John H. Wallace 151 Bridge Street, Salem, Massachusetts 01970 978.741.2738 / [email protected]

John H. Wallace 151 Bridge Street, Salem, Massachusetts 01970 978.741.2738 / Jhw@Jhwallace.Com

EDUCATION AND PRINCIPAL TEACHERS

DMA–COMPOSITION, 2003 Boston University–Boston, Massachusetts Lukas Foss and Charles Fussell, composition Dissertation: Frank Lloyd Wright: Act III—Finale

MM–COMPOSITION, 1986 Northwestern University–Evanston, Illinois Alan Stout, composition Thesis:Symphonia

BM–COMPOSITION/HORN PERFORMANCE, 1983 DePaul University–Chicago, Illinois Raymond Wilding-White and Darleen Cowles-Mitchell, composition Ethel Merker, horn

PROFESSIONAL EXPERIENCE

CABOT PERFORMING ARTS CENTER Composer-in-Residence (2016–Present) Appointed as the first Composer-in-Residence at the almost 100-year-old Cabot Theater in Beverly, Massachusetts in the Fall of 2016. Initiated the Classical at the Cabot series in the 2016–2017 season, acting as curator and host of the chamber music concerts, with an eye towards increasing civic engagement and outreach to a new segment of the public. Inaugural commission to compose a string orchestra work (Essex Evocations) for resident ensemble, Symphony by the Sea, was premiered in March, 2017.

BOSTON UNIVERSITY–COLLEGE OF FINE ARTS–SCHOOL OF MUSIC Assistant Professor (2007–Present) Full-Time Lecturer (2006–2007) Adjunct Faculty (2004–2006)

TEACHING

On-Campus Courses Taught MU995–DMA Dissertation MT302–Music Theory 6 MU890–Independent Project/Directed Study MT301–Music Theory 5 MT799–Master’s Thesis MT222–Composition 4 MT701–Doctoral Proseminar MT221–Composition 3 MT621–Graduate Composition MT202–Music Theory 4 MT601–Analytical Techniques 1 MT201–Music Theory 3 MT499–Independent Study Undergraduate MT105–Elementary Music Theory 1 MT422–Senior Composition 8 MT122–Basic Composition 2 MT421–Senior Composition 7 MT121–Basic Composition 1 MT401–Graduate Theory Review MT102–Music Theory 2 MT322–Composition 6 MT101–Music Theory 1 MT321–Composition 5 John H. Wallace–CV2

Online Courses (Developed/Revised/Taught) MU779–Orchestration (Developed/ Taught) MU600–Analytical Techniques 1 (Revised/Taught) MU400–Graduate Theory Review (Developed/Taught) [SeeA WARDS]

GUEST LECTURES MP502–Wind Ensemble • Conducted rehearsals of my work, The Vacant Shore – 6 April, 2017 – 30 March, 2017 – 23 March, 2017 MP333–Song Literature 3 • Composing for Voice: A Personal View – 4 December, 2017 – 2 December, 2015 MH202/212–History and Literature of Music 2 • Arvo Pärt—Tabula Rasa/Silentium and Post-Minimalism – 26 April, 2013 • John Adams—Short Ride in a Fast Machine and Post-Minimalism – 23 April, 2012 – 25 April, 2011 Music Career Management Workshops • Searching for an Academic Teaching Job – 24 February, 2016 – 23 February, 2015 – 16 October, 2014 – 27 September, 2012 • Chorale Harmonizations: A Tonal Setting of a Modal Melody-2 – 4 November, 2013 • Chorale Harmonizations: A Tonal Setting of a Modal Melody-1 – 16 September, 2013

ADMINISTRATIVE POSITIONS Director of Undergraduate Studies (2010–2015) First point of contact for School of Music students and faculty in dealing with undergraduate curricular issues, ranging from general questions to petitions for course substitutions and program deviations. Supervised the advising process for undergraduate majors and minors, working with all relevant faculty advisors. Responsible for the approval process of student curricular petitions, referring cases to the UGSC as needed, and for equating and approving all external music course transfer requests. Worked with the School of Music Student Services Coor- dinator and CFA Manager of Student Records to clear undergraduates for graduation. Also served as the School of Music representative to the University Program Learning Outcomes Assessment Committee organized by the Associate Provosts for Graduate and Undergraduate Affairs, tasked with initiating a university-wide process for creating, tracking, and reporting on program learning outcome goals. John H. Wallace–CV3

Coordinator of Online Music Theory (2007–2015) Advisor for all music theory related matters for students in the online program, fielding routine questions related to classes, diagnostic exams, and the Music Theory Qualifying Exams. Responsibilities included writing the Qualifying Exams and answering specific preparation and post-mortem questions. Post-mortem sessions typically involved a phone call of 45 minutes to one hour, detailing specifics of how students performed on the exam, and suggestions for further preparation. Grading of exams was done with the chair of the Composition/ Music Theory Department. Average enrollment in the program was 194 MM and 275 DMA students.

ADVISING Advisor to Residence Life “Music House” (2009–2010) Music Minor Advisor (2008–2009)

COMMITTEE WORK

university Committees University Program Learning Outcomes Assessment Committee (2013–2015) Organized by the Associate Provosts for Graduate and Undergraduate Affairs, this committee was tasked with initiating a university-wide process for creating, tracking, and reporting on program learning outcome goals.

University Council–Executive Committee (2011–2013) The University Council Executive Committee, consisting of the President, Provosts for the Charles River Campus and Medical Campus, Faculty Council Officers, and chairs of Faculty Council/University Council Committees, met to consider pressing matters at the request of the President when the University Council was not in session. The committee met once during this period, discussing and approving a new University Gender-Neutral Housing Policy.

University Council–Committee on Curriculum and Degrees, Chair (2011–2013) Working closely with the Provost’s office, this university-wide committee had the responsibility to evaluate the academic rigor of new, or substantive changes to, existing curriculum. With input from the Council of Deans and Faculty Council, this committee was the last approval body before proposals moved to the Uni- versity Council for final vote. Responsibilities of the chair included making reports and presenting proposals for vote before the University Council. Proposals approved in committee and presented and approved by the University Council during this period are as follows: 1 May, 2013 • CFA–BFA in Printmaking (new degree) • GRS–Graduate Certificate in Women’s, Gender, and Sexuality Studies (new certificate) • MET–Certificate in Applied Biotechnology (new certificate) • CAS–Modular Medical Integrated Curriculum (substantive change) • ENG–the then-current ENGMEDIC program was integrated into the new M- MEDIC program (substantive change) • MED–name change from Ph.D in Molecular Medicine to Ph.D in Molecular and Translational Medicine (substantive change) • SGM–Bachelor of Science in Business Administration (substantive change) • COM–Bachelor of Science in Journalism (substantive change) 20 February, 2013 • MED–MS in Oral Health Science (new degree; replaced then-current MA in Med- ical Sciences-Oral Health Sciences track) John H. Wallace–CV4

• SPH–Doctor of Public Health in Leadership, Management and Policy (substantive change) • SAR–MM & PhD-Human Physiology (name change from Applied Anatomy and Physiology) 12 December, 2012 • SPH–Graduate Certificate in Statistical Genetics (new certificate) • CFA–Arts Management Minor (new minor) • SMG–MBA (substantive change) 3 October, 2012 • MET–MS in Project Management (change in delivery from on-line to on-campus) • MED–MS for students who complete the 28-month Physicians Assistant program (new degree) • GRS–MS in Computer Science with Specialization in Cyber Security (new degree) • SED–BS in Engineering/MAT (Master of Arts in Teaching) in Science or Math Education (new degree) • GRS–MS in Computer Science (name change from MA in Computer Science) • CAS–Minor in Sustainable Energy (new minor) 2 May, 2012 • SAR–Bachelor of Science in Behavior and Health (new degree) • MED–MD/MA in Clinical Investigation (new dual-degree) • COM–MS-Science Journalism (name change) 22 February, 2012 • LAW/GRS–JD/MA-History (new dual-degree) • LAW/GRS–JD/MA-English (new dual-degree) • LAW–LLM-Taxation (change in delivery from on-campus to online) • SED–Certificate-Global Ecology (new certificate) • GRS–MFA-Playwriting (replaced then-current MFA in Creative Writing–Playwrit- ing Track) 14 December, 2011 • CAS–BA-French & Linguistics (new joint major) • CAS–BA-Italian & Linguistics (new joint major) • CAS–BA-Japanese & Linguistics (new joint major) • CAS–BA-Spanish & Linguistics (new joint major)

University Council–Committee on Admissions and Enrollment Policies (2010–2011) The main activity of the committe during this period was involved with finalizing the language for a new university-wide policy for minors.

Faculty Council–Executive Committee (2011–2013) All officers of Faculty Council and chairs of UC/FC committees serve as members of this committee. Meeting weekly, the Faculty Council–Executive Committee set the agenda for monthly full Faculty Council meetings, consulting with the President, Provost, and various university officers as warranted.

Faculty Council–Curriculum and Academic Policies Committee, Chair (2011–2013) This is the Faculty Council equivalent of the University Council Committee on Curriculum and Degrees, entitling the chair to sit on the Faculty Council Executive Committee.

Faculty Council–CFA Representative (2009–2011) CFA Representative to the Faculty Council. Duties included participating in all Faculty Council meetings, reporting activities to, and seeking input from, the School of Music and CFA faculties. John H. Wallace–CV5

Faculty Council–Credentials and By-laws Committee (2009–2011) The focus of the committee during this period was to respond to recommendations of the “Report of the Task Force for Non-Tenure-Track Faculty” and Faculty Council, to draft changes to the Constitution, By-Laws, and Faculty Handbook, regarding membership in Faculty Assembly, along with reconciling conflicting language in these three documents.

Faculty Council–Nominating Committee (2009–2010) This committee was charged with vetting a slate of candidates for Faculty Council elections of officers and committee chairs.

College of Fine Arts Committees CFA Task Force (2015–2017) This 20+ member task force was charged with creating a new strategic vision for the College of Fine Arts and each of its three professional schools that would benefit both the CFA and University as a whole.

Curriculum Steering Committee (2011) This committee was charged with interfacing with the relevant curriculum committees of each of the three schools in the CFA on college-wide curricular issues. The main task of the committee during this period con- sisted of designing and shepherding through approval, a new Arts Leadership Minor.

school of Music Committees Study Abroad Committee, Chair (2017–Present) Responsible for expanding Study Abroad opportunities for School of Music students beyond the current program at the Royal College of Music in London.

Executive Committee (2011–2015) This committee was charged with setting the agenda for ongoing School of Music governance issues.

Undergraduate Studies Committee (Chair, 2010–2015; Member, 2009) Responsibilities included guiding curricular proposals through the approval process, maintaining and editing the relevant undergraduate portions of the School of Music Bulletin and Undergraduate Handbook, and overseeing advising, program compliance, student petitions, and evaluating, approving and equating all music transfer courses. Spearheaded the initial implementation the university Student Learning Assessment process for the School of Music Undergraduate programs. As chair of the Undergraduate Studies Committee, partici- pated in panel discussions for Visitor’s Day, Open House, and Audition Days, as well as Summer Orientation Sessions.

