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The Crane School of Music SUNY Potsdam

November 7 - 8, 1997 PROGRAM I Friday, November 7, 1997 Sara M. Snell Theater 3:30 p.m.

Greeting

Dr. James Stoltie Dean, The Crane School of Music

REVERIE ...... Marshall Onofrio

Carol Heinick, Piano

CITHAERAIS ESMERALDES...... James Chaudoir

LeAnne Wistrom, Flute

COUPLET ...... David Gompper

David Gompper, Piano

SAN JO ...... Paul Yeon Lee

Kenneth Martinson, Viola

AUTUMN SHADOWS ...... David Heinick

Overlooking the Desert Afloat on the Lake Rai n in the Aspens Riding at Daybreak The Flute Autumn Leaves The Frost Home

Robert Loewen, Baritone Alan Woy, Clarinet Matthias Wexler, Cello David Heinick, Piano

- l - PROGRAM II Friday, November 7, 1997 Helen M. Hosmer Hall 8:15 p.m.

CAULDRON ...... David Heuser

· Crane Symphony Orchestra Richard Stephan, Conductor

DESERT LIGHT ...... Stephen Gryc

Potsdam Brass Quintet John Ellis, Trumpet James Madeja, Trumpet Roy Schaberg, Horn Mark Hartman, Trombone Peter Popiel, Tuba

KURBITSMALNING ...... Ulf Grahn

John Lindsey, Violin Crane Chamber Choir Daniel Gordon, Conductor

CYCLES OF MOONS AND TIDES...... Mary Jeanne van Appledorn

Crane Wind Ensemble Timothy Topolewski, Conductor

- 2 - PROGRAM III Saturday, November 8, 1997 Sara M. Snell Theater 9:00 a.m.

SEXTET ...... William Ryan

Katherine McKenna, Alto Saxophone Matthew Sisia, Alto Saxophone Jayson Velez, Tenor Saxophone Mark Stopek, Trumpet Jeffrey Swift, Trombone Thaddeus Hotto, Trombone Michael Schaff, Conductor

20 E. 40 W. for Cello and Tape...... John Richey

Andra Lunde, Cello

SOLILOQUY ...... Gregory Wanamaker

John Lindsey, Violin

NEON SKETCHES ...... Scott Brickman

Bright Neon Soft Fluorescence Big Band Dancing

Alan Woy, Clarinet David Heinick, Piano

ARIADNE'S CROWN Terry Winter Owens

Carol and David Heinick, Piano

PHOENIX Andrew Bonacci

Mark Hartman, Trombone

THE OTHER STREAM Ann Silsbee

John Lindsey, Violin Olga Gross, Piano - 3 - PROGRAM IV

Saturday, November 8, 1997 Sara M. Snell Theater I l :OOa .m.

THE UPPER WEST SIDE ...... Paul Steinberg

Kiosk Ants The San Remo The Hayden Planateri um Hack Attack Blues Bethesda Fountain

Mathias Wexler, Cello

FOUR HUMORS ...... Elizabeth Walton Vercoe

Phlegmatic Choleric Melancholy Sanguine

Alan Woy, Clarinet David Heinick, Piano

OBOE QUINTET...... Richard Brooks

Allegro molto; Largo, molto espressivo; Allegro molto

Glenn Guiles, Oboe John Lindsey, Violin Sarah Hersh, Violin Kenneth Martinson, Viola Mathias Wexler, Cello

THREE THUMBNAIL SKETCHES...... Vernon Taranto

Lento, sempre rubato Allegro agitato Allegro spiritoso

Douglas Rubio, Guitar

AIRS AND FANCIES ...... Michael Dellaira

Vivace (piu presto possibile); Adagio; Allegro

Gail Schaberg, Flute Glenn Guiles, Oboe Alan Woy, Clarinet Roy Schaberg, Horn Kim Wangler, Bassoon - 4 - PROGRAMV

Saturday, November 8, 1997 Sara M. Snell Theater 2:00 p.m.

MOON ...... Larisa Montanaro for Voice and Tape

Larisa Montanaro, Voice

MUSE-INGS ...... Gregoria Karides Suchy

Polyhymnia (Song, Rhetoric and Geometry) Erato (Love) Melpomene (Tragedy) Cleio (History) Calliope (Epic Poetry) Terpsichore (Dance)

Jessica Suchy-Pilalis, Harp

UNDERTOW ...... Margaret Fairlie-Kennedy

Sonya Monosoff, Violin Edward Murray, Piano

CLOISTERS ...... Andrew Simpson

Douglas Rubio, Guitar

HOLLOW GROUND II ...... Tom Lopez for Voice and Tape

Larisa Montanaro, Voice

FIRE DANCE Salil Sachdev

Rodolfo Brito, Piano

- 5 - ABOUT THE COMPOSERS

Andrew Bonacci, a native of New Hartford, New York, received the Bachelor of Music degree in Piano Performance from the State University of New York, College at Fredonia, and Master of Music degrees in Piano Performance and Music Theory and Composition from the University of Louisville School of Music in Louisville, Kentucky. He is currently a graduate student at the University of Kansas where he is completing the Doctor of Musical Arts degree in Music Composition. His principal teachers include Walter S. Hartley, Steve Rouse, Frederick Speck, and Charles Hoag.

Scott Brickman (b. 1963, Oak Park, Illinois) received his Ph.D. in music composition from Brandeis University. Currently he is an Assistant Professor of Music at the University of Maine at Fort Kent, where he directs the Chamber Choir and Jazz Combo and teaches Music History and Theory.

NEON SKETCHES was commissioned by the Maine Music Teachers Association and first performed at the Music Teachers National Association Quad-State Convention in Boston on October 25, 1995. The piece is a merger of 12-tone music and jazz in a neoclassical guise. The pitch materials of all movements are derived from 12-tone rows whose first six pitches are sub­ sets of the octatonic scale, a scale often used by jazz musicians.

NEON SKETCHES is dedicated to my daughter, Sophie Rebecca Brickman, in celebration of her first birthday, October 24, 1995.

Richard Brooks

QUINTET FOR OBOE (SAXOPHONE) AND STRINGS was commissioned by the New York State Music Teachers Association. The premiere performance was given at Ithaca College in October, 1994 at the NYSMTA Convention. From earliest stages of composition, it was in­ tended that the work be equally suited to performance with saxophone as well as oboe. Though there are distinct sectional divisions creating a broad ternary structure, it was conceived as a single movement. The middle section in a slower tempo is perceived as an interruption of the main, fast movement. All the material is derived from a twelve tone set which begins and ends with a minor triad. The inversion, therefore, begins and ends with a major triad. These chords are used in the accompaniment figures at the begining and elsewhere. The primary melodic idea presented first by the oboe (sax) combines the interior six tones of the row and the inver­ sion. This melody is also highly tonally inflected. At the beginning, three conflicting "meters" are juxtaposed: the five-eight accompaniment in the violins and viola, a six-eight (three-four) pizzicato pattern in the cello and four-eight pattern of the melody. These various meters vie for assertiveness and each predominates at various moments in the piece. The melody is subjected to intense, contrapuntal treatment as well as motivic development. The middle, slow section also plays with meters using repetitive 8-7-6-5-4-5-6-7-8 alternation of measures.

James Chaudoir (b. 1946, Baton Rouge, Louisiana) is Professor of Music Composition and Theory at the University of Wisconsin Oshkosh and has written a wide range of works for vocal and instru­ mental ensembles-from solo performer to choir and orchestra-and many pieces incorporating dance as well as the electronic medium. A highly published and commissioned composer, his works have been performed in Europe, Canada, the Far East and major cities throughout the United States. In addition to composing, he is an active performer, conductor and supporter of contemporary music.

- 6 - CITHAERIAS ESMERALDA (1982) is named after the species of butterfly found in the forests of Brazil and Peru. Its wings are transparent except for a small color patch on the hind wings. This color patch may vary from blue to rose to violet. When the butterfly is in flight, it gives the impression of a flower petal blowing in the wind. The work was written for Kenneth Andrews.

Michael Dellaira performed widely as solo guitarist with numerous rock groups from 1966-72. He began formal studies with Robert Paris in 1972, with Mario Davidovsky and Roger Sessions at the Composer's Conference, with Goffredo Petrassi at the Accademia di Santa Cecilia, and finally with Milton Bahhill and Paul Lansky at Princeton, where he received his Ph.D.

