Earplay San Francisco Season Concerts 2007-08 Season Herbst Theatre, 7:00 PM Pre-concert talk 6:15 pm

Earplay 23: #1 Monday, November 12, 2007 Peter Maxwell Davies, Barbara White, Liza Lim, Wayne Peterson, Mei-Fang Lin, Mark Appelbaum

Earplay 23: #2 Monday, February 11, 2008 Peter Maxwell Davies, Claude Vivier, Morton Feldman, Martha Horst, Aaron Einbond, Richard Festinger

Earplay 23: #3 Wednesday, May 28, 2008 as part of the San Francisco International Arts Festival Peter Maxwell Davies, Christopher Burns, Salvatore Sciarrino, Beat Furrer

Special Performances:

Guillermo Galindo, Post-colonial Discontinuum (2005) Central Valley Tour August 2007

Wayne Peterson 80th Birthday Celebration May 21, 2007 Thursday, September 20, 2007 Knuth Hall San Francisco State University

Monday, November 5, 2007 Festival of New American Music California State University, Sacramento elcome to an Earplay performance. Our mission is to nuture new chamber music --composition, performance, and audience--all vital components. WEach concert features the renowned members of the Earplay ensemble performing as soloists and ensemble artists, along with special guests. Over twenty-two years, Earplay has made an enormous Earplay contribution to the bay area music community. The Earplay ensemble has performed hundreds of works by more than two Donald Aird hundred composers. Earplay has commissioned an average of Memorial two new works per season, and has presented more than one hundred world premieres. Composers Competition This season the concerts are free to encourage more people to listen to new music. We appreciate your donations to Downloadable application at: www.earplay.org/competitions make this possible. We look forward to meeting you and hearing your responses. Deadline: March 31, 2008 Stephen Ness President, Board of Directors

Special Thanks To: Earplay Earplay Staff Board of Directors Dennis Wadlington, Sherman-Clay San Francisco Girls Chorus Stephen Ness, president Aislinn Scofield Jennifer Burke, Industry May Luke, secretary executive director Jeff Byers Dan Scharlin, treasurer Scott Koué Gamaliel Galindo technical director/stage manager Scott Koué Steve Ness Terrie Baune Larry Radford Richard Aldag scheduling coordinator Karen Rosenak Terrie Baune, musician representative Bill Beckerman bookkeeping services Mary Chun Christopher Wendell Jones SAN FRANCISCO WAR MEMORIAL AND PERFORMING ARTS CENTER Monday Evening, May 21 at 7:00 p.m. HERBST THEATRE

Owned and operated by the City and County of San Francisco The Herbst Theatre through the Board of Trustees of the War Memorial of San Francisco The Honorable Gavin Newsom, Mayor ARPLAY 22: Visioning TRUSTEES E

Thomas E. Horn, President Nancy H. Bechtle, Vice President Wilkes Bashford Mary Chun, conductor Belva Davis Bella Farrow Claude M. Jarman, Jr. Tod Brody, flutes Terrie Baune, violin Mrs. George R. Moscone Peter Josheff, clarinets Ellen Ruth Rose, viola MajGen J. Michael Myatt, USMC (Ret.) Karen Rosenak, piano Thalia Moore, cello Paul Pelosi Charlotte Mailliard Shultz Eleni Tsakopoulos-Kounalakis Guest Artists Elizabeth Murray, Managing Director Gregory P. Ridenour, Assistant Managing Director Stacey Pelinka, flute Roy Malan, violin Dan Reiter, cello Daniel Kennedy, percussion Laurie Radford, electronics

Featured Soloists Stacey Pelinka

Pre-concert talk 6:15 p.m. A conversation with Laurie Radford

Earplay is funded in part by the Alice M. Ditson Fund of Columbia University, Ann and Gordon Getty Foundation, The Amphion Foundation, the Aaron Copland Fund for New Music, the Bernard Osher Foundation, the James Irvine Foundation, Meet the Composer, the Ross McKee Foundation, the San Francisco Foundation, the San Francisco Grants for the Arts, the William and Flora Hewlett Foundation, and Generous Donors. Program Donors 2005-06 & 2006-07 Seasons