Policy Committee (2010–2015) Deals with routine School of Music governance, including Academic Actions and review of faculty activities (teaching, service, and scholarship) to report to the director in preparation for annual salary increase distribution.

Merit Review Committee (2009–2010) Review of faculty activities (teaching, service, and scholarship) to report to the School of Music director in preparation for annual salary increase distribution. (This committee’s responsibilities were absorbed by the School of Music Policy Committee as of Spring, 2011). John H. Wallace–CV6

Student Life and Honors Committee (2007–2008) Designed a Student Travel Assistance Fund form for student use in applying for reimbursement money from the the School of Music. The form outlines the purpose of the fund, explains supported and non-supported trips, and captures information necessary for the Student Life and Honors committee to make informed de- cisions regarding fund distribution.

Search Committees • Associate Professor of Piano (2011–2012) • Assistant Director of the School of Music for Admissions/Student Affairs (2009–2010)

Doctoral Dissertation Committees 2018 • Carpenedo, Edoardo, Franco Donatoni: Endless Transformation in the Françoise Variationen, Chair/1st Reader—In Progress • Wargovich, Bridgette, A Historical Survey of the Use of the Organ in Roman Catholic Worship, 3rd Reader—In Progress 2017 • Candido, Marcio, The Sonata for Violin and Piano in A Major, Op. 14 (1886) by Leopoldo Miguéz (1850–1902): Analysis, Influences, and its role in the Violin Literature,Chair/1st Reader • Rohde, Joshua, James MacMillan’s Seven Last Words from the Cross: Analysis and Approach, Chair/1st Reader • Stolk, Adria, Leaf and Light (Composition), Chair/1st Reader • Yu, Lei Ray, Finding a Voice: A Closer Look at Chinese Choral Music Development in the Early Twen- tieth Century Through Chao Yuan-Ren, Huang Zi, and Xian Xing-Hai,Chair/1st Reader 2016 • Driscoll, Michael, Jan Dismas Zelenka’s ‘Dixit Dominus’ Settings Within the Context of the Dresden Hofkapelle, 3rd Reader. [Winner of the 2016 Julius Herford Dissertation Prize from the American Choral Directors Association.] • Kim, Kyung, Verdehr Trio’s Commissions and James Niblock’s Works for the Violin, Clarinet and Piano Trio Focusing on Terzina (1995), Chair/1st Reader 2015 • LaRocca, Matthew, True North: Songs of the Arctic (Composition), 3rd Reader • Zabelsky, Jennifer, Viktor Ullmann’s Terezín Lieder: A Performance Guide to Songs for Soprano or High Voice, 3rd Reader 2014 • Wikan, Cory, Robert Shaw and the Brahms Requiem, Op. 45: A Conductor’s Approach to Performing a Masterpiece, 3rd Reader. [Winner of the 2014 Julius Herford Dissertation Prize from the American Choral Directors Association.] 2012 • Genovese, John, Three Movements for Orchestra (Composition), 2nd Reader 2011 • Buch, Brian, Songs of Transcendence and Metamorphosis in Four Movements (Composition), 3rd Reader • Ianni, Davide, Incastro: A Work for Orchestra (Composition), 3rd Reader • Janssen, David, Two Symphonic Movements for Orchestra (Composition), 3rd Reader • Smith, Andrew, Passacaglia for 32 Strings (Composition), 3rd Reader • Ziegler, Laura, Sechs Monologe Aus Jerdermann: An Analytical Approach, Chair/1st Reader John H. Wallace–CV7

2010 • Blumhofer, Jonathan, Canis Aetheris for Viola and Orchestra, (Composition), 2nd Reader • Shipley, Lori, A History of the Music Department at Hampton Institute/University, 1868–1972, 3rd Reader • Van Buskirk, Jeremy, Kalidescope (Composition), 2nd Reader

Doctoral Orals Committees Fall 2017 Seo Hee Han Violin Performance 17 November, 2017 Haram Kim (2nd) Piano Performance 14 November, 2017 Spring 2017 Tianyao Xi Piano Performance 27 March, 2017 Yoojin Lee Piano Performance 24 March, 2017 Haram Kim Piano Performance 22 March, 2017 Fall 2016 Sun Young Moc Oboe Performance 18 November, 2016 Adria Stolk Composition 16 November, 2016 Spring 2016 Joo Young Moon Piano Performance 29 March, 2016 Alexis Lee Cello Performance 22 March, 2016 Fall 2015 Kiersten Honaker Choral Conducting 18 November, 2015 Spring 2015 Michael Driscoll Choral Conducting 24 April, 2015 Amy McGlothlin Saxophone Performance 3 April, 2015 Fall 2014 Yeon-Hee Park Piano Performance 13 November, 2014 Fall 2013 Matthew LaRocca Composition 12 November, 2013 Spring 2013 Andrew Stetson Trumpet Performance 22 March, 2013 Wei-Chen Lin Percussion Performance 21 March, 2013 Andrew Clark Choral Conducting 20 March, 2013 Fall 2012 Alexandra Labinska Violin Performance 14 November, 2012 Igor Iwanek Composition 7 November, 2012 Lilit Muradyan Viola Performance 30 October, 2012 Spring 2012 Baekyu Kim Piano Performance 21 March, 2012 Fall 2011 Joshua Nannestad Choral Conducting 7 November, 2011 Spring 2011 Cory Wikan Choral Conducting 12 May, 2011 Chris Walters Choral Conducting 12 April, 2011 Yu-Fang Chang Cello Performance 29 March, 2011 Fall 2010 Genviève LeClair Orchestral Conducting 8 December, 2010 Eun-Hee Seok (2nd) Piano Performance 29 November, 2010 Nate Zullinger Choral Conducting 19 November, 2010 Christine Noel Choral Conducting 17 November, 2010 Emily Stewart Violin Performance 10 November, 2010 Nara Shahbazyan Cello Performance 9 November, 2010 Spring 2010 Eun-Jung Kim Viola Performance 31 March, 2010 Eun-Hee Seok Piano Performance 29 March, 2010 Nathaniel Farny Viola Performance 22 March, 2010 Kerry Deal Voice Performance 18 March, 2010 Sunggone Hwang Composition 26 February, 2010 John H. Wallace–CV8

Fall 2009 Emily Rideout Cello Performance 19 November, 2009 Jonathon Blumhofer Composition 12 November, 2009 Agnes Kim (2nd) Cello Performance 29 October, 2009 Spring 2009 Agnes Kim (1st) Cello Performance 26 March, 2009 Jason Sabol Composition 19 March, 2009 Jin-Hye Lee Collaborative Piano 17 March, 2009 Fall 2008 Davide Ianni Composition 13 November, 2008 June Chen Piano Performance 12 November, 2008 Spring 2008 Vasily Medved Composition 19 March, 2008 Justin Casinghino Composition 19 March, 2008 Fall 2007 Heeryon Kim (2nd) Composition 26 November, 2007 Spring 2007 Miguel Cárdenas Violin Performance 6 April, 2007 Eun-Kyoung Kang Composition 29 March, 2007 Vartan Aghababian Composition 26 March, 2007 Heeryon Kim (1st) Composition 19 March, 2007 Fall 2006 Brett Abigaña Composition 21 November, 2006 Zong-Ling Li Violin Performance 10 November, 2006

DMA Lecture/Recital–Faculty Observer Fall 2017 Yoon-Jung Huh Flute Performance 19 December, 2017 Spring 2016 Kyung Kim Collaborative Piano 19 April, 2016 Virginia Morales Horn Performance 12 March, 2016 Spring 2015 Ha Nah Son Piano Performance 7 May, 2015 Fall 2014 Jennifer Zabelsky Voice Performance 3 December, 2014 Spring 2011 Minkyung Oh Piano Performance 25 May, 2011 Spring 2009 Gregorio Rangel Vocal Performance 27 March, 2009

Masters Theses Committees 2012 • Kirschner, Aaron, Two scenes for The Masque of the Red Death (Composition), 2nd Reader 2011 • Axelrod, Tristan, Jim’s Life for Chamber Orchestra (Composition), 2nd Reader 2010 • Baltrush, Katherine, The Magic of Metamorphosis: Character Development in Thomas Adès’ ‘The Tempest’, Chair/1st Reader

Masters Orals Committees Spring 2016 Daniel Valentine Composition 13 April, 2016 Spring 2013 Ioannis Angelakis Composition 29 April, 2013 Adam Berndt Composition 17 April, 2013 Spring 2012 Michal Novotny Composition 19 April, 2012 Spring 2011 Chih-Liang Line Composition 14 April, 2011 John H. Wallace–CV9

OTHER SERVICE Service to the Composition/Music Theory Department • Conduct individualized tutorials for doctoral students preparing for the written Music Theory Qualifying Exams; average of 20+ hours of appointments per semester. • Participate in the preparation and grading of Music Theory Qualifying Exam questions. • Participate in the review of composition admission application portfolios. • Initiated and maintain an annual departmental e-flyer since 2013, featuring faculty and student activities for distribution to students interested in our undergraduate composition program. • Managed the migration of the Music Theory Proficiency Exam from a paper to an online format. Working with designers from Distance Education, oversaw the final migration and initial run of the exam in the new online format, including the creation of all sound, graphic, and musical notation files. Assumed administration of the exam from Distance Education, including interfacing with the university IT department to enroll students into the exam. Exam results are formatted into individual advising sheets customized for each student. Working with the chair of the Composition/Music Theory Department, individual course recommendations are provided to students and their faculty advisors. • Initiated a new set of advising PDFs in 2012 for all undergraduate and graduate offerings in Music Theory and Musicology for each semester, clearly listing all set and rotating course offerings, including cross-registration numbers.

