Orchestral Training Association in 1952. From 1954 to 1956, hehmpleted the Teachers Certijication Program at Teachers College, Columbia University. From 1960 to 196 1, he taught and composition at the University of Alabama. He taught music theory and composition at Western University from 1966-1968, at Paterson State College from 1968 to 1970 and from 1977 to 1978, and at Herbert H. Lehman, CUNY from 1970 to 1977. Allan is Professor Emeritus of Virginia Commonwealth University, where. he taught from 1978 to 1996:Allan1s works are published by Boosey & Hawkes, Associated Music Publishers, Carl Fischer & Company, Seesaw Music Corporation, Music For Percussion, Roncorp Incorporated, Falls House Press, and others. His music is recorded on CRI, Orion, Advance, Open Loop, Centaur, Contemporary Record Society, Titanic, Pro Viva, and North/South labels. Allan's composition prizes include awards from the George Eastman Competition (1 983), the National Endowment for the Arts (1983), the Virginia Music Teachers Association (1979, 1988, and 1991), the Eric Satie Mostly Tonal Award, the Chautauqua Annual Choral Competition Award, the Lind Solo Song Competition (l989), and the Flute Competition at the University of-Toledo (1994). Allan is listed in a number of references including the New ,Groves Dictionary of Music and Musicians.

Willia Estelle Daughtrey, Hamiton University Professor Emeritus of music, is a native of Portsmouth. She received her Bachelor of Science degree in music education and from Hampton Institute, the Master of Music and Doctor of Philosophy degrees in interdisciplii~aryhumanities-musicology from , New York. Willia served on the Hampton University music faculty from 1958 to 1997.

Adolphus Hailstork is Professor of Music at Norfolk State University. He received his doctorate in composition from Michigan State University, where he studied with H. Owen Reed. Previously, he had studied at the School of Music with Vittorio Giannini and , at the American Institute at Fontainbleau with , and at with Mark Fax. Dolph has written many works for chorus, solo voice, various chamber ensenibles, band, and orchestra. Among his compositions are Celebrahon, which was recorded by the Detroit Orchestra; the award-winning band compositions, Out ofthe Depths and Amencan Guernica, and the award-winning choral and chamber works, Mourn not the Dead and Consort Prece. In 1990, a consortium of commissioned the Piano Concerto, which was premiered in 1992. Other coinmissioned works include Festrval Musrc for the Symphony and the Paul Laurence Dunbar: Comnron Ground for the Dayton Opera Company. Recent perfoimances of Dolph's works have been led by Daniel Barenboim with the Chicago Symphony, Lorin Maezel with the Pittsburgh Symphony, and Kurt Masur with the New York Philharmonic.

Bmce Hammel received his Doctor of Music degree in performance at Florida State University, where. he studied with William Winstead. At the University of Mchigan (Master of Music degree in wind instruments), he studied with Hugh Cooper. He earned a Bachelor of Music Education degree from the Crane School of Music and a Bachelor of Arts degree in biology from Hamilton College. He is Associate Professor of Music at Virginia Commonwealth University, has extensive performance experience. He has served as principal bassoonist with the Amarillo, Tallahassee, and Charlottesville , and frequently performs with the hchmond Symphony on bassoon and contra-bassoon. He has been an amve performer of as well and is currently a member of the VCU Woodwind Qwntet, Currents, the University of hchmond's new music ensemble, and the Albermarle Ensemble at the University of Virgirua. He has recorded with the National Wind Players on Klavier records and with Currents on the Centaur label. He recently traveled to Poland to record Allan Blank's Concertinofor Bassoon and Strrng Ensemble with the Polish National Radio Symphony Orchestra. In 1992, he performed as a guest artist at the Conservatory in .

James Preston Herbison, a native of Oklahoma City, Oklahoma, is Associate Professor of Music at Norfolk State University, where he teaches music theory, literature, and appreciation and conducts the \UniversityOrchestra He earned the Bachelor of Music Education degree from the University of Oklahoma, the Master of Music degree from the University of Michigan, and the Doctor of Musical Arts degree fiom the Catholic University of America. After his appointment to the faculty at Hampton University in 1970, he taught music theory, coached chamber music, directed the Hampton University combined student and community orchestra, and taught humanities. In addition, he taught and directed orchestra in the Newport News public schools and taught private andlor chamber music at the Governor's School for the Arts, Christopher Newport University, and the College of William and Mary. Jim is currently assistant principal

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The Fourth Vianne Webb Memorial Lecture in Musicology . .

. . ... ,. .

. . . ,

, ' The American Music cent& , , . . Dr.Thomas Warburton Universitycof North Carolina at Chapel Hill

Dr. Thomas Warburton has been a member of the music faculty at the University of North Carolina at Chapel Hill since the fall of 1969. His courses cover topics in music history and music thkory. From 1994-97 Warburton was named the Bowman and Gordon Gray Professor of Music, in recognition of excellence in teaching undergraduates. He has published articles on a variety of topics, including sixteenth-century organ tablature, American opera, and ragtime in the music of Charles Ives. As a pianist, he has regularly given recitals that feature contemporary American music. He'has performed all the works for solo piano by , one with the composer in the audience. His 'compact disc of the piano music of William Albright features the composer's Grand Sonata in Rag and the Five Chromatic Dances, which he conirnissioned in 1976.

. - . . - . . . Intermission ,. ,

Second Season Opening Concert

Evening' ' . . ' Floyd Carleton Barnes . .

~erriHanson, alto , , . . ., . . . Suzanne Schreck,

, . . ' . James Herbison, cello , .. , Jeanette Winsor, piano

. t The sun filters through the mackerel clouds. . , Sun that is &most set. leaves way for the dew. , .. The. . passes intb another.hemisphere . - , - out of my world' . , ' - . andintoanother. . , , . ,. . , . .

' The lret grass licks my fAt as I ruk . . The trees settle their leaves for the night, . .

very so often a rustle, . , . . '. . , '- as if a bird reaqnging its feathers.

The wind is gone. The world is silent.

The moon watches as I run. The fiiendly air caresses me and breathes its sweet warm breath upon me. The clouds are gone, the stars take up watch with the moon.

The night orchestra begins: crickets tuning up for a , a night bird giggles, a bat fiolics in the air.

,. .. I,

he &watches as the stars wihk at the &n. , I lie on the soft, sweet bs, . while night ldls me to sleep.

-. I . . . . . The moon winks, the stars twinkle, the bats whisper. My dreams mngle with the night air.

The Ethnic Sonata for and piano features certain micro-elements which were~tobe part of a fimk tune (in the style of early works composed by James Johnson, Rogers Nelson, and Larry Blackrnon). Both outer movements are in traditional sonata form, and an arch form is used for the slow movement. Pitch materials are obtained fiom the use of thk dodecaphonic scale: the outer movements are on E, while the slow movement is on B. .. . * A special feature of the work is the cyclic return of the principal theme of the first ' . movement during the coda of the third movement.

Trio Fare (1998) is Teresa M. Cobarrubia Yoder's first attempt of writing a chamber string piece incorporating contemporary string techniques. Her original idea was to write a - flute, violin and cello trio, however, while working on it, she realized that two would add so much vitality and energy to the sound she was trying to create. The fast and frenzied sections contrast the lyrical imitative counterpoint sections. Yoder -ncourages independence of spirit in the performers' playing while asking them to see how- it all blends and fits together like a jigsaw puzzle.

. , ...... , , . . - :. , , , . .- ., . . , ...... L , ., . Jmes~r&toh ~erbi&n,a'.hti"e of Oklahoma City7Oklahoma, is Associate Professor of Musicat .:, , - " . ' , '. :. ..,~krfolk State University,.where he teaches m-ic he0ry: literiture, aqd appreciation and wndudsthe ..... ,.. - university Orchestia. He earned .the ,Bachelorof Music Education;degree from the Uniiersity of Oklahoma, . :: . - . , ...... the Master .of Music degee from the'U@versitjof .Mchigan,'and.theDdctor of Musical Arts degree from"', ...... "

the Catholic University-ofAmerica. After his;appointment to the faculty at Hamptonuniversity in 1970, he . . ^ - ' . . -, . . . taught music.theory, coached chamber music; directed the Hampton Uqiversity combined student.md. . , . . ' .co&imity orchestra, and taught huma&ia'. 1rraddition;-hetaught and direct@ orchestra in the, Nemrt . . '. . -. , . ~e%public schools and taughtprivate Cello and/or chamber music at the Governor's School for.the Arts, .: , .... .,;...... :, , .:. , , ' ... , ~hristo~herN&pcirt University, hdthe College.of William ahd Mary. Jim is currentlj.assistant principal: cellist-ofthe Virginia Symphony ahd principal cellist of the ~illiamsburgSymphonia. He has-also been a, -: ... . , . . . . ' . , member oft& Oklahoma City'Symphony, the Flint (M~chighn)Symphony, the!Virginia Opera Orchestra, . .., , ' :' . . ' . , . .. . , . and the Nova Trio. .He hai performed in recitals, chamber ensembles, and with orchestras throughout the ; : . United Stak and Canada. Notable theseqerformandes were his recital atthe, Cathedral of ~t.~ohn.'. - ...... the Divine in New York Ciw, hsperformance of.Jer$dine'Herbison's compositions for. cello at thi . . . Kennedy Centerfor the.l?erforming Arts in Washington, D.,C.,, the Nova Trio's performance and coaching , . . , . . session with'~enahem:~resslei.of ~eauxArts Trio the ~anffcenter I Alberta, Canada, and'his ...... the at . . . . .,perfonpancewith the.Nova Trio on the ampact disc,' "An American Port of Wl," music of Adolph*

. . ' . . . . . * ~eiddke'Herbison received a h ache lor of Science de'gre,,from~irginiaState University 1963. she has ' . . :. . . . -. , . . -'... also done po& gradete study in violjn, kilo, rhusic'th&@,ahd compbsition at Virginia State University; . \ ' . the University of ~ichighDivision at.Interl'heq 'Hampton university,'the University of Alaska at . . . '. .. ' ... .. , '. Fairbanks, Christopher NewpoqUpiversity, and East Central State:University. Her teachers include .Thomas C. Bridge, Percy Kalt, Wgter Swede, ~ay.Montoni; cello with Line Rosknthal, Alex Segal, .and - ...... ; .'James P. Herbison, &d theory and composition with ~ndineS:Mhre, Buckner Gamby, George Wilson, : ....'I ,. . and ~ho&s,Clirk.Jeraldine was honor~.ccimposer.atInterlochen in 1979..In 1980, James Hertiison ?'. .... ' . . -. , . ., .... 1. . ' ' . . performed' her cello pieces.on the Composeri Forum ofthe National lack CompoiersC.olloquem... at the - . .

. . . . : . . Kennedy Center for the Perfo&ing-Arts. In'J993, ,the Afro-Aniencan Chamber ~usicSociety . ' I ~ ~ .(.. , ...... % . .. ~ , . 'commissioned,andperformed her,Cello Concerto No. 1. Dawn ~ost&-~odsonwas the cellist. Her :' ...... - ...... ', Conchtino for yiola'ghd chamberorchestra'wasperformed by Beverly Baker and the Richmond . . , : .' ...... Philharmonic irf1996. In 1997; Jeraldine was the featured composer on a symi>osiurn of black women . -, - at Hawton Universit4;. Feral of her works were performed,:-including ~rioNo. . 3, which was . :.... I ..-commissioned by the Nova Trio, Jeraldine, who fornierly taught and directed middle.schoo1orchestra in -: ...... , .'. ,. ' the Newport News Public Schools, retired in 1998: Her string orchestra pieces have been performed by the ; ' . , . _. _ . . , by or ahd Senior Regional orchestras, by Newport NeeAll~Cityorche.ds, and by individual school, ...... orchestras in Newport,Ne~.~6ur of her pieies for .string orchestra are published by ~elkePublishing , .-. .. , .. , . . ... , . . ... : , ...... , ., . . Company in Maryland. , - . . . , . . .., ,. . , , ,. . ' ..... , . . . , . +. ,. ,. , ', . . , . ' . ,. , ,EU. Kyong Jarrell has W* ~of&sdrof Plan0 at Hampton ~qiGcrsitysince 1.995.'she received the : ; - . , . ', . Master of Music in Piano Performance and-theBachelorof Music,in Piario Performance from Yeungnam ...-...... 1'. . . . ' . ,' ' ' .. University in South Korea, where she won the ~eethovenSonataComp'etitionin 1987. She is the pianist . . . . .

. . ' . , fir the Hampton.Uhive&ityWind Symphony and a pianist/conductor/first synthesizer player for the. . - - ', . , .., HamptonPlayers Company.' In: 1997 she was a-soloist at thefirq.Black Women's ~~posillm,hosted by ', ...

, . Hampton Unjversity, and.in 1992 she peiformed gn' Aid- Honors Sdlo Recital at the Yeungnam Music . , . , . ., ...... Schobl. She alsq appeared as a soloist with the Ye.ungnam Orchestia in 1988. . . , .. . , . . . . , .., ~ ... . , :. , - 'Mary whews&c+ived a ache lor of ~usicdewee, labde from ~ucknell,lJniversityand a Master if : : . . ' , . , . MuSlc,degrke in vocal performance from,~orfokState ,UniVerslty.Shetaught.voice at.Christ0pher Newport .....- , . :, University for Ntkye..She also direct* the Opera Workshop there:W has performed with the . .... , ._ - :.- ...... Virginia Opera,.Light Opera of Virginia, and asa;c&umed krforihei at Colo+al Williamsburg; Sheis, . :currently under contract with the Virginia Chorale, Virginia's sole prof&sional:chorus. Shelis well known .'I . : . . ' throughout ~idewateras asd1ois.t and recitalist For fifteen years, she sang at Temple Sinai as cantor hd : . . . . , . ., ~ for the past threeyears shehas.seped as Director of Choral Music at the First United Meth0diq:Church. . in . ' ... .Newpart News. She resides in I-Iaplpton,.where she nqintains @.active private teaching studio. .." ,, . . . . . , . I, , I .--' ...... ,', . . , . " Christini~.Morton received a degre in,Music.Eaucationfrom ~orth&ste+ Univepity 6 1983, qnd

, , then came to teach violinin Norfolk,,Virginiawith the TwinkleIsto Sizzlers..:Suzuki Violin sti~dio:At , , . ,. -. that time she also joined'the Virginia.... Symphony,as a violinist..Since,then she-has taughttmusic in the -. ' . . , -. ., . . . , ,. -. . ... ,. . c. ... '. . a. \.LC ' . . , ,... - '. , . . , % . -, . ., . , ~ , . . . . . _\ ' ., . . , . . . . -. I I 8 I .. .. , , . . . f ,. ....

