Schottstaedt Thomas White Ea r p l a y Co m p o s e r s : Tw e n t y -Fo u r Ye a r s Notes on the Program

Eliane Aberdam Mirtru Escalona-Mijares Meyer Kupferman Morris Rosenzweig at the Staatlichen Hochschule Sarah Aderholdt Leo Eylar Gyorgy Kurtag Chris Roze To s h i o Ho s o k a w a , Vertical Thomas Adès Fredrik Fahlman Bun-ching Lam Virginia Samuel für Musik in Freiburg. In 1980, he Donald Aird Richard Felciano Laurie San Martin Time Study III (1994) violin and Eleanor Alberga John Felder Massimo Lauricella Carlos Sanchez-Gutiérrez piano participated for the first time in Richard Aldag Richard Lavenda Marc Satterwhite Alexis Alrich Richard Festinger Mario Lavista Eric Sawyer the Internationale Ferienkurse für Allen Anderson Irving Fine Anne LeBaron Mark Applebaum Tom Flaherty Yinam Leef Salvatore Sciarrino in , where Robert Basart Andrew Frank Fred Lerdahl Ve r t i c a l Ti m e St u d y III (1994) Ross Bauer David Froom Peter Scott Lewis David Schober his work was performed. Since then, Bruce Christian Bennett Pablo Furman Jorge Liderman Philippe Schoeller The violin symbolizes in the 1994 Beat Fürrer Hosokawa has presented his works Jonathan Berger Guillermo Galindo composed “ Vertically Study III” the György Ligeti in Europe and Japan, gaining an Michael Gandolfi Liza Lim Allen Shearer internal voice of humans, the piano Christophe Bertrand Guy Garnett Mei-Fang Lin Sheila Silver international reputation and winning Herb Bielawa Stacy Garrop Scott Lindroth Reynold Simpson stands for nature and for the universe, Susan Blaustein John Gibson David Liptak Paul Siskind numerous awards and prizes. In Stephen Blumberg James Giroudonv Zhou Long Ronald Bruce Smith which surround humans. The silence Linda Bouchard Glenn Glasow Jing Jing Luo David Soley 2001, Hosokawa became a member Daniel Godfrey Witold Lutoslawski Harvey Sollberger corresponds to the boundless depths Alexander Goehr Drake Mabry Claudio Spies of Akademie der Künste, . He Carolyn Bremer Perry Goldstein John MacDonald Jeff Stadelman of the human soul. It is a part of the Michelle Green Kurt Stallman has been invited to nearly all of the Christopher Burns Mark Grey Katherine Malyi Dorrance Stalvey Vertical Time series begun in 1992 Ann Callaway Stephen Michael Gryc Eitan Steinberg Ursula Mamlock aiming to express a design of time major contemporary music festivals Ronald Caltabiano Susan Harding Frank Stemper Edmund Campion David Meckstroth Mark Stickman in Europe as composer in residence, Ellen Ruth Harrison based upon the vertical elements James Carr Marjorie Merryman Stephen Hartke Elliott Carter Olivier Messiaen Kotoka Suzuki guest composer or lecturer, including Chris Chafe Hugh Hartwell Toru Takemitsu rather than on the horizontal Donal Michalsky Yu-Hui Chang Jonathan Harvey Bruce Taub the Internationale Ferienkurse für elements. Eric Chasalow John Thow Yi Chen Martin Herman Leilei Tian Neue Musik in Darmstadt (1990- ) Paul Moravec Miguel Chuagui Jennifer Higdon Ushio Torikai Gustavo Moretto Timothy Vincent Clark Alexander Hills and the La Biennale di Venezia (1995, Murail Steven Clark Vincent Chee-yung Ho Christopher Trapani Vertical Time Study III was commissioned Thea Musgrave Aaron Copland Sunji Hong Bertram Turetzky 2001), Hyo-Shin Na by the Festival of Takefu and it is dedicated Eleanor Cory Martha Callison Horst Nicolas Tzortzis William Neil Cindy Cox Toshio Hosokawa Jason Uech to Asako Urushihara. Olga Neuwirth Joan Huang Galina Ustvol’skaya i Roger Nixon Lee Hyla David Vayo Joao Pedro Oliveira Since 1998, Hosokawa has served Beth Custer Igor Iachimciuc Curt Veeneman Henry Onderdonk Marc-Andre Dalbavie Victor Ialeggio Claude Vivier Pablo Ortiz as Composer-in-Residence at the Greg D’Alessio Shintaro Imai Caspar Johannes Walter Gabriela Ortiz Andrew Imbrie Xi-Lin Wang Orchestra. He is Jose Antonio Orts James Dashow Anton von Webern Hèctor Para Mario Davidovsky Edward Jacobs Daniel Weymouth also Composer-in-Residence with Peter Maxwell Davies Stephen Jaffe Scott Wheeler o s h i o o s o k a w a Jeffrey Perry T H Adriana Verdié de Vas David Jaffe Barbara White the Deutsches Symphonie Orchester Romero Ping Jin Wayne Peterson Frances White (b. 1955) was born in Tamar Diesendruck Betsy Jolas Alexander Post Beth Wiemann Berlin (2006/2007) and with the Lori Dobbins Christopher Wendell Jones Laurie Radford Olly Wilson . He went Peter Josheff Mark Winges WDR Rundfunkchor, Köln (2006- Kui Dong Louis Karchin Shulamit Ran Walter Winslow to West Berlin to Jérome Dorival 2008). Since 2001, he has served Arthur Keiger Stefan Wolpe study composition Jacob Druckman Hi-Kyung Kim as Music Director for the Takefu Edwin Dugger Earl Kim Belinda Reynolds Joel Durand Jerome Kitzke Steve Ricks Pagh-Paan Younghi with at the Hochschule International Music Festival. In 2004, David Dzubay Barbara Kolb Andrew Rindfleisch Isang Yun Jason Eckardt Anthony Korf Jody Rockmaker Eric Zivian der Künste in 1976. From 1983 to he was appointed a guest professor at George Edwards Paul Kozel Kurt Rohde Ricardo Zohn-Muldoon Aaron Einbond William Kraft Mathew Rosenblum Ellen Taafe Zwilich 1986, he studied with Tokyo College of Music. one-year computer music course commissioned by the Upshaw and eighth blackbird at the 2006 Me i -Fa n g Li n , Friction (2008) flute and viola “Cursus de Composition” at IRCAM Memorial Fund and performed by the Ojai Music Festival. Mach has enjoyed “Friction” delineates the confrontation in Paris during 2003-2004. Tanglewood Festival Orchestra in 1994. recent collaborations with Lucy Shelton, of the two instruments used in this His Double Fugue, for , Gino Robair and . piece - flute and viola, and the tension was commissioned by the Brentano Tonight he is delighted to be making his Major awards include those from the in between them resulting from an Quartet and performed in New York’s first appearance with Earplay. International Competition for effort to shape the larger course of and at many other Composers, Bourges Competition the piece together through a sort venues in the United States during the (France), American Music Center, of non-cooperation. The physical 2002-2003 season. Look & Listen Festival Prize (U.S.), phenomenon of beating in the Pierre Schaeffer Competition (Italy), acoustics of sound is often used as a SCI/ASCAP Student Commission metaphysical model for interference in Competition in (U.S.), Luigi Russolo a local level. The more global structure Lo r e n Ma c h Competition (Italy), Prix SCRIME (vibraphone) is of the piece relies on the evolution (France), National Association of passionate about of this tension and its resolution (or � Composers, (U. S .), 21st Centur y Piano the arts as they non-resolution).-- M.F.L. Commission Competition (U.S.), relate to our 21st and the Music Taipei Composition century world and all who inhabit it. A Competition. M e i -Fa n g graduate of the Oberlin and Cincinnati Li n is currently a Conservatories of Music, he has visiting professor in premiered countless pieces as well An d r e w Im b r i e , composition at the To a Traveler as chamber and orchestral works. Mach (1971) violin, clarinet and piano University of Illinois at is the percussionist with ADORNO, Individual donations are vital to Earplay’s Urbana - Champaign. To a Traveler, for clarinet, violin, and currently the resident new music success and we appreciate your generosity. piano, takes its title from Kenneth She received her doctoral degree ensemble at SFSU, the San Francisco If your company has a matching policy, we Rexroth’s translation of an allegorical from the University of California Chamber Orchestra and Worn would be most grateful. Call us, see our poem by Su Tung Po. The poem suggests at Berkeley in 2007 where she had Chamber Ensemble. He has appeared website to make an electronic donation: the passage of time and the departure studied with Edmund Campion. She with the San Francisco Symphony, San of a friend. Although fashioned in one www.earplay.org was awarded a Frank Huntington Francisco Contemporary Music Players, continuous movement, three main Beebe Fund from Boston and the Empyrean Ensemble, sfSound, Berkeley or take a pre-addressed envelope tonight. sections (slow fast slow) are clearly George Ladd Paris Prize from UC Contemporary Chamber Players . perceptible. Toward the end of the Berkeley to study with composer and most of the areas many regional Thank you! first section, the violin leads the Philippe Leroux in Paris during 2002- symphony and orchestras. In piece to a passionate climax, only to 2005. She was also selected by the the summer he has performed at the disappear. The ensuing return of the IRCAM reading panel to pursue the Cabrillo Festival of Contemporary Music and was guest artist with Dawn lyrical opening materials is made Mission: Al e x a n d e r Hi l l s , Line Study more poignant by the violin’s sudden (2004) clarinet, piano and vibraphone