MASSACHUSETTS INSTITUTE OF TECHNOLOGY (CAMBRIDGE, MASSACHUSETTS) Adjunct Faculty (2002–2006) Keyboard/Theory Lab Instructor

PRIVATE INSTRUCTION (BOSTON, MASSACHUSETTS) Tutor (2002–2006) Individualized instruction in Music Theory and Music History for students preparing for doctoral qualifying exams

THE BOSTON CONSERVATORY (BOSTON, MASSACHUSETTS) Guest Lecturer (2003–2006) History of Music Review for Grad Students • American Music in the 20th Century—Spring 2006 • The Music of Webern, Sessions, Messiaen and Carter—Spring 2004 • Mozart’s Piano Concerti and Beethoven’s Eroica—Fall 2003 American Music Seminar • Boston Composers Since 1960—Spring 2005

MIDDLESEX COMMUNITY COLLEGE (BEDFORD, MASSACHUSETTS) Substitute Instructor (2003) • Music Theory I • Applied Piano for Beginners John H. Wallace–CV10

BOSTON YOUTH SYMPHONY ORCHESTRA Music Theory Instructor (2002–2003) Supplemental music theory instruction for students in the BYSO orchestral program

BOSTON UNIVERSITY–COLLEGE OF FINE ARTS–SCHOOL OF MUSIC Doctoral Teaching Assistant (2000–2002) Aural Skills Component • MU401–Graduate Theory Review—Spring 2002 • MU401–Graduate Theory Review —Fall 2001 Keyboard Harmony Component • MU102–Music Theory 2—Spring 2002 • MU101–Music Theory 1—Fall 2001 • MU102–Music Theory 2—Spring 2001 • MU101–Music Theory 1—Fall 2000 Instructor • MU208–Ear-Training and Sight-Singing 4—Spring 2001 • MU207–Ear-Training and Sight-Singing 3—Fall 2000

DEPAUL UNIVERSITY SCHOOL OF MUSIC (CHICAGO, ILLINOIS) Adjunct Faculty (1998–1999) Instructor Understanding Music—Winter 1999 Guest Lecturer • Focal Point Seminar—Fall 1998 • Intro to Composition—Spring 1998

Business Manager (1991–1999) FINANCIAL $3.5mm budget. Ordering and authorization of payment for all goods and services; reconciliation of financial statements; financial and logistical oversight of opera productions and major event performances

ADMINISTRATIVE Direction of instrument inventory acquisition, tuning and maintenance programs; assessment and configura- tion of new computers; supervision of two full-time administrative, one part-time professional and 30 student employees

COMMUNICATIONS Marketing/Advertising—Support of major event performances, subscription series, and Admissions activities through the development and implementation of a strategic marketing plan, and creation of radio and print ads Graphic Design/Printing—Design of printed materials, from one-color to full-color pieces, including bro- chures, flyers, journal and newspaper ads, programs, catalogs, posters and events calendars; sourcing and coor- dination of photographic and print vendors John H. Wallace–CV11

Web Presence—Design and maintenance of the School of Music website

COMMITTEE WORK University Committees Technology Advisory Group (1997–1999) Copyright Committee (1994–1995) Editorial Council (1993–1994) School of Music Committees Administrative Council (1991–1998) Search Committee–Sound Recording Technology (1996–1997) John H. Wallace–CV12

WORKS String Quartet No. 2—In Progress String Quartet Duration: c. 20 mins.

While the Drowsy World Lies Lost in Sleep (2013–2018) Five songs for mezzo-soprano and piano Text: James Thomson Duration: c. 16 mins. While the Drowsy World Lies Lost in Sleep is a setting for mezzo-soprano and piano of excerpts from the “Winter” section of the The Seasons, by the 18th-century Scots poet and playwright, James Thomson. The last three songs of this currently five-song set were written for a New Music DePaul concert commemorating the centennial of the DePaul University School of Music in 2013. Completing this set, the first two songs were written for an ALEA III concert in 2018. This ongoing work will eventually consist of a five-song set for each of the four seasons. The text of the epic poem is highly evocative, conjuring up a kaleidoscopic stream of vignettes, impressions and images through the progression of the year. These selections capture the half-light gloom of the season, ending with the personification of “Winter” as despotic ruler, subjugating half the world in icy misery. The reign of this “grim tyrant” is presented in sardonic majesty in both the text and the music.

Incidental Music to Jean Giraudoux’s Tiger at the Gate (2017) Electronic Media Duration: seven cues of various lengths Original incidental music for Jean Giraudoux’s play, Tiger at the Gate, in English translation by Christopher Fry, was written for a Boston University School of Theatre production directed by Sidney Friedman, which ran for five performances in the spring of 2017.

The Vacant Shore (2017) Large Wind Ensemble (2+picc.2+Eng hn.Eb+2+bcl.alto sax.2+contra | 4.4.2+btrb.euph.1 | bass | harp | timp.3 perc) Duration: c. 13 mins. The Vacant Shore was written for David J. Martins and the Boston University Wind Ensemble, by whom the work was premiered, and was recorded at the WGBH studios for an upcoming CD release. The title is derived from the opening line of Henry Wadsworth Longfellow’s poem The Tides—“I saw the long line of the vacant shore”—from The Masque of Pandora and Other Poems (1875), which explores Longfellow’s profound feelings of loss, grief and acceptance over the tragic death of his second wife in terms of a tidal metaphor. While the sections of the work do not follow the 14-line structure of this Petrarchan sonnet, the music does evoke some sense of the gloom and despair of the opening octet, followed by the volta of the concluding sestet. The structure of the work consists of two large, bifurcated planes, which are in turn interrupted by a central section characterized by slow moving harmonies.

Essex Evocations (2016) String orchestra Duration: c. 13 mins. Essex Evocations was commissioned by the Cabot Performing Arts Center in Beverly, Massachusetts, to inaugurate their “Classical at the Cabot” series, and was written for Donald Palma and Symphony by the Sea, who premiered the work in 2017. It is a rhapsodic, single movement work for string orchestra that draws inspiration from the wide-ranging landscape of the Massachusetts north shore, with its forests, meadows, wetlands and sea coast. The John H. Wallace–CV13

opening section explores two lyrical ideas before descending into a chaotic transition leading to a faster, more scherzo-like middle section. Here a cascading, descending figure alternates with an angular, ascending motive, which is in turn interrupted by static blocks of varying configurations. Losing momentum, the music eventually transitions into a slower section that reinterprets the previous material from a new perspective, as one experiences a landscape in different seasons and light. The work ends with a final statement of the main, lyrical motive intertwined with the cascading motive from the middle section, synthesized into a new whole.

How Curious the Light Behaves (2016) Soprano, clarinet, violin, viola, cello and piano four-hand Text: Anonymous, Irish Duration: c. 5 mins. How Curious the Light Behaves was written for the Virtuoso Soloists, by whom it was premiered on a five-city tour of Portugal in July, 2016. The work is a setting for soprano and mixed ensemble of the first half of an anonymous Irish poem, which explores the theme of how one deals with the constant fear of loved-ones drowning, that is universal to any culture based on working the sea. The structure of the poem is similar to a WelshCyhydedd hir, but longer, with the first three lines of each quatrain (eight syllables) rhyming. The last line (six syllables) of each pair of quatrains concludes with a singular end-rhyme, linking them into a stanza. xxxxxxxb xxxxxxxc xxxxxxxb xxxxxxxc xxxxxxxb xxxxxxxc xxxxxA xxxxxA The phrase structure of the setting parses into nine-measure groups, consisting of repeated cells of differing lengths, for various configurations of the ensemble, creating a gentle, undulating, isorhythmic effect.

Triskele (2015) Oboe, viola and piano four-hand Duration: c. 12 mins. The work was written for the Virtuoso Soloists, by whom it was premiered on a three-city tour of Italy in July, 2015. A triskele is an ancient symbol, most closely associated with the Celts, that has been used in various forms and cultures for around 6,000 years. It consists of various configurations of rotationally symmetrical objects around a center-point, most frequently, spirals, curved lines, or representations of bent human legs. In pre-Christian times it was thought to represent the sun, eternity and reincarnation, or the primal elements of earth, sky and water. With the introduction of Christianity to Ireland around the 5th century, the three-part symbol came to represent the Holy Trinity. Triskele reflects the tripartite nature of the symbol in the overall structure, and the intertwining of the oboe, viola and piano lines. (Written for two players, the piano part primarily acts as one, albeit complex, line.) The music unfolds in a rhapsodic fashion, with each section reflecting on and developing previous material. This progression is interrupted by a central, tranquil passage, which is in turn, interrupted by a more active texture, before being sub- sumed by a return to the rhapsodic opening material. The work concludes with a final section that acts to reconcile the previous materials in a cohesive whole.

Symphony (2014) Large orchestra (2+picc.2+Eng hn.2+bcl.2+contra | 4.2.2+btrb.1 | timp.2 perc | strings) Duration: c. 48 mins. Written for David Hoose and the Boston University Symphony Orchestra, by whom the work was premiered in 2015, the work is dedicated to the composer’s father who passed away in 2013 at the age of 92. He often joked that John H. Wallace–CV14

the only thing he could play was the radio, and symphonic and operatic music was all-important and omnipresent in his life. (No Saturday was complete without the Metropolitan Opera radio broadcasts!) The musical language of the symphony, cast in four movements, is lyrical and elegiac. The first movement is energetic, building to a series of climaxes before descending down to a low rumble, while the second movement is rhapsodic and varied in tem- po, interrupted by frequent scherzo-like outbursts. The main sections of the third movement are articulated by a series of sonorities in the upper strings that expand outward from a central axis. The majority of the material in this movement is dense and chordal. The finale opens with a plaintive motive in the horns that is developed throughout the movement. The music is largely contrapuntal, and is punctuated by long, sinuous, passages in the violins. A full orchestral tutti surge marks the climax of the movement, leading to the horns recalling the open motive. The work ends with a final orchestral tutti wail, followed by a ghostly echo of ringing Tibetan temple bowls.

Score to “Topless America” (2012–) Media Production Duration: c. 30 mins. Working temp-track (score) for the film, “Topless America,” a feature-length documentary chronicling the envi- ronmental movement to end mountaintop-removal coal mining. This is an on-going project in the early stages of post-production.

Four Bagatelles (2012) Flute, oboe, clarinet, bassoon, horn, piano, two violins, viola, cello and bass Duration: c. 13 mins. Written for the Time’s Arrow New Music Ensemble at the Boston University School of Music, by whom it was premiered in 2014, Four Bagatelles is a work for wind quintet, piano, and string quintet. The opening movement, Ballade, weaves a sinuous line throughout the ensemble, ending with a cadenza-like passage in the piano. The second movement, Kaleidoscope, consists of a series of harmonies refracted through a slowly moving lens, creating a static, yet ever-changing sense of color. The third movement, Burlesque, provides a scherzo-like interruption to the more overtly lyrical movements, while continuing the first-movement’s linear interplay. The work concludes with Serea - nade, which incorporates fragments of material from the previous movements in a gentle synthesis.

Five Miniatures (2011) Flute, clarinet, percussion, piano, violin, viola, cello and bass Duration: c. 12 mins. Five Miniatures, an octet for mixed ensemble, was commissioned by ALEA III, Contemporary Music Ensemble in Residence at Boston University, and premiered by that ensemble with the composer conducting in 2012. The odd-numbered movements, “Entrada,” “Interlude” and “Finale,” form a linear narrative which is interrupted by the even-numbered movements. These interruptions, “Nachtmusik I and II,” provide quiet reflections on the surround- ing movements. The work cycles through a series of “proto-chords” of fixed registration which generate all of the harmonic and motivic material.