Sungji Hong Impetuoso (2002) $10,000 + Andrew W. Imbrie Helen Krumboltz U.S. Premiere Argosy Foundation Yoshi Kakudo Paul & Ellen McKaskle Contemporary Music Fund Richard & Patricia Taylor Lee Nancy & Howard Mel The James Irvine Foundation $100 + Samuel Nichols & Laurie San Mary Chun, Tod Brody, Peter Josheff, Meet the Composer, A Meet the Richard Aldag Martin Terrie Baune, Dan Reiter and Composer Commis- John & Mary Caris Pablo Ortiz Karen Rosenak sioning Music/USA William Beck & Yu-Hui Chang Neva Pilgrim Commission Seth Brenzel & Malcolm Gaines Patricia Plude The San Francisco Foundation Raymond & Mary Chun Kurt Rohde Mirtru Escalona-Mijares Cincos Transfiguraciones Llana (2004) The San Francisco Grants For Chen Yi & Long Zhou Mathew Rosenblum U.S. Premiere the Arts Jane Galante Laurie San Martin Stacey Pelinka The William and Flora Hewlett Mark Haiman & Ellen Ruth Rose Dan Scharlin Foundation I. Conticinio Kenneth Johnson Allen Shearer & Claudia Stevens $5,000 + Christopher Wendell Jones Phyllis Sutherland II. Danza Anonymous Antoinette Kuhry & John & Kate Swackhamer III. De aroma de Mujer y Flor The Aaron Copland Foundation Thomas A. Haeuser Ushio Torikai IV. Lejania Amphion Foundation Alfred Lerdahl Ann and Gordon Getty V. ...por el camino.. Up to $50 Foundation Amy Miller Levine Frances L. Bennion The Clarence E. Heller Charitable Florence Neuhoff Nora Norden Linda Bouchard Galina Ustvol’skaya Trio (1949) Foundation Wayne Peterson Patricia Bourne Peter Josheff, Terrie Baune, and The Ross McKee Foundation The San Francisco Arts Michael Richards Renae Breitenstein Karen Rosenak Commission William Schottstaedt Kenneth Bruchmeier I. Espressivo $3,000 + Donald and Phyllis Sutherland Ernestine S. Cohn II. Dolce Alice M. Ditson Fund of Columbia Olly Wilson Alice Berg Cronin University Mark Winges Lori Dobbins III. Energico The Bernard Osher Foundation Dan & Rachel Winheld Barbara and Sanford Dornbusch $1,000 + $50 + Jeff L. Dunn Intermission Accenture Mark Appelbaum Shinji Eshima Carol & Brooke Aird Herbert W. Bielawa Donald & Stephanie Friedman Laurie Radford Portals/Portails (2001) May Luke Ann Callaway Konstantin Gavrilov and H. Cross Ellinor Hagedorn U.S. Premiere John Mugge & Ronald Caltabiano Kitty Brody Bari & Stephen Ness James & April Carlson Alice Hannah Laurie Radford, Roy Malan, The Zellerbach Family John Chowning Stephen J. Harrison Ellen Ruth Rose and Thalia Moore Foundation Jeff Dunn John and Lee Hause $300 + Hal Fischer Bud Hazelkorn Mary Chun Guillermo Galindo Arthur Kreige Eleanor Alberga Suite from Dancing with Shadows Margaret Dorfman John and Lee Hause Joshua Law (1993) West Coast. Premiere Richard Felciano Valerie Herr Irving Lind Richard Festinger Scott Jacobson Amelie C. Mel De Fontenay Mary Chun, Tod Brody, Peter Josheff, Ruth Knier Kenneth Johnson & Nina Grove Patricia Moy Terrie Baune, Dan Reiter, Karen Rosenak Louis Karchin Manya Nelson Karen Rosenak, Dan Kennedy $200 + William Kraft Wendy Niles Played in three movements Patti Noel Dueter Arthur Kreiger David Tanenbaum Earplay Composers: Twenty-Two Years Notes on the Program Eliane Aberdam William Kraft Mathew Rosenblum Sarah Aderholdt aLeo Eylar Meyer Kupferman Morris Rosenzweig Thomas Adès Fredrik Fahlman Gyorgy Kurtag Chris Roze Donald Aird Richard Felciano Bun-ching Lam Virginia Samuel USA), the Tongyoung International Eleanor Alberga John Felder David Lang Laurie San Martin Su n j i Ho n g , Impetuoso (2002) Richard Aldag Morton Feldman Massimo Lauricella Carlos Sanchez-Gutiérrez flute, piccolo, bass clarinet, violin, cello, Music Festival (Korea), the Seoul Alexis Alrich Richard Festinger Richard Lavenda Marc Satterwhite Philharmonic Orchestra (Korea), the Allen Anderson Irving Fine Mario Lavista Eric Sawyer piano Robert Basart Tom Flaherty Anne LeBaron Ralph Shapey The title suggests impetuous, violent Foundation for Universal Sacred Ross Bauer Andrew Frank Yinam Leef David Schiff Music (USA), The International Isang Bruce Christian Bennett David Froom Fred Lerdahl David Schober and dashing gestures that underline Arthur Berger Pablo Furman Peter Scott Lewis Philippe Schoeller the direction of the music. Particular Yun Music Society (Germany) and Jonathan Berger Guillermo Galindo Jorge Liderman Arnold Schoenberg the MATA Festival (USA), and are Luciano Berio Michael Gandolfi Peter Lieberson Roger Sessions attention was given to the timbre Christophe Bertrand Guy Garnett György Ligeti Allen Shearer