He was awarded first prize in the American Society of University Composers' first student competi­ tion and, in addition to a Fulbright-Hays fellowship to Italy, has received awards from the ASCAP Foundation, the New Jersey Arts Council, and the Mellon and Ford Foundations. He has taught theory, composition, and electronic and computer music at The George Washington University, Princeton, and Union College. He left academia in 1986 to reside full time in New York City. Since - 1995, starting with Three Rivers for chamber orchestra, his music has integrated the harmonic and rhythmic language of American popular music with the techniques and formal designs of the Euro­ pean classical tradition.

His concert music is recorded on Opus One and CRI. He is currently Vice President of the American Composers Alliance, and also serves on the board of the New York Virtuoso Singers.

Margaret Fairlie Kennedy received her Bachelor of Science degree from Juilliard, and Master of Music degree from Converse School of Music. Her primary composition teachers have included E. Gerschcfski and W. Riegger. She has received numerous commissions and awards, including the Georgia Commission on the Arts, New York Composers Forum, Southeast Regional Composers Forum, Meet the Composer, Pro-Mozart Society, Tampa Bay Composers Forum Competition, NEH, NEA, and the Cornell Council for the Creative and Performance Arts. Her music is published by Galaxy Music Corporation.

UNDERTOW - Shortly after receiving Sonya Monosoff's request for a violin piece, and during that period of subconscious search for a focus, I was stunned by a local paper's morning headline of a deadly terrorist explosion in a crowded market place. Then instances of similar attacks on ordinary people throughout the world resurfaced in my mind. It seemed incredible, the power of small, hate-driven groups to undermine humanitarian causes even though such causes are championed by the great majority. It was then that the opening measures of this work came to my ears, and the relevant conception of "Undertow" emerged.

Opposing this subversive element of undertow is the spirit of the people, which emerges in various guises and ultimately seeks to become transcendent.

David Karl Gompper, an Associate Professor of Composition and Director of the Center for New Music at The University of Iowa, studied al the Royal College of Music in London (MMus, Composi­ tion, 1978) and at the University of Michigan (DMA, Composition, 1988). He taught for two years at the University of Nigeria, Nsukka. His principal teachers of composition were William Albright, Leslie Bassett, Jeremy Dale Roberts, and Humphrey Searle. He also studied piano with Phyllis Sellick (RCM), and received the BM degree in piano performance from San Diego State University.

- 7 - Gompper is the President of the Society of Composers, Inc, a national membership organization for composers in the US. Most recently, he traveled to Kwangju, South Korea for the United States Information Agency, giving composition and theory master classes at Chonnam University. Gompper just returned from Thessaloniki, Greece, giving lectures in contemporary American music at the Music College of Thessaloniki. His compositions have been performed in this country and abroad, and they have won numerous awards. He is currently on sabbatical, and is working on a work for orchestra.

COUPLET (1980) for solo piano, is a work in one movement with two sections. The model for the first section is Messiaen's "Canteyodjaya" (1948), which is formally based on refrain-and­ couplet, and where thematic material is broken up through a cut-and-paste method. The second section was influenced from hearing a minimalist work of Ligeti over the BBC one afternoon-I think it was Continuum for harpsichord.

Ulf Grahn studied music at the Royal Academy of Music, Stockholm and at the Stockholm City College where his principal composition studies were with Hans Eklund. He holds degrees from Stockholm's Musikpedagogiska lnstitut and the Catholic University of America. He has also studied Business Administration, Economics and Development Studies at The University of Uppsala, Sweden.

In 1973 he founded the Contemporary Music Forum, Washington, D.C. and served as its Program Director until 1984.· During 1988-90 he was Artistic and Managing Director of the Music at Lake Siljan Festival, Sweden. Prior to this he was on the faculty of George Washington University and Director of its Electronic Music Studio. Presently he teaches Swedish language and culture at the Foreign Service Institut.

KURBITSMALNING - For a great number of years, I've been composing a short little piece to be used as a Christmas card. In 1992, I wrote a short piece for voice and violin, and I chose the poem "Kurbitsmalning" by the Nobel Prize-winning Swedish poet, Erik Axel Karlfeldt. In 1994, I wrote a vocal canon on his poem Dalamalaren (Dalecarlia painter). During his life, he wrote several poems dealing with themes found on wall paintings in the Regional Folk Art of Dalecarlia (Dalarna). The style of these paintings, created mostly in 1750-1850, is very flowery. The Swedish name for this style of painting is Kurbits. For the choral version of the piece, composed in 1993, I chose the first four stanzas of the poem. The poem is about a painter's own reflection over his themes and colors.

The first verse is about painting a rose

The second verse is about painting the seasons

The third is about painting a city

The fourth is about painting a picture

The last two, which I chose not to include, is a personal reflection on the Kurbits itself, and dream how it, with pride, will survive hundreds of years.

During 1987-1990, I was working and living in the Leksand/Rattvik area of Dalecarlia, the center for Kurbits paintings. Also, this is the area in which the poet Karlfeldt lived. This region of Dalecarlia is well known for its fiddle music. This piece can be seen as a nostalgic reflection on the years when I was working in Lesand/Rattvik, and its cultural heritage. - 8 - Stephen Gryc was born in St. Paul, Minnesota in 1949. He received his professional training at the University of Michigan, earning his Doctor of Musical Arts degree in 1983. He has studied composi­ tion with William Albright, Leslie Bassett, and William Bolcom. He is currently Associate Professor of Music Composition and Theory at the Hartt School of the University of Hartford where he.has served as the chair of the composition department, Director of the Hartt Contemporary Players, Director of the Institute for Contemporary American Music, and Co-Director of the Center for Computer and Electronic Music. He has received grants and fellowships from the ASCAP Founda­ tion, the Connecticut Commission on the Arts, the MacDowell Colony, the Charles Ives Center for American Music, the Ucross Foundation, and the University of Hartford. His awards include the 1986 Rudolf Nissim Prize in orchestral music. His works have been performed by such American ensembles as the Kansas City Symphony and the Minnesota Orchestra and by European performers such as the Agon Percussion Quartet of Prague. Stephen Gryc's music is published by Alphonse Leduc, Robert King, and others and is recorded on the Opus One label.

David Heinickjoined the faculty of The Crane School of Music of SUNY Potsdam in 1989, after having taught for ten years at St. Mary's College of Maryland. He currently chairs the department of Theory, Literature, and Composition at the Crane School. He holds degrees from the Eastman School of Music and the Catholic University of America. In Maryland, he spent fifteen summers as a member of the artist-faculty of the Tidewater Music Festival, and acted as Director of that festival for three years. He is the composer of over fifty works for a variety of media, ranging from unaccompa­ nied flute to symphony orchestra. His music is published by Seesaw Music, Dorn Publications, Nichols Music, and Kendor Music; it has been performed throughout the United States, and broad­ cast on National Public Radio and the CBC. His Shakespeare Songs appear on the compact disc Noises, Sounds, and Strange Airs, released in December, 1993 on the Clique Track label. In the recent past his music has been heard in recitals and as part of festivals and conferences at Pennsylva­ nia State University, Capital University, Ithaca College, West Virginia University, Michigan State University, Duquesne University, Utica College, Ohio University, and Colgate University.

With Carol Heinick, he performs extensively playing music for two pianists at one or two pianos. He is also active as a collaborative pianist; he has performed with the Kronos String Quartet and the Da Capo Chamber Players, as well as with members of the American Brass Quintet, the Boston Sym­ phony, the Vancouver Symphony, and the St. Louis Symphony, among many others.

AUTUMN SHADOWS was written for the faculty of the Furman University Piano Festival, which oddly enough included a baritone, a clarinetist, and a cellist. The texts are drawn from translations of ancient Chinese poems. They are arranged to proceed chronologically through an autumn day, and metaphorically through a variety of reactions to impending death.

David Heuser (b. 1966), currently a faculty member at the University of Texas at San Antonio, received his bachelors degree in composition from Eastman and his doctorate from Indiana Univer­ sity. His teachers include Samuel Adler, Joseph Schwantner, David Liptak, Warren Benson, Frederick Fox, and Don Freund, as well as Jeffrey Hass in electronic music. He has taught at West Chester University and Temple University.