. . . . , . . . , - ...... Teresa M. Cobarmbia Yiider is the highschool music teacher at ~alsin~hk~cade& in Williamsburg, the pastoral music director for Immaculate Conception Catholic Church in Hampton, a piano teacher of an independent music studio in Norfolk, and a founding member of Musica Intima, a chamber trio. In 1988, she graduated fiom Old Dominion University with a Bachelor of Science degree in music composition. Teresa studied composition with John Davye and piano with Elizabeth Pappas and Frieda Vogan. During a summer Mtute, she studied conducting and sang under the direction of Paul ~alamunohch.~eresa's compositions have been perfo~edat the Viginia Music Educators Conference, Old Dominion University, Music Club, Tidewater Music Teachers Forum and various churches and schools in Virginia, , Washington, D.C., Baltimore, and New York. She has conducted choral workshops and assisted with the music for various Diocese of Richmond functions. In 1995, Teresa was awarded a grant from the Williamsburg Chamber of Commerce for a study with her students on implementing music technology with colonial tavern music. She was also awarded a grant from NASA for study with the Virginia Institute of Technology. Teresa is the Virginia representative for ,National Association of Pastoral Musicians and Music Educators, the vice president for the Sigma Alpha Iota Norfolk Alumni Chapter and the treasurer for the National Association of Composers, USA,-Tidewater Chapter.

, The National Association of Composers, USA (NACUSA) was formed in 1933. It is

one of the,oldest organizations. dedicated. to the promotion ,and performance of music by

Americans. NACUSA, . haschapters in.~&sAngelis, New ~ork,'~hiladel-bhia,San 1 : Francisco, , at on Rouge and Tidewater. Charter members of the Tidewater

chapter include Jennifer Margaret Baiker (President), Floyd Carleton Barnes, Leigh , ,Baxter (Secretary), Allan BleJerayine Herbison,'Adolphus ~aiistork,kdain Olenn, Walter Ross, Justin Stalls, Haryey Stokes, John ~insor(~ice~~resident),.adTeresa , . . -.. .

Yoder. (Treasurer)... Erich stem joined the chapter for the-. 1998-99 .season. . , , , - . . . - , ! : ' I. -- > \ . . % ~ During the 1997-98 season ~~~~s~l~idewaterpres.e*t'eii two concerts of new music at . . : Old ~ominionUniversityand the. Uni~ersityofkchmond re&pectively. his season the concert at Christopher Newport University will be followed by a second concert, featuring the works of Leigh'Baxter, Allan Blank, Adolphus Hailstork, Jeraldine Herbison, Erich Stem and Walter Ross, at the Richmond Public Library - Gkllman Room on Saturday 13th February at 2.00pm. On October 30th 1998 the chapter hosted a reception

, for~ , the 1998 Society of ~omposer's,~Inc.~e~ion11'1 donference,held at' Christopher. . . .

' , Newpoit University; ., , . . ..,, I* ...... , -. ' .\ : \. : . .. ' ~~~~~A/Tide&ater. . Web page: www.thebook.corn/harwic~ntw.. . home. htm < .. . . ,. . ' d . .. . .: .> . , .. . ,NACUSA/National Web Site: &.thebook.corn/nacusa b . . . .

MARK ALBURGER is an eclectic American composer of postminimal, postpopular, and postcomedic sensibilities. He is Editor-Publisher of IOrh-Centuty Music Journal, an award-winning ASCAP composer of concert music published by New Music, oboist, pianist, vocalist, recordmg artist, musicologist, author, and music critic. Dr. Alburger began playing the oboe and composing with Dorothy and James Freeman, George Crumb, and . He studied with Karl Kohn at Pomona College; Joan Panetti and Gerald Levinson at Swarthmore College (B.A.); Jules Langert at Dominican College (M.A.); Roland Jackson at Claremont Graduate School (Ph.D.), and . Dr. Alburger's recent performances have included the Chicago premiere of Cycle and the premiere of a new chamber orchestra version of the same work with the Sounds New ensemble. His Business as Usual will be performed yet again by Tuolumne Brass in June. Two CDs are currently in production: Business As Usual [New Music]- with Molly Axtmann, Elizabeth Lee, and Jeana Ogren - and The Twelve Fingers [North/South Consonance] with Max Lifchitz. He recently completed Animal Fann: Grand Zoological Fanmsy-Variations and is cwently at work on his Symphony No. 4 ("Sequence Music'j).

SYMPHONY NO. 1 IN C MAJOR, OP. 21 ("It wasnt classical, it was symphonic..." "It wasn't a symphony, because it did not have a sonata allegro...") (1998) is the first of a projected series of "grid" symphonies based on correspoilding numbered works by older composers. The magic book for this composition is that of Beethoven's Symphony No. 1, from which is taken form and spirit (including exact number of measures, tempo markings, key, and even opus number), but little content The lengthy subtitle refers to overheard comments which form the melodic bases of two themes in the opening movement. The third-movement Menuetto e Trio, actually a scheno in the Beethoven model, is a manic and melancholy gallop through sardonic classical and minimalist material. The music was written in two days of February 1998: the first sunny (a bright Menuetto), the second cloudy (a dark Trio). and Beethoven's Fur Elise commiserate in the latter section's sour snap rhythms.

JOANNE D. CAREY holds a Bachelor's Degree and Mastds Degree in Music Composition from San Jose State University, where she studied with Allen Strange and Lou Harrison. A guest composer at the Center for Computer Research in Music and Acoustics (CCRMA, ) since 1983, she lives in Palo Alto with her husband and two children. In addition to composing, she has collaborated H;ith composer-inventor Max Mathews on the development of new improvisation programs for his radio-baton. Ms. Carey has composed three computer-generated tape pieces at CCRMA. Two of these, Zntonatim of the Wind (1990) and Clouds'Lament (1988) are based on FM synthesis of singing tones and represent an intense exploration of this medium. Her recent work has focused on pieces using the Radio-Baton with a live soloist These include a song cycle, Three Spanish Songs and Adventures on a Theme for Flute and Radio-Baton, which uses improvisation programs she developed with the help of Max Mathews. The Three Spanish Songs have been performed in Guanajuato, (1 9%), in San Jose, (1995), at the 1995 SEAMUS (Society of Electro Acoustic Music in the ) conference in Ithaca, New York and in Warsaw and Krakow (1993).

AQUI (1993) along with its companions La soledad (1992) and Gmcias (1994), were inspired and influenced by Spanish Flamenco and indigenous South American music, and the later poetry of Chilean poet Pablo Neruda. The spirituality and humanity of this great poet continues to impress me deeply. In the process of blending Neruda's poetry with the rhythms, flourishes and instrumental sound of these Spanish and South American musical traditions, I drew mainly from strains of solitary meditation and deep sorrow buoyed by irrepressible exuberance and hope. The score of the electronic accompaniment was created on a Macintosh IIfx using a composition program called DMM that was developed by Stanford graduate Daniel Oppenheim, DMA. The sound material was generated on a Yamaha SY77. Most of the voices are presets, with the exception of the bell sounds and a couple of hybrid sounds that I constructed and a sound that might be described as a "sliding sigh" that was made by Dr. Oppenheim.

NANCY BLOOMER DEUSSEN is well known throughout the Bay Area as a composer, performer, arts organizer and music educator. She is a leader in the growing movement for more melodic, tonally oriented contemporary music and is co- founder of the SF Bay Chapter of the National Association of Composers, USA. Her works have been performed throughout the US and Canada and she has received numerous commissions both locally and nationally from such performers and ensembles as The Oakland Chamber Orchestra, The Walnut Street Chamber Ensemble, The Baton Rouge Concert Band, The Bresquan Trio, The Santa Clara Chorale, The Women's Caucus in the Arts, OPUS 90 Chamber Ensemble, Richard Nunemaker, clarinetist, the Tanana High School Band, the Gabrieli Brass, Soundmoves, the Mission Chamber Orchestra, the Semper Virm environmental group, and The Sandusky Music Festival. The 98-99 season will bring a performance of her orchestral work Ascent to Victory by The California State Hayward Symphony Orchestra, this work just having been released on a BMS CD. Performances of her Pegasus Suite will take place in the Bay Area, England, Sweden, Mexico and Greece; a performance of Parisian Caper will take place at The National Saxophone Convention in Atlanta, GA.

PARISIAN CAPER was a commissioned work for SOUNDMOVES, an ensemble from Western Oregon University. It was premiered in January 1998 at the university with the composer in residence. It was one of the featured works at this y&s National Saxophone Conference held in Atlanta, GA. It depicts a whirlwind tour of with the espresso houses, clubs and walks along the Seine.

I held a good position All through the Inquisition. I get so much enjoyment from continuous employment

Except when silly Henxy Thoreau Called the Better Business Bureau. Do you know what it's like to lieth With both David and Goliath!

Joanne Carey - AQUI (Pablo Neruda)

Aqui

Me vine aqui a contar las campanas que viven en el mar, que suenan en el mar dentro del mar.

Por eso vivo aqui.

Here

I came to this place to count bells the bells that live in the sea that sound in the sea under the sea.

That is why I live here.

Carolyn Hawley - THREE VIGNETTES (Joe Smith)

Galilee

I will go before you into Galilee, like one risen from the dead by your touch, my heart pounding wildly at the miracle of its own wild pounding. Meet me there, where olives are ever ripe and sweet, on the shore watered by the sea called Galilee.

Rain on the Roof

1 lie, lost in the slush of rain on my roof, Rain the almond tree uses to fashion pink fireworks of flowers. Then it stops and clouds part to make way for the moon, Slipping past, hastening to fill my bed with the missing feel of you.

Your Hands

Your hands are the wind that lies in wait all spring to shake rivers of golden light from just opened tassels of wheat. At night you hear a dance when the moon with her bracelets of hammered silver passes by, and your hips move east and west. BRUCE HAMILL has a Bachelor of Music Degrke in Composition from the Berkelee College of Music in Boston, an Associate

LYRITA is a romantic Andantino in ~obdoform (AABACA). Written in 1996 in a personal pandiatonic modal style, the piece is just moderately difficult to play. A flute and piano version is also available. I CAROLYN HAWLEY is a pianistcomposerconductor with a MasMs Degree from Mills College, former Lmy College Music Instructor, and ten-year Conductor of the Ukiah Symphony. She resides in Half Moon Bay where she teaches privately and performs as pianist with the Coast Classics Trio. 1 Hawley is also a Church Organist / Choir Director in San Francisco. The

numerous awards for composition and piano pedonnance. Her "Rwian River " was premiered in 1989 by the Ukiah

The THREE VIGNETTES, for anh Piano, were composed to a cycle of poems written by Mendocino County poet Joe Smith. The first song is dedicat& to Hawley's friend and companion Ludwig, who died this past , and whose name is called throughout.

t A graduate of Oberlin Conservatory, WARNER JEPSON has been composing in San Francisco for theatre (A.C.T.), film (The Bed), dance (San Francisco Ballet's Totentanzl. museum and gallery openings (music made on the then-new Buchla synthesizer), played in Chicago in '971. I I'VE BEEN AROUND was written for a dusical, Humpry D!, and was originally intended to be sung by a woman with a rather ti-isky reputation... I MICHAEL A. KIMBELL (b. 1946) studied with J~PDavison and Alfred Swan at Haverford College, and with Robert Palmer and Karel Husa at , where he reyived his DMA in composition in 1973. He studied with Donald Montanaro of the Philadelvhia Orchestra. and is currently clarinetist with Trio Arcadia and with the San Francisco Community

Kirnbell's compositions include chamber. choral. and orchestral works. as weli as short oDeras and children's theatre music. He

HELENA MICHELSON was born in Moscow. ~usda.and was raised in Riga. Latvia where she beean her music studies at the I

i sym6sium held at Newporf Oregon. I '

ENRIC ZAPPA studied composition with Louis Martb, Donald Lyybert, and Anthony Braxton He founded the Oakland Civic Orchestra and was conductor from 1991-1997. Mr. Zappa currently teaches at the Head Royce School in Oakland. You are invited to stay after the concert and speak with the composers.

The National Association of Composers USA (NACUSA) is a non-profit organization whose goal is to foster the .composition and performance of new music. Founded in 1932 and now with branches in , New York, Philadelphia, and San Francisco, NACUSA continues to be an active and most vital outlet for composers throughout the country. Inquires regarding membership may be addressed to I'lana Cotton at (650) 367-1683. General inquires may be directed to Nancy Bloomer Deussen, (650) 858-0172.

NACUSA San Francisco is a non-profit organization in need of support. Taxdeductible contributions may be sent to: . ..

THE NATIONAL ASSOCIATION OF COMPOSERS Chapter 3065 Greer Road Palo Alto, CA 94303

Acknowledgements

The Members of NACUSA San Francisco would like to recognize with heartfelt thanks the following contributors to the 1998-99 concert season:

Dr. Mark Alburger Ms. Annette Axtmann Music Library, University of California at Berkeley Ms. Ilse Calabi Mano Murthy NEW MUSIC Publications and Recordings Ms. Jeana Ogren The City of Palo Alto, Division of Arts and Culture Mr. Robert and Ms. Carla Schenk Mr. and Mrs. Michael Scofield Ms. Emily I. Ward

This concert is presented by the National Association of Composers, USA, San Francisco Bay Area Chapter, in cooperation with the City of Palo Alto, Division of Arts and Culture.