absence. Indeed, this was intended This piece was something of a to represent the departed traveler, arplay nurtures new chamber music. departure for me. Much of my Norman Fromm, to whose memory EARPLAY links audiences, performers, and music has been concerned with the the work is dedicated.---A.I. composers through concerts, commissions, superimposition of many elements, eand recordings of the finest music of our time. both on top of each other as layers An d r e w Im b r i e and in strings of very intricate (1921-2007) composed objects. Here, instead, I wanted to Founded in 1985 by a consortium of composers and works for orchestra, explore a single thing - basically just musicians, EARPLAY is dedicated to the performance chorus, chamber a melodic line. The piece becomes a of new chamber music offering audiences a unique ensemble, and stage, study in moving in and out of melodic opportunity to hear eloquent, vivid performances of and his music has and rhythmic unison, something some of today’s finest chamber music. Earplay concerts been praised for its profound which has often made up one layer feature the Earplayers, a group of seven artists who, as integrity, ardent expression, and an of my work, but here instead heard a group, have developed a lyrical and ferocious style. intense drive and conviction. The first on its own. EARPLAY has performed over 425 works in its 24-year of his five string quartets, written history including 107 world premieres and over 50 new while at Princeton, won the New York works commissioned by the ensemble. The 2007-08 Al e x a n d e r H i l l s Music Critics’ Circle Award in 1944. season reinforces EARPLAY’s unwavering track record is a composer, pianist Other commissions include works of presenting exceptional music in the 21st century. and teacher, based for the , San in London. His Francisco Symphony, Halle Orchestra, music has been San Francisco Opera, the Naumburg played at events in Foundation, Ford Foundation, and the in the UK such as the Cheltenham Pro Arte Quartet. His awards include Festival, the the Prix de Rome, two Guggenheim State of the Nation Weekend and the Fellowships, The Walter M. Naumburg Cutting Edge series, at venues ranging Recording Award, and membership in from and the South the American Academy and Institute Bank Center to the Bethnal Green of Arts and Letters. Working Mens’ Club, broadcast on BBC Radio 3 and the German SWR, and recorded on the American Innova label. Recent collaborators have included the Berlin-based Ensemble � Mosaik, the cellists Kwesi Edman and piano, and came to the conclusion that holds degrees in viola performance Guest Artists Lucy Railton, and the pianist Zubin since there were such great differences from The and the Kanga. He is currently working on a in expression and sound between them, Northwest German Music Academy; large project based on ideas from the there was no point in concealing these and a degree in English and American Russian futurist movement that will be as had usually been done in works of history and literature from Harvard Er i c Z i v i a n (piano) performed in London in 2009. the sort. Rather it could be meaningful University. is a graduate of the to make these very differences one Curtis Institute of of the points of the piece. So the From 1998 to 2004 he lived in Music, the Juilliard opening Moderato presents the cello Ka r e n Ro s e n a k California, studying first at the (piano) is an “almost School, and the Yale School of Music. in its warm expressive character, University of California, San Diego, native” of the Bay He studied compo-sition with Ned playing a long melody in rather free and then Stanford, completing a Area. She was founding Rorem, Jacob Druckman, and Martin style, while the piano percussively doctorate supervised by Brian member/pianist of Bay Bresnick and piano with Gary Graffman marks a regular clock-like ticking. Ferneyhough, and working there as a Area new-music groups and . He attended the This in interrupted in various ways, lecturer. Before that he was a student Tanglewood Music Center both as a probably (I think) to situate it in a Earplay and the Empyrean Ensemble, at the , where composer and as a performer, studying musical context that indicated that the and she currently performs with his teacher was Michael Finnissy, and