Structures (2010) Flute, bassoon, violin, viola and cello Duration: c. 15 mins. Structures was commissioned by Music at Eden’s Edge, by whom it was premiered in 2010 on a three-city concert series and broadcast on WGBH during their 95.5 All Classical Festival. Funded in part by grants from the Massa- chusetts Cultural Council, New England Foundation for the Arts (NEFA), and Meet the Composer/New England, John H. Wallace–CV15

the work has been recorded on the Centaur Records label (CRC3483). The title carries a double meaning—that of a musical, as well as physical, structure. Each movement employs an historic building in Essex County, Massachu- setts, as a point of departure. The buildings, and the associated histories of their real or fictional occupants, provide a loose narrative that runs through the work. How the actual buildings influence the musical structure varies from movement to movement. One aspect that unites all of the buildings is in their direct, or tangential, association with the Salem witch hysteria of 1692. The first movement is based on the House of the Seven Gables (Turner-Ingersoll mansion, Salem–ca. 1668), and is set as a symmetrical seven-part rondo reflecting the contour of the well-known roofline. This historic building provided the inspiration for Hawthorne’s famous novel from which the popular name of this structure is derived. While not overtly programmatic, the music does evoke the oppressive gloom of the novel, progressing to a corresponding lightening of mood at its conclusion. The second movement is based on the Rev. John Wise House (Essex–1701), which reflects the eminently practical nature of post-and-beam construction, where additions were added as need for space and money allowed. Faint but evident traces of the evolution of this structure appear in various places throughout the house, providing quiet testimony to the “living” nature of the residence. In line with the historic narrative, the Rev. John Wise was a strong advocate of democracy and “no taxation without representation,” providing a key point of inspiration for the later Founding Fathers. He supported Increase Mather’s attempts to ban “spectral evidence” from use in the witch trials, and later attempted to have the convictions reversed. The final movement draws its inspiration from the First Religious Society (Newburyport–1801). The spire of this venerable structure is a prominent landmark in this coastal town, visible from all directions. The church, (now a Unitarian Universalist congregation), has roots that stretch back to the 1630s, and is a living descendant of the earliest settlers in Massachusetts. The proportions of its beautiful spire are translated into the proportions of the movement, ending with the “squeak” of the weathercock at its pinnacle.

Arboreal Memories (2010) Full orchestra (2.2.2(2. also bcl).2 | 4.2.2+btrb.1 | timp.2 perc | strings) Duration: c. 12 mins. Arboreal Memories, a lyrical, single-movement work for large orchestra, was written for David Hoose and the Boston University Symphony Orchestra, by whom it was premiered in 2010. The music juxtaposes two main ideas that are motivically related—yet texturally differentiated. These two ideas are additionally contrasted by slow-moving connective material that articulates the main pitch-class segments, based on augmented triads (the Ur-chord), from which all the motives are derived. The music unfolds in a tripartite structure with concluding coda, ending on a soft 12-tone cluster in the strings, articulating the definitive arrangement of the Ur-chord.

Foss Epigram (2010) Flute, oboe, clarinet, bassoon, horn, trumpet, trombone, 2 percussion, 2 violins, viola, cello and bass Duration: c. 5 mins. Written for and premiered by Theodore Antoniou and ALEA III in 2010, the piece was part of a joint commission- ing project for a multi-movement work by former students of Lukas Foss (1922–2009) for a memorial concert. The work involves a motive based on the opening phrase of the Horst Wessel Lied, a Nazi anthem that Foss heard in Berlin as a youth, and later quoted in his work Curriculum Vitae with Time-Bomb.

The Wind Sall Blaw for Evermair (2008) Flute, bassoon, harp and piano Duration: c. 10 mins. John H. Wallace–CV16

Written for pianist Shiela Kibbe and harpist Barbara Poeschl-Edrich, by whom the work was premiered in 2008, the quartet explores the sonic resources of the unique ensemble of flute, bassoon, piano and harp. The title is the closing line of an anonymous Scots ballad, The Twa Corbies. In the poem, the narrator overhears two ravens discussing their next meal—a slain knight, abandoned by his hawk, hound and even, lover. The contradictory themes of loss juxtaposed with the continuity of life, are echoed in the divergent musical material of the work.

Gloaming in perpetuum (2007) Wind Quintet Duration: c. 10 mins. Written for the Boston-based Arcadian Winds, by whom the work was premiered in 2008, the title of the quintet, Gloaming in perpetuum, is taken from the second line of a seasonal haiku on winter, written by the composer. The work’s completion coincided with the death of the composer’s mother, Alta, to whom it is dedicated. The original intent of the line, expressing the endless quality of twilight experienced in winter, can also be understood as a metaphor for our memories, where lost loved-ones live on in the half-light of remembrance.

leaden skies threaten gloaming in perpetuum dull light, without heat The single-movement work is divided into three main sections of a linear, lyrical, quality, interspersed with two interruptions, set in a more angular, disjunct fashion. As the music progresses, silence takes on a more pronounced importance. The work ends on a single, plaintive, note in the oboe’s upper register.

Thus Winter Falls (2006) SATB chorus Text: James Thomson Duration: c. 11 mins. Written for and premiered by Ann Howard Jones and the Boston University Chamber Chorus, Thus Winter Falls is a three-movement work for SATB chorus based on selections from the poem, Winter, by the Scots poet James Thom- son. (Haydn’s oratorio, The Seasons, also sets sections of the same poem, in a multiply translated version assembled by the Viennese patron and diplomat, Baron Gottfried van Swieten.) This setting reflects the bleak character of the original text in passages describing the transition from late afternoon to early evening in winter, (When from the Pal- lid Sky, lines 118–129), the deleterious effect of the onset of winter on one’s psyche, (In Sable Cincture, lines 54–62), and wonder in the magical results of winter’s effect on the elements, From( Pole to Pole, lines 742–753).

Summer Mosaics (2004) Saxophone quartet Duration: c. 8 mins. Summer Mosaics was written for Richard A. Schwartz and the Boston University Tanglewood Institute saxophone ensemble, by whom the work was premiered in 2004. Exploring a post-minimal texture of a driving rhythmic pulse, combined with complex jazz and rock-influenced cross-rhythms and cinematographic cross-cuts, Summer Mosaics develops a series of short motives through statement, disintegration and recombination. The main motivic cell, derived from the first of Schubert’sSechs Moments Musicaux, consists of the interval of a descending minor third (G–E), set against the same pitches in an ascending statement (E–G). All subsequent contrasting material in the work evolves from this simple motive. John H. Wallace–CV17

Sangis off Wyntir (2004) Three songs for mezzo-soprano, flute, viola and harp Text: William Dunbar Duration: c. 8 mins. Written for the Chicago-based ensemble, Pinotage, by whom the work was premiered on a Chicago Composers’ Consortium concert in 2004, the work exploits the similarity of the ensemble’s instrumentation with a traditional celtic folk-ensemble. Sangis off Wyntir sets three stanzas from the poem, Meditatioun in Wyntir, by the late-15th century Scots poet, William Dunbar, in the famous Scots Makkars dialect. The stanzas are set to a different, traditional Scots folk tune in each of three separate movements. The first movement employs the Gaelic lament, Bheir mo shoraidh thar ghunnaidh, which in the original, tells the story of bitter loss over a lover’s death. Three laments of the late-18th century renown fiddler/composer, Niel Gow, interleave to form the second movement. The text is set to the Lamentation for James Moray, Esq. of Abercarney, layered with the Lament for his Second Wife in the flute, and the Lament for the Death of his Brother Donald in the viola, in different tempos and meters, all over a calm, yet relentless ostinato in the harp. The third and final movement treats the popular 18th-centuryMacpherson’s Rant, including at one point, the refrain in triple canon in heterophony between the voice, flute and viola, against the harp quietly intoning the verse. The work ends with the return of hope at the promise of the reappearance of Summer, with a fusion of motives from the rant, woven with a strathspey and reel of the 19th-century composer, Alexander Walker.

Frank Lloyd Wright: Act III—Finale (2003) Monodrama for baritone and orchestra Boston University doctoral dissertation Text: Emerson J. Purkapile Duration: c. 30 mins. The finale ofFrank Lloyd Wright, a projected three-act opera based on the artistic life of the great American twentieth-century architect, explores the dual themes of reflection and resignation. The scene takes place at a college school of architecture commencement ceremony. Almost completely devoid of physical action, the drama of the scene unfolds on a psychological plane. The octogenarian Wright muses on the current state of architecture, and the future that awaits his young audience. In doing so, he reflects on his own journey in the field, recalling his personal need to break with the stranglehold of derivative neo-Classicism that reigned supreme as he began his career. More fundamentally, he expresses his lifelong quest to free architecture from the confining principles of post-and-lintel construction, basing a new indigenous American architecture on the inspiration he found in nature. Mirroring the eleven-part subdivision of the libretto, the overall structure of the scene creates a large arch shape, comprised of various historical forms, recitatives and interludes, interrelated in a symmetrical pattern. The introduction acts as a prelude, during which Wright enters, processing to the podium where he begins his remarks. The odd-numbered sections act as connective tissue, separating the more reflective, even-numbered sections, consisting of a sonata, rondo, da capo aria, cavatina and passacaglia. The scene revolves around the central da capo aria, set in a sardonic neo-Classical style, in a quasi-fantasy episode, where Wright, struggling to regain his composure after an almost complete breakdown, launches into a diatribe against the architectural world in which he was ensconced at the start of his career. His energies largely spent, the re- mainder of the scene involves an increasing output of introspective and largely fragmentary personal reminiscences, concluding with Wright’s acceptance of his failing faculties, and eventual death. For Wright, the cantilever, as seen in the broad horizontal projections of tree limbs and overhanging outcroppings of natural stone formations, formed the foundation of his new architectural paradigm. Utilizing the cantilever, he produced works with gravity-defying projections which float in space. With Wright recalling this powerful image of the fusion of technology and art, the work concludes. John H. Wallace–CV18

Light and Shadow (2002) Song cycle for mezzo-soprano and orchestra Text: Hugh MacDiarmid Duration: c. 10 mins. The three sections of the work, all with text by the Scots poet Hugh MacDiarmid, form a seamless whole. Drawn from MacDiarmid’s vast output of poetry, the cycle takes its name from the title of the first poem in the setting. Combined with an eye towards a commonality of idea rather than a conventional narrative thrust, these three poems nevertheless form a powerful, highly-evocative thread of the poet’s literary leitmotives, filled with vivid visual imag- ery of nature, time, space and stars. The setting of the first poem treats both the vocal part and accompaniment in an expository, quasi-recitative-like manner. The second setting continues to develop the motivic material, with the voice undertaking a more expansive, lyrical tack. The final setting, structured as a passacaglia, continues the motivic development, treating the voice in a fluid, rhapsodic manner. Having continuously progressed upward from the low rumblings at the beginning of the third section, the passacaglia chords end the work in the highest register, disinte- grating into splintered shards of bell-like sounds, uniting an earlier motive associated with stars, with the previously somber passacaglia chords—“Oblivion and Eternity together.”

Clarinet Trio (2001) Eb clarinet, A clarinet and bass-clarinet Duration: c. 5 mins. Written for and premiered by the Chicago Clarinet Trio on a DePaul School of Music Faculty Recital in 2001, this work explores the sonic possibilities of the combination of an Eb, A and bass clarinet, as well as personal impressions of the musical personalities of the players for which it was written—Julie DeRoche, Larry Combs, and John Bruce Yeh. The work opens on a sonority built on the written low E of each of the three transposing instruments, resulting in the pitches C#–D–G. Derived from this trichord, octatonic scales and a twelve-tone set form the basis of the harmonic and melodic structures of the work. Built around brief solo passages for each of the instruments, the work is framed by an expository introduction and short coda, which briefly restates the opening material. The work progresses through a series of metric modulations of increasing speed from beginning to end, concluding in a flurry of boisterous counterpoint.