Committee for tonight's concert:

Concert Production: Owen Lee Publicity: John Beeman, Carolyn Hawley, Marilyn Hudson Program: Mark Alburger, NEW MUSIC Publications Programming: John Beeman, Carolyn Hawley, Kathleen Nitz

PROGRAM NOTES -- Compiled an Edited by Max Lifchitz

Mary Jeanne van Appledorn wak educated at the Eastman School of Music where her mentors included composers Bernard Rogers and Alan ~ovhankss.Her oeuvre includes works for orchestra, band, chamber and choral ensembles, solo instruments and electro-acousticImeans. Her compositions are published by among others, Arsis Press, Carl Fischer, Gaudia Publications and Oxford ~nivkrsit~Press. They are available on the Capstone, CRS, Century, Crest, Northeastern, NortWSouth. Opus One and ~iennaModern Masters record labels. Her works have been performed throughout the Europe, and the US in concerts sponsoded by the Inoue Chamber Ensemble, NortWSouth Consonance, the Society of Composers, the Women Band Directors ~ajionalAssociation and the National Association of Composers, USA. A recipient of annual ASCAP Awards since 1980, Dr. van Appledorn is the Paul Wtfield Horn Professor of Music at Texas I Tech University. She provided the following program note for her work: ~ncantations,a four movement work f6r oboe and piano was commissioned by Amy Anderson for the 1998 International Double Reed Society Conference. In Memoriam is an intense musical statement reflective of the emotion experienced in the loss of a loved one. This is expressed at times by quarter-tones or multipohonics sounded against prolonged I vertical structures in the piano. Bacchanal suggests a Roman Festival honoring with its frenzied dancing, singing and revelry. The dancing oboe lines are accompanikd by ever-moving rhythms and arpeggio figures in the piano. Ambience introduces a mesmeric event for 'the listener id which the oboe has very active melodic lines rising against ambient "sostenuto" effects in the piano. Ritual expressks energetic ceremonial concepts by the oboe against the constant triplet division of the quadruple eighth-note beat in the $iano.

Based in Arlington, MA Kenneth GirardI received his B.M. (1977) and M.M. with Honors (1979) degrees in composition from The New England conservatody of Music in Boston. He has produced a significant body of work including a symphony, a work for piano and orchestra, a biolin concerto, numerous works for various chamber ensembles and solo pieces, in addition to a variety of works in progre!ss (among which are several symphonic pieces, chamber works, and a string quartet). Mr. Girard's music has been performed do critical acclaim in the United States and Canada. Concerning his work, the composer writes: "My Suite for Piano, Op. 20 was begun in July of 1995 and completed in June of 1998, although the 4th movement of the work was originally begun in1 1993 as the 2nd movement of an unfinished second harpsichord sonata. It consists of seven relatively short movements with a total duration of approximately 10 minutes. The work is conceived primarily melodically/polyphonically and its landuage is that of free-pantonality. The first movement begins quietly with a shbrt section of 3-voice polyphony culminating in a loud arpeggio. The second movement is in sharp contrast to the texture and ideas of the first. It is virtuosic and begins with three string, clarion chords. Movement 3 is homophonic, commencing with1 the repetition of a single pitch that emerges into a progression of chords which expands the range outward, and conveys a quality of inevitability building to a loud climax. The fourth and central movement of the suite is a 4-voice motet. This ~dngestmovement ~roiectsan im~ellinecharacter as voices enter in. de~art. I . ., .d and return while progressing in a relatively simple1- rhythmic texture. Movement 5 is a single melody that traverses much of

the range of the instrument. The action is fast, brief (a total of nine measures), and toccata-like conveying- - a sense of urgency- - that alternates with an occasional lyrical sweep. I~ sharp contrast, the sixth movement begins quietly. Its texture is that of a two-part invention in which the two voices are bcupied in a very lyrical and expressive dialogue. The seventh and final movement unfolds in a serene manner via a slowly ascending arpeggio that transforms into polyphonic areas of ever- ' increasing intensity and impassioned declarnatiod which attain fruition in a series of robust arpeggiations." I I Jeremy Beck (b. 1960) holds degrees in composition from , Duke University and the Mannes College of Music. His catalog includes a number of litekary compositions. Three such works are Black Water, a monodrama for and piano (from the novel by Joyce ~&olOates), Death of a Little Girl with Dove, for soprano and orchestra I (inspired by the life of sculptor Camille Claudel) and Laughter in Jencho, a chamber opera based on the final confrontation at Ruby Ridge between white supremacists and ~edekalagents. Dr. Beck has received awards and fellowships from the American Composers Orchestra, American Music Center, Civic Orchestra of Chicago, Millay Colony for the Arts, Mary Duke Biddle Foundation, Wellesley Composers Conference, O!egon Bach Festival, American Music Center and the American Council of Teachers of Russian. He has published articles Ad reviews in "Notes" (Music Library Association), "Essays in American Music" (Garland Press) and "Composer USA", an!d has taught at the St. Petersburg Conservatory and Herzen University (St. Petersburg. Russia) and the Kopeyia-Bloomfield school (Ghana) His music may be heard on the ERM, CRS, heng hau, and Living Artist labels. Currently, he is teaching at Fhatham College in Pittsburgh, PA. Dr. Beck provided the following information for his piece:

" Since the cello was my first instrument, my sonatas for 'cello and piano are becoming touchstones for my work and reflect my evolution as a composer. I've given 4 subtitle to this sonata: "Moon." As well, each of the three movements canies both a heading and an ending title. The headings are classical references, suggesting historical derivations and structural '4 nuances; the endings are poetic, all of which are connected to the primary image of the sonata. These poetic ideas are meant to open emotional windows into the interior of the piece, rather than suggest specific visual cues. "Aria da Capo (...sings upon waking.)" begin* with a lyrical aria for the 'cello, accompanied by a simple in the piano. However, this ostinato is deceptively simple, for within it one may find the seeds for the other two movements of the piece. The middle section of this movement becomes much more rhythmic, with a jazz-like interplay between the instruments. This "middle section" actually ends the movement, and the expectation of a da capo aria is unfulfilled (for the moment). "Pavane (...receives a Princess.)" is also in a suggested ternary form. Here, the A sections demonstrate a reinterpretation of the first movement's texture, with another melody in the 'cello supported by an ostinato accompaniment. The B section continues the opening flow of the music, but at twice the tempo, giving the music a sense of almost boundless rushing. There is a brief coda which brings back the opening tempo but, again, like the first movement, there is no true return. The last movement, "Galliard (...observes the precious foibles of the Earth.)", begins with a fast, chromatic figure in the piano. This chromatic figure is varied as it unfolds and, simultaneously in augmentation, it becomes the 'cello's principal melody. The form of this movement is rhapsodic, suggesting something like a "developing rondo" with interludes. The first interlude is a brief digression' for the solo 'cello, an unaccompanied meditation on the principal figure. After this, the fast music continues, until we reach a moment which suggests the next interlude. Instead, the final statement of the second movement unfolds, and this is then followed by the da capo aria of the first movement, which had been left unfulfilled. It is as if the final movement's fast music had continued on, spinning into silence, while the musicians at hand revisited unfinished thoughts."

Candace Wheeler is currently a candidate for the Doctorate of Musical Arts with a major in Music Theory and Composition at the University of Miami in Coral Gables Florida. Ms. Wheeler has been active as a free-lance artist in for over a decade. Her original compositions and have been recorded on Mitad del Mundo Records, Orfeon Records, Marola Records, TLM Records. her works have been published by One Hot Note Music Inc., a subsidiary of BMG Music Publishing and CBS Records. One of her latest works, Woodwind Quartet for Five Soloists has been released by a University of Miami CD entitled UMSCI 11. Most recently, she has been teaching Music Theory and Ear Training at the University of Miami and at various other educational institutions in Dade County, Florida. The composer states: "Breakdown Spectra For String Quartet is a work inspired by the American Bluegrass fiddle style and Bluegrass fiddle champion Mark O'Conner. It was composed using tones derived from the frequency spectrum of a cello's low D string. The harmonic spectrum of the cello's low D was identified up to the thirty second partial using digital FFT analysis. The harmonic partials were then grouped according to instrument ranges and remoteness of the tones to the fundamental, and arranged so that there is a movement toward the more remote tones as the work progresses. This creates the effect of a gradual increase in harmonic dissonance and chromaticism. The increase in harmonic tension is reinforced with a ,simultaneous increase in rhythmic density, dissonance, and syncopation."

A native New Yorker, Maurice Gardner (b. 1909) received his musical training at the where he studied composition with Leopold Mannes. He was founding Conductor and Music Director of the Great Neck, N.Y. Symphony, and is the recipient of commissions from Meet The Composer, The Barlow Foundation, Chamber Music America, the State of Florida, The William Primrose Archives, as well as awards and honors from the American Society. He has authored The Choral Reader, the Orchestrator's Handbook and has several hundred published works to his credit. After a career spanning four decades as a composer/arranger for films, radio and television, Mr. Gardner moved to Miami Beach, Florida in 1970 where he resumed composing for the concert stage. His compositions have been performed throughout the United States, Canada, Europe, , Australia and South America. Concerning his Quartet No. 3, Mr. Gardner writes: "Examining the score of this quartet, one observes the total absence of key or time signatures as well as the unconventional opening of the first movement marked Moderato. A cryptic, animated mood marks the second movement Vivo. This is accentuated by a spirited fugato returning to the first statement to end the section on an enigmatic note. The serene Larghetto is in traditional A B A form features the cello in a flowing cantilena melody. Although transient dissonances appear from time to time, the tranquil mood prevails. The fourth movement marked Tempo rubato is actually a short bridge that builds gradually in intensity, setting the stage for the fifth movement which follows without pause. This movement Con brio starts clamorously, the rhythms shifting almost bar by bar. Short jazz figurations sound when least expected. The movement finally loses momentum and appears to end on an unanticipated "blues" note but is instantly dispelled by a short, boisterous chord. The sixth and last movement Improvise marks a terse cadenza by the first violin. Recalling motifs from the first movement, the quartet reveals a series of variations ranging from the serious to the sardonic - from the graceful to the humorous. Now the viola leads off with a rapid ostinato four note figure anticipating that the end of the work is soon at hand. There are a series of sharp sweeping chords, a broad crescendo and two fortissimos for a dramatic finish." 1' Gordon W. Bowie resides in Washington,1 DC, where he performs with the National Concert Band of America, the I

as a music educator at all levels. His many compositions include works for band, string orchestra, brass ensembles, flute ensembles, and many other chamber ensembles. '/'he composer writes: "The Sonata Duegale for Cello and is subtitled "The Voyage of BA" a reference to the thematic : elements derived from the English folk song "~a!bara Allen." The work has four movements: I. Allegro Moderato : "Jolly Journey Out" 11. Marcia Serioso: "Bones of the Ancients"

It was composed especially for cellist ~iabeRoscetti in response to a conversation about the ranges of the Bass Trombone and the Cello which are similar, though the techniques and timbres are very different. The entire work consists of passages where the roles of the duet partners are! traded or swapped. In each section the cello will have the melody and the trombone the support; then the trombone has the same or similar melody and the cello has the support; then they change again. There are deliberate technical challenges add special effects for both instruments planned throughout the piece. The first movement is in sonata-allegro form; the secondlis a march; the third, a theme and variations; and the fourth a rondo that I Joshua Penman was born in Brookline, kassachusetts in 1979. He began playing piano when he was five, and composing when he was sixteen. His compositidn teachers have included Kathryn Alexander and Sebastian Currier. He has attended the Bowdoin and Music Ninety-Eight suhmer music festivals. His piece The Structure and Function of Pointwise I Periodic Homeomorphisms won the 1998 BMI S~udentComposers Awards. His piece 'till I found you was played in Alice I

activity in and of itself. If a train leaves Topeka, ahd another leaves Kansas City, traveling towards the first on the same track, they will inevitably crash. This piece is not con~emedI with the wreck, but rather the minutes before, and the algebra of expectation that describes them. The work was written in 1998 for today's performers." I I

Oboist Amy Anderson is Assistant ~rofessokof Music at Texas Tech University. The principal oboist of the Lubbock Symphony and the Breckenridge Chamber Orchesda she has recorded for the Albany and Living Artists lables. She received her Doctor of Musical Arts degree from the ~astmhSchool of Music. I Pianist/composer Max Lifchitz recently rebed from Pueno Rico where he participated in the New Music Festival sponsored by the Puerto Rico Conservatory. The American Record Guide commented as follows on Mr. Lifchitz's most recent release The American Collection (NorthISouth Recordings NO. 1014): "sufJice it to say that it would be hard to find a better snapshot of what American composers have beenI writing for the piano in the past decade than this collection. Lifchitz I plays everything with sensitiviy and force, where appropriate; and recorded sound is vivid and natural. " I Pianist Edward Wood holds degrees from ~hkEastman School of Music and The New England Conservatory of Music, I where hestudied with Russell Sherman. Long known as the only pianist playing Pianississimo by Donald Martino, Mr. I .Wood performed this work in concerts sponsored by The Group for Contemporary Music at The Manhattan School of Music

series of recitals at Jordan Hall in Boston. Cellist Grace Lin is a versatile performer of contemporary and chamber music. Ms. Lin appeared as soloist performing Tan Dun's cello concerto with the Juilliard Percussion Ensemble in Lincoln Center's Alice Tully Hall. She has also appeared as soloist with the Yonkers Philharmonic OrchestraI and with Harvard University's Bach Society Orchestra. Ms. Lin was a I featured young artist on New York's classical radio station WQXR, and was chosen by the National Czech Foundation to perform for the former Czech Republic president Vaclav Havel. After earning her Bachelor's degree in Psychology from Harvard University, where Ms. Lin graduated with honors and was awarded the Horblit and Braverman prizes for the arts, she earned her Master of Music degree from the Juilliard School. Her teachers have included Jerome Carrington and .

Pianist Steven Huter (b. 1965), has traveled throughout the world as soloist and chamber musician, giving concerts in the major cities of the United States, including Carnegie Recital Hall in New York, and Bosendorfer Saal in . He made his debut at age 18 with the Columbus Symphony playing Chopin's E minor Concerto. He studied with Menahem Pressler at Indiana University. and at the Manhattan School of Music with Constance Keene. He was chosen by Yehudi Menuhin to perform as chamber musician throughout Europe as part of the Menuhin Foundation based in Paris. He has made recordings in France, Switzerland, Austria, and for WQXR's Young Performers Showcase. He is a former faculty member at Indiana University, Manhattan School of Music, and also taught in Lille, France, and in Neuchatel, Switzerland, Currently, he is a professor at the Mannes College of Music and director of the Larchmont Music Academy (New York).

The Alborada String Quartet is made up of much sought-after New York free-lancers. Todd Reynolds is an improvising composer and a solo interpreter of new music who works extensively with the Bang On A Can organization and countless other composers and artists. English-born violinist and composer Kurt Briggs studied Violin and Conducting at the Guildhall School of Music and Drama in London before moving to New York to work with at College. Joel Rudin, former violist of the Laurentian String Quartet, has toured the United States, Canada, Asia, and Algeria and can be heard on chamber recordings for the Musical Heritage Society, Newport Classics, and Soundspells Productions. Francesca Vanasco was inspired by her tenure as soloist and principal cellist with the Orquesta Sinfonica ck Maracaibo in Venezuela to form Alborada Latina The Chamber Ensemble for Latin American Music. Her fascination with, and virtuosity in performing all styles of music has led to a multi-faceted artistic collaboration with her husband Thad Wheeler.