composition with and extreme disassociation between the those groups. She studied modern an undergraduate at the University of Alexander Goehr. He has also attended two is neither a matter of random or piano with Carlo Bussotti and Nathan Exeter. summer programs in composition indifference but to be heard as having Schwartz, and credits Margaret at the Scotia Music Festival, June in an intense, almost fateful character. Fabrizio with introducing her to the He is now a full-time lecturer at the fortepiano during her graduate work Buffalo and the Wellesley Composers’ Royal Academy of Music, where he in early music at Stanford University. Conference, participating in seminars The Vivace, a breezy treatment of a teaches analysis, keyboard skills and She has found the balance between old with Mario Davidovsky, Ross Bauer, type of pop music, verges on a parody musicianship classes. He also teaches and new music, and between old and James Primosch, David Felder, and of some Americanizing colleagues of piano and, rather improbably, writes new , to be an ongoing, most , among others. the time. Actually it makes explicit a monthly review column on rock and satisfying pursuit. Since 1990, she has the undercurrent of technique pop music for Clash Magazine. been on the faculty at UC Berkeley, Mr. Zivian’s compositions have been suggested in the previous movement where she teaches musicianship and performed widely in the U. S. and Japan, by the freely performed melody contemporary chamber music. and have earned him numerous prizes. against a strict rhythm. The following El l i o tt Ca r te r , Cello Sonata He was awarded an ASCAP Jacob (1948) Adagio is a long, expanding, recitative- Druckman Memorial Commission to cello and piano like melody for the cello, all its phrases compose Three Character Pieces, When I was asked in 1947 to write a interrelated by metric modulations. which was premiered by the Seattle work for the American cellist Bernard The finale, Allegro, like the second Symphony in March 1998. An earlier Greenhouse, I immediately began to movement based on pop rhythms, is � orchestral work, Quincunx, was consider the relation of the cello and a free rondo with numerous changes of writer Jack London, written by Orchestra, and in 1989 joined the of speed that end up by returning to El l i o tt Ca r te r composer Libby Larsen and librettist cello section of the San Francisco the beginning of the first movement (b. 1908) began to be Philip Littell, and commissioned by Orchestra. with the roles of the cello and piano seriously interested the Sonoma City Opera. reversed. in music in high school and was As I have said, the idea of metrical encouraged at that time by Charles El l e n R u t h R o s e modulation came to me while writing Ives. He attended ete r o s h eff (clarinet) (viola) relocated to P J this piece, and its use becomes is active both as the Bay Area in 1998 where he studied with , more elaborated from the second a composer and a after having spent and later went to Paris where for movement on. The first movement, performer. Based in several years in three years he studied with Nadia w r i t t e n l a s t a f t e r t h e c o n c e p t h a d b e e n the San Francisco Bay , , Boulanger. He then returned to New quite thoroughly explored, presents York to devote his time to composing Area, he is a founding where she first became immersed in one of the piece’s basic ideas: the and teaching. contemporary music. As a member member of Earplay, a member contrast between psychological time of the experimental ensembles With the explorations of tempo of the Paul Dresher Ensemble, (in the cello) and the chronometric Musik Fabrik and Thürmchen relationships and texture that the Empyrean Ensemble, and the time (in the piano), their combination Ensemble, and as a frequent guest characterize his music, Carter is Berkeley Contemporary Chamber producing musical or “virtual” time. with Frankfurt’s , recognized as one of the prime Players. He has performed with most The whole is one large motion in she toured throughout Europe, innovators of 20th-century music. of the new-music ensembles in the which all the parts are interrelated premiering and recording countless The challenges of works such as the Bay Area, including the San Francisco in speed and often in idea; even the works. She has performed as soloist Variations for Orchestra, Symphony Contemporary