of instruments in their different regularly performed at international Herb Bielawa Stacy Garrop Liza Lim Sheila Silver festivals and on major concert series Susan Blaustein John Gibson Scott Lindroth Reynold Simpson registers. Stephen Blumberg James Giroudonv David Liptak Paul Siskind throughout , the United Linda Bouchard Glenn Glasow Zhou Long Ronald Bruce Smith States and Asia. Her music has been Pierre Boulez Daniel Godfrey Jing Jing Luo David Soley Martin Boykan Alexander Goehr Witold Lutoslawski Harvey Sollberger The piece is in two sections. The first broadcast around the world and has Carolyn Bremer Perry Goldstein Drake Mabry Claudio Spies five bars introduce the prominent been recorded and released on the Benjamin Britten Michelle Green John MacDonald Jeff Stadelman sound materials of the piece: Ann Callaway Mark Grey Steven Mackey Kurt Stallman Dutton label and by ECM Records. Ronald Caltabiano Stephen Michael Gryc Katherine Malyi Dorrance Stalvey aeolian sounds, fairly slow, irregular Edmund Campion Susan Harding Ursula Mamlock Eitan Steinberg oscillations and sul ponticello with James Carr Lou Harrison Donald Martino Frank Stemper She has won the European Elliott Carter Ellen Ruth Harrison David Meckstroth Mark Stickman extreme bow pressure. The sound Chris Chafe Stephen Hartke Marjorie Merryman Igor Stravinsky materials are transformed in various Competition of State Conservatory Yu-Hui Chang Hugh Hartwell Olivier Messiaen Kotoka Suzuki of Thessaloniki (1st Prize), the Temple Eric Chasalow Jonathan Harvey Donal Michalsky Toru Takemitsu ways throughout the piece by Yi Chen Hans Werner Henze Darius Milhaud Bruce Taub juxtaposing different techniques Church Composition Competition Miguel Chuagui Martin Herman Eric Moe John Thow (1st Prize), the Crwth Competition (1st Timothy Vincent Clark Jennifer Higdon Paul Moravec Leilei Tian or moving from one sound-type to Gustavo Moretto Prize), the international competition Steven Clark Vincent Chee-yung Ho Ushio Torikai another. S.H. Aaron Copland Sunji Hong Tristan Murail Joan Tower – for original ballet music at the ISCM Eleanor Cory Martha Callison Horst Thea Musgrave Christopher Trapani Cindy Cox Joan Huang Hyo-Shin Na Bertram Turetzky World Music Days –Slovenia (1st Prize), Ruth Crawford Seeger Lee Hyla William Neil Jason Uech the Montserrat International Camera George Crumb Igor Iachimciuc Olga Neuwirth Galina Ustvol’skaya i Beth Custer Victor Ialeggio Roger Nixon David Vayo Music Composition Competition Marc-Andre Dalbavie Shintaro Imai Joao Pedro Oliveira Curt Veeneman (1st Prize), the Theodore Front Prize Greg D’Alessio Andrew Imbrie Henry Onderdonk Caspar Johannes Walter Luigi Dallapiccola Charles Ives Pablo Ortiz Xi-Lin Wang Su n g j i Ho n g ’s (IAWM) and the Yoshiro Irino Memorial James Dashow Edward Jacobs Gabriela Ortiz Anton von Webern Prize (ACL). Sungji Hong graduated Mario Davidovsky Stephen Jaffe Jose Antonio Orts Daniel Weymouth (b. 1973) creative Adriana Verdié de Vas David Jaffe Krzysztof Penderecki Scott Wheeler output includes from Hanyang University in Seoul (BA Romero Ping Jin Jeffrey Perry Frances White works from solo Hons), the in Tamar Diesendruck Betsy Jolas Wayne Peterson Beth Wiemann Lori Dobbins Christopher Wendell Alexander Post Olly Wilson instruments to full (MMus) and the University of Franco Donatoni Jones Laurie Radford Mark Winges orchestra, as well as York (PhD). Kui Dong Peter Josheff David Rakowski Walter Winslow Jérome Dorival Louis Karchin Shulamit Ran Stefan Wolpe choral, ballet and electroacoustic Jacob Druckman Arthur Keiger Bernard Rands Charles Wuorinen Edwin Dugger Hi-Kyung Kim Maurice Ravel Iannis Xenakis music. Her works have been Joel Durand Earl Kim Belinda Reynolds Pagh-Paan Younghi commissioned by the Fromm Music David Dzubay Jerome Kitzke Steve Ricks Isang Yun Jason Eckardt Barbara Kolb Andrew Rindfleisch Eric Zivian Foundation (Harvard University, George Edwards Anthony Korf Jody Rockmaker Ricardo Zohn-Muldoon Mirtru Escalona-Mijares Paul Kozel Kurt Rohde Ellen Taafe Zwilich � Mi r t r u Es c a l o n a -Mi j a r es III.- De aroma de Mujer y Flor Cinco Transfiguraciones Llana (2004) flute solo This is inspired by a piece, which Mission: talks about the beauty and charm of women. The five pieces are inspired by popular Venezuelan songs written at the arplay nurtures new chamber music. EARPLAY links end of the nineteenth century and IV.