Since its formation in 1995 at the Oberlin Conservatory of Music, the Mir6 String Quartet has rapidly established itself as one of the most sought after young American ensembles. In April of 1996, the Quartet sprang to national attention, winning the First Prize in the 50th Annual Coleman Chamber Music Competition, and within a month capturing both the First and Grand Prizes at the Fischoff National Chamber Music Competition. Harris Goldsmith of The Strad described them as "captivating audiences with their wonderfully communicative accounts of Beethoven, Dvorak and Shostakovich". Daniel Ching studied with Roland Vamos and Donald Weilerstein. He has been heard in concert at the Banff, Bowdoin, Norfolk, Meadowmount, and Tanglewood festivals and was the founder and co-music director of the Oberlin Chamber Players. Sandy Yamamoto, studied violin with David Cerone and Donald Weilerstein and has performed to critical acclaim in such venues as Avery Fisher and Carnegie Halls as well as the Kennedy Center for the Performing Arts. John Largess, viola, studied with Michael Tree at the Curtis Institute of Music and has since held positions with the Colorado String Quartet and as principal viola with the Charleston Symphony. Cellist, Joshua Gindele, has performed extensively throughout Europe and the United States both as soloist and as a member of the Mir6 Quartet.

Cellist Avron Coleman has performed with the Minneapolis Symphony, and the New York Philharmonic under . As principal cellist of the Chorale and Orchestra, the American Ballet Theatre, and the National Ballet of Canada, Mr. Coleman has traveled extensively, performing in North America, Europe and the Far East. An infatuation with classical and contemporary chamber music led to his playing in numerous ensembles, including the Trio Canteilena, Degen Quartet, Princeton String Quartet and the Berkshire Chamber Players. He has also performed as soloist in concerto and duo-sonata programs.

The Elision Saxophone Quartet was founded in 1996 and all four of its members are undergraduates at Yale University. They have premiered quartets by Josh Penman, Matt Croasmun, Cantey, and Freeman, and have frequently performed as guests on concerts of the Yale College Group for New Music. Their recitals feature a wide variety of music, from arrangements of music by Mozart and Bach to standard quartet repertoire by Francaix and Dubois to recent works by Torke, Ticheli, Carl, Goldstein, and Peck. This spring, Elision will perform the Dubois Concertino with Yale's Pierson .Camerata...... The public is kindly reminded that the use of recording equipment of any kind is strictly forbidden. Please turn-offyour watch alaim or any other noise-producing device before the program starts. Make sure to know where the auditorium exits are. PLEASE REFRAIN FROM SMOKING and/or EATING WHILE IN AUDITORIUM.

PROGRAM NOTES (CON'T.)

The French film "Tous les matins du monde" served as the inspiration for the first movement of this work, which was written specifically to take advantage of the unique sonority of the bass flute. The outer movements are ' Angel Songs'(1994) ...... ;...... ~...... Scott . : Robbins' generally slow and meditative, while the central Dance provides most of the ... contrast. All three movements are deeply involved with ornamentation, and I ....powerfulpresence . . the finale shows the influence of my deepening interest in Japanese I1 ... almost-deadly birds of the.sou1 .. shakuhachi music. The premiere took place in Padua () last year, and it . . ,111 ... ungraspable . . has since been performed in Weybridge (England), Kromeriz (Czech Anne MarieKetchum, soprano ' . Republic), Baton Rouge, Zurich (Switzerland), and Honolulu. - DK . . , , .~naSeranian, violin ' . '

. . Sebastian ~oettcher,violoncello Daniel Kessner was born in Los Angeles in 1946. He studied composition . Wendy Prober, pianolcelesta with Henri Lazarof at UCLA, where he received his Ph.D. with Distinction . . . . in 1971. He has taught composition/theory and directed the New Music ...... -. . - Ensemble at CSUN since 1970. Recent activities have included performances . . West coast Pre.miere .. - by the Orquesta Sinfonica de El Salvador, the Black Sea Philharmonic ... (Constanta, Romania), andthe Jugendorchester "Nota Bene" (Zurich), as ...... well as flute recitals in Italy, England, the Czech Republic, and El Salvador. . . . -. . .. ._ . , ...... Canciones Transparentes is a song cycle based on poems by "the Cuban patriot . kt Ends (1996) ...... ;..;...... 1.... ;...:...:...... ~ichelle ree en-~illner . and poet Jose Marti (1853-1895). The central song, Dos Patrias, is the most dramatic of the set. The first and fourth are very lyrical and expressive. The ...... Isabella Lippi, violin -- . . . . . second and fifth are the shortest, simplest and most direct of the cycle, and -. -. convey an extroverted, albeit tender message. As the title implies, Canciones Transparentes is a diaphanous work which is expressed in a pan- tonal, uncomplicated harmonic language, and exhibits a sound pallette clearly related to Cuban melo-rhythms. This work was commissioned by ...... Florida International University for the commemoration of the 100th . , anniversary of Marti's death, and was premiered in Miami on , Bagatelle I1 (1997) ...... ;..A...... William Toutant 1995. - ADLV - Translation of song cycle Canaones Transparentes on back of program - . . .. '. -. . . . -Daniel Kessner, flute ' . ,. Frank Camplo, clarinet Aurelio de la Vega, born in La Habana, Cuba, in 1925, became an American . . Michael Kibbe, bassqn citizen in 1966. After occupying several important positions in his native

-. ... country, he joined the musi6faculty at CSUN in 1959, becoming Distin- ... guished Professor Emeritus in 1993. One of the best known twentieth . . .. . ' U. S. Premiere century composers from Latin America, his list of works (many published and commercially recorded, almost all commissioned since 1962) includes symphonic pieces, chamber music, piano, solo instruments with tape, song c cles, cantatas, ballet music, guitar and electronic music. The composer is derecipient of numerous prizes, commissions, awards, and distinctions (having twice received the Friedheim Award of the Kennedy Center for the Performing Arts), as well as honors and decorations from various foreign governments for his contributions to North American and Latin American music. He is also a well-known essayist on the pictorial art of LatinAmerica.

PROGRAM NOTES

Angel Songs received its material inspiration from my wish to write an . At Ends sets up a pair of themes that are at ends with each other, that is, which ensemble work featuring celesta: The musical/spiritual inspiration for this contrast each other by their unique use of register, tempo, thematic and pitch . work is from the depictions of angels in the of Rainer Maria materials. In a type of rondo format, the "C" section of the piece brings Rilke, which provide an almost-antithetical inage to current, New Age- together various elements of the two themes. - influenced portrayals of angels as benign spirits seeking to cooperate with At Ends was written in July of 1996 while I was a fellow of the CSU summer human beings. It's important to remember, though, that our record of past Arts Composers Workshop held at Cal State Long Beach. Written specifically angelic visits often has them bringing frightening and unfortunate news: as a virtuoso solo for Curt Macomber, a member of , the angels bearing flaming swords protect the tree of the knowledge of good * title of the work also describes the limited time I had to get the piece-done! - and evil in the Garden of Eden from further tampering by mankind, an angel is sent to tell Lot of his city's imminent destruction: in Revelation, I'd like to take this opportunity to extend a large thank you to Isabella Li pi angels pour out God's judgments on the earth. Even when angels bring to for so elegantly performing this work tonight. At Ends is approximately R ve minutes in duration. - MGW shepherds the good news about the birth of , the shepherds are "sore afraid."

The angels of Rilke's elegies appear as awe-inspiring, overwhelming Michelle Green-Willner received her B.M. degree from the University of supernatural agents, more akin to their traditional Judeo-Chr$tian and Toronto and her M.A. and D.M.A. degrees from Columbia University New Muslim incarnations, and the poetic fragments which provide the texts York. Dr. Green-Willner has received numerous awards, most recently four ASCAP Annual Awards, two ASCAP Foundation Grants to Young Composers, - for the first two movements of Angel Songs concern the impact of such The Brian Israel Prize from the , and the Serge Garant visitations upon mortal human beings. In the reflective final song, the Award from the Society of Composers, Authors and Music Publishers of - focus shifts from the impact of angelic encounters to the paradoxical Canada. human situation of longing to woo the angels and at the same time realizing their essentially ungraspable nature. - SR Her teachers have included Mario Davidovsky, Steven Mackey, David Rakowski and Marc Kopytman at the Rubin Academy of Music in Jerusalem. She has taught composition and theory at UC Irvine, CSU Long Beach, and Scott Robbins has recently been appointed Assistant Professor of Theory has founded and conducted the University of Judaism Chamber Players. She is currently taking the year off to compose and spend time with her two very and Composition at the Converse College School of Music, following a little sons, Moshe and Asher. three-year term as Composer-in-Residence at Southwestern Oklahoma

State University. He holds degrees from Wake Forest, Duke, and Florida ' State Universities. His works have adueved recognition through the ASCAP Foundation Grants to Young Composers and Standard Awards, Composers Guild Award of Excellence, NACUSA Young Composers , Award, Second hternational Composition Competition, and the Dale Warland Singers New Choral Works Commission. - Program Ndtes are continued, next page - ABOUT THE COMPOSERS THE MUSIC DEPARTMENT OF CHAFFEY COLLEGE IN CONJUNCTION WITH THE Christopher Scinto is pursuing his doctoral degree at where he is closely involved NATIONAL ASSOCIATION OF COMPOSERS 1 USA with the ASU Contemporary Music Society. His Evokin~ the Dream won the second prize in the 1996 NACUSA presents Young Composers* Competition. I I Marshall Bialoskv is an Emeritus Professor of Music at California State University Dominguez Hills where he was the founding chair of both the music and art A CONCERT OF departments in 1964. He has been president of NACUSA NEW AND RECENT for the last 22 years. AMERICAN CHAMBER MUSIC RobertLinn-has-been-retired-for-several-years-from-the University of Southern California where he chaired the I music composition and theory program for many years. A much-commissioned composer, he was a finalist in the Kennedy Center Friedheim Award Competition in 1991.

Stan Gibb is a longtime member of the music faculty at 1 the California State Polytechnic University in Pomona I where he is in charge of the electronic music program. ,

Michael Karmon was a first level winner in the 1997 NACUSA Young Composers* Competition. Residing currently in Minneapolis, he is a graduate of the University of California at Riverside where he studied with Barbara Bennett, member of the Executive Committee of NACUSA.

Hosting this concert, Thomas de Dobav is a longtime SATURDAY EVENING, , 1999 member of the music fac.llty at Chaffey College. His piece Claire- voy ance was written and named for his COLLEGE THEATRE niece Claire Rifelj who premiered it at her high school 8:00 P.M. senior recital last year in Middlebury Vermont.

1

I THE PROGRAM - INTERMISSION -

Four Tales: A Chamber Concerto for Guitar Evoking the Dream Christopher Scinto Michael Karmon

Chelsea Czuchra, flute I. Introduction

Kyle Champion, cello 11. Song

Genevieve Lee, piano 111. Windows

Steven Schmidt, percussion IV. Farewell Eric Lindholm, conductor Peter Yates, guitar

Albert Rice, clarinet Eleven Jewish Melodies for Solo Viola Marshall Bialosky Tom Flaherty, cello

Carole Mukogawa, viola Theresa Dimond, percussion

Piano Variations Robert Linn Claire-voyance Thomas de Dobay

Delores Stevens, piano Alexei Takenouchi, piano

Technology (Jennifer Olds) Stan Gibb

Dave Cahueque, Music is courtesy of the Recording Industries Music Performance Trust Fund. digital dela,y accompaniment

lNCERT lRFORMIANCE ENSEMBLE

oon

tural Center, 13 13 Newel1 Road, Palo Alto, CA

uee Odd Meters (W.W. Quintet)

by Rhino (Ob., Cl., Hn. Bsn.) vlovements from Wendling Farm: st Up the Road & Labor Day (Fl. & Pno.)

;ongs from set: Palabras and Tomatoes oprano, Fl., , Pno.) ntasy for Winds (W.W. Quintet)

lannels (Fl., Cl., Hn., Bsn.) u-ee Songs (Sop., Cl., Hn.)

~ntrapuntus(Fl., Cl., Hn., Bsn.)

.W. Quintet #2 DAN ADAMSON began playing guitar at age 11 and has performed in a number of blues and rock bands in . He is currently a recording engineer studying piano with Adam Domash.

BABY RHINO (for Oboe. Clarinet, Bassoon and ) is an imaginary character created by the person closest to me in life, Justine Lo. Justine has always been there to be the first to hear my compositions and encourage me with my work. She has inspired a sense of emotion in my music that would otherwise not be there. For her, I dedicate what I have written with love and thanks.

JOHN BEEMAN studied composition with Peter Fricker, and later with William Bergsma at the University of Washington, where he received his Master's degree. I-Iis first opera, The Great American Dinner Table. was produced on National Public Radio. Orchestral works have been performed by the Fremont-Newark Philharmonic, Prometheus Symphony, and Santa Rosa Symphony. Desert Sketches, a chamher work, was released in 1996 on the Classic Sketches CD by the Violeto Trio. Chamber music compositions such as Six Etlr[les/or Sfring Quattet, Elegy /or Solo Cello, and The Five Gfi o/Li/e were performed on recent NACUSA concerts. The composer's second opera, Law Oflces, premiered in San Francisco in 1996 and was performed again in 1998 at the San Mateo Countv Courthouse, through a grant from Philanthropic Ventures Foundation. Channels, an electronic music composition, was crcal~dfor an art installation at the Aspen (Colorado) Art Museum from - , 1998. Beernan has also rcccivcd an 1998 ASCAP standard a*.

CHANNELS, is a musical expression of John Beeman of "Folly Wall" by artist Malinda Beeman.

MALINDA BEEMAN artist, is a two-time winner of the National Endowment's "Visual Artist Award" She received her training at San Diego State University and the San Francisco Art Institute where she earned her M.F.A. She also studied at the Santa Reparta Graphic Art Center In , Italy and at the prestigious Print Workshop in London, England Her work has been exhibited at Anderson Ranch Art Center, The Boulder Museum of Contemporary Art, the Lynn Goode and Harris Galleries in Houston, Texas, and in numcrous galleries and museums internationally and throughout the United States. Her art is in the collections of Reader's Digest, 113M Corporation, Chemical Bank and Apple Corporation.