Heuser has won awards, grants, and commissions including a New York Youth Symphony First Music Commission. His music has been performed by various groups and individuals around the United States and abroad, and in connection with organizations such as SCI, SEAMUS, and the Bowling Green New Music and Arts Festival, the Lipa Festival of Contemporary Music, and the Minnesota Composers Forum's Sonic Circuits. Heuser's music is published by Carl Fischer and Non-Sequitur Music.

- 9 - Paul Yeon Lee was born in March, 1970 in Seoul, Korea and immigrated to the United States in November of 1981. At San Jose State University, he studied math, computer science, and music to earn the BM in composition. Currently, he is studying composition at the University of Michigan in Ann Arbor. His composition teachers have included Curtis Curtis-Smith, Pablo E. Furman, Allen Strange, Brian Belet, and Higo Harada. He has also participated in master classes with George Crumb, Mario Davidovsky, and Andrew Imbrie. He is a member of SCI, Tampa Bay Composers Forum, and ICMA. He has received many honors and awards including the Eva Thompson Phillips Composition Award, SCI Region III Annual Conference, CSU Summer Arts Composition Scholar­ ship, and the SJSU Dean's Scholarship. His music Despair, has been performed by Speculum Musicae and reviewed by the Los Angeles Times Weekly Newspaper.

SANJO means "improvisatory solo music" in Korean. SANJO expresses the accumulated personal feeling of one's experiences and leaves an impression of strong, lasting vitality, and deeply felt emotions. This work was finished in January 31,1997 and is dedicated to Pablo E. Furman.

Tom Lopez was born in 1965 and grew up in Cincinnati, Ohio. He began composing at Oberlin College where he studied with Conrad Cummings, graduating in 1989 with a BA. While pursuing his MFA from the California Institute of the Arts, Tom spent one year as an exchange student at CIRM in Nice, France, where he studied with Michel Redolfi. Returning to CalARTS, Tom continued his studies with Morton Subotnick, earning his MFA in 1993. He was then awarded a Fulbright Fellow­ ship enabling his return to CIRM as a composer-in-residence. For his work Vocal Sketch #2, he was awarded a Grant for Young Composers by ASCAP. In addition to compositions for traditional instrumentation, his work also involves various media encompassing theater, dance, video, graphic notation and interactive CD-ROM. His music has been performed in London, Paris, Rotterdam, Melbourne, New York City, Los Angeles, San Francisco, Austin, New Haven, and Spokane. Tom is currently pursuing his doctorate at The University of Texas at Austin where he continues collaborat­ ing with artists of disparate mediums.

HOLLOW GROUND II was composed in March, 1996 and has been performed with a dance choreographed by Yacov Sharir. This work takes some of the sound material from its prede­ cessor (Hollow Ground I) and adds a live singer to the prerecorded tape. Performances have occured under the auspices of Future Moves in Rotterdam, Netherlands, Sharrir Dance Com­ pany in Austin, Texas. It will be performed at the 1997 conference of the Society for Electro­ Acoustic Music in the United States in Kansas City, Missouri, and it has been broadcast by KUT Radio in Austin. Larisa Montanaro provided the source vocalizations for the recorded tape.

Larisa Montanaro began studying composition with Paul Steinberg as an undergraduate at The Crane School of Music. She has written several pieces for electronic tape, and a work for violin and tape. She currently studies composition with Russell Pinkston and is composing a set of three songs for voice and tape based on the poetry of Frances Horowitz.

Larisa is pursuing a DMA in Voice Performance at the University of Texas at Austin where she studies with Rose Taylor. She enjoys the challenge of performing new music and has premiered the works of several emerging composers.

- 10 - MOON by Frances Horowitz city bred I watch the moon through glass distorted beyond vagary she rides the accuser swinging tides like recalcitrant skirts her solitude breeds memory heaves it to birth mocks the still-unborn moon, I remember- your light a scalpel thrust from a mouth of white bone even through glass I mirror your loneliness walking in warm rooms

-sometimes I wish you no more than a thumbprint on the edge of the sky

Marshall Onofrio is in his eleventh year on the music faculty at SUNY Plattsburgh, where he is Professor of Music and serves as Coordinator of the Music Program. He directs the jazz and brass ensembles and teaches theory, composition, and jazz studies. He received his doctorate in composi­ tion from the Ohio State University and holds degrees from the University of Nebraska, Illinois, and Connecticut in composition, trumpet, and education, respectively. Prior to his arrival in Plattsburgh, he taught at Ohio State University, Muskingum College, and Midland College.

Onofrio's compositions and arrangements have been heard in several midwestern and northeastern states. His most recent work, Braga Bits, was premiered in July, 1997 by the Gregg Smith Singers. Onofrio has been commissioned to compose and arrange works for several individuals and organiza­ tions including The Adirondack Youth Symphony Orchestra, Plattsburgh State University, and The North Country Ballet. Onofrio's compositions are published by Margun Music, Inc.

Terry Winter Owens is an internationally published, award-winning composer. Among her award winning works, are Pianophoria #3, which was a finalist in the Whitney Museum's I 996 Duo Piano. Festival, Toccata, for solo piano, which was awarded third prize in the 1996 Concorso lnternazionale di Pianoforte e Composizione "Ennio Porrini," Scenes from All and Everything, for symphony orchestra, which was semi-finalist in the Omaha Symphony Competition of 1988, and Confetti, for piano, which was selected Best of Year by The Piano Quarterly in 1972.

- I I - Owens has performed widely as a pianist and harpsichordist. She was formerly the director of a Baroque and Elizabethan Chamber Ensemble. Owens has been a free-lance editor for various publishers, has taught composition privately, and was on the faculty of the Neighborhood Music School in New York City and the Music Institute of Staten Island. Her work is published by Univer­ sal Edition, Carl Fischer, E.C. Schirmer, C. Alan Publications, Galaxy, Doblinger, Frederick Harris, Neil Kjos, and Bridge Press.

John Richey studied theory and composition at the University of Michigan, the University of Illinois, Indiana University, and The College of Wooster. His teachers have included Donald Erb, Leslie Bassett, William Albright, and Salvatore Martirano. His music has been performed throughout the United States, in Europe, and in South America.

20 E. 40 W. is about appositions, most obviously cello/tape, music/noise, stage/audience. The title refers to two routes through Montreal, a place where two cultures exist in apposition and a place where the cellist for whom the piece was written lived and studied for a time. On our way to a honeymoon in Quebec City last summer, my wife and I took Route 20 east through Montreal, and on the way home took Route 40 west. At the time I was in the thick of composing the piece, and the title came as a stroke of serendipity. The tape for 20 E. 40 W. was realized in the Computer Music Center of the Eastman School of Music.

William Ryan is active as a composer, conductor and educator. His compositions have been selected for numerous performances, including at the International Trumpet Guild Conference, the SEAMUS National Conference, the International Symposium on Electronic Art, the Florida Electro-acoustic Festival, the College Music Society northeast chapter meeting, the C. Buell Lipa Festival of Contem­ porary Music, and the Brooklyn College Art Gallery.

He has received several awards for his compositions including an ASCAP Foundation to Young Composers Grant, a Meet the Composer Education Program Grant, second prize in the Tampa Bay Composers' Forum chamber music competition, and finalist in the First International Electro-acoustic Music Competition of Sao Paulo, Brazil.

He has also conducted several performances by ensembles including the University of Illinois Contemporary Ensemble, The Crane School of Music Contemporary Group, the Stony Brook Contemporary Chamber Players, and the North Shore Pro Musica.

During 1995-96 he was the Composer-in-Residence with the Lawrence Philharmonic School of Music, where he led faculty and student workshops on composition and was commissioned to compose a piece for orchestra, wind ensemble, and chorus. He has taught at the University of Illinois, Queens College, and is currently an Instructor of Music at Suffolk Community College.

Salil Sachdev teaches composition, electronic music and introduction to world music at New World School of the Arts in Miami, Florida.

FIREDANCE is a highly virtuosic and demanding piece for the piano. The repeated note figures (played presto vivace econ brio) exploit the percussive possibilities of the instrument in its various registers and dynamics. Conceptually depicting a fire - flames in their various intensities, the piece does not have any specific form to it, though certain motivic elements are repeated at various times which in turn help unify the fantasy. The composition moves in and out of tonality and is composed with an open ended structure.