Preludio (2001) Solo violin Duration: c. 6 mins. Preludio was written for and premiered by baroque violinist Julie Cannata in 2001. Taking the six partitas and sona- tas of Bach as a point of departure, Preludio continuously develops a small group of motivic cells, processed in various rhythmic and melodic guises, creating the overall shape of the single-movement work. While certainly playable on the modern violin, the work was written with the Baroque violin in mind, maintaining the rather narrow range typical of the solo violin music of that period. The considerable number of double stops are principally concerned with presenting multiple lines in a contrapuntal texture, while the less frequent quadruple stops carry a decidedly harmonic implication. The drone-like motive employing an open string combined with a second voice that moves above and below the drone, manifests another aspect of the simultaneous use of multiple strings.

Tie Dye Revisited (2000) Electronic Media Duration: c. 5 mins. This electronic work derives its title and original source material from a cut on Robert Plant’s 1990 solo album, Manic Nirvana, titled Tie Dye on the Highway, which itself opens with a quote from 60s hippie icon, Wavy Gravy. John H. Wallace–CV19

A beat poet and court jester of the counter-culture generation, Wavy Gravy is best known as the Master-of-Cere- monies at the Woodstock festival in 1969, (and to a younger demographic, as a flavor of Ben and Jerry’s ice cream.) Plant quotes the famous announcement: “Good morning... what we had in mind was breakfast in bed for 400,000!” Subjected to a phase vocoder procedure in the software package CSound, this quote-within-a-quote results in an “analysis” file that allows for further manipulation—simultaneously and independently—of both frequency and duration. (Before software like CSound, increasing the speed of a sound clip necessarily increased its frequency as well. Think Alvin and the Chipmunks.) The independent manipulation of both of these parameters yields an enormous quantity of disparate sounds from which this piece develops. Peace, love, dove, baby!

String Quartet No. 1, “pale reflections...”(1999) String Quartet Duration: c. 8 mins. Written for and premiered on a Chicago Composers’ Consortium concert in 1999 by the Chicago-based Nouvelle Lumiere Quartet, the work has been recorded by the Arneis Quartet on the Centaur Records label (CRC3483). Evocative rather than descriptive, the programmatic titles of the three movements of this string quartet were added after the work’s completion. While rigorously organized, the work strives for a spontaneity and directness of musical expression associated with works based on the application of a less-structured musical language, constantly reinter- preting a small core of material in, metaphorically, different light. The brief and aphoristic first movement alternates between long sinuous lines and fleeting pizzicato gestures. The second movement further develops this material, juxtaposing it in expansive aural plains that transition from dense counterpoint to sparse isolation, ending on a thick repeated double-stop chord in the upper voices. Offset in time from the cello, each restatement of the chord comes closer in time to the cello, until eventually becoming one. The final movement bathes the material in the efferves- cence of shimmering ponticello tremolos and harmonics.

The Exquisite Corpse(1999) Collaborative work with members of the Chicago Composers’ Consortium: Timothy Edwards, Kathleen Ginther, Sebastian Huydts, Pieter Snapper, Elizabeth Start, John H. Wallace and Kurt Westerberg Alto flute, English horn, bass clarinet, horn, two percussion and cello Duration: c. 7 mins. Written for a Chicago Composers’ Consortium concert in 1999, and premiered by the Chicago Chamber Music Collective with C3 member Sebastian Huydts conducting, The Exquisite Corpse musically adapts the surrealist/alea- toric game of cadavre exquis, where a phrase of text, or more likely, a partial segment of a drawing, is passed between participants, with only a small fragment of their contribution showing. Each subsequent player continues the drawing (or text) before passing their partially exposed segment on to the next player, who in turn continues the process until all the participants have contributed to the work. For this piece of music, each member of the consortium, in sequence, wrote a minute of music, continuing what was written by the previous composer. Only the last two or three measures of each section was revealed to each subsequent composer. In addition, any technical information necessary for those measures was included—such as whether the cello was to be played pizzicato, whether the alto flute was in need of a break, or whether one of the percussionists had their hands full. After each composer finished their section, the piece made a return trip in reverse order, this time consisting of half-minute sections. Finally, the individual segments of the manuscript were assembled to form the whole.

Demon Dreams of Electric Fairies (1997) Guitar, bass, piano, vocals, drums John H. Wallace–CV20

Text: John H. Wallace Duration: c. 8 mins. Written for a Chicago Composers’ Consortium concert, A Tribute to Frank Zappa at the Lounge Ax, with guest ensemble Nozzle in 1997, Demon Dreams of Electric Fairies embraces the sound-world of Frank Zappa, with all of its diverse influences. Juxtaposed against a driving, distortion-ridden heavy-metal backdrop, the work incorporates stylized, asymmetrical rhythmic riffs with a dark text reminiscent of the sound of Ozzy Osbourne and the seminal heavy-metal band, Black Sabbath.

Music for Winds, Percussion and Piano (1994) Flute, alto flute, oboe, English horn, clarinet, bass clarinet, bassoon, contrabassoon, two horns, four percussion and piano Duration: c. 15 mins. Written for Donald DeRoche and the DePaul University Wind Ensemble, by whom the work was premiered in 1994, the three movements of this work run directly into each other with no breaks, providing the architectural structure within which the music unfolds. The music itself plays on the contrast between dense blocks of kinetic energy and sparse, static textures, gradually revealing their interrelationship as related objects located at various points on a continuum. The areas of greatest density yield their energy in brief sonic paroxysms that unravel in time at speeds of transition proportional to the intensity of their output. The gradual unfolding of the stasis material kaleidoscopically refracts the chromatic spectra of the individual pitches, subsuming what came before in an ever-changing progression of aural color. The aspects of pitch succession, registration and rhythm are manipulated to produce melodic and harmonic structures of a recognizable motivic nature.

Piano Quintet (1991) String quartet and piano Duration: c. 20 mins. Premiered on a DePaul Faculty Composers Concert in 1992, the work has been recorded by the Arneis Quartet and pianist Victor Cayres on the Centaur Records label (CRC3483). The harmonic/melodic structure, as well as the respective internal structure of the work’s three movements, is based on the well-known “B–A–C–H” motif that We- bern used in the Streichquartett, Op. 28. The texture is highly contrapuntal—though bearing a more immediate re- semblance to the choral motets and masses of Palestrina than the contrapuntal music of Bach himself. The rhythmic content of the music is highly restrained, employing palindromic structures in large blocks of fixed registration. The music is soft throughout, focusing the listener’s attention on the smallest level of detail, magnifying small contrasts to a high level of importance. The first movement consists of densely textured contrapuntal sections, juxtaposing blocks for full ensemble with rhapsodic interruptions of block chords by solo piano, fusing the material together by the end of the movement. The second movement utilizes pizzicato strings throughout, creating a much-needed contrast to the heavier outer movements. The light texture of the movement is interrupted, again by solo piano, with sections of a sustained bell-like quality. The final movement further develops material from the previous movements, melding the dense counterpoint and block chordal ideas of the first movement with the bell-like material of the second movement.

Symphonia (1986) Large orchestra (3.2+Eng hn.3.2+cbn | 4.3.2+btrb.1 | 4 perc | piano | strings) Northwestern University master’s thesis Duration: c. 7 mins. A single-movement work for large orchestra, Symphonia was one of three winners of the Civic Orchestra of Chicago’s John H. Wallace–CV21

1990 Illinois Composer’s Reading Sessions, coordinated by John Corigliano, Chicago Symphony Orchestra Com- poser-in-Residence, and conducted by Michael Morgan. Emerging out of a low rumbling in the orchestra, the work treats a small cadre of motivic cells through an ever-changing sequence of developmental episodes until reaching a point of maximum density and complexity. From this apex, the music gently devolves, eventually moving through a gossamer web of shimmering upper strings, to return to the quiet obscurity of the opening sounds. John H. Wallace–CV22

PERFORMANCES

The Vacant Shore—Scheduled Boston University Tanglewood Institute Young Artists Wind Ensemble Donald J. Martins, conductor 15 July, 2018—Seiji Ozawa Hall, Lenox, Massachusetts

While the Drowsy World Lies Lost in Sleep—Scheduled ALEA III—Boston University Voices Christina English, mezzo-soprano; Konstantinos Papadakis, piano 20 March, 2018—Tsai Performance Center, Boston, Massachusetts

Gloaming in perpetuum—Scheduled New England Chamber Players Unitas in Varietate—American Music for Wind Quintet Alex Conway, flute; Izumi Sakamoto, oboe; Thomas Weston, clarinet; Rachel Juszczak, bassoon; Megan Mar- ranca, horn 19 March, 2018—Brookline Public Library, Brookline, Massachusetts

Summer Mosaics Pharos Quartet Jennifer Bill, soprano saxophone; Amy McGlothlin, alto saxophone; Emily Cox, tenor saxophone; Zach Schwartz, baritone saxophone 27 January, 2018—Marsh Chapel, Boston, Massachusetts

Sangis off Wyntir Boston University Faculty Recital Christina English, mezzo-soprano; Vanessa Holroyd, flute; Daniel Doña, viola; Franziska Huhn, harp 22 January, 2018—Boston University Concert Hall, Boston, Massachusetts

Four Bagatelles Greenwood Music Camp Rodney Lister, coach 22 July, 2017—Greenwood Performance Centre, Cummington, Massachusetts

Incidental Music to Jean Giraudoux’s Tiger at the Gate Boston University School of Theater Sidney Friedman, director 3–7 May, 2017—Lane-Comley Studio 210, Boston, Massachusetts

The Vacant Shore Boston University Wind Ensemble Donald J. Martins, conductor 13 April, 2017—Tsai Performance Center, Boston, Massachusetts

How Curious the Light Behaves Classical at the Cabot Series John H. Wallace–CV23

Virtuoso Soloists—Emily Jaworski, mezzo-soprano; David Dziardziel, clarinet; Micah Brightwell, violin; Yoni Avi Battat, viola; Gracie Keith, cello; Edoardo Carpenedo, Inês Andrade, piano 2 April, 2017—Cabot Performing Arts Center, Beverly, Massachusetts

Essex Evocations Symphony by the Sea Donald Palma, conductor 26 March, 2017—Cabot Performing Arts Center, Beverly, Massachusetts

Triskele Classical at the Cabot Series Virtuoso Soloists—Courtney Miller, oboe; Yoni Avi Battat, viola; Edoardo Carpenedo, Inês Andrade, piano 19 February, 2017—Cabot Performing Arts Center, Beverly, Massachusetts