FOLLY WALL deals with rclative isolation contrasted with overflow of media information seen through the safe vantagepoint of a solari~unroom. The installation was shown in the Aspen Art Museum from October 15 to November 29, 1998. Special thanks to Richard Lohmann and Ricardo Flores for multi-media presentation. Made possible in part by a grant from Philanthropic Ventures Foundation.

SONDRA CLARK is a graduate of the Juilliard School (B.M.), San Jose State University (M.A.), and Stanford University (PhD.). A long-time Bay Area music critic and member of the music faculty at San Jose State University, she is an internationally recognized musicologist/specialist on the music of Charles Ives. Since retiring seven years ago, Dr. Clark has published a piano method and a guidc for beginning composers that was featured in her lecture on composing at the 1994 WAC State Convention. Her Requiem /or Lost Clrildren, written for the San Jose Symphonic Choir and Orchestra, benefiting the Kevin Collins Foundation for Missing Children, was premiered to critical acclaim. Her Three Scenesfrom was published by Neil A. Kjos Music Publishers in July 1998. During the last eight years, 1 1 of her compositions have won awards. In June 1999, Clark's music will be the subject of an hour-long cable television program, on the award-winning Grand Piano Show, which is aired in 450 cities and three countries. She is currently working under multiple grants with the National Opera Association's 1997 1st Prize librettist, Dr. Sally M. Gall, to compose an opera which incorporates music from her Native American heritage.

About THREE ODD METERS (I. 3+3+2, 11. Pentatempo Waltz, III. Two-Timing), she says: "I love Bartbk's folk dances and wanted to do a set of pieces that would make players and listeners more at ease with unusual meters. The first piece bounces along in somcwhat jazzy groups of 3,3, and 2. I was surprised at how delightful it was to write in a 518 meter when I began "I'c~itatanpowaltz" - the groupings offer lots of choices. "Two-timing" pits 314 against 618." THREE ODD METERS won I:irst Prize in the 1999 California State Composers today Contest.

NANCY BLOOMER DEUSSEN is well know1 throughout the San Francisco Bay Area as a composer, performer, arts organizer and music educator. She is a leader h the growing movement for more melodic, tonally oriented contemporary music and is co- founder of the SF Bay Chapter of the National Association of Composers, USA. Her works have been performed throughout the US and Canada and she has received numerous commissions both.locally and nationally from sdch performers and ensembles as The Oakland Chamber Orchestra, The Walnut Street Chamber Ensemble, The Baton Rouge Concert Band, The Bresquan Trio, The Santa Clara Chorale, The Women's Caucus in the Arts, OPUS 90 Chamber Ensemble, Richard Nunemaker, clarinetist, the Tanana High School Band, the Gabrieli Ijrass, Soundrnoves, the Mission Chamber Orchestra, the Semper Virens environmental group, and The Sandusky Music Festival. The 98-99 season will bring a performance of her orchestral work Ascent to Victory by The California State Hayward Symphony Orchestra, this work just having been released on a BMS CD. Paformances of her Pegasus Suite will take place in thc l3ay Arca, England, Sweden, Mexico and Greece; a performance of Parisian Caper will take place at The National Swophonc Convention in Atlanta, GA.

You are invited to stay after the concert and speak with the composers.

The National Association of Composers USA (NACUSA) is a non-profit organization whose goal is to foster the composition and performance of new music. Founded in 1932 and now with branches in Los Angeles, New York, Philadelphia, and San Francisco, NACUSA continues to be an active and most vital outlet for composers throughout the country. Inquires regarding membership may be addressed to I'lana Cotton at (650) 367- 1683. General inquires may be directed to Nancy Bloomer Deussen, (650) 85 8-0 172.

NACUSA San Francisco is a non-profit organization in need of support. Taxdeductible contributions may be sent to:

THE NATIONAL ASSOClATlON OF COMPOSERS San Francisco Bay Area Chapter 3065 Greer Road Palo Alto, CA 94303

Acknowledgements

The Members of NACUSA San Francisco would like to recognize with heartfelt thanks the following contributors to the 1998-99 concert season:

Dr. Mark Alburger Ms. Annette Axtrnann Music Library, University of California at Berkeley Ms. Ilse Calabi Mr. Brian Holmes Dr. Michael Kimbell Mano Murthy Ms. Jeana Ogren The City of Palo Alto, Division of Arts and Culture Mr. Robert and Ms. Carla Schenk Mr. and Mrs. Michael Scofield Ms. Emily I. Ward

This concert is presented by the National Association of Composers, USA, San Francisco Bay Area Chapter, in cooperation with the City of Palo Alto, Division of Art.and Culture.

Committee for tonight's concert:

Concert Production: Owen Lee Publicity: John Beeman, Carolyn Hawley, Marilyn Hudson Programming: John Beeman, Carolyn Hawley, Kathleen Nitz About the Performers ... Leigh Ann Reech is currently flute instructor at Nicholls State University, and director of the Greater Baton Rouge Flute Choir. She holds a Bachelor of Music and a Master of Music degree, both in flute performance, from Louisiana State University. While studying at LSU, Ms. Reech performed with the LSU Wind Ensemble, the LSU Symphony Orchestra, and the Acadiana Symphony Orchestra. In addition, she has been a winner in events such as the Louisiana MTNA Collegiate Woodwinds competition and the Monroe Symphony Concerto competition. of Chiho Sugo received her Bachelor of Music Education from Tokyo Gakugei University in J MUSIC Japan, and her Master of Music degree from Morehead State University. She is currently Presents pursuing her Doctor of Musical Arts in clarinet performance at LSU where she studies with Steven Cohen. At LSU, she teaches undergraduate clarinet and performs in various en- sembles, including the LSU Wind Ensemble and the LSU Symphony. She is the winner of NACUSA Mid-South Chapter the 1996 Kentucky Music-EducatorsAssociation Solo Competition and semi-finalist for the ICA 1997 Young histCompetition. Summer Concert

Kevin Bums is currently a candidate for the Doctor of Musical Arts degree at Louisiana . . ~State~University~where-he-studies-with-Griff1n-~ampbell~Most-recently . .;. -he-was-a-semi- > ,. .,. 7.: : finalist inthe Concert Artists Guild Competition in New York City. As a winner in the LSU . & .:, : concerto competition, he performed the Concerto for Alto Saxophone and Wind Orchestra ' ' by Ingolf Dahl with the LSU Philharmonia. At the Fischoff National Chamber Music Com- petition he was a semi-finalist with the LSU Saxophone Quartet. He has performed with : the Baton Rouge Symphony, theLouisiana State University Symphony, Philhmonia, Wind Ensemble, Jazz Ensemble, New Music Ensemble, Chamber Winds, and Saxophone Quai- tet, as well as with numerous other ensembles in his native Massachusetts. He has per- I formed on the LSU Festival of Contemporary Music and as a guest artist with composers : Dinu Ghezzo and David Ward-Steinman, and at the Northeast and South Central meetings of the North American Saxophone Alliance. Mr. Bums received the bachelor of music education degree, cum laude, from the University of Massachusetts where he studied with Lynn Klock. His Master of Music degree in saxophone performance is from LSU. '

Chris Rettie is currently a doctoral candidate fellow in saxophone performance at Louisiana State University. He holds a Bachelor of Music degree from Murray State University and a Master of Music degree from Louisiana State University, both in saxophone performance. His teachers include Scott Erickson and Dr. Griffin Campbell. A native of Hopkinsville, Kentucky, Chris has won MTNA solo competitions in Kentucky and Louisiana and, in 1995, was named a Yamaha Young Perfo'ming Artist. In addition, Chris is the altolbaritone saxophonist and arranger for the local salsa band, Los Calientes del Son, with performances at major events such as the New Orleans Jazz and Heritage Festival and City Stages Festi- val in , Alabama. As a member of the Red Stick Quartet, Chris has been a prize winner in the Fischoff Chamber Music Competition and a national finalist in the MTNA Chamber Music Competitions. In addition to frequent chamber performances in Baton Rouge, the quartet has given recitals in Indiana, Kentucky, and Chicago and has performed as soloists with the LSU Wind Ensemble and the LSU Symphony. lbesday, July 20,1999

8:00 p.m. . Recital Hall About the Music ... Program Fanfare for Peter Blauvelt The Fanfare for Trumpet was written in response to the many anniversaries - whatever their nature Metamorphosis I (1999)* Mikel LeDee may be - of the 1990's. The piece itself makes no pretense of being very sophisticated: It is simply a 1 The Kitchen Sink Ensemble: celebratory fanfare and not much more. Yuri Murata, Kheng Yoay, William Price and Mikel LeDee Metamorphosis I Mike1 LeDee This is a variation of a composition originally written and performed by several groups of children. I Shall Not Want (1998)* Bradley E. DeBow The performers were approximately ten years old and had little or no musical training. As in the original work, the performers of this piece were given a mission. The mission was to find or create an Leigh Ann Reecti, flute instrument or instruments on which to perform (recycled or discovered around the home). This situ- ation makes an exciting first rehearsal. There is no limit to the number of players required to realize Fanfare (1994)* Peter Blauvelt this composition. Tonight's performance will include piano, pans, pots, juice cans, rice, bottles, marbles, Pahick Tuck. trumpet coffee cans, etc. Impulse Dawn K. Williams Impulse (1995) Dawn K. Williams Impulse, for Five to Fifty Participants, is an interactive, audience participation piece. Each audience member wil1,select a different percussive sound (snap fingers, stomp, slam book closed, knock over Dawn K. Williams, leader chair. etc.). Participants are encouraged to select as unique and unusual a sound as possible, and may produce their sounds at any dynamic level desired. The "leader" begins the piece by producing his1 lbo Movements for Clarinet and Piano Ryan Ellis her sound at regular intervals. This continues as the second participant begins hisher sound, and so on until all audience members are producing their sounds simultaneously. When signaled by the leader, I. Triste everyone crescendos slowly to as loud as possible, sustaining this dynamic level until signaled to cut II. Esperer off. The piece is designed to surround each audience member with an aural atmosphere of percussive Chiho Sugo. clarinet sounds. Ryan Ellis, piano The Bucket Bill Kelley . . The Bucket is program music in 3 continuous sections: Birth. Humanity. Utopia. The piece is a form Intermission of structured improvisation and requires an adherence to the order in which each sound is introduced. The improvisational parameter is time, allowing the performers, individually and as a group, to de- . . cide the moment when each sound enters, and when changes occur. The Bucket is scored for (in order The Bucket (1991) Bill Kelley of presentation): bell, (2)wind-wands, string-can-board, , keyboard, wood block, copper Trip Fuchs, Kelli Scott Kelley, and Bill Kelley pipe, voice, tape, whirlies, zube tube, mouth sirens, bucket, percussion tube, spirit catcher. The Bucket was written for the opening of The Arlington Museum of Art in Arlington, Texas. Three Short Pieces For Tape Three Short Pieces for Tape (Based on the Poem "Alone" by James Joyce) Three Short Pieces for Tape is a collaboration of short individual works by Christopher Watts, Will- greygolden ( 1 999)* Christopher Watts iam Price and Jonathan Peters. Each one minute piece was created using Csound at LSU's MAD Studio and was based on James Joyce's poem Alone. The sounds of certain words contained in the Swoon (1999)* Jonathan Peters poem were often used as source material in the production of these works. A Crime of Passion (1 999)* William Price Alone -James Joyce Six Barefoot Dances John David Lamb The moon's greygolden meshes make All night- a veil. I. Firm The shorelamps in the sleeping lake II. Swinging Laburnum tendrils trail. III. Walking The sly reeds whisper to the night IV: Lively A name-her name- V. Jaunty And all my soul is a delight, A swoon of shame. VI. Brisk Kevin Bums. alto saxophone Christopher Rettie, alto saxophone 1 5. Paul Stouffercontinues a long career as a composer, arranger, and teather. His arrangements and compositions, published in the U.SA and England, includes 1 works for band, orchestra, voice, and instrumental enwmbles. His forty yunof tea* experience has included faculty positions at the Philadelphia Musical Academy and several private schools in Pennslyvania and Maryland. He now Perm State Abington 1 spends his retirement increasing performances and output of his compositions.

I and the 6. Stephen S~ceis associate professor of music and integrative arts at Penn State Abington. He has received degrees in composition from Miami University of Ohio, Penn State, and Temple University and has studied composition with National Association of Composers USA Cliiord Taylor, Maurice Wnght, Burt Fenner, Barbara Kolb, Jere Hutcheson, 1 and Martin Mailman. His compositions have been performed throughout New Delaware Vatley Chapter York, Texas, Wyoming, Pennsylvania, ViWest Virginia, Ohio, and I Miclugan, and are published by Noxth/South Editions, AugsberglFortress Publishers and Mobart Music Publications.