- 12 - Ann Silsbee received her musical training at Radcliffe, Syracuse, and Cornell University, where she obtained her OMA under Karel Husa. She has received grants from the National Endowment for the Arts, Martha Baird Rockefeller Fund for Music, NYSCA, Massachusetts Council on Arts and Humanities, Meet the Composer, and especially enjoyed fellowships and residencies from Yaddo, MacDowell, The Ives Center, and Yellow Springs Institute both for the time for concentrated work and the fellowship with other artists. She has been commissioned by such performers and groups as the Boston Musica Viva, Syracuse Society for New Music, Colgate University, Syracuse Vocal Ensemble, NYSMTA, concentrated effort (Julie Kabat), George Pappastavrou, and many others. Her music is recorded on LP's on Finnadar, Northeastern, Spectrum, and Greg Smith labels; CD's include Vienna Modern Masters' recording of Sanctuary and Albany Records' re-issue of David Burge's performance of her prize-winning Doors. A resident of Ithaca, her works have been performed throughout the United States and in Canada, Europe, China, Japan, and South America. Her String Quartet No. 2 received its premiere recently by the Clinton Quartet. She is a member of ACA and BMI.

Andrew Earle Simpson was born in Indi ana in 1967. After graduating from Butler University with a BM in 1990, where he studied with Michael Schelle, he studied with Lukas Foss at Boston Univer­ sity, receiving a MusM in Composition in 1992. He earned a DM from Indiana University in 1995, studying with Frederick Fox, Claude Baker, and Eugene O'Brien.

Dr. Simpson has worked in vi rtually every major medium: orchestral, wind ensemble, instrumental solo and chamber music, choral, vocal, electronic, theater and film. His works have been performed by the Indianapolis Chamber Orchestra, the New York Life Orchestra, the Indianapolis Children's Choir, and the Millennium Ensemble, among many others. His music is published by Plymouth Music and Moon of Hope Publishing. In early 1998, his first CD of instrumental chamber music, Exhortations, is scheduled for release on the Alhena label.

Currently, Dr. Simpson is Assistant Professor of Music at the Catholic University of America in Washington, DC.

CLOISTERS for guitar solo, springs from an unlikely combination: guitar and Gregorian chant. The piece is a fantasy on a Gregorian "Salve Regina." The chant is played in its entirety, although transformed and "remade" by the guitar. Highly contrapuntal and dense harmonic passages alternate with clear statements of the chant, at times obscuring it, at times allowing it to be easily heard. The opposition and synthesis of these two styles is the driving tension of the piece. "Cloisters" is dedicated to Douglas Rubio.

Paul Steinberg is the Director of the Center for New Music Resources at the Crane School of Music, State University College, Potsdam, N.Y. He is a composer who has received many awards such as: Charles Ives Center for American Music Fellowship; University Awards Fellowship, SUNY; Project Director, Center for New Music Resources, NEA; Meet the Composer grants. He is very interested in writing for combinations of acoustical and electronic media, and has written and performed many works with the New and Unusual Music Artists, a group that he helped establish in 1982. Paul is a woodwind doubler, and a jazz aficionado as can be heard in much of his musical language.

- 13 - THE UPPER WEST SIDE is based on my recollections of visiting my Aunt as a child, who lived on the Upper West Side of Manhattan. The work was written for Matthias Wexler and when I found out he grew up in this area, I felt this might be a natural connection for the genesis of this work.

1. Kiosk Ants

If one were to go to Broadway and 72nd St. at 6pm during the week, one would see a plethora of workers coming out of a very ornate Subway Kiosk located in the middle of Broadway. They would seem to scurry off to their apartments like a sea of ants.

2. The San Remo

Located on Central Park West is a gorgeous apartment building with twin towers named the San Remo. This building was always a landmark for my sister and me while we were exploring the outward territories known as Central Park. I have tried to represent the twin towers by composing this movement as a palindrome.

3. The Hayden Planetarium

After getting many sore necks watching a myriad of constellations unfold on the ceiling of this institution, I decided that I would represent it with a pointillistic movement.

4. Hack Attack Blues

I am the grandson of a man who spent forty years as a taxi driver in New York City. In the vernacular, taxi means hack, and I tried to represent all the crazy cabbies I used to see driving like they were immortal down Central Park West on a Saturday afternoon.

5. Bethesda Fountain

At 72nd St. and the entrance to Central Park is located Bethesda Fountain. When I first saw the place, I could have sworn I was transported to Madrid, and Madison A venue must have agreed if you are old enough to remember Fernando Lamas and the Chrysler Cordoba ads of the mid-Seventies which showed this fountain and waxed on about the benefits of "Corinthian Leather." At any rate, I have tried to represent this beautiful fountain in the last movement of the work.

- 14 - Vernon Taranto, Jr., a native of New Orleans, received his earliest musical instruction from his father, Vernon Sr.; and later pursued studies in composition with Kenneth Klaus and Dinos Constantinides at the Louisiana State University School of Music in Baton Rouge. It was there, in 1983, that his education culminated with the Doctorate in composition, and with the production of his one-act opera, The Cistern, the libretto of which is derived from a short story by Ray Bradbury. Currently Dr. Taranto is a member of the Fine Arts faculty at the St. Petersburg Junior College, in St. Petersburg, Florida, where he offers seminars in music composition and conducts the College Chorus and Madrigalians.

In 1989, Vernon founded the Tampa Bay Composers' Forum. Over 500 composers and supporters of new music receive the forum's newsletter. Taranto's music has been performed and premiered by many outstanding ensembles, including The New Orleans Philharmonic, The Georgetown Symphony Orchestra, The Tampa Oratorio Society, and The United States Air Force Band. His music is listed in the catalogs of Pro-Art Music, Composer's Autograph Publications, The Augsburg Press, The National Music Theatre Network, and Latham Music Enterprises.

Gregoria Karides Suchy is Professor of Music Theory and Composition at the University of Wiscon­ sin-Milwaukee. Her own mentors include J. Thomas Oakes, Alexander Tcherepnin, Rudolph Ganz, Anthony Donato, and Ralph Shapey. Her compositions have been performed in the US, Europe, and Australia by groups such as the New York Contemporary Music Ensemble, the International Society for Contemporary Music, and The Milwaukee Symphony Orchestra.

MUSE-IN GS for harp was written especially for a concert of new music by women composers presented at the National Gallery for Women in the Arts in Washington, DC. While her musical output covers a variety of media, and her pieces are conceived through diverse compositional parameters, many works reflect her Greek heritage in terms of formal design, rhythmic scheme, and melodic implication. Indeed, each segment of Muse-ings reveals this musical Hellenism. For example, Polyhymnia is the muse of geometry and mathematical proportion; the movement which bears her name is based on a metrical series. Melpomene, the muse of tragedy, receives her musical embodiment through Andromache's lament from The Trojan Women. The move­ ment in honor of Clio, the muse of history, is based on one of the oldest extant musical frag­ ments, known as the "First Delphic Hymn;" while 7/8 dance rhythms pervade the final move­ ment, Terpsichore.

The text for Melpomene, the muse of tragedy translates as follows:

My child, do you also weep? Do you comprehend your fate? An awful plunge, head downward from on high, unpitied, your breath dashed away. Oh God, measureless are the woes I bear. -Andromache's lament from The Trojan Women

- 15 - Mary Jeanne van Appledorn is currently Paul Whitfield Horn Professor of Music at Texas Tech University School of Music in Lubbock, Texas. She received her doctorate from the Eastman School of Music. Her many awards for compositions include the 1980 World Carillon Federation competi­ tion, the 1980-94 ASCAP Standard Panel Awards, 1993 Premiere Prix, IX Premio Ancona in Italy, 1994 Terrestrial Music, Utah Composer's Guild, and the 1994 Guitar Foundation.

A native of Washington, DC, Elizabeth Walton Vercoe has been a composer at the St. Petersburg Spring Music Festival in Russia, The Cite International des Arts in Paris, the Charles Ives Center for American Music, and The MacDowell Colony as well as a participant in the US/USSR Young Composer Exchange in Boston and the American Music Oral History Project at Yale University. She has written works on commission for Wellesley College, Hampshire College, Austin Peay State University, The Pro Arte Chamber Orchestra, and the First International Congress on Women in Music. Her awards include grants form The Artist's Foundation, the National Endowment for the Arts, and Meet the Composer. A graduate of Wellesley College and The University of Michigan , she earned a doctorate in composition at Boston University where she was a student of Gardner Read.