- Lejania audiences, performers, and composers through concerts, beginning of the twentieth. These The fourth piece is inspired by my ecommissions, and recordings of the finest music of our time. songs were selected because of their mother’s favourite song. It’s homage sentimental value to me and my first to her memory. The intimate character encounters with music. of the piece comes from its name Founded in 1985 by a consortium of composers and musicians, and its significance. Lejania means Two of the pieces have a particular EARPLAY is dedicated to the performance of new chamber music value, I. - Conticinio and IV. - Lejania. remoteness in English. offering audiences a unique opportunity to hear eloquent, vivid performances of some of today’s finest chamber music. Earplay concerts feature the Earplayers, a group of seven artists who, as a group, have V.- ...por el camino... I.-Conticinio developed a lyrical and ferocious style. EARPLAY has performed over 400 works in its 22-year history including 107 world premieres and Written by composer Laudelino Inspired by a piece based on the 47 new works commissioned by the ensemble. The 2006-07 season Mejias to whom I owe my second national Venezuelan dance, “Joropo”. reinforces EARPLAY’s unwavering track record of presenting exceptional name (“Mirtru Laudelino”) as my Cinco Transfiguraciones Llana was music in the 21st century. father was a big admirer of him. My premiered in the XXIX Aspect Festival, parents told me that that was the song Salzburg, 2005 by Linda Wetherill. - that accompanied my first entrance M.E.M. into our house, after my mother and I left the hospital where I was born. Obviously I do not remember anything. M i r t r u The poetic material of Conticinio E s c a l o n a - is drawn from its name, which is in Mi j a r es Spanish means the moment when (b. 1976) com- the silence of the night falls. That’s pleted his ini- why the weight and the importance tial studies in of the final silence with the attaca for Venezuela with Rafael Saaverdra the second piece. and Gerado Gerulewiez. In 2000 he moved to Paris and continued in II.- Danza electroacoustic music with Christine Individual donations are vital to Earplay’s success. We hope you will consider Groult at the “Ecole Nationale de making a contribution. If your company has a matching policy, that will be This is inspired by Barlovento, a song Musique de Pantin” where he obtained an additional benefit. See our website for information on making donations: with Afro Venezuelan Rhythm. the “Diplome des estudes musicales” www.earplay.org. Fremont Symphony. His solo work editor and designer with thirty years (DEM) with distinction, in 2003 and ascetic statement using tension has included Leonard Bernstein’s of experience in film, advertising and the prize of the completion of studies and density to convey a large-scale Three Meditations (OEBS, 2000) and the theater. His work can be heard by the SACEM. Afterward he received intent, a style that continued in the Robert Schumann’s Cello Concerto in over thirty films including The a Diplome de Composition fro the music she wrote fifty years later in her (Fremont Symphony, 2002). Dan is Legend of Drunken Master (starring Conservatoire Nation, Strasbourg own solitary underground retreat in also a former Earplay member (1989- Jackie Chan) and the award-winning with Ivan Fedele. He is currently St. Petersburg. The opening clarinet 90). Titanic. His credits on these and other attending the specialization class melody exhibits the influence of her projects include sound supervisor, of Philippe Leroux at the Ecole teacher Dmitri Shostakovich in the As a composer, Dan has written varied sound editor, creator of specialized Nationale de Musique de Blanc- slow-moving, semi-tonal, sparsely chamber works. In 1999 he won an sound effects and Foley recordist. Mesnil. Mirtru Escalona-Mijares has expressive lines and yet establishes Izzy Award for his composition Raga Industry awards include the SILVER collaborated with various ensembles Ustolskaya’s formidable independent Bach B Minor featuring dancer Robert HUGO, New York Festival, the London and institutions such as the National voice as the piece becomes grittier. In Moses. He has had the privilege of International Advertising Award and Council of Culture of Venezuela, the third movement, Ustvol’skaya’s working with India’s master musician Golden Reel (Titanic, Best Sound). He the International meeting of characteristic