The Fall 1999 Composers' Concert

Sunday, October xo at 2:30 p.m. Satherland Anditob THE COMPOSERS PROGRAM. 1. Leonard Klein - 7he Variations on a 7heme ofTartini were written to the memory of my father. A violinist, he played this work in the realization of Fritz Kreisler. I have known this music for most of my life and, being influenced by Variations on a theme of Tartini (1988) Leonard Klein other composers, was a~actedto try something similar for piano." Leonard Klein, Piano Dr. Klein, retired music professor, is now able to devote himself more to composing. He works with computers, synthesizers, and music notation software. Five Little Counterpoints for String Trio (1996) James Marshall Dr. Klein and his wife live in southern New Jersey, rather close to the ocean, with Members of the Cheltenham Quartet their two dogs. Besides composing, he likes cooking and going to concerts, plays, and the opera. Trio for Flute, Clarinet, and Piano (1999) Joseph Nocella 2. James Marshall studied cello at the New School of Music in Philadelphia, and Flute: Josephine Jones earned an M.A. in music theory and composition at the University of Pennsylva- Clarinet: Lisa Shiota nia. He plays cello with the Wayne Coterie Shing Orchestra, which performed his Piano: Stephen Campitelli Avian Suite in May, 1999. An avid listener to jazz performers more accomplished than himself, he recently enjoyed hearing his of 'Skylark" sung by an ad hoc vocal ensemble, the Chromatose Cuartet, at the Jazz Concert of the Western WidVocal Ensemble Workshop at Smith College. Duo Sonata #2 for Violin and Viola-Four Nocturnes (1998) (WORLD PREMIER PERFORMANCE) Peter Nocella 3. Joseph NoceUa studied composition with Romeo Cascarino and received his I Nightscape master of music degree from Temple University. He studied piano with Temple - Painter and Tom Lawton, and jazz improvisation with A1 Stauffer. His music has I1 - Di Notie in Napoli been performed widely by such organizations as the Concerto Soloists, Stockton 111- Eire:Loverls Nightwalk Chamber Orchestra, Composer Services Inc., Crissey Concerts, and NACUSA. IV- La Nuit des Chats Many commissions include the Pennsylvania Music Teachers Assoc., Interboro Members of the Cheltenham Quartet Ecumenical Chorus, the Rowan Jazz Festival with Orchesh 2001, most recently a film score for the Franklin Institute, and the present work by the Suburban Music String Quartet #l (1991) Paul StoufTer School. Nocella teaches music for Delaware County Community College; piano, I - AUegro jazz, and composition for Suburban Music School and is director of music for St I1 - Moderato Gabriel's Church in Nonvood, PA. I11 -Rondo 4. Peter NoceUa studied composition with hlichael White, Joseph Castaldo, and The Cheltenham Quartet Clifford Taylor and studied viola with Leonard Mogill. He also attended seminars with Vincent Persichem, , Gunther Schder, and Andrew First String Quartet (1975) Stephen Stace Rudin. Studies at Temple University yielded the M.M. and D.M.A. in composi- I - (1/4note= 100) tion. Dr. Nocella has been very active as a professional composer, conductor, and 11 - (112 note - 48) violist For 15 years (1974-1989) he composed and arranged major ballet scores I11 - (114 note - 132) for the American Ballet Theater (with Baryshnikov),Pennsylvania Ballet, Milwau- The Cheltenham Quartet kee Ballet, Cinncinnati Ballet, and the Malmo (Sweden) State Theater Ballet More recently, he was commissioned by the Philadelphia Swedish Historical THE CHELTENHAM QUARTET Museum and the international sisterhood of the Holy Family of Nazareth to compose new works for the year 2000. Currently, he teaches music at Penn State Florence Rosensweig - %olin I Millie Bai - V~olinI1 Abington and Nazareth Academy while maintaining an active composing and Peter Nocella - Viola David Szepessy - Violoncello performing schedule.

NACUSA OONCERTI with the COMPOSERS PERFORMANCE ENSEMBLE I I Joe Messler, Baritone Diana Tucker, Flute Michael Kimbell, Clarinet JAB, Trumpet Brian Holmes, French Horn Jeanna Ogren, Piano Virginia Smedberg, Violin Sue Bates, Viola John Beeman, Bass Mark Alburger, Conductor

Saturday, October 30, 1999,8pm, cultural Center, 13 13 Newell Road, Palo Alto, CA I I

I I'lana Cotton PLAYT~INGSfor viola and ~iano

I Brian Holmes SIX LU&LABIES for baritone and piano (Mark Van Doren)

John Beeman CRYSTAL NOCTURNE for viola and piano I Sondra Clark MASTIFFO'S ARIA for baritone and piano Mark Alburger ANDA~TECANTABILE ("IT WASNT CLASSICAL...") I for flute, clarinet, trumpet, horn, piano, violin., viola, and Intermission

Paul M. Stouffer PHIZZOG for baritone and piano I Owen J. Lee CREDO /forbaritone and piano I Bruce Hamill THE LONG GOODBYE for violin and piano I I I Nancy Bloomer Deussen RONDO for violin, clarinet, and piano MARK ALBURGER is an eclectic American composer of postminimal, postpopular, and postcomedic sensibilities. He is Editor-Publisher of 20thCentury Music Journal, an award-winning ASCAP composer of concert music published by New Music. oboist, pianist, vocalist, recording artist, musicologist, author, and music critic. Dr. Albutga began playing the oboe and composing with Dorothy and James Freeman, George Crumb, and Richard Wernick. He studied with Karl Kohn at Pomona College; Joan Panetti and Gerald Levinson at Swadunore College (BA.); Jules Langert at Dominican College (MA.); Roland Jackson at Claranont Graduate School (Ph.D.1 and Terry Riley. Dr. Alburgds upcoming perfionnances include Blue Boat for musical boats with Marilyn Hudson on 1, the premiere of excerpts from his Sideuwlks ofNew Yonk: Henry Miller in Bnwkly. for an ACF Forum on at Noe Valley Muusby, and a piece at the Moscow Altenutiva Festival in Russia during Apnl2000. He has been commissioned to write a work for woodwind quintet, string quartet, and piano for Max Lifchitz's NorthISouth Consonance Ensemble, to be premiered in New York in the 2000-2001 season.

ANDANTE CLIMilBILE, OP. 21 rIt ~vlsn'tclassical it was symphonic... " "It wasn't a symphony. because it did not have a sonata allegm.7 (1 998) is the first of a projected series of nine "gridn musics based on works by older composers. The magic hook for this composition is that of the second movement of Beethoven's Symphony No. 1, from which is taken form and spirit (including exact number of measures, tempo markings, keys, and even opus number), but little content. The lengthy subtitle refas to overheard comments which form the melodic bases of two themes. The Andante Cantabile Con Moto is a solemn and stately procession through stubbornly contrapuntal processes. The music is based on sketches notated in Nevada deserts.

JOHN BEEMAN studied composition with Peter Fricker and later with William Bagsma at the University of Washington where he received his Master's degree. His first opera, The Greot American Dinner Table was produced on National Public Radio. Orchestral works have been performed by the Fremont-Newark Phihamonic, Prometheus Symphony, and Santa Rosa Symphony. Desert Sketches, a chamber work, was released in 19% on the Classic Sketches CD by the Violeto Trio. The composer's second opera, Lmv Ofices, premiered in San Francisco in 1996 and was performed again in 1998 at the San Mateo County Courthouse through a grant from Philanthropic Ventures Foundation. Channeh, an electronic music composition, was created for an art installation at the Aspen (Colorado) Art Museum from 5-November 29. 1998. Mr. Beeman received ASCAP special awards in 1998 and I999 and also attended the Ernest Bloch Composers' Symposium in Newport, Oregon. In August 1999 he received an individual artist grant from the Peninsula Community Foundation for production of a new opera, The Amring Machine.

CRYSTAL NOCTURNE is a lyrical, neo-romantic composition for solo viola and piano written in September 1999. The HarvardDictiotraty of hIu.~ic&fines "nocturnenas a "romantic character piece...written in a somewhat melancholy or languid style." Originally piano pieces, the tam was extended by Debussy with his Nocturnes - symphonic poems with women's voices. Crystal Nocturne would fit both defmitions: first, as a short character piece; but also, to feature the viola in a more expansive style. This performance is dedicated to Marcia Packard, the composer's aunf who died on October 5.1999.

SONDRA CLARK is a graduate of the Juilliard School (B.M). San Jose State University (MA.), and Stanford University (PhD.) A long-time Bay Area music critic and member of the music faculty at San Jose State Univeristy. Dr. Clark is an intemationally recognized specialist on the music of Charles Ives. Since retiring nine years ago, 12 of her compositions have won awards. and she has published a piano method and a guide for kpnqcomposers. Ha Three Scenes from New Orleans was published by the Kjos Music Publishas in July, 1998. Clark's Requiem for Lost ChiUm, written for the San Jose Symphonic Choir and Orchestra, benefiting the Kevin Collins Foundation for Missing Children, was premiered to critical acclaim in 1996 and will be performed in March, 2000, as part of SYSC's Millenium Series. In June. 1999, the award-winning cable television program. The Gmnd Piano Sl~owpremiered The Wonderjiul Piano Music of Sondm Clank, an hour show which will be aired in 450 cities. The aria presented here is from DALhL4TIA AND DALMATIO, a "neo-Rococo comic chamber opera" in progress, with libretto by Dr. Sally M. Gall. the National Opera Association's 1997 1st Prizewinning librettist. The opera's story is about Dalmatia and Dalmatio. a pair of Dalmatian dogs who are newcomers to a village which is ruled by the bully, Mastiffo. Once Mastiffo sees Dalmatia, he becomes smitten and, in this aria, vows to have hafor his mate. no matter what the cost.

I'LANA COlTON is a composer and pianist specializing in improvised and multi-arts performance. She has collaborated with other musicians and artists in visual and theatrical media, and extensively with dancers and choreographers. Her work has appeared on several Bay Area concert series, including the Dominican College NOW Music Festival, Marin Community Playhouse Contemporary Music Series, Alea fl at Stanford University. City of Palo Alto Cultural Center, Trinity Chamber Concerts in kkeley. She holds an M.A. in composition from UCLA, with undergraduate music study at San Francisco Conservatory. She has also Indian Classical vocal technique with Faquir Pran Nath, and studied gamelan with Max Harrell. CmUyon the music faculties of Skyline College, College of San Mateo, and San Jose City College, she also teaches in her Menlo Park studio, specializing in lcaching improvisation, composition, and theo~y,and is the author of Music of the Moment: A Gmded Apprmch to the Art of Keyboard Impmisation, available from New Music. "Down Dip the Branches" and "He Cut One Finger" from Collected 'and New Poems 1924-1963 by Mark Van Doren. Copyright 01963 by Mark Van Doren. Used by arrangement with Hill andWang, a division of Fara, Straus, and Giroux, Inc. s..vo3 L *3sn 2.t- la* o a2E03 23 b.0RE rr. .'" 0 , 2 %a?-. 9 n rr. N 2QhCIb rr. 35.3s0 n &(, rc cnFmrCa 2 3 Tr x 5. ;s2 Pt a 3 Y Z:? * 8. $= LO e- EL rr. a n 2 q Cnzan* n 3 en 3s -n =3 "0 ndg a 0 s. 9 Ccn rC3.s A.,' * s n OQ..0 X s 3.2% 2. 2""f3aa, 2 g. nrC"33 n

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NANCY BLOOMER DEUSSEN is well know tfrrout the San Francisco byArea as a composer, paformer, axts organizer and music educator. She is a leader in the growing movement for more melodic, tonally oriented contempomy music and is co- founder of the SF Bay Chapter of the National +istion of Composers, USA. Her works have been performed throughout the US and Canada and she has received numerous yissionsboth locally and nationally from such paformers and ensembles as The Oakland Chamber Orchestra. The Walnut SFChamba Ensemble. The Baton Rouge Concert Band, The Bresquan Trio,

has been recorded by ERM.

OWEN J. LEE is Instructor of Music Theory at Diablo Valley College in Pleasant Hill. He studied with Paul Reale, Henri Lazorof, and Roy Travis at the University of ~alifdrniaat Los Angleles, and with Andrew Imbrie at the University of California at Berkeley..

CREDO. featuring a baritone soloist. is actually one section of a larger setting of the mass ordinary entitled Missu

PHlZZIG sets humorous philosophical on the subject of inheriting your face and having no recourse to exchange it for any other. You are invited to stay after the concert and speak with the composers.

The National Association of Composers USA (NACUSA) is a non-profit organization whose goal is to foster the composition and performance of new music. Founded in 1932 and now with branches in Los Angeles, New York, Philadelphia, and San Francisco, NACUSA continues to be an active and most vital

\outlet for composers throughout the country. Inquires regarding membership may be addressed to I'lana Cotton at (650) 367-1683. General inquires may be directed to Nancy Bloomer Deussen, (650) 858-0172.

NACUSA San Francisco is a non-profit organization in need of support. Taxdeductible contributions may be sent to:

THE NATIONAL ASSOCIATION OF COMPOSERS San Francisco Bay Area Chapter 3065 Greer Road Palo Alto, CA 94303

Acknowledgements

The Members of NACUSA San Francisco would like to recognize with heartfelt thanks the following contributors to the 1998-99 conccrt season:

Dr. Mark Alburger Ms. Annette Axtmann Music Library, University of California at Berkeley Ms. Ilse Calabi Mr. Brian Holmes Dr. Michael Kimbell Mano Murthy NEW MUSIC Publications and Recordings Ms. Jeana Ogren The City of Pdo Alto, Division of Arts and Culture Mr. Robert and Ms. Carla Schenk Mr. and Mrs. Michael Scoficld Ms. Emily I. Ward

This concert is presented by the National Association of Composers, USA, San Francisco Bay Area Chapter, in cooperation with the City of Palo Alto, Division of Arts and Culture.

Committee for tonight's concert:

Concert Production: Robert Hall Publicity: John Beeman, Marilyn Hudson Program: Mark Alburger, NEW MUSIC Publications and Recordings Programming: John Beernan, Nancy Bloomer Deussen, Diana Tucker

About the Music ... Program Liduino Pitombeira PISCES Three Movements for Piano (1998) Melissa Pausina Pisces is a movement from the cycle Zodiac for solo piano. The psychological aspects of the Zodiac signs inspire this work. It employs a set of twelve tones, which is stated in the Melissa Pausina, piano very beginning. This set represents the twelve zodiac forces. Also, two modal ideas are used which represent the duality of the world such as hot and cold, day and night, etc. This twelve-tone set is used as a matrix for the entire cycle, which is not completed yet. Three Short Pieces for Solo (1998-99) Bradley E. DeBow The work was written in 1993 for my wife Duda Di Cavalcanti for her birthday because her sign of birth is Pisces. Bradley DeBow, tuba

Mickie Willis Shards of Memory Pisces (1993) Liduino Pitombeira

Shards of Memory was composed as a sort of variations, in that a long series of harmonic Duda Di Cavalcanti, piano progressions are the basis for all melodic and motivic detail. The variations are not regularly periodic, however, and serve only as pitch content for melodic figures, with the harmonic rhythm varying considerably with the mood of the piece. Not formally divided into discrete movements, various episodes reflect the continuous stream of our thoughts, Charanga (1993) Michael Colquhoun in which our memories are ever-present, but often fleeting, fragmented, sometimes disturbing; occasionally lucid, coherent, serene and comforting, and sometimes relentless Sarah Berg, flute and overwhelming.