FOUR HUMORS for clarinet and tape was commissioned by the Music Teachers National Association with the Massachusetts Chapter for premiere at the annual conference in October, 1992. Completed at the Palenville artists colony in September for performance by the com­ poser and classical and jazz clarinetist Chester Brezniak the next month, the piece contains several opportunities for solo clarinet improvisation and various harmonic echoes of blues.

The title of the piece refers to the medieval concept of the four humors of the body known as indicators of temperament or character. The first movement, Phlegmatic, is calm, occasionally sly, and sometimes reflective. Second is Choleric, an angry, fast movement driven by relentless, repeated notes in the piano that are interupted only toward the end by some moments of solo clarinet improvisation. The third movement, Melancholy, is very slow and brooding with a quotation of the spiritual, "Sometimes I Feel Like a Motherless Child," and an opportunity for solo clarinet improvisation near the close. Concluding the piece is a cheerful and optimistic movement entitled Sanguine, that is flowing and lyrical, becoming increasingly exuberant in the last pages.

Gregory Wanamaker's music has been performed frequently by ensembles and organizations such as the Southeastern Composers League, Society for New Music, the Czech-American Summer Music Institute, the Florida State University Symphony Orchestra, The FSU New Music Ensemble, and the Tallahassee Composers Guild. Wanamaker has received honors for many of his works from the Florida Individual Artist Fellowship Program and Sonoklect. He also has works published by Brazinmisikanta Publications. Currently, he is Visiting Instructor of Composition and Theory at The Crane School of Music at SUNY Potsdam.

SOLILOQUY is a short, flashy piece which exploits many of the colors and effects unique to the violin. Soliloquy was commissioned by Eliot Chapo and was premiered by Nadya Canahuati on April 22, 1997 in Tallahassee, Florida.

- 16 - ABOUT THE PERFORMERS

Rodolfo Brito was born in Miami of Cuban parentage. After pianistic studies with William Dawson and Peggy Neighbors Erwin, he became a pupil of Santos Ojeda at the Cincinnati Conservatory of Music. Later, he allended the University of Maryland, where he worked with Santiago Rodriguez and Rosalyn Tureck, in the process of which he earned a masters degree. Rodolfo has been coached by conductor Michael Tilson Thomas. He has received recognition for his performances of the works of Charles Ives, which is a result of his association with the late John Kirkpatrick, Professor Emeritus al Yale University and an Ives scholar. Brito has recorded the music of Ernesto Lecuona for the ELAN label which has won him critical acclaim. Rodolfo Brito presently serves on the music faculty of New World School of the Arts as Coordinator of the high school piano program, and Miami-Dade County Community College, Wolfson Campus.

John Ellis (trumpet) holds degrees from the University of Illinois, Florida State University, and Arizona State University. A native of Chicago, he has performed throughout the United States, Canada, and Europe, appearing with Summit Brass, the U.S. Army Brass Band, Eastern Chamber Brass, Studio de Musique Ancienne de Montreal, the Calgary Philharmonic, Banff Opera Orchestra, Vermont Symphony Orchestra, and Illinois Opera Theater. He is currently principal trumpet of the Chamber Orchestra of Northern New York. He has presented concerts and clinics throughout the United States including the Keystone Brass Festival, the Mendez Brass Institute, and the New York State School Music Educators Conference. Prior to his appointment at The Crane School, ·suNY Potsdam in 1984, Ellis taught at Florida State University, Arizona State University, and Valdosta State College in Georgia. His solo recording, SoloPro Contest Music for Trumpet, is released on the Summit Records label.

Dr. Daniel Gordon is appearing in his first season as conductor of Crane Chorus. He is an Assistant Professor at SUNY Potsdam's Crane School where he also conducts the Chamber Choir and teaches conducting and choral methods classes at the beginning, intermediate, advanced, and graduate levels. Following his undergraduate training at SUNY Fredonia, Dan received his masters and doctoral degrees from Florida Stale University where he studied choral conducting with Clayton Krehbiel, Colleen Kirk, Thomas Hillbish, Andre Thomas, and Rodney Eichenberger. During his fifteen year career as a high school choral director his choirs performed with distinction at District and State choral festivals and at ACDA and MENC conferences. His professional conducting activities have included work with the Florida Symphony Orchestra, Tallahassee Bach Parley, the Orlando Museum Chamber Choir, Florida State University Opera Theatre, numerous church and community choirs, and with the Walt Disney World Candlelight Christmas Processional. Dan has served as a clinician, guest conductor, adjudicator, and featured speaker for music organizations in Florida, Alabama, Maryland, Virginia, New York, and Connecticut within the past five years. Earlier this year, Dan debuted as conductor of the Crane Chorus and Orchestra with performances of Mozart's Coronation Mass and Vaughan Williams' Mystical Songs. Prior to arriving at Crane, Dan served as Director of Choral Studies at Christopher Newport University.

- 17 - Pianist Olga Gross holds degrees from McGill University and the New England Conservatory of Boston, and is completing a doctoral degree at the State University of New York at Stony Brook with Gilbert Kalish. She has appeared as a soloist with the Calgary Philharmonic Orchestra and l'Orchestre Metropolitain de Montreal and participated in the Fellowship programs at the Tanglewood Music Center and at the International Musicians' Seminar in Prussia Cove, England. As a chamber musician, Olga Gross has performed at Suntory Hall in Tokyo, Japan, toured in Europe with the Cecil Trio, and appeared with violinist Lorand Fenyves at the Bard College Music Festival in New York. She can be heard frequently on CBC-Radio and Radio-Canada. Presently, Olga Gross serves on the faculty of The Crane School of Music at SUNY Potsdam.

Glenn Guiles (oboe) is an Associate Professor or Music, teaching oboe and music theory, at SUNY Potsdam's Crane School and has just completed ten years on the faculty. He holds degrees in music education and oboe performance from Ithaca College, Yale University and SUNY Stony Brook where he studied oboe with Peter Hedrick and Ronald Roseman. Prior to coming to Crane, Dr. Guiles had been a member of the faculty of The University of Nebraska-Lincoln, Southwest Missouri State University, and Shenandoah University. He is currently the oboist with the Potsdam Woodwind Quintet and Principal Oboe of the Chamber Orchestra of Northern New York.

Mark Hartman (trombone) holds the B.S. degree from Mansfield University and M.M. and D.M.A. from Arizona State University. Hartman has studied trombone with Gail Wilson, Donald Stanley, and William Gibson and has performed with the Phoenix Symphony, Vermont Symphony, Brevard Music Center Orchestra, and Eastern Chamber Brass. He is currently principal trombone of the Chamber Orchestra of Northern New York. Hartman is active as a soloist throughout the east coast and has presented clinics and recitals at the International Trombone Workshop and the Western Massachusetts Trombone Workshop. A member of the Summit Brass Council, Hartman has taught trombone at Summit's Keystone Music Festival in Colorado. He is presently pedagogy editor of the International Trombone Association Journal and brass editor for the New York State School Music News. At The Crane School of Music, SUNY Potsdam, Hartman teaches trombone and brass quintet and conducts the Crane Trombone Ensemble.

Carol Heinick joined the faculty of the Crane School of Music, SUNY Potsdam in 1989 after having taught for ten years at St. Mary's College of Maryland. While in Maryland, she was also a member of the artist-faculty of the Tidewater Music Festival. She holds degrees from the Eastman School of Music and the Catholic University of America.

A respected pedagogue as well as a pianist, she was the founding president of the Southern Maryland Music Teachers Association and served as the first director of the St. Mary's College Community School for the Arts. She is currently an adjudicator and local chair for the National Piano Guild and a member of the executive board of the New York State Music Teachers Association.

With David Heinick, her performance specialty is music for piano duet (two players at one piano). The Heinicks have given several recent performances in New York, as well as recitals in New Hampshire and Virginia. They have also performed with orchestra as a two-piano team, playing performances of Saint-Saens' Carnival of the Animals with the Crane Symphony Orchestra and the Mozart Concerto in E-flat with the Chamber Orchestra of Northern New York.