note-against-note Ali Akbar Khan and has recorded two also collaborated with photographer composition – Syntono, Hochshule counterpoint and explosive repeated CDs (Garden of Dreams and Legacy) David Waldorf in Experience & für Musik Franz Lisz Weimar, Centre notes allows the secondary “folk” with Khansahib. In addition, Dan Exchange: Documentary as the Art of de Création Musicale Iannis Xenakis tune to sound natural. produced Cello and Harp, a CD of his Collaboration, Kent State University. (CCMIX), and Cité Internationale Scott’s formal training includes own compositions for cello and harp Universitaire de Paris. with his wife, Natalie Cox. Theatrical Design at U.C. Davis. Ga l i n a I v a n o v n a s t v o l s k a y a i s l i n n c o f i e l d (executive U ’ Da n i e l Ke n n e d y A S (1919-2006) was a (percussion) is a spe- director) has extensive experience Russian composer cialist in the music of with a wide range of Asian Ga l i n a Us t v o l ’s k a y a of classical music the twentieth century, performing arts from her sixteen (1949) Trio with a small, but and is a member of years at the Asian Art Museum. She clarinet, violin, and piano Earplay and the has received awards for her work I.Espressivo highly personal and idiosyncratic including The Bernard Osher Cultural catalog. Born in Petrograd, she Empyrean Ensemble. He received II. Dolce Award, a special Izzy Award (Isadora studied at the Rimsky-Korsakov his M.F.A. degree from the California III. Energico Duncan), travel awards from the Conservatory in Leningrad under Institute of the Arts and his D. M. A. Korea Foundation, the Republic of Dmitri Shostakovich (1939 to 1947). from the State University of New York (Taiwan), and the East-West Speaking of her Clarinet Trio of 1949, After completing postgraduate at Stony Brook. Mr. Kennedy, who has Center in Honolulu, Hawaii. Formal the composer said: ‘all my music course she assumed the composition recorded widely, is both Instructor studies include a B.A. in Theater, from this work onwards is “spiritual” class at the Conservatory, where she of Percussion and former Artistic Washington State University, a B.A. in in nature”. lectured until 1977. Director of the Festival of New Studio Art (Photography and Textiles), American Music at California State Ustvol’skaya developed her own and an MA. Interdisciplinary Art, San University, Sacramento. Galina Ustvol’skaya was just 30 when very particular style, of which she Francisco State University. she wrote her Clarinet Trio in 1949 has said, “There is no link whatsoever and is often referred to as her best between my music and that of any Sc o t t Ko u é (technical director/ work. It’s been described a tortuous, other composer, living or dead. “ stage manager)• is a sound recordist, She is regarded as the only one of introducing her to the fortepiano Bogdanovich. She has performed on La u r i e Ra d f o r d Shostakovich’s students who worked during her graduate work in early traverso flute with Cordelia, a baroque (2001) out her own aesthetic, completely Portals/Portails music at Stanford University. She has ensemble specializing in the music of violin, viola, cello, electronic independent from the style of her found the balance between old and J.S. Bach, and with the Madison Bach great teacher (‘It’s not you who is new music, and between old and Musicians. under my influence, but rather I am Portals/Portails The word root “port” new pianos, to be an ongoing, most Stacey is a practitioner of the under yours,’ Shostakovich once appears in many languages. It lends satisfying pursuit. Since 1990, she has Feldenkrais Method® of movement wrote to her). She retained little of itself to words ranging from those been on the faculty at UC Berkeley, education, having completed the his influence from the 1950s onwards indicating a door, gateway, or harbor, where she teaches musicianship and Semiophysics Feldenkrais training and her composition are regarded as well as a manner of movement and contemporary chamber music. with Dennis Leri in July of 2005. She as standing outside fashion, past or the act of supporting something, to applies principles of the Feldenkrais present. Among the characteristics the foreshadowing of events to come Method in both performance and of her music are: the use of repeated, and the carrying of an as-yet-to be teaching. homophonic blocks of sound, which born child. The image of a portal, prompted the Dutch critic