Six Bagatelles forpiano (1973-77) Peter Blauvelt 1. Scherzo - prestissimo 2. Impromptu - Allegreto 3. Intermezzo - Lento 4. Arabeske I - con mot0 5. Arabeske I1 - moderato 6. Humoresque - Allegretto con rubato

Duda Di Cavalcanti, piano

Shards of Memory for piano trio (1999) Mickie Willis

'Iim Marchiafava, violin Ivan Lalev, cello Louis Wendt, piano Notes about ttte Artists The Mid-South Chapter of

Red Stick Saxophone Quartet Baton Rouge, LA NACUSA Brian Utley, Joshua Thomas, alto saxophone John Perrine, Chris Rettie, presents

The Red Stick Saxophone Quartet was formed in 1997 by students from the studio of Griffin Campbell at the LSU School of Music. The quartet has performed at North American Saxophone Alliance conferences at the University of and Northwestern Un'mrsity, and has also appeared at St. Joseph Cathedral in Baton Rouge, Murray State Un'wrsity in Murray, A Concert of-C~nkm~.ra.cy W;and-StrMaqrCdlegei~S~th-=d,lN;The quartet was a featured ensemble at LSU's 54th Festiial of Contemporary Music, performing Philip and Experimental Glass1 Concerto for Saxophone Quartet and Orchestra with the LSU Symphony Orchestra. As a competitive ensemble, the Red Stick Saxophone Quartet was named National 1st Runner-up at he 1998 MTNA Collegiate Music Chamber Artist Competition in Nashville, TN, and received Third Prize at the 1999 Fischoff Chamber Music Competition in South Bend, IN.

Heather Pinson received her bachelor of music from Samford University where she studied violin with kffrey Flaniken. She is currently working on her masters of musicology at LSU where she continues to perform with the LSU symphony and various other ensembles. Heather has been a member of several orchestras including he Birmingham Symphony, the Montgomery Orchestra, the Jackson Orchestra, and has served as concertmeister for the Jackson Symphony Camerata Strings. This past summer Heather performed concerts throughout Italy with the Festival Orchestra. She currently studies violin with James Alexander and iau improvisation with Rex Richardson. The Baton Rouge Gallery Thursday, ,1999 I 7:30PM I . . -. C . .. ., - I-. .. ,' ... - , -., ..? .' : . _.I , + \, - ...... * ., ...... , . +won0139s pall oJ6allv '111 o+ua1'I1 ,,'p!qweqnu y+'fioaea A~IPD~ P+D=!W WJapoW oJ6al~'I S! ~a,~j~q.~J~UY~UD 4suep 'n!ueur(p 'q3~dp an~,~38.d y+ U! peqje~S! B~UDJ u! wue~vep ~sp!s!ql 'eu!~jo spyed ~qsNAO e6u~q3 UD3 pD'snofqIItUnl pu~ DJ!~~uo+!~0u!np!l (6661 /!SDls-"Dd ruelop q I!~~UDJ+pu~ eue~es uoy e~eylHXu~eq UD~sel~1 pe3 eq+ uo nrq+!puq -~!u~lykjuuedu! e!q epljo se~oqsey uo 4661 jo ~euumy+ Gu!~np podurn ~qnl'Mqaa Aqpoq eJ8M -!d yl loj SD9p!u!Dur eLLL .DqnlOIOf JOj 038!d BUO+8qBNCI pqs D S! jSD9uO3 s~a+adueyeuq (6661) 4sD4u?3 -4adUDqWUOy PD4u03

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Chord h kbety. ~e holds a &of muldc degree in oomposition and cmbctmg from ~irginia ' PnmSorobNo.lwaeomposed~thespringandsmmnerof1999forKyoog Commoawdth University, wbm he stndied with AUan Blah and Jadi Jan&i. His music, Jarre!. The wort was written under the influence of the compositional rhdoric of Beethoveq pubMby Seeaw Music, Inc. of New Y& indades wol$ far Sax Qlrartet, Chid indw, Ba1i4 and Shdovich. Traditional procedures of mhikbnic form are follod in the tbree Flute,andOrgdn &wor$idudermaicformW@haud,cboruqW"& sonata, ternary, movemeats of Ibis work: an iconoelaptic a pensive and a rhylhrmcal rondo Woqd*. John Winsor, darinet; respecbvdy. 'Ihe modes in the wola hvethe muod of the diatonic plus one additid We. It is AllanBknb wabominNewYarbCFtyinI9tS.B~~~atthe Jeannette Winsor, piano the initial two movemmls that will be performed duhg this coaeert High School ofhhicand Art, Jdhard School of Muic (1W541). Hemiveda Worof Fipt Skeith 0 17,fir ViobucL4ava orighdy written in 1980 for salo violin. In hdepreefromW~~Cdegem1gqSandaMaPlaofh~fmthe PhP~Cv~qI7 1Wit s bamiifk cello and vida The titles ofthe skdd~esrn hmhQWw Univmitv offdhemhin 1950. He had additional stndy at the University of AUan was a I. of two voim Voicesby Tennyswn, dh Rnpe 01th hhyAlexander Pope. The titles were selected after violinist~the~borgh~ymphon~fm1950tol%~the~win~(~ckandthe 2. of this lovely gnea the sketches were written. Ibe stdcbes, while written a absolute music, create programmatic National Orcbwtral Training Asscdoo Chckba in 1952. h the somma of 1953, lie hdied 3. ofdvesbyby~gllightm6ee0 images which evolved after the completion of the pica. Ibe titles were comtmkd from poetry orchestral and cbamkr music at Tangled 1111954, he studied &amber maPic at the Mm 4. of the variou light in silken found in the Rap of the LC&, by Alexander Pop.The titles give way to images which could Sehwl of !hie. From 1954 tol956, he coqleted the Teachers CdidonRogiam at Teacbers 5. ofsylphsinfields appear either on an dspalate, or in the motiolls of a dm. College, Columbia University. He then taught instrmnental mtac at New Yodr's MS 118(19% I#& Dm(1998) s inspired by the Eompaser's daughter who, while deep at two n)and~s44(19naylnthe-of1959,he~t1~~enhny~et~ Dr. James HertAsoq Violoncello we& d4 rm obviously drearmng. The music moves thmgh several dmmtates of Merent Teachers College, Calmbia University. FKIIO 1960 to 1961, he taogbt music Umyand dmctu,in an aa~mptto imagine what might exkt in the subconscious of a two week old Md. composition at the University of Alabm. In the summa of 1961, he taught music appreciation at hSatatnNal heyStokes Five Pkccrr for CbiwluA1993 am& of an mblike imammmt in which the Setw Hal University. He taught instrmneotal rmic Fmm 1961 to 1962 at Yodikm Heights central third piea -.marlred Geotly, hhiotion - ismunded by two pi& of fist pieces. Each Schoolsandfmm1%2-1%5attheffi~Sehoolof~candAR~the1%566schd of the four fast pim presents ideas differently, but tends to .drmthe virtn@ic aspeas of the year, he taught in the New York aty pubhc d~akDrmng the summer of 1%6, he wa a dodoral immnt assistant at the University of Iowa. Re eght music theory and composrhon at Westem Illinois PamSt& Nod 'A Welb In tbe Woodsn 'Ibis six movmtsuite for pim s Universityfml%l968,at~S~Co~from1%8to197Oandfml9Tlto!~. bemm in 1%7 and wmlded in 1982 The rust movement is like the hem? in andatH&H~CUNYfm1910to19Tl.ManisRofmEmai~ofV~a ~~~m'~t~o~xhibition',andbnngsusintothewoodp~~w~v~tthe Common& University, where hetaogtd from 1978to 1996. ~llao'swwh arc pnb&d by bubbhne, m-filled sorine makim its wav throueb the forest toward the &Y lake A sudden Boosev&Haw);es AssaiatedMuldcPnblishers.Carl~&Comnanv.SeesawMtac ldsdIkeans Leigh Baxter ~om~usby~d&the&iso~webearthe~eof~fa~mgdthe CCQO&I ~prii~oreaR~I.O~ m had others. B 1cartx.A~we waada fartber into the fmtwe anive at Looking GkFah and beholdh nriking mmic is recorded on CRI, Oioq Advance, Open Loop,Cdaur, Cont~npor;oyRamd Society, University of RihdGuitar Ensemble d splashg downwd, never stoppmgm its reldm flow. 'I&we come upa hoge fm,a, - Titanic, Ro Vivq ad No~thlSordblab&. Ah's ~xwmitionpdzes include awards from he Adam Mandell-Guitar fomcmpaorofdthef~nowlyingQadanddemmposn&gradllaOyrehrmingtothesoil George Eatmaa Compehb'on (IW), the~alidh&mifor the &(1983), the Vuginia Baron Tymas-Guitar from whicb it sprang. Fiaally, we fmd om way to the Wullake at ev* and enjoy the MpricT~ers~on11979.1988and 19911theEiicSatie MosltvTonalAwardt!ie EhIindMoomGtlitar mmmofhrrpphngwavesagamstthesboreinthe~gh~AUbrdtbe3rdand6th Chilaup ~nnoal~horal CompCtitii~ward lhhrtd solo song &tim (1989), and the movements were premiered at a 'Friends of Floyd" at at MResbyteriaa Cl~urcbVirginia Flutr ChonConmehtion at the UniversitvofTdedo(lW~.Ah islistedmawkrof Beach, on Febnq 18,lW.Today dl be the httime it has beea played in ib w. refereaces indud;ng the ~ewGroves Dikiwarp of hc&d MUO&. James Preston Herbhq (b. ~4,1947)isanativeofW.ilahomaCity, Olrlabama He earned the Bacbelor of Mmic Ednhdegree from the Univasity of Oklahoma, the Master of John Wmr, dakt Wcdegree from the University of hadigan, ad the Dodor of Mn\ical h degree from the Catholic Universitv of America Dr. Herbisao is Associate Rofmof hfusic at Nodolk State Floyd Wonha, an elhealengineer and oidahed minister of the United Chmcb ~nivenitywhere b teaches theory, ~egstrmg metbodq and music apprgiation He also Floyd Barns ofC& although born in New York State, mived mait of his education in Canah His early condodstheunivasityorchestraanddesrelataichambRenswbles.Hehasbccngneyt trarmng in music theory was at the Royal ConserPatory of hieinTmto, and he later studied condo~Ior,ax14 adjdcator and dinitiaa for ordxsId,cbambesand doevents thgbout 1.AWaBintheWoods ~~oo~Dr.F.RS.aarheatQumUniversity.SihemovedtoV&ia,heh ViandNorth Carolina He is principal cellist of the Wilhburg Sympbonia and ahtin theviaSymDbony and cellia and &h of the HICO &&cb he &hed dde 2.AttheSp1ing Btnmed coqcdon with JhDavye at Old Dominion University mNodolk Floyts works His 3. After the Rain in& anthem, carols, mtatao, song qdes, a Requiem Ma~qbane& a symphony, a violin at 6 nib&$. performanu expuimu Imlnds mdpin the OUahoma City 4.LoolangGtapsFalls amcato,olbn orchesbal war$ and inshumenlal chamber mpric. His Begy for Fhde and Strings Symphony, the %J! Symphony, the Vugiuia Opaa Or- and the Nova Trio. He ba 5. How An the haghty Fallea (198.5) and hada forband Permion (1990) were mrded in &atislavain the~lmmerof performed in recitals, ch&r grcsrps, and with mlcbestran throoghout the United States ad 6. Evening By the Lahe 19WbytbeSlovakR~oSyrmphong~Theh~rmreldin19%ona(lDof bda.Notable- amone b reatal and chamber mformances are his mid at the Cathcmal of St woks by 8 Amaim composers under the Makz MmidCouedive label entitled Orcbesbal ~ohnthe~ivinein~ew?orh;hispfonmce atihe~wmdy~entufarthe~af~~rtq Jeanette Winsor-Piano ~bnes,Vol.l~C2022);theBegyistofdowonanothadiseinmid-U)OO.Ohrecent the NovaTno's phmaw and madung session with Menahem Merof the Beam h Trio woltsindodetwopianosoites,htforthe~eofImq'for~andordl~d Texts for Four Holy Songs UNIVERSITY OF CALIFORNIA. RIVERSIDE 1 Department of Music presents

1. Never Weather-beaten Sail 3. The Conclusion I by Thomas Carnpion by Sir Walter Raleigh ' Never weather-beaten sail more willing Even such is Time, that takes in trust bent to shore, Our youth, our joys, our all we have, And pays us but with earth and dust; 1 Never tired pilgrim's limbs affected 1 slumber more, Who in the dark and silent grave, Than my wearied sprite now longs to fly When we have wander'd all our ways, I my soul to rest! My God shall rase me up, 1 trust. Ever blooming are the joys of Heaven's I e -4 A --- -,-A 1-1, high Paradise, Natic ------Cold age deafs not there our ears nor vapour-dims-our eyes: 4. Pryto the Father of Heaven Glory there the sun outshines: whose by John Skelton of Composers, USA beams the blessed only see: 0 come quickly, glorious Lord, and raise 0 radlant Luminary of light interminable, A Program in Honor of my sprite to Thee! Celestial Father, potential God of might, Robert Linn (1925 -1999) and Ellis B. KO~S@. 191 6) of heaven and earth, o Lord incomparable, Of all perfections the Essential most Perfite! 2. Hymn by John Bunyan 0 Maker, that formed day and night, Whose power comprehendeth every place! He that is down need fear no fall, Mine heart, my mind, my thought, my whole dehght He that is low, no pride; Is, after this life, to see Thy glorious Face. He that is humble ever shall Have God to be his guide. Whose magnificence is incomprehensible, All arguments of reason which far doth exceed, I am content with what I have, Whose Deity doubtless is indivisible, Little it be or much; From whom all goodness and virtue doth proceed, And, Lord, contentment still I crave, I Because Thou savest such. Of thy support all creatures have need; 1 Assist me, good Lord and grant me of thy grace Fullness to such a burden is To live to thy pleasure in word, thought and deed, Sunday, ,2000 That go on pilgrimage; And, after this life, to see Thy glorious Face. 4:00 P.M. Here little and hereafter bliss, Is best from age to age. Alleluia. Watkins Recital Hall National Association of Composers, USA Intermission A Program in Honor of Robert Linn (1925 -1999) and Ellis B. Kohs (b. 1916)

February 13,2000 Piano Variations (1999) Robert Linn (1 925-1999) Peffomed in memory of the coqoser

Four Barbara A. Bennett @. 1952) Delores Stevens, piano 11. Freely (1999)

Barbara A. Bennett, piano

Longing Under the Moon Jacqueline Jeeyoung I(lm @. 1968) Suite from Macbeth, K. 17 Ellis B. Kohs @. 1916) [Znd Phce winner, NACUSA composers competition 1778) I. Prelude Amy Shulman, harp 11. Processional I (Macbeth's Army) Peter Kent, violin 111. Processional I1 (Duncan's Army) N.Gavotte (for the banquet scene V. Intermezzo (between scenes) Stephanie Johnson @. 1977) VI. Forlane (prior to the assassination of Lady Macduff and her little boy) . . hear sound, less ringing VII. Signals (of the opposing armies) and sonorous than the dreamers . . . VIII. Finale (recalling the witches' predictions) [!st Phce winner, NACUSA composers competition 1778)