- 18 - Dr. Sarah Hersh, Assistant Professor of Violin, is a graduate of Oberlin Conservatory, Shinichi Suzuki's Talent Education Institute in Japan, and the University of Minnesota. She is a registered Teacher Trainer for the Suzuki Association of the Americas. At SUNY Potsdam's Crane School, she Leaches violin, chamber music, string pedagogy, string techniques, and Suzuki teaching principles. She also supervises Crane students as they teach string classes in local elementary schools and as they apprentice in Suzuki and Adirondack fiddlers' studios.

Violinist John Lindsey is the Concertmaster of the Chamber Orchestra of Northern New York and The Hanover Chamber Orchestra (NH), first violinist of the Aurora String Quintet, the violinist in the Ruggieri Chamber Soloists, and Professor at The Crane School of Music of the State University of New York at Potsdam. Mr. Lindsey has also served as Concertmaster of the Lexington Philharmonic Orchestra, the Dallas Chamber Players, the Warren (Ohio) Chamber Orchestra, the Castle Farm Festival Orchestra in Charlevoir, Michigan, and the Champlain Valley Symphony Orchestra (Plattsburgh). A frequent soloist as well as chamber musician, Mr. Lindsey has most recently ap­ peared in solo recitals at The Carnegie Recital Hall, Bruno Walter Auditorium in Lincoln Center (five times) and in Boston, Montreal, and Chicago at the Dame Myra Hess Series.

Prior to his appointment at The Crane School of Music in 1981, he was chairman of strings at Baylor University, The Governor's School of North Carolina, and the University of Kentucky. Mr. Lindsey also taught strings in the Dallas, Texas public schools and part time at Centre College and Transylvania University. In 1989, he was selected from over 200 applicants to serve a four-week residency as the winner of the City of Daytona's Second Annual Allegro Residency for the Arts. In the summers, Mr. Lindsey is a member of the summer violin faculties of the Ithaca Summer Chamber Music Institute and the Adult Chamber Music Conference at Interlochen, Michigan. In previous summers he taught at the National Music Camp at Interlochen, the Otlawa Suzuki Institute, the Southeastern Music Camp and the Stage de Musique in Marcillat-en-Combraille, France. In addition, he is listed in eleven national and international Who's-Who publications, among them Who's Who in American Music, International Who's Who of Intellectuals, Directory of Distinguished Americans, and Who's Who in International Music. In 1993, Mr. Lindsey was the recipient of the President's Award for Excellence in Teaching (Teacher of the Year Award) for SUNY-Potsdam.

Robert Loewen made his professional operatic debut as a member of the Edmonton Opera Associa­ tion Ensemble. He has since toured with the Canadian Opera Ensemble, appeared in the Guelph Spring Festival, and performed with various other companies. An accomplished concert and oratorio soloist, Mr. Loewen has performed with many professional choral groups and orchestras across Canada, in works from Bach to Verdi. In 1989, Mr. Loewen was an enthusiastically received soloist in a tour of Ukraine, and in 1991 made his New York debut in the Mozart Masses-in-Concert Series at Alice Tully Hall at Lincoln Center. Mr. Loewen is gaining an impressive reputation as a vocal pedagogue and adjudicator. He has served on the faculties of McGill University, Opera East, the Ontario Youth Choir, the Scarborough Board of Education Music Camp, presented vocal workshops for choir, and is now a second year voice faculty member at SUNY Potsdam's Crane School of Music. Mr. Loewen's students have been admitted into the music faculties of major universities of Canada and the United States. Robert, his wife Carolyn, and their children Elizabeth and Michael make their home near Toronto, Ontario.

Andra Lunde is a candidate for a Performer's Certificate at the Eastman School of Music. She has been an active performer in her native Santa Barbara as a soloist with the city's Chamber Orchestra and Youth Symphony, and as a member of the Santa Barbara Symphony. She has received awards for her playing from many sources, including the Leni Fe Bland Foundation and the Pillsbury Foundation. Recently she gave a solo concert in Rochester as part of the Abe Kessler Debut Series. - 19 - James Madeja (trumpet) is Chair of Graduate Music Studies at The Crane School of Music, SUNY Potsdam. He received his B.S., M.S., and Ed.D. degrees in Music Education from the University of Illinois at Urbana-Champaign. Prior to his appointment at SUNY Potsdam in 1985, Madeja taught instrumental music at Judson College and Elgin College in Elgin, Iilinois. He is conductor of Skyline Brass in Harrisonburg, Virginia and is a member of the Chamber Orchestra of Northern New York and Eastern Chamber Brass. Madeja is Associate Editor of The Journal of the Interna­ tional Trumpet Guild. His written work has appeared in the Journal of Band Research, College Band Directors Natio11al Association (CBDNA) Journal, The Journal of the lntematio11al Trumpet Guild, The Instrumentalist, The Brass Player, and New York State School Music News. Madeja · teaches courses in graduate research, philosophies and issues in music education, music curriculum development, instrumental music methods, and trumpet at The Crane School of Music.

Kenneth Martinson, Assistant Professor of Viola and Violin at SUNY Potsdam, received his M.M. (Viola Performance) from the Eastman School of Music ( 1994) and his B.M. (Viola Performance/ Music Composition) from the University of Michigan, Ann Arbor (1993). Ken had an early success in becoming the principal violist of the Interlochen World Youth Symphony. He was formerly the violist of the Artaria Quartet of Boston and the Rackham String Quartet and has taught at Viterbo College (Lacrosse, Wisconsin). As a chamber musician, he has won numerous awards such as first prize at the Coleman, Carmel, MTNA, and Yellow Springs Competitions. He was also a winner of the 1993 Cleveland Quartet Competition as well as a prizewinner at the Bucchi International Competition (Rome) and the WAMSO Competition (Minneapolis), and was the winner of the 1995 Richardson Awards (Lansing, Michigan). Mr. Martinson has also held principal chairs in the Toledo, Lansing, and Santa Cruz Symphonies.

Peter Popiel (tuba) holds the B.S. degree from the State University of New York College at Fredonia and M.M. and D.M.A. degrees from the Eastman School of Music. He has performed with the Eastman Wind Ensemble, Eastman Philharmonia, Rochester Brass Quintet, Indiana University of Pennsylvania Brass Quintet, and the National Arts Centre Orchestra of Ottawa. He is currently tubist with the Chamber Orchestra of Northern New York. Prior to his arrival in Potsdam, Popiel taught at Indiana University, Indiana, Pennsylvania. He is active as a soloist and clinician and has contributed articles to a variety of music journals including The Instrumentalist and the National Association of College Wind and Percussion Instructors (NA CWP/) Journal. He has recorded an album entitled Recital Music for Tuba which includes many standard contest works for tuba. Popiel teaches tuba, euphonium, and graduate and undergraduate courses in music history at SUNY Potsdam's Crane School of Music.

The Potsdam Brass Quintet, established in 1968, is the brass quintet-in-residence at The Crane School of Music, State University of New York at Potsdam. The quintet has performed in concert throughout much of the United States and Canada including performances at New York's Lincoln Center and the Kennedy Center for the Performing Arts in Washington, D.C. The ensemble has been featured at national and international brass conferences including recent appearances at the International Horn Society Workshop, Skyline Brass Music Festival, and the New England Brass Convention. In addition to recital performances, the quintet regularly presents clinics and work­ shops for music educators at state, regional, and national music conferences and for younger audiences in elementary and secondary school settings. The Potsdam Brass Quintet has recorded two albums-New York Composers and Music for Brass Quintet. A third recording is to be released early in 1998.

- 20 - Douglas Rubio is Assistant Professor of Guitar at SUNY-Potsdam. He has performed solo concerts throughout the country and is very active in the field of chamber music. As a member of the Avalon Guitar Duo he won First Prize in the 1985 International Duo Guitar Competition sponsored by the Guitar Foundation of America. He also gives numerous performances of music for flute and guitar, and for three years played guitar controller in the Digital Arts Consort, a MIDI synthesizer ensemble. His current research interest is works for guitar by women composers. A native of Southern Califor­ nia, Rubio received his bachelor's degree from the University of California at Irvine, and holds both M.M. and D.M.A. degrees in classical guitar performance from the University of Southern California. Prior to moving to Potsdam, Dr. Rubio served on the faculty of Illinois State University for five years.