Elmer a place or object that facilitates Schoenberger to call her “the lady with entry to a new environment, a new Ro y Ma l a n the hammer”; unusual combinations Guest� Artists manner of thinking, a new body of (violin) was educated of instruments (such as eight double knowledge, and in fact embodies the in London with basses, piano and percussion); very act of that entry, provides the S t a c e y Yehudi Menuhin, considerable use of extreme dynamics; (flute) central impetus for Portals/Portails. Pe l i n k a and at Juilliard and employing groups of instruments in is a native of the The portal represents a state that the Curtis Institute order to introduce tone clusters; and exists while one is in transit from Bay Area. She where he was a student of Ivan the use of piano or percussion to beat one point in space and time, from received degrees from Cornell Galamian and Efrem Zimbalist. out regular unchanging rhythms (all one state of being to another. But University and the San Francisco of her acknowledged works use either passage through a portal need not Conservatory, where she studied with Mr. Malan is concertmaster and solo piano or percussion, many use both). be merely a fleeting phase; it can be Timothy Day. More recently, she has violinist for the San Francisco Ballet. Hallmarks of her style are unswerving a state of action, a commitment and pursued additional studies with Keith Mr. Malan is also founder and co- severity and seriousness, presented in engagement with the very essence of Underwood, Julie McKenzie, and Liisa director of the Telluride Chamber a predominantly harsh, hard-edged change that rivals the act of departure Ruoho of Finland. Music Festival in Colorado and serves sound spectrum that is bleak and on the faculty of the University of and the pleasures of arrival. This state Stacey plays principal flute with San compelling, neither typically avant California, Santa Cruz. and place of transition (if one can Francisco Opera’s Merola Program garde nor minimalist; cathartic but speak of a particular place or time for productions, and second flute with never comfortable. As a modernist, something that is, by its very nature, the Santa Rosa Symphony and the she had few public performances and Da n Re i t e r (cello) in flux) hungers for new sounds, new Midsummer Mozart Festival. She none of her works were performed is principal cellist manners of execution. Portals/Portails plays chamber music - emphasizing other than patriotic pieces written with the Oakland consists of four sections in constant contemporary works - with the Left for official consumption until 1968. East Bay Symphony transition. This music is driven towards Coast Chamber Ensemble, the Worn After the fall of the USSR, her music ( O E B S ) , F e s t i v a l O p e r a a punctuation provided by several Chamber Ensemble, and Ensemble has been increasingly programmed at Orchestra, Diablo string solos and a near-static refrain Parallèle, with whom she has recorded festivals in Europe and the U.S. Ballet Orchestra and that seeks ascendance, unsuccessfully, works of Lou Harrison and Dusan premiered Every Man Jack, a new to some ultimate goal. A series of Ensemble Résonance, code d’accès, El l e n R u t h R o se chamber opera based on the life (viola) relocated to transformations to the sounds of the Traquen’art, GroundSwell, Pro Coro of writer Jack London, written by the Bay Area in 1998 string performers provided by live , Innovations en concert, composer Libby Larsen and librettist after having spent digital signal processing extends the Jean-François Guay, Laura Wilcox, Philip Littell, and commissioned by several years in timbral and expressive range of the Jean-Guy Boisvert, lanza-Sheppard the Sonoma City Opera. Cologne, Germany, piece and offers an additional “portal” Duo, Trio Fibonacci, Trio Phoenix, through which both the music and Duo Kovalis, Molinari String Quartet, where she first became immersed in the listener are drawn. the Logos Foundation, and the contemporary music. As a member Th a l i a Mo o r e Winnipeg, Calgary, Edmonton and of the experimental ensembles Musik (cello), attended the Montréal Symphony Orchestras. Juilliard School of Fabrik and Thürmchen Ensemble, and Portals/Portails was written for Music as a scholar- as a frequent guest with Frankfurt’s Concerts M in Montréal and members Radford’s work has been presented ship student of Lynn Ensemble Modern, she toured of the Bozzini