Delores Stevens, piano Abraham Fabella, piano

Four Holy Songs (1 998) Byron Adams @. 1955) I. Never Weather-beatenSail (Thomas Campion) Passacaglia for piano (1 998) Abraham Fabella @. 1975) 11. Hymn (John Bunyan) 111. The Conclusion (Sir Walter Raleigh) Abraham Fabella, piano N.Prayer to the Father of Heaven (John Skelton)

OnyCbuchim Aduite Chinwah, baritone Byron Adams, piano UPCOMING EVENTS

The 55th Festival of Contemporary Music Thursday, 8:00 p.m. Union Theater LSU Wind Ensemble- Frank Wickes, conductor $5, $6, $7 Friday, 8:00 p.m. Recital Hall Louisiana Contemporary Chamber Players Saturday, 8 :00 p.m. Recital Hall High Voltage- electronic Music Concert Sunday, 8:00 p.m. Recital Hall of MUSIC Faculty Artists Festival Presents Monday, February 28 8:00 p.m. Union Theater LSU Symphony- Michael Buttennan, conductor $5, $6, $7 'Ibesday, February 29 8:00 p.m. Recital Hall NACUSA Mid-South Chapter Concert #3 Guest Artist: Esther Lamneck, clarinet with the N. Y: U. Trio Wednesday, March 1 8:00 p.m Union Theater LSU Symphonic Winds and Symphonic Band Concert Linda Moorhouse and Roy King, conductors $5, $6, $7 Thursday, 8:00 pimTUni5KTheater LSU Jazz Ensemble - Bill Grimes, conductor $5, $6, $7 Thursday, March 9 8:00 p.m. Recital Hall I Chamber Singers Friday, March 10 8:00 p.m. Recital Hall Chamber Winds Concert Monday, 8:00 p.m. Recital Hall Tuba / Euphonim and Trombone Ensembles Concert Larry Ccimpbell and Joe Skillen - conductors 'Ibesday, 8:00 p.m. Recital Hall Faculty Voice Recital: Patricia O'Neill, soprano & Lori Bade, mezzo-soprano with Jan Grimes, piano Friday, 8:00 p.m. Recital Hall Louisiana Sitlfonietta - Dinos Constantinudes, conductor

Please Note: Event dates and times are subject to change. Please call the Concert Information Line at 388-3925 for up-to-the-minute information. Union Theater Box Office: 388-5128. Dept. of Theatre: 388-4174. About the school ... Founded on the Baton Rouge campus in 1931, the LSU School of Music now boasts a faculty and staff numbering over sixty, and a music major concentration of nearly 450 students. The size and scope of its curricula--comprehensive programs from the baccalau- reate through the doctorate--placeit in the top category of music schools nationwide. Several faculty have earned national and international reputations through performance and re- search pursuits and thus attract students from all parts of this country and all over the world.. Many of the School's performing ensembles enjoy wide acclaim, appearing at the Vatican in Rome, in New York City and the Kennedy Center in Washington, lhesday, ,2000 D.C., among other notable venues. 8:00 p.m. Recital Hall

Meet the Performers

Flutist Patti Monson is a graduate of the Eastman School of Music and Yale University. She recently completed a solo recording for the CRI label featuring works by Martin Bresnick, and Harold Meltzer. She is a member of Sequitur, the new music ensemble.

Renee Jolles, violin, is an accomplished solo violinist and chamber musician with an active performance schedule throughout Europe and the US. She has appeared as a soloist with the Philharmonic of New Jersey, the Cape May Festival Orchestra and the Salisbury Symphony. A frequent performer at the Marlboro, Bennington, Wellesley, Taos and Bowdoin Festivals, Ms. Jolles also performs and records with the Orpheus Chamber Orchestra and has served as that ensemble's concertmaster.

Pianist/composer Max Lifchitz was awarded the first prize in the 1976 International Gaudeamus Competition for Performers of Twentieth Century Music held in Holland. Robert Commanday, writing for The San Francisco Chronicle described him as "a young composer of brilliant imagination and a stunning, ultra-sensitive pianist." The American Record Guide commented as follows on Mr. Lifchitz's most recent release The American Collection (N/S R 1014): "sufice it to say that it would be hard to find a better snapshot of what American composers have been writing for the piano in the past decade than this collection. Lifchitz plays everything with sensitivity and force, where appropriate; and recorded sound is vivid and natural."

The NorthISouth String Quartet is made up by musicians who have appeared with the North/South Consonance Ensemble. Its members pursue active professional carreers as soloists and chamber musicians. Deborah Buck, violin, held the Jascha Heifetz Scholarship at the University of Southern California. She recently appeared on the prestigious Dame Myra Hess Recital Series in Chicago. Adelaide Federici, violin, has appeared as soloist with the National repertory Orchestra and the Atlanta Youth Symphony. Carolyn Baldacchini, viola, recently returned to New York City after a long European sojourn where she performed with Germany's Ensemble Moderne and the Toscanini Opera Orchestra in Parma, Italy. Bruce Wang, cello, graduated from the Curtis Institute and The Juilliard School. He is very active as a studio musician and has appeared on several television shows.

The performers that make up the West Side String Quartet are recent graduates from the Manhattan School of Music. All are active as performers of chamber and orchestral music. Eric Leong, violin, received the Musica de Camera Internazional award in Italy last year. Sarah Oates, violin, attended the Royal Northern College in Manchester, England before coming to New York to study with Pinchas Zukerman. Maurycy Banaszek, viola, has made several radio and TV recordings in his native poland. He has also appeared in recitals throughout Europe. Dana Leong, cello has performed with Richard Stoltzman, , Wind and Fire and many other artists.

The National Association of Composers, USA was founded by Henry Hadley in 1933. Mr. Hadley served as an Assocciate Conductor for the New York Philharmonic during the 1930fs, the first American-born conductor ever appointed to the staff of that institution. To learn more about various the activities sponsored by the National Association of Composers, USA please visit its website at www.music-usa.org

The public is kindly reminded that the use of recording equipment of any kind is strictly forbidden. Please turn-off your watch alarm or any other noise-producing device before the program starts. Make sure to know where the auditorium exits are. PLEASE REFRAIN FROM SMOKING and/or EATING WHILE IN AUDITORIUM. PRI)GRAMedited bv Max Lifchitz)

Harold Meltzer (born 1966) is the Artistic Director of the new music ensemble Sequitur. His performances in New York this season idclude Exiles, commissioned by tenor Paul Sperry to premiere with the Da Capo Chamber Players 4 June, and Island, a dance work for Melissa Fenley that premiered in February at The Kitchen. / Pieces for next season include a wind serenade for Paul Dunkel and the Westchester Philharmonic, a clarinet quintet for David Krakauer, and a song cycle for Mary Nessinger to premiere in September at England's Prussia Cove Festival. In the summers he composes theater music for shakespearel and Company, and has also written for Off-Broadway and Syracuse Stage. He graduated summa laude from Amherst College, and holds degrees in music from Yale and King's College, Cambridge, as well as a law degree from Columbia. The composer kindly provided thb following notes for his work: "Trapset transforms an alto flute into a battery of percussion. In composing this piece for Patti, I honored her preference for ''~410chamber music" by simulating the sounds of different instruments being played in concert, braiding strands of tongue stops, key clicks, tongue pizzicati, and fluttertongued notes. I made most of Trapset in December 1998 at The MacDowell Colony, and finished it shortly after retuning to New York City early in 1999. Patti recorded the work on CRI for release in this fall."

Composed with funding provided by a grant from the ASCAP Foundation Max Lifchitz's Affinities was written at the request of lpianist Adolovni Acosta. It has been performed throughout the United States, Latin America, Europ? and South Korea. The work is in five contrasting, self-contained movements. Each movement is built around a single idea. While metered and non-rnktered rhythms serve as a source of contrast, a series of expanding and contracting intervals the melodic and harmonic materials used throughout the work. The music exploits the dynamic Lnd registral possibilities inherent in the instrument. It also provides the performer with ample opp&tunity for technical display. The moods evoked throughout the work range from the lyrical to the dance-like to the bravura, almost heroic feeling so often employed by the Romantic virtuosi.

Howard Quilling was born in Enid, Oklahoma in 1935 and grew up in Napa California. His formal training came from the University of Southern California and the University of California Santa Barbara (Ph.D.). He studied music bmposition with Ingolf Dahl, Emma Lou Diemer, and Peter Racine Fricker. In 1971 Mr. Quilling accepted his present position at Bakersfield College where he has taught music theory and composition and is currently teaching reading since his retirement in 1996. He was appointed Composer in Residence iA 1981, a title he still holds. In 1988 he established the New Directions Concerts Series under the ausbices of the Bakersfield Symphony and is the current director. The Bakersfield Symphony has played tvSo of Dr. Quilling's works, Mountain Streams and From Quiet Beginnings. The later was commissioned [by the Symphony for the Bakersfied Centennial Celebration and was premiered on January of 1998 of the birthday of the city. He has received a number of other commissions and awards and has works published by National Music Publishers, North/South Editions, and Howard Quilling Editions. His three Piano Sonatas have been recorded by Max Lifchitz on the North/South Recordings Label as is the Sonata for Clarinet with Richard Goldsmith, clarinetist and Max Lifchitz, pianist. The Piano Quintet was written in the spring of 1998. Following are some comments by the composer about his work: "The piece began to take shape inI February of 1998. Once settling down with the material of the work the composition proceeded at a1 rapid pace. The work is in three contrasting movements, the first is mostly in 5/8 and is dramatic. The movement itself is divided into three parts with the middle section being less jagged and more melodf c. The second movement is choral like. The strings play the entire opening tune by themselves eventually the piano joining with a series of variations and development of the material. The third mbment is a Gigue which has three contrasting ideas which after being introduced are played in combination or in contrast with each other culminating in a whirl of notes." A founding officer of New York Women Composers, Inc. Elizabeth Bell's music has been performed in Australia, , Japan, Russia, and throughout the United States. Her oeuvre includes works for solo instruments, voice, chamber ensembles and orchestra. A graduate of Wellesley College and The Juilliard School, she perfected her compositional craft under the guidance of Vittorio Giannini, Paul Alan Levi and Peter Mennin. Four highly successful retrospective concerts have been dedicated to her works: in 1973 at Cornell University in Ithaca, NY; in 1985 in her native city of Cincinnati, Ohio; in 1991 and 1998 in New York City. Her works have been recorded for the Classic Masters, CRS, North/South and Vienna Modem Masters labels. Her chamber ensemble composition Spectra -- written for the 10th anniversary of north/South Consonance, Inc. -- received the 1996 Grand Prize at the Composers' Guild Competition. An all-Bell CD was recently released on the MMC label. The title of Les Neiges D'Antan is taken from a famous poem by the 15th century French poet Fran~oisVillon, about the ephemeral nature of time; it closes each stanza with the query: Where are the snows of yes teyear? Ms. Bell states: "Looking back on 70 years, I wrote the sonata to explore different facets of nostalgia. The opening movement -- Snow-Dreams -- presents a montage-like frozen dream landscape of scenes from my past life. The second movement -- Elegy -- is a lament for loved ones I have lost, especially for my gentle father. Shadow-Dance recalls happy times with a trace of wistfulness. And The Furies is an invocation of anger and sadness for lost opportunities, spoiled hopes. Turning my back on the past, I dedicate the piece to Grace Cecelia Drake, my new and first grandchild, who looks to the future!"

Irwin Swack was born in Ohio and attended the Cleveland Institute of Music. After graduating with a major in violin, he studied with Vittorio Giannini at Julliard. He went on to receive a Masters Degree in composition from Northwestern University and a Doctorate from Columbia University, where he studied under . As a recipient of a Ford Fellowship Award, he studied with at the Berkshire Music Center in Tanglewood. The music of eastern Europe has a special appeal for him, especially that of Bartok and Shostakovich. Some of the characteristics revealed in his music are: polytonality, a prominent melodic line, sudden changes in dynamics, time signatures, moods and accents. All of these are eminently displayed in his String Quartet No. 3 Each of Swack's compositions creates a special world, a tapestry of rhythm, , and dramatic interplay using a variety of instrumental combinations. His chamber works range from Invocation for solo flute to Dance Episodes, a . Additional compositions include four string quartets, the Visions of Isaiah for mixed chorus and piano, Psalm Eight for Tenor, Trumpet and String Orchestra, Fantasie Concertante for string orchestra and two symphonies. The String Quartet No. 3 was completed in the Spring of 1978 and received its premiere performance at Carnegie Recital Hall, New York on June 22 of that year. A recording of it is available on the Opus One label. The composer kindly provided the following commentary on his work: "In one continuous movement, the overall structure is in a large ABCA form with each section having a principal and subordinate theme. Introductory measures provide intervallic relationships upon which subsequent materials are based. A) Tranquillo et Efetuoso: the beginning theme, slow and contemplative, is imitated in all instruments and moves toward a climax shrouded in mystery. The subordinate theme, an ABA, is direct and expressive, leading to an agitated and restless B section. A bridge leads calmly back to A where the cello and the first violin engage in a duet to the accompaniment of the second violin and viola. The codetta introduces a marked change in mood and direction. B) Brioso: vigorous, exciting and accented in a folk-like dance with ever-changing time signatures, the themes sometimes primitive and slashing, are tossed back and forth with abandon. C) Da Ballo: a straightfornard dance theme reflects a change of mood. The principal melody is in the first violin. As it develops it becomes more abstracted. The contrasting theme is a waltz in which bits of earlier materials are intertwined. With the changing tempo, the bridge leading to the A, beginning, section becomes more searching and philosophical. A) Tranquil10 et Efletuoso: a return to the beginning theme, the section is now much more developed and becomes increasingly contemplative and introspective. It comes to an end in a sense of repose."

MARK ALBURGER is an eclectic American composer of postminimal postpopular, and postcomedic sensibilities. He is Editor-Publisher of 2OthCentutyMusic Journal, an award-winning ASCAP composer of concert music published by New Music, oboist, pianist, vocalist, recording artist musicologist, author, and music critic. Dr. Alburger began playing the oboe and composing with Dorothy and James Freeman, George Crumb, and Richard Wernick. He studied with Karl Kohn at Pomona College; Joan Panetti and Gerald Levinson at Swarthmore College (B.A.); Jules Langert at Dominican College (M.A.); Roland Jackson at Claremont Graduate School (Ph