Gail Schaberg is a graduate of Michigan State University in East Lansing and SUNY Potsdam. She has been the principal flutist of the Chamber Orchestra of Northern New York since its inception and is a former member of the Potsdam Woodwind Quintet. In addition she has performed in the Lexing­ ton Philharmonic (Kentucky) and the Lansing Symphony and West Shore Symphony (Michigan). Mrs. Schaberg has served as faculty flutist on the staff of summer music programs in Michigan, Kentucky and with Crane Youth Music for the past twenty-five years.

Currently Professor Schaberg coordinates and teaches courses in the special music education program at SUNY Potsdam's Crane School of Music, is the Chair of Music Education and maintains a private flute studio. She is a registered music therapist and is certified in music education and special education. Mrs. Schaberg served as the Music Educators National Conference (MENC) Chair for the Special Learners Network and is past New York State School Music Association (NYSSMA) Chair for Exceptional Children. She has presented a number of workshops for teaching music to special learners in Virginia and Kentucky and throughout New York State.

Roy Schaberg (horn) received his B.S. degree at Michigan State University and his M.M. at the Eastman School of Music. A founding member of the Potsdam Brass Quintet and Potsdam Wood­ wind Quintet, he is former principal horn in the Vermont, Memphis, Lexington, and Lansing Sym­ phony Orchestras and has taught at Hope College and the University of Kentucky. He is currently principal horn in the Chamber Orchestra of Northern New York. Schaberg has recorded two solo albums for Coronet Records and has hosted the International Horn Society Symposium in 1981 and 1988. In addition to his role as horn instructor, Schaberg has served as Director of Crane Youth Music for the past twenty-five years. Professor Schaberg has received the SUNY Chancellor's Award and President's Award for Excellence in Teaching.

Michael Schaff is a new faculty member of The Crane School of Music, SUNY Potsdam where he teaches music education, conducting and band. He comes to us from Colorado State University where he served as Director of Bands and instructor of horn for four years. Dr. Schaff taught in the public schools for six years in Georgetown, Texas, where his bands won state and national recogni­ tion. Dr. Schaff holds a BME from The Ohio State University, a MM in applied French horn from The University of Texas at Austin, and is the first graduate of the new DM in Wind Conducting from Indiana University. As a conductor, he is active as a clinician, adjudicator and guest conductor for junior and senior high league and honor bands and marching bands throughout many states in the Midwest and Southwest. As a horn player, Dr. Schaff has performed as a horn soloist and with the Front Range Chamber Players, the Cheyenne and Fort Collins Symphony Orchestras and will be performing with and conducting the Denver Concert Band this summer on a two week tour of the British Isles. Michael Schaff is a member of MENC, NBA, IHS and CBDNA.

- 21 - Richard Stephan is conductor and professor at The Crane School of Music, State University or New York College at Potsdam, Potsdam, New York. He holds degrees in Music Education from the State University College at Fredonia (NY.) and the Eastman School of Music. Post-graduate work was also done at the University of Buffalo (NY.) and Brigham Young University. He taught in the Buffalo and Hamburg, New York public schools before joining the faculty at The Crane School of Music in 1968.

Mr. Stephan conducted the Crane Symphony Orchestra and Chorus at the Opening Ceremonies or the 1980 Winter Olympic Games at Lake Placid. Active as guest conductor and class guitar clinician, he has appeared throughout New York, Pennsylvania, Ohio, Utah, Hawaii, Washington D.C., and Ontario, Canada. In 1984, he was honored with a Fulbright Senior Scholarship Award to lecture and conduct in Australia.

He has prepared orchestras for Robert Shaw, Sarah Caldwell, Stanley Chapple, Lukas Foss, Gunther Schuller and many other celebrated conductors. In 1994, with short notice, Mr. Stephan conducted two performances of the Verdi Requiem for an ailing Margaret Hillis.

Mr. Stephan has over two dozen published works for string, full and studio orchestra to his credit with Kendor Music, Columbia Pictures, Lake State Publications and Neil Kjos. He is the 1986 winner of the National School Orchestra composition contest. His winning entry, "Fanfare and Frippery," has sold the most copies of any of the winners since the contest's inception.

Mr. Stephan is also a Jazz Guitarist and has performed extensively throughout the New York area. At present, Mr. Stephan teaches String Music Education and is the conductor of the Crane Symphony Orchestra, String Orchestra, and Opera Orchestra at The Crane School of Music.

Born and raised in Milwaukee, Jessica Suchy-Pilalis holds advanced degrees in music performance and theory from the University of Wisconsin-Milwaukee, Eastman School of Music and Indiana University. In 1988, she was awarded a Master Fellowship by the Indiana Arts Commission/National Endowment for the Arts. She has toured Greece as a soloist under the auspices of the U.S. Depart­ ment of State, performing not only in major cities, but also in small towns and villages where the concert harp had previously not been heard. In addition she represented the United States at the international music festival, Diethnis Mousikes Hmeres, and gave performances for Greek National Radio-Television.

Dr. Suchy-Pilalis began her musical training at an early age with her mother, composer Gregoria Karides Suchy. She has studied harp with Susan McDonald, Eileen Malone, Jeanne Henderson and Edward Druzinsky of the Chicago Symphony. Prior to joining the faculty at Crane, she taught at the University of Wisconsin-Milwaukee and Butler University.

Timothy Topolewski completed a Bachelor of Music degree as full scholarship recipient at Michi­ gan State University, a Master of Music degree at Catholic University of America in Washington, D.C., and a Doctor of Musical Arts degree at the University of Illinois as a conducting fellow.

- 22 - A native of Michigan, Dr. Topolewski began his professional career while still in high school when he was selected, through international competition, to perform as soloist and conductor with chorus and orchestra on a summer tour of the major cities of Mexico. He has made numerous appearances as soloist and conductor throughout the United States and has served as international guest conductor in Sidney, Melbourne, and Brisbane, Australia and East Berlin, Dresden, Potsdam, and Leipzig, Ger­ many. His principal instructor in conducting has been Harry Begian at the University of Illinois during a three year conducting fellowship. Additional studies have been taken with Herbert Blomstedt, Musical Director of the San Francisco Symphony Orchestra.

Dr. Topolewski was co-editor, with Fredrick Fennell, of the newly published Lincolnshire Posy, "Full Score Edition," by Percy Grainger. His four-volume work titled, Errata Studies for the Wind Band Conductor has won critical acclaim from the nation's finest educators, conductors, and composers.

Dr. Topolewski is currently President of The New York State Band Director's Association, and Professor of Music at The Crane School of Music at SUNY Potsdam where he conducts the Wind Ensemble, teaches conducting, and is an active conductor with Crane opera performances.

Kim Wangler holds a bachelors degree in musical studies from SUNY Potsdam's Crane School of Music, a masters in woodwinds from Michigan State, and has done postgraduate work at the Cincin­ nati Conservatory and Sweelink Conservatory in Holland. Ms. Wangler has played bassoon with the Lansing Symphony, Grand Rapids Symphony, Detroit Metropolitan Orchestra, West Virginia Symphony and the Chamber Orchestra of Northern New York. She has taught bassoon and music theory at Michigan State University, Albion College, and West Virginia University. Ms. Wangler has been on the faculty of The Crane School of Music since 1990 and currently teaches Music Business, Bassoon Pedagogy, and coordinates undergraduate advising activities.

Cellist Mathias Wexler has enjoyed appearing as chamber musician and soloist in major centers throughout the United States, Canada and Britain. As a founding member of the Monticello Trio he gave over 400 concerts in cities such as New York, Boston, San Francisco, and Salt Lake City and at Festivals such as Aspen, Tanglewood and the Yale Summer Music School. He has been Artistic Director of the award winning Albemarle Chamber Music Festival in Virginia and has collaborated with many notable artists, among them Michael Tree of the Guarneri Quartet, members of the American Quartet, the Muir Quartet, the Lark Quartet, and the Miami Quartet, as well as members of the Shanghai Quartet. He has received numerous grants from the National Endowment for the Arts, the Koussevitsky Foundation, Meet the Composer, and Chamber Music America. Mr. Wexler plays a recently commissioned instrument by David Caron of Taos, New Mexico, and has recorded for Delos, CRI, and, ASV records. His 1990 recording, featuring music of British composer Nicholas Maw, was a finalists choice for the Gramophone Magazine Editors Choice Awards. His latest recording features premieres of newly published Strauss chamber music, also for ASV. A graduate of Oberlin Conser­ vatory and the Yale School of Music, he served as Artist-in-Residence at the University of Virginia from 1985-95. Mr. Wexler was appointed to the faculty of SUNY Potsdam's Crane School of Music in 1995.