Music Players and breaks between movements are where she first became immersed in of Three Orchestras, and the Composers Inc. slurred over. That is: at the end of the contemporary music. As a member and string quartets are second movement, the piano predicts of the experimental ensembles Musik richly rewarding. In 1960, Carter the notes and speed of the cello’s Fabrik and Thürmchen Ensemble, and was awarded his first Pulitzer Prize opening of the third, while the cello’ as a frequent guest with Frankfurt’s for his visionary contributions to the Th a l i a Mo o r e conclusion of the third predicts in a (cello), attended the Ensemble Modern, she toured string quartet tradition. Stravinsky similar way the piano’s opening of the Juilliard School of throughout Europe, premiering and considered the orchestral works that fourth, and this movement concludes Music as a scholar- recording countless works. She has soon followed, Double for with a return to the beginning in a ship student of Lynn performed as soloist with the West harpsichord, piano and two chamber circular way like Joyce’s Finnegan’s Harrell, and received German Radio Chorus and appeared orchestras (1961) and Piano Concerto Wake. --E.C. (1967), to be “masterpieces”. Carter her bachelor’s and master’s degrees at the Cologne Triennial, Berlin continues to show his mastery in in 1979 and 1980. Since 1982, Ms. Biennial, Zeitfluss, Brussels smaller forms as well. Along with Moore has been Associate Principal Ars Nova, Venice Biennial, and a large number of brief solo and Cellist of the San Francisco Opera Budapest Autumn festivals. Ms. Rose � chamber works, his later years have Earplay Recorded Performers brought major essays such as Triple Duo (1983), Quintet (piano and winds, Contemporary Music Players, Earplay, 1991), and String Quartet No.5 (1995), Ci n d y Co x Te r r i e Ba u n e (violin), in addition and the Empyrean Ensemble. composed for the . Geode (1996) (Earplay commission) to being a member He maintains an active freelance Twice winner of the Pulitzer Prize, first Axis Mundi (2004) career, teaches at the University of composer to receive the United States of Earplay, she is Co- (Earplay/Fromm Music Foundation Concertmaster of the California, Davis, and directs the San National Medal of Arts, one of the few commission) Francisco Bay Area Chapter of the composers ever awarded Germany’s Oakland-East Bay American Composers Forum. Ernst Von Siemens Music Prize, and Symphony, Concertmaster of Li b b y La r s e n in 1988 made “Commandeur dans Every Man Jack (2006) the North State Symphony and a l’Ordre des Arts et des Lettres” by member of the Empyrean Ensemble. the Government of France, Elliott Her professional credits include Jo r g e Li e d e r m a n Ma r y Ch u n (con- Carter is internationally recognized concertmaster positions with the Swirling Streams (2004) ductor) has pre- Women’s Philharmonic, Fresno as one of the leading American miered the works Philharmonic, Santa Cruz County of the tradition. He of many composers, Wi l l i a m Kr a ft Symphony, and Rohnert Park recently received the Prince Pierre including Vintage Renaissance and Symphony. A member of the National Foundation Music Award, bestowed earthquake romance Beyond (2005) by the Principality of Monaco, and was Symphony Orchestra for four (Earplay/Koussevitzky Music Foundation I Was Looking at the Ceiling and Then I Saw one of a handful of living composers commission) years, she also spent two years as a the Sky, which she conducted in Paris, elected to the Classical Music Hall of member of the Auckland Philharmonia , and Montreal. In demand Fame. Orchestra of New Zealand, where as a collaborator for new lyric work she toured and recorded for Radio and traditionl operatic repertoire, she New Zealand with the Gabrielli Trio has worked with opera companies in and performed with the New Zealand Europe and the U.S. such as Opera de Symphony Orchestra. Lyon, La Monnaie, Kosice State Opera, Hawaii Opera Theater, Opera Theater � To d B r o d y (flute) has of Saint Louis, Opera Idaho, the Texas been in the fore-front Shakespeare Festival, Cleveland Lyric of contemporary music Opera, Pacific Repertory Opera, the activity in northern Los Angeles Music Center Opera and California through his San Francisco Opera. In Fall 2006 performances and she premiered Every Man Jack, a new recordings with the San Francisco based on the life