String Quartet and at festivals such as the rESOund Harrell, and received throughout Europe, premiering and was made possible through funding Festival of Contemporary Music her bachelor’s and recording countless works. She has support from The Canada Council for (Edmonton), Biennale MusMix performed as soloist with the West (Montréal, the Biennale Musique master’s degrees in 1979 and 1980. the Arts. ---L.R. German Radio Chorus and appeared en scène (Lyon), Cantai Festival of Since 1982, Ms. Moore has been at the Cologne Triennial, Berlin Dance and Music (Taipei), Miami Associate Principal Cellist of the San Biennial, Salzburg Zeitfluss, Brussels L a u r i e New Music Festival (Florida), Musica Francisco Opera Orchestra, and in Ars Nova, Venice Biennial, and a d f o r d Viva (Coimbra, Portugal), Happening 1989 joined the cello section of the R Budapest Autumn festivals. Ms. Rose New Music Festival (Calgary), Rien à San Francisco Ballet Orchestra. (b. 1958) is an holds degrees in viola performance active composer voir (Montréal), San Francisco Tape from The Juilliard School and the whose work is Music Festival, Festival Encuentros Northwest German Music Academy; performed by (Argentina), Jornadas de Música and a degree in English and American numerous Elektroakustika (Spain), Semaine Pe t e r Jo she f f history and literature from Harvard Internationale de Cuenca pour la orchestras and music ensembles to (clarinet) is active University. Musique Contemporaine (Ecuador), critical acclaim. He creates music for both as a composer and Discoveries Series (Aberdeen). diverse combinations of instruments and a performer. His music has been broadcast on and voices, electroacoustic music, Based in the San Ka r e n Ro s e n a k CBC, Radio-Canada, Radio-France, and for performers in interaction Francisco Bay Area, (piano) is an “almost Polish State Radio, the NHK Japanese with live computer-controlled signal he is a founding native” of the Bay Broadcasting Corporation and Radio processing of audio and video. His member of Earplay, a member of Area. She was Nacional de Espana (Spain). music has been performed and the Paul Dresher Ensemble,the founding member/ broadcast throughout North and Radford’s music has received awards Empyrean Ensemble, and the pianist of Bay Area , Europe and Asia. from SOCAN, the International Berkeley Contemporary Chamber new-music groups Earplay and He has received commissions and Composers’ Competition “Kaszmierz Players. He has performed with most the Empyrean Ensemble, and she performances from ensembles and Serocki” (Warsaw), and the Winnipeg of the new-music ensembles in the currently performs with those groups. soloists such as Le Nouvel Ensemble Symphony Orchestra’s New Music Bay Area, including the San Francisco She studied modern piano with Carlo Moderne, L’Ensemble contemporain Festival Composers’ Competition. Contemporary Music Players and Bussotti and Nathan Schwartz, and de Montréal, Esprit Orchestra, He is the recipient of numerous Composers Inc. credits Margaret Fabrizio with SOCAN Composer Residency Awards linking the movements, they were music encompassing, besides To d Br o d y (flute) and been supported in his work by each intended to stand as separate electronic scores, works for orchestra, has been in the fore- the Canada Council for the Arts, le entities. The suite was adapted from choral and chamber ensembles, and front of contemporary Conseil des arts et des lettres du sections I, IV and V. The title suggests pieces for solo instruments. Québec, the Manitoba Arts Council, the conscious acceptance of the music activity innorth- the Alberta Foundation for the Arts, darker sides of the human psyche ern California through and l’Association Française pour les to create transformation and unity.- his performances Actions Artistiques. -E.A. 2002 and recordings with the San Francisco Contemporary Music Players, Earplay, Radford studied composition, Born in , and the Empyrean Ensemble. electroacoustic music and music E l e a n o r technology in Canada at Brandon He maintains an active freelance A l be r g a � University, The University of British career, teaches at the University of (B.1949) is now Performers California, Davis, and directs the San Columbia, and McGill University. a leading British Further studies include residencies Francisco Bay Area Chapter of the composer of American Composers Forum. at The Banff Centre for the Arts contemporary