String Quartet No. 1, “pale reflections...” Classical at the Cabot Series Arneis Quartet—Heather Braun, Rose Drucker, violin; Daniel Doña, viola; Agnes Kim, cello 13 November, 2016—Cabot Performing Arts Center, Beverly, Massachusetts

How Curious the Light Behaves Virtuoso Soloists Luiza Dedisin, soprano; Samuel Brandão Marques, clarinet; Ivana Jasova, violin; Yoni Avi Battat, viola; Gracie Keith, cello; Edoardo Carpenedo, Inês Andrade, piano 29 July, 2016—Casa Fernando Pessoa, Rua Coelho da Rocha 16, Lisboa, Portugal 23 July, 2016—Fórum Cultural do Seixal, Quinta dos Franceses, Seixal, Portugal 22 July, 2016—Auditório Fernando Lopes Graça at Fórum Romeu Correia, Praça da Liberdade, Almada, Portugal 17 July, 2016—Igreja Matriz de Malcata, Rua da Fontainha, Malcata, Sabugal, Portugal 16 July, 2016—Casa da Musica da Bendada, Avenida da Casa do Povo, Bendada, Sabugal, Portugal

Triskele Virtuoso Soloists Courtney Miller, oboe; Yoni Avi Battat, viola; Edoardo Carpenedo, Inês Andrade, piano 31 May, 2016—Lilypad, Cambridge, Massachusetts 27 May, 2016—Lyric Hall, New Haven, Connecticut 26 May, 2016—Caffe Vivaldi, New York, New York

Triskele New Music DePaul Andrew Nogal, oboe; Anthony Devroye, viola; Chris Jones, Kurt Westerberg, piano 20 May, 2016—DePaul University Concert Hall, Chicago, Illinois

Summer Mosaics Eastern New Mexico University Saxophone Quartet Richard Schwartz, director; Alexander Olivas, soprano saxophone; Duncan Miller, alto saxophone; O’Shea, tenor saxophone; Logan Aragon, baritone saxophone 17 March, 2016—Temple University, Philadelphia, Pennsylvania 16 March, 2016—Boston University, Boston, Massachusetts 15 March, 2016—New England Conservatory, Boston, Massachusetts John H. Wallace–CV24

Symphony Boston University Symphony Orchestra David Hoose, conductor 29 October, 2015—Tsai Performance Center, Boston, Massachusetts

Triskele Virtuoso Soloists Courtney Miller, oboe; Yoni Battat, viola; Edoardo Carpenedo, Inês Andrade, piano 7 August, 2015—Foyer della Magnolia at the Theatro Comunale L. Russo, Portogruaro, Italy 5 August, 2015—Sala Oriana Fallaci at the Centro Comunale “Bressanin-Sicher,” Venezia, Italy 2 August, 2015—Auditorium Ex Convento di San Francesco, Pordenone, Italy

Summer Mosaics Boston University Tanglewood Institute Sarah Antiles, James Campbell, Katherine Campbell, Claudia Chan, Joel Ferst, Connor Haines, Shawn Liu, Sophia Palocz, Marina Sakellakis, Bhavik Shah, Caleb Woo, saxophones 3 July, 2015—West Street Theatre, Lenox, Massachusetts

String Quartet No. 1, “pale reflections...” The Fifth Floor Collective: After the Thaw Arneis Quartet—Heather Braun, Rose Drucker, violin; Daniel Doña, viola; Agnes Kim, cello 28 April, 2015—Davis Square Theatre, Somerville, Massachusetts

String Quartet No. 1, “pale reflections...” Belmont Public Library Concert Series Arneis Quartet—Heather Braun, Rose Drucker, violin; Daniel Doña, viola; Agnes Kim, cello 25 April, 2015— Belmont Public Library, Belmont, Massachusetts

String Quartet No. 1, “pale reflections...” Winsor Music, Chamber Series III Arneis Quartet—Heather Braun, Rose Drucker, violin; Daniel Doña, viola; Agnes Kim, cello 23 March, 2015—Visiting Nurse Assisted Living Community, Somerville, Massachusetts

Structures, Piano Quintet, & String Quartet No. 1, “pale reflections...” Boston University Faculty Recital Arneis Quartet & Friends—Heather Braun and Rose Drucker, violin, Daniel Doña, viola; Agnes Kim, cello; Victor Cayres, piano; Vanessa Holroyd, flute; Sujie Kim, bassoon 19 September, 2014—Boston University Concert Hall, Boston, Massachusetts

Four Bagatelles Time’s Arrow New Music Ensemble Rodney Lister, conductor; Ju Hee Kang, flute; Lizzie Nelson, oboe; Shanon Rubin, clarinet; Christina Dioguardi, John H. Wallace–CV25

bassoon; Parker Nelson, horn; Lara Poe, piano; MaeLynn Arnold, John Bian, violin; Sam Kelder, viola; Stephen Allen, cello; Christian Gray, bass 27 March, 2014—Boston University Concert Hall, Boston, Massachusetts

While the Drowsy World Lies Lost in Sleep New Music DePaul Julia Bentley, mezzo-soprano; Kuang-Hao Huang, piano 3 May, 2013—DePaul University Concert Hall, Chicago, Illinois

Summer Mosaics Boston Conservatory Saxophone Ensemble Goran Daskalov, soprano saxophone; Brendan Stewart, alto saxophone; Nat Peterson-Blankenship, tenor saxophone; Connor McLarrin, baritone saxophone 12 November, 2012— Boston Conservatory, Boston, Massachusetts

Five Miniatures Alea III—BU Composers Conduct their own Works John H. Wallace, conductor; Kathleen Boyd, flute; Diane Heffner, clarinet; Craig McNutt, percussion; Yukiko Shi- mazaki, piano; Krista Buckland Reisner, violin; Mark Berger, viola; Mark Simcox, cello; Nathan Varga, double bass 1 February, 2012— Tsai Performance Center, Boston, Massachusetts

Summer Mosaics The 34th Annual International Saxophone Symposium Hosted by the United States Navy Band Southeastern Louisiana University Saxophone Quartet Vitalie Gumeniuc, soprano saxophone; Durand Jones, alto saxophone; Jonathan Lyons, tenor saxophone; David Gambino, baritone saxophone 7 January, 2011—George Mason University, Fairfax, Virginia

Structures Music at Eden’s Edge—2010 Summer Concert Series Solstice in Chiaroscuro: A Study in Light and Color Maria Benotti, violin; Mark Berger, viola; Sarah Freiberg, cello; Orlando Cela, flute; Neil Fairbairn, bassoon 26 June, 2010—North Shore Arts Association, Gloucester, Massachusetts 22 June, 2010—North Shore Unitarian Universalist Church, Danvers, Massachusetts 21 June, 2010—Peabody Institute Library, Peabody, Massachusetts

Structures, Mov. III, “First Religious Society” (Newburyport—1801) Music at Eden’s Edge—2010 Family Benefit Concert, with guest host Ray Brown Maria Benotti, violin; Mark Berger, viola; Sarah Freiberg, cello; Orlando Cela, flute; Neil Fairbairn, bassoon 21 March, 2010—First Religious Society, Newburyport, Massachusetts

Arboreal Memories Boston University Symphony Orchestra In memory of Lukas Foss (1922–2009) David Hoose, conductor 4 March, 2010—Tsai Performance Center, Boston, Massachusetts

Foss Epigram Alea III—Celebrating Lukas John H. Wallace–CV26

Theodore Antoniou, conductor; Kathleen Boyd, flute; Kyoko Hida-Battaglia, oboe; Diane Heffner, clarinet; Janet Underhill, bassoon; Daniel Doyle, horn; Taylor Graham, trumpet; Robert Hoveland, trombone; Chris Whyte, Alex Delgado, percussion; Yukiko Shimazaki, piano; Annegret Klaua, Emily Chao, violin; Peter Sulski, viola; Mark Simcox, cello; Irving Steinberg, bass 2 March, 2010—Tsai Performance Center, Boston, Massachusetts

Structures, Mov. III, “First Religious Society” (Newburyport—1801) Music at Eden’s Edge—2010 Youth Chamber Concert Program Lecture/demonstration of live classical chamber music, including 36 performances in nine north-shore Massachu- setts public schools Maria Benotti, violin; Mark Berger, viola; Sarah Freiberg, cello; Orlando Cela, flute; Neil Fairbairn, bassoon February–June, 2010—Essex County Public Schools, Massachusetts

Thus Winter Falls Boston University Chamber Chorus Ann Howard Jones, conductor 3 April, 2009—Marsh Chapel, Boston, Massachusetts

Gloaming in perpetuum Arcadian Winds Vanessa Holroyd, flute; Jane Harrison, oboe; Mark Miller, clarinet; Janet Underhill, bassoon; Laura Carter, horn 24 March, 2009—Clark University, Worcester, Massachusetts

Gloaming in perpetuum Arcadian Winds Vanessa Holroyd, flute; Jane Harrison, oboe; Mark Miller, clarinet; Janet Underhill, bassoon; Laura Carter, horn 17 March, 2009—Boston University Concert Hall, Boston, Massachusetts

The Wind Sall Blaw for Evermair Boston University Faculty Recital Shiela Kibbe, piano; Barbara Poeschl-Edrich, harp; Linda Toote, flute; Richard Ranti, bassoon 18 November, 2008—Tsai Performance Center, Boston, Massachusetts

Gloaming in perpetuum Arcadian Winds Vanessa Holroyd, flute; Jane Harrison, oboe; Mark Miller, clarinet; Janet Underhill, bassoon; Laura Carter, horn 1 June, 2008—Boston University Concert Hall, Boston, Massachusetts

Sangis off Wyntir, & Cavatina, Recitativo and Passacaglia from Frank Lloyd Wright MIT Affiliated Artists Recital Penelope Bitzas, mezzo-soprano; Gary Durham, baritone; Matthew Guerrieri, piano; Whitney Pencina, flute; Mark Berger, viola; Barbara Poeschl-Edrich, harp 17 May, 2005—Killian Hall, Cambridge, Massachusetts

Summer Mosaics Boston University Tanglewood Institute Tyler Gauldin, soprano saxophone; Jesse Bowman, alto saxophone; Ivan Navedo, tenor saxophone; Stephen Chen, baritone saxophone John H. Wallace–CV27

30 July, 2004—West Street Theatre, Lenox, Massachusetts

Sangis off Wyntir Chicago Composers’ Consortium Pinotage—Julia Bentley, mezzo-soprano; Janice MacDonald, flute; Claudia Lasareff-Mironoff, viola; Alison Attar, harp 29 February, 2004—Sherwood Conservatory/Columbia College of Chicago, Chicago, Illinois

Preludio, Tie Dye Revisited, Clarinet Trio, & Light and Shadow Boston University Doctoral Composition Recital Julie Cannata, baroque violin; Julie Vreman, Eb clarinet; Mei-Mi Lan, A clarinet; Paul Demers, bass clarinet; Krista River, mezzo-soprano; Matthew Guerrieri, piano 25 October, 2003—Marshall Room, Boston, Massachusetts