LeAnne Wistrom is Visiting Instructor of Flute at SUNY Potsdam's Crane School during the 1997- 98 academic year. Principal flute of the Erie Philharmonic and flutist of the Luzerne Chamber Players, she is flute instructor and head of woodwinds at the Luzerne Music Center, Lake Luzerne, NY during the summer months. Ms. Wistrom is on leave from her faculty position at Edinboro University of Pennsylvania.

- 23 - CRANE SYMPHONY ORCHESTRA PERSONNEL Richard Stephan, Conductor

FIRST VIOLIN CELLO BASSOON Mary Calogero Joanna Calogero Jennifer Rohner Peter Cannistaci Catherine Eyring Jason Berlin John Harper William Willis Mandy Batewll Galen Kaup Carl Leichthammer Alicia Whitney Aimee Grossman Sonia Licata Jabell Hamilton Patrick Kaminski FRENCH HORN Christine Perro Kristine Ritz Jennifer Robinson Kimberly McCormack Tammy Ravas Christy Neidcrmaicr Melissa Hahn Michael Caravello Phillip Spaeth Andrea Rizzo Brian Martin Abigail Hansen Melissia Koenigsreuter Elizabeth Glushko Michael Mazzone Renia Shukis Stephen Jacobsen Kelly Pritchard Jeffrey Hatton TRUMPET Amanda Whitmore Wiiiiam Osinski SECOND VIOLIN Amy Pope Okan Demirmen Bernard Reilly Ryan Coburn Caitlin O'Donnell STRING BASS Brian Schneckenburger Tara Quinn Scott Gleason Michelle Williams Joseph Catrambone TROMBONE Laura Towle-Hilt Patrick Sagen Todd Stubbs Alan Myszka Mark Verdino Blair Raker Kimberly Coleman Charles Gannon Brian Kaplan Peter Coffin Michael Molloy Jennifer Amrhein Elizabeth Bartlett TUBA Janeen Streeter Todd Shafer Nathan Chilton FLUTE Brian Fulmer Chris Holmes Melissa Natale Suzanne Ruggieri Bonnie McAlvin PERCUSSION Jessica Hull Christ Dembeyiotis VIOLA Michael Robbins Jeanne King OBOE Elaine Spence Heidi Donabar Nicole lssman John Bird Kimbely Kondenar Kimberly Persia Robert Sander! Michelle Farrell Stephanie Geller Gary Moritz Kerri Lippis Nicole Tulve CLARINET Shirley Henderson Nicole Russo Mark Frederick Marino Bragino Michael Kedley

- 24 - CRANE CHAMBER CHOIR PERSONNEL Daniel Gordon, Conductor

SOPRANO ALTO TENOR BASS Sipra Agrawal Michelle Grant Dennis Creighton Thomas Andino Jessica Franchi Jessica Laufer Mark LeBeau Christopher Autote Regina Grimaldi Erica Mccants Dimitri Pittas Joshua Marr Mary Lacasse Allison Moretta Jeffrey Thompson George Upham Cherelle Lewis Rebbecca Schonwetter Alan Rienhardt Christine Murphy Nena Vedder Michael Scarchilli

CRANE WIND ENSEMBLE PERSONNEL Timothy Topolewski, Conductor

PICCOLO CONTRABASS CLARINET BASS TROMBONE Alan Schechter Sean McLaughlin Jeremiah Ryan

FLUTE ALTO SAXOPHONE EUPHONIUM Annette Kirk Joseph Abramo Robert Allen Heather Wilcox Adam Williamson Susanne Watts TUBA Melynda Russo TENOR SAXOPHONE Brian Fulmer Ashley Rogers David Barnaba OBOE Matthew Fossa BARITONE SAXOPHONE STRING BASS Kaylin McNaughton Brian Broelmann Douglas Hanson

ENGLISH HORN TRUMPET PERCUSSION Kristin Abendroth Peter Sutorius Gary Moritz Jennifer Kline Christopher Smith BASSOON Jason Mosall James Abate Mandy Batewell Nicholas Shmorhun Thomas Marceau Alicia Whitney Christopher DiMeglio Joanna Piper Bethany Reistetter CONTRA-BASSOON TIMPANI Maya Stone HORN Michael Robbins Christopher Greer CLARINET Jessica Carlton Kathryn Mance Whitney Lane Jenni fer Schwager David Yonteff Janet Barr Anthony Coughlin • Lynn Tsaousis Michelle Seitz TROMBONE Stefan Hyman Gregory Borsz Eric Pecor BASS CLARINET Craig Burger Geoff Ellinwood - 25 - SCI National Council (1997-98) David Gompper, President Uni verity of Iowa

Eric Sawyer James Chaudoir MIT (l) University of Wisconsin, Oshkosh (V) Brian Hulse Rocky J. Reuter Harvard (I) Capital University (V) Andrew Simpson Daniel Adams Catholic University (II) Texas Southern University (VI) Samuel Pellman Samuel Magrill Hamilton College (II) University of Central Oklahoma (VI) Simon Andrews Marshall Bialosky Franklin and Marshall College (III) Cal State University, Dominguez Hills (VII) Bruno Amato Glenn Hackbarth Peabody Conservatory (III) Arizona State University (VII) Kari Henrik Juusela Charles Argersinger Stetson University (IV) Washington State University (VIII) Vernon Taranto Jr. Cindy Cox Tampa Bay Composers' Forum (IV) University of California, Berkeley (VIII)

Executive Committee (1997-98)

Reynold Weidenaar, Chairman Tom Lopez, Webmaster Editor, SCI Online News Bryan Burkett, Asosciate Editor, SCION William Paterson College Kristine H. Burns, Listserv Coordinator Greg A. Steinke, President Emeritus Barton McLean, lndep. Comp. Representative Jon Southwood & John Allemeier, Dorothy Hindman, Representative for Local Editors of Newsletter Chapters and Affiliate Groups The University of Iowa David Vayo, Membership Chair Bruce J. Taub, Editor of Journal of Music Illinois Wesleyan University Scores Fred Glesser, Editor of Monograph Series C. F. Peters Corporation Thomas Wells, Audio Streaming Project Richard Brooks, Producer of CD Series Manager Nassau Community College Ohio State University William Ryan, Submissions Coordinator Gerald Warfield, General Manager James Paul Sain, Student Chapters Martin Gonzalez, Executive Secretary University of Florida

Special Thanks to Suzanne Eastridge Lorelei Murdie Sigma Alpha Iota Ryan Fraley Kathy Olsen Dr. James Stoltie Gary Galo Phi Mu Alpha Linda Thompson and all performers

- 26 - STATE UNIVERSITY OF NEW YORK COLLEGE AT POTSDAM

Tracing its origin to the founding of St. Lawrence Academy in 1816, SUNY Potsdam has the longest history of any college within the SUNY system. Today, with a total enrollment of more than 4,500 undergraduate and graduate students, StatE University of New York College at Potsdam prides itself on offering a solid education in the liberal arts while continuing its long-standing tradition of prepar­ ing students for life. Bac helor's and master's degrees are offered in more than 35 areas of liberal studies, music and teacher education.

THE CRANE SCHOOL OF MUSIC: LEADERSHIP FOR MUSICAL AMERICA

America is a musical nation. We Americans, native and immigrants, young and old, rich and poor, from cities and towns across the country, look to music to bring us pleasure and stir our spirit. The Crane School of Music was founded in 1886 on the principle that Americans have a right to know music. The school's founder, Julia Crane, believed that the leaders of musical America-our music teachers, performers, composers, publishers and craftsmen-should thoroughly master their disci­ pline and become lifetime music advocates. For over one hundred years, thousands of musicians educated at The Crane School and millions of musicians led by Crane School graduates have united our people through music.