(Canada), Les Ateliers UPIC (Paris), concert music. Te r r i e Ba u n e and the Darmstadt Ferienkurse für (violin), in addition She has also distinguished herself as Neue Musik (Germany). to being a member a solo pianist, and has traveled the Ma r y C h u n (con- of Earplay, she is world with her husband, violinist ductor) has pre- associate concert- , performing with him miered the works master of the under the name Double Exposure. of many composers, Oakland-East Bay Her talents as a composer have won including John her numerous commissions, leading Symphony and a member of the Adams earthquake � to widely acclaimed works. Alberga Empyrean Ensemble. Her professional romance I Was held the post of Music Director at credits include concertmaster Looking at the Ceiling and Then I Saw the London Contemporary Dance positions with the Women’s the Sky, which she conducted in Paris, Theatre. Philharmonic, Fresno Philharmonic, Hamburg, and Montreal. In demand El e a n o r Al be r g a Santa Cruz County Symphony, and as a collaborator for new lyric work Suite from Dancing with Rohnert Park Symphony. A member and traditionl operatic repertoire, she She spent three years performing Shadows (1990) of the National Symphony Orchestra has worked with opera companies in West Coast premiere with an authentic African dance for four years, she also spent two Europe and the U.S. such as Opera de company and has sung with I composed Dancing with the years as a member of the Auckland Lyon, La Monnaie, Kosice State Opera, internationally celebrated Jamaican Shadow as a 30 minute work in 5 Philharmonia Orchestra of New Hawaii Opera Theater, Opera Theater Folk Singers. She is also a professional sections, for the choreographer Sue Zealand, where she toured and of Saint Louis, Opera Idaho, the Texas pianist. Her compositional activity McLennan. The first movement is recorded for Radio New Zealand Shakespeare Festival, Cleveland Lyric began with writing for London a duo, the second a trio and so on, with the Gabrielli Trio and performed Opera, Pacific Repertory Opera, the Contemporary Dance Theatre. This culminating in a sextet. Although with the New Zealand Symphony Los Angeles Music Center Opera and has led to a wide range of concert there is some recurrence of ideas Orchestra. San Francisco Opera. In Fall 2006 she