Preludio Boston University Solo Violin Recital Julie Cannata, baroque violin 5 May, 2001—Marshall Room, Boston, Massachusetts

Clarinet Trio Boston University Composers’ Forum Katherine Leaman, Eb clarinet; Erika Means, A clarinet; Meghan Donohue, bass clarinet 1 May, 2001—Boston University Concert Hall, Boston, Massachusetts

Clarinet Trio DePaul Faculty Recital Chicago Clarinet Trio—Julie DeRoche, Eb clarinet; Larry Combs, A clarinet; John Bruce Yeh, bass clarinet 26 February, 2001—DePaul University Concert Hall, Chicago, Illinois

Preludio Boston University Composers’ Forum Julie Cannata, baroque violin 24 April, 2001—Boston University Concert Hall, Boston, Massachusetts

Piano Quintet Vilnius String Quartet Concert Series Audrone Vainiunaite and Arturas Silale, violin; Girdutis Jakaitis, viola; Augustinas Vasiliauskas, cello; guest artist, Rokas Zubovas, piano 7 January, 2000—Vilnius, Lithuania 6 January, 2000—Plunge, Lithuania 5 January, 2000—Siauliai, Lithuania

String Quartet No. 1, “pale reflections...” Boston University Composers’ Forum John H. Wallace, conductor; Yeon-Su Kim and Aleeza Wadler, violin; Flavio Gaeta, viola; Gabriel Shapiro, cello 7 December, 1999—Boston University Concert Hall, Boston, Massachusetts

The Exquisite Corpse (Collaborative Work) Chicago Composers’ Consortium John H. Wallace–CV28

The Chicago Chamber Music Collective—Sebastian Huydts, conductor; Irene Boruszko, alto flute; Kyle Bruck- mann, English horn; Christie Vohs, bass clarinet; Sara Mamminga, horn; Tina Laughlin-Keitel, Eric Pancer, percussion; Elizabeth Start, cello 15 June, 1999—Chernin’s Center for the Arts, Chicago, Illinois

String Quartet No. 1, “pale reflections...” Chicago Composers’ Consortium Nouvelle Lumiere Quartet—James Martin, Lisa Hansen, violin; Loretta Gillespie, viola; Elizabeth Start, cello 27 April, 1999—Chernin’s Center for the Arts, Chicago, Illinois

Piano Quintet New Music DePaul John H. Wallace, conductor; Lisa Hansen, James Martin, violin; Elizabeth Holzman, viola; Elizabeth Start, cello; Kurt Westerberg, piano 26 February, 1999—DePaul University Concert Hall, Chicago, Illinois

Piano Quintet Chicago Composers’ Consortium John H. Wallace, conductor; David Katz, James Martin, violin; Elizabeth Holzman, viola; Elizabeth Start, cello; Kurt Westerberg, piano 10 June, 1998—DePaul University Concert Hall, Chicago, Illinois

Demon Dreams of Electric Fairies Chicago Composers’ Consortium A Tribute to Frank Zappa at the Lounge Ax with guest ensemble, Nozzle 8 April, 1997—Lounge Ax, Chicago, Illinois

Music for Winds, Percussion and Piano DePaul Wind Ensemble Donald DeRoche, conductor 27 May, 1994—DePaul University Concert Hall, Chicago, Illinois

Piano Quintet DePaul Faculty Composers Concert John H. Wallace, conductor; David Katz, James Martin, violin; Frank Babbitt, viola; William Cernota, cello; Kurt Westerberg, piano 15 April, 1992—DePaul University Concert Hall, Chicago, Illinois John H. Wallace–CV29

RECORDINGS, RADIO BROADCASTS, REVIEWS AND PRESS

RECORDINGS The Vacant Shore Recording by the Boston University Wind Ensemble, Donald J. Martins, conductor, for future release; Jesse Lewis, recording engineer; all session work at WGBH Studios, Boston, Massachusetts, 20 April, 2017 Release Date—TBA

John H. Wallace: pale reflections… Album release on Centaur Records—CRC 3483 String Quartet No. 1, “pale reflections...,” Piano Quintet, and Structures, with the Arneis Quartet & Friends— Heather Braun, Rose Drucker, violin; Daniel Doña, viola; Agnes Kim, cello; Victor Cayres, piano; Vanessa Holroyd, flute; Sujie Kim, bassoon; Michael Culler, recording engineer; John H. Wallace, producer; all session work at Futura Productions, Roslindale, Massachusetts, 20–21 September, 2014 Release Date—8 July, 2016

RADIO BROADCASTS String Quartet No. 1, “pale reflections…” Centaur Records (CRC 3483)—“John H. Wallace: “pale reflections…” Minnesota Public Radio—Classical Music Network Minneapolis/St. Paul (KSJN–FM 99.5); Albert Lea (K224–DM 92.7); Appleton (KRSU 88.5); Austin (K277–AD 103.3); Bemidji (KCRB–FM 88.5); Blue Earth (K222–BA 92.3); Brainerd (KBPR 90.7); Duluth (WSCD–FM 92.9); Ely (K211–FR 90.1); Fergus Falls (KCMF 89.7); Grand Marais (WMLS 88.7); Grand Rapids (K281–AB 104.1); Granite Falls (K206–EF 89.1); Hinkley (WGRH 88.5/W226–AY 93.1); Interna- tional Falls (K249–BK 97.7/KITF–HD2 88.3); La Crescent (MN)/La Crosse, Wisconsin (K201–BW88.1); Mankato (KGAC 91.5); Moorhead (MN)/Fargo, North Dakota (KCCM–FM 91.1); Oliva (K280–ET 103.9); Owatonna (K289–AE 105.7); Rochester (KLSE–FM 90.7/KZSE–HD2 91.7); Roseau/Warroad (W215–AI 90.9/K264–AR 100.7/KRXW–HD2 103.5); Sleepy Eye (K276–EV 103.1); St. Cloud (KSJR–FM 90.1); St. James (K295–BD 106.9); Thief River Falls (KQMN 91.5); Virginia/Hibbing (WIRR 90.9); Winona (W297– AW 107.3); Worthington (KRSW 89.3/KNSW 91.7); Decorah, Iowa (KLCD 89.5); Brookings, South Dakota (K238–AX 95.5); Sioux Falls, South Dakota (KRSB 88.1) Broadcast Date—October, 2017

String Quartet No. 1, “pale reflections…” Centaur Records (CRC 3483)—“John H. Wallace: “pale reflections…” Interlochen Public Radio (Michigan)—Classical IPR Interlochen (WIAA–FM 88.7); Mackinaw City (WIAB–FM 88.5); East Jordan (WICV–FM 100.9) Broadcast Date—October, 2017

String Quartet No. 1, “pale reflections…” Centaur Records (CRC 3483)—“John H. Wallace: “pale reflections…” Classic FM (Central New York) Society for New Music—Fresh Ink Broadcasts: Music on the Edge Neva Pilgrim, Host/Program Advisor/Producer Syracuse, New York (WCNY–FM 91.3); Utica/Rome (WUNY–FM 89.5); Watertown (WJNY–FM 90.9) Broadcast Date—24 September, 2017 John H. Wallace–CV30

Structures, Mov. III, “First Religious Society” (Newburyport—1801) Centaur Records (CRC 3483)—“John H. Wallace: “pale reflections…” Radioactivity—The Floating Head of Zsa Zsa Burlington, VT (WRUV–FM 90.1) Broadcast Date—30 August, 2017

String Quartet No. 1, “pale reflections…” Centaur Records (CRC 3483)—“John H. Wallace: “pale reflections…” Tallahassee, Florida (WFSQ–FM 91.5) Broadcast Date—June, 2017

String Quartet No. 1, “pale reflections…” Centaur Records (CRC 3483)—“John H. Wallace: “pale reflections…” Classics with Brian Hannah Erie, Pennsylvania (WQLN–FM 91.3) Broadcast Date—June, 2017

Structures, Mov. III, “First Religious Society” (Newburyport—1801) Live Performance Broadcast—All Classical Festival, hosted by Laura Carlo and Ray Brown Music at Eden’s Edge—Maria Benotti, violin; Mark Berger, viola; Sarah Freiberg, cello; Orlando Cela, flute; Neil Fairbairn, bassoon Boston, Massachusetts (WGBH–FM 95.5) Broadcast Date—19 June, 2010

REVIEWS

Canfield, David DeBoor. Review of “John H. Wallace: pale reflections…,” CD release on Centaur Records (CRC 3483). Fanfare, 40, No. 2, (November/December 2016): 196–197. In summarizing the works on this album, Canfield states that “Wallace has a distinctive compositional voice, characterized by uncompromising but elegant dissonances, long flowing lines, and consistent forward direction. This is mesmerizing music, superbly rendered by the Arneis Quartet and their colleagues. It may not be for all tastes, but will pay rewards for the adventurous listener whose ears have been tuned by composers such as Sessions, Carter, Berg (especially in a work such as his Lyric Suite), and others with a similar aesthetic. Accordingly, warmly recommended.” Clarke, Colin. Review of “John H. Wallace: pale reflections…,” CD release on Centaur Records (CRC 3483). Fanfare, 40, No. 2, (November/December 2016): 195. Stating that Wallaces’ music, “from the very first note, draws the listener in and never releases its grip,” is how Clarke begins his comments. Assessing the overall quiet nature of Structures, he writes that in “keeping the dynamic level low, one’s attention becomes focused on detail,” continuing that the second movement in particular is “terrifically written and receives the perfect realization; the rehearsal that went into getting this movement so well coordinated must have been huge, and really does present the score in the very best light.” Continuing with “another aspect of Wallace’s writing that is striking is his way with harmony. Not only are his simultaneities carefully considered; there is a true feeling for the beauty of intervallic relationships here, a trait perhaps reflected in his overall preference for the lower dynamic levels (which tend to emphasize the beauty of his sound structures).” He concludes with the declaration that this is “fascinating music; I for one want to hear more by this composer.” John H. Wallace–CV31

Dent, Huntley. Review of “John H. Wallace: pale reflections…,” CD release on Centaur Records (CRC 3483). Fanfare, 40, No. 2, (November/December 2016): 195–196. In discussing how Wallace brings something “new and personal” to his music, Dent writes, “he has two notable talents to reach this end: structure and expression. Neither is an abstract term in Wallace’s case. For structure, he has devised a soundscape where counterpoint and balance (including musical palindromes) cre- ate a settled, inward, mood by drawing us into small details that stand out like snowflakes suspended in slow motion.” Continuing, Dent states that “Wallace’s meticulous craftsmanship produces variations extracted from a narrow range of notes or motifs,” noting how this sounds “schematic—never a quality that promises enjoyment—but here is where his second talent, for expression, enters. In all three works the carefully, some- times tightly, organized progression has emotional overtones. The ear is never lost, because a steady stream of expression—generally calm but at times sensual, nostalgic, elegiac, and (rarely) disruptive—envelops us.” Grames, Ronald E. Review of “John H. Wallace: pale reflections…,” CD release on Centaur Records (CRC 3483). Fanfare, 40, No. 2, (November/December 2016): 194–195. Comparing Webern’s use of the BACH motive in his Op. 28 to Wallaces’ in the Piano Quintet, Grames asserts that “it is a remarkable structure for a composition, and Wallace uses it quite differently and effectively over a longer time scale, while suggesting the austere otherworldliness of the quartet.” Continuing, he summarizes “it is Charles Ives’s use of strings which comes to mind in the long-held chords of the first movement. The second movement is more Pointillist, almost mechanical at times, but with the bell-like lightness of gamelan. The combination in the third movement of the Ivesian string chords from the first and the Pointillist piano from the second is really quite exquisite and unexpectedly moving.”

PRESS

Sackett, Shelley A. “Chamber music ensemble debuts new ‘Classical at the Cabot’ series.” Wicked Local–Salem (Salem, MA), 10 February, 2017, http://salem.wickedlocal.com. Feature story on the premiere performance by the Virtuoso Soloists in the Classical at the Cabot series at the Cabot Performing Arts Center in Beverly, Massachusetts, as a resident ensemble. The article features an interview with Virtuoso Soloists’ violist Yoni Avi Battat, who discusses the ensemble as well as the role of John H. Wallace as Composer-in-Residence at the Cabot and upcoming performance of his work, Triskele. Schulslaper, Robert. “Radio Days: A Conversation with John H. Wallace,” Fanfare, 40, No. 2, (November/De- cember 2016): 190–194. Feature interview on John H. Wallace’s background, education and influences as a composer. Powers, Keith. “The Cabot goes Classical.”Wicked Local–Beverly (Beverly, MA), 9 September, 2016, http:// beverly.wickedlocal.com Feature story on the appointment of John H. Wallace as the first composer-in-residence at the Cabot Per- forming Arts Center in Beverly, Massachusetts, and the theatre’s expansion of classical programming with the introduction of a chamber music series. Powers, Keith. “Arneis Quartet to perform ‘pale reflections’ at Cabot Theatre on Sunday.” Wicked Local–Hamilton (Hamilton, MA), 9 September, 2016, http://hamilton.wickedlocal.com. Feature story and interview with Rose Drucker, second violinist with the Arneis Quartet, on their appointment as an ensemble-in-residence at the Cabot Performing Arts Center in Beverly, Massachusetts, and their collaboration with John H. Wallace, Cabot Theatre composer-in-residence. John H. Wallace–CV32

Scarborough, Eamon. “ENMU music departments entertaining.” Portales News-Tribune (Portales, NM), 23 Feb- ruary, 2016. Feature story on upcoming concerts, including an 8 March, 2016, performance by the Eastern New Mexico University Saxophone Quartet in Portales, and subsequent East-Coast tour, citing the opportunity for the students to meet composer John H. Wallace as one of the reasons for the tour. Tucker, Franklin B. “‘This Weekend’: American String Quartets, Rummage Sale, Taking on Homelessness.” Belmontonian (Belmont, MA), 24 April, 2015. Article on upcoming events in Belmont, including the Arneis Quartet’s performance at the Belmont Public Library on 25 April, 2015, with a program that includes John H. Wallace’s “pale reflections….” Hoyer, Katie. “Meet the Arneis Quartet.” Winsor Music, 20 March, 2015, http://winsormusic.org. Interview with the Arneis Quartet on the formation and development of the quartet, their relationship with Peggy Pearson, Winsor Music, and composer John H. Wallace, including programming his music on a Win- sor Music series and recording his music for an upcoming Centaur Records release. McCarthy, Gail. “There’s plenty to do outside of the Fiesta Events.” The Gloucester Times (Gloucester, MA), 23 June, 2010. Article in the column, “Around Cape Ann,” on the premiere of Structures, a work commissioned by Music at Eden’s Edge. McGregor, Amanda. “Construction & Composition.” The Salem News (Salem, MA), 18 June, 2010. Feature story on the premiere of Structures, a work commissioned by Music at Eden’s Edge, and its association with historical buildings found in Essex County, Massachusetts. Cornuelle, Kimberly. “Historic Architecture Inspires CFA Prof: North Shore chamber group premieres Struc- tures.” BU Today, 18 June, 2010, http://www.bu.edu/today. Feature story on the premiere of Structures, a work commissioned by Music at Eden’s Edge, and its association with historical buildings found in Essex County, Massachusetts. “Port’s FRS [First Religious Society] among buildings honored in composition.” Wicked Local–Newburyport (Newburyport, MA), 18 June, 2010, http://newburyport.wickedlocal.com. Feature story on the premiere of Structures by Music at Eden’s Edge, and its association with historical buildings found in Essex County, Massachusetts. “Music appreciation; Eden’s Edge seeks to hit the right note with all ages.” The Newburyport Daily News (New- buryport, MA), 18 March, 2010. Feature story on the premiere of Structures, a work commissioned by Music at Eden’s Edge, and the group’s preview of the movement, “First Religious Society (Newburyport—1801),” on their 2010 Family Benefit Concert, with guest host Ray Brown, 21 March, 2010 at the First Religious Society, Newburyport, Massa- chusetts. Smith, Ken. “Speak For Yourself! A Hyper-History of American Composer-Led New Music Ensembles.” New- MusicBox, 1 May, 1999, https://nmbx.newmusicusa.org. Interview published in the premiere edition of the American Music Center’s webzine, NewMusicBox, discussing the Chicago Composers Consortium. John H. Wallace–CV33

PROFESSIONAL PRESENTATIONS Masterclass and Presentation–Boston University Tanglewood Institute—Scheduled Masterclass for BUTI composition students; presentation of recent compositions and personal approach to composition, as well as a critique of student’s work. 11 July, 2018—Lenox, Massachusetts

Masterclass–Massachusetts Music Educators Association Presentation and critique of recent compositions by Massachusetts student composers selected by the MMEA for inclusion in their 2018 MMEA All-State Conference. 2 March, 2018—Boston, Massachusetts

Guest Lecture and Presentation–Ithaca College Guest lecture and presentation for two classes, First-Year Composition, discussing writing for voice and piano, and Composers Forum, discussing small- and large-scale form in my String Qurtet and Symphony. 30 January, 2018—Ithaca, New York

Masterclass and Presentation–University of New Orleans Masterclass for UNO composition students; presentation of recent compositions and personal approach to composition, as well as a critique of student’s work. 10 November, 2017—New Orleans, Louisiana

Masterclass and Presentation–Boston University Tanglewood Institute Masterclass for BUTI composition students; presentation of recent compositions and personal approach to composition, as well as a critique of student’s work. 18 July, 2017—Lenox, Massachusetts

Presentation–Bentley Academy Charter School Discussion with students about making a career as a composer and life as a university professor in advance of a school trip to Boston University in support of their mission of “to and through college.” 21 June, 2017—Salem, Massachusetts

Masterclass–Massachusetts Music Educators Association Presentation and critique of recent compositions by Massachusetts student composers selected by the MMEA for inclusion in their 2017 MMEA All-State Conference. 9 March, 2017—Boston, Massachusetts

Presentation and Project Scholar–Peabody Institute Library (Peabody, Massachusetts) Project Scholar for America’s Music: A Film History of Our Popular Music from Blues to Bluegrass to Broadway, a six-week program series featuring documentary film screenings and scholar-led presentations and discussions of twentieth-century American popular music. America’s Music is a project by the Tribeca Film Institute in collaboration with the American Library Association, Tribeca Flashpoint, and the Society for American Music. America’s Music has been made possible by a major grant from the National Endowment for the Humanities: Exploring the Human Endeavor. John H. Wallace–CV34

23 October, 2013—No. 6–Latin Rhythm from Mambo to Hip Hop 16 October, 2013—No. 5–Rock 9 October, 2013—No. 4–Country and Bluegrass 2 October, 2013—No. 3–Swing Jazz 25 September, 2013—No. 2–Broadway and Tin Pan Alley 18 September, 2013—No. 1–The Blues and Gospel Music

Presentation–Really Open Rehearsal–Salem Athenæum Lecture/demonstration and open rehearsal of Structures with Music at Eden’s Edge; Maria Benotti, violin; Mark Berger, viola; Sarah Freiberg, cello; Orlando Cela, flute; Neil Fairbairn, bassoon 13 June, 2010—Salem, Massachusetts

Presentation–Online Learning at BU: Innovations, Outcomes and Insights Presenter in an interactive conference on distance learning sponsored by the Provost’s Faculty Advisory Board for Distance Education, the Office of Distance Education and the Center for Excellence in Teaching. 13 May, 2009—Boston, Massachusetts

Presentation–National Association of Schools of Music (NASM)—2008 Annual Meeting Presenter/panelist on a roundtable for Associate Deans/Assistant Directors focusing on curriculum creativity, “Teaching Music Theory in the Online Environment. ” 22 November, 2008—Seattle, Washington

Visiting Composer and Presentations–Duquesne University–Mary Pappert School of Music Presented a series of three lectures featuring a number of recent compositions, and discussion of the integration of midi realizations with live voice Fall, 2005—Pittsburgh, Pennsylvania John H. Wallace–CV35

PROFESSIONAL ORGANIZATIONS, SERVICE and AWARDS

MEMBERSHIP IN PROFESSIONAL ORGANIZATIONS American Society of Composers, Authors and Publishers (ASCAP) Member as composer and publisher; elected to membership, 5 May, 2010 Pi Kappa Lambda National Music Honor Society—elected to membership in the ZETA ETA chapter, DePaul University; elected to membership in, and transferred membership to, the ALPHA KAPPA chapter, Boston University, 2008. College Music Society Member, Northeast Regional Chapter, since 1 April, 2013 Chicago Composers’ Consortium Composer-led non-profit organization dedicated to creating new music in Chicago Chair—1996–1998; Member—1996–2004

SERVICE TO THE PROFESSION Massachusetts Music Educators Association—Council for Music Composition Member since 2017; this council of the MMEA seeks to promote and improve the teaching of composition in school settings, and supports two NAfME (National Association for Music Education) composition contests: The Student Composers Competition and the Electronic Music Composition Competition College Music Society Member of a three-person committee to review and recommend compositions for the 2015 CMS Northeast Regional Conference at Boston University, 20–21 March, 2015; Composers’ Concert, 20 March, 2015 Boston Youth Symphony Orchestra (BYSO) Served on a three-person panel to adjudicate the 2008–2009 Concerto Competition, 25 October, 2008

AWARDS American Society of Composers, Authors and Publishers Recipient of a 2017 ASCAP Plus+ Award United States Distance Learning Association (USDLA) Recipient of a 2009 Excellence in Distance Learning Teaching Award for the design and implementation of MU-400–Graduate Theory Review Boston University—College of Fine Arts Certificate of Appreciation Recipient of a Class of 2007 Gift Program Civic Orchestra of Chicago Winner of the 1990 Reading Session Competition organized by Chicago Symphony Orchestra Compos- er-in-Residence John Corigliano, conducted by Michael Morgan, 16 March, 1990

WEB PRESENCE http://www.jhwallace.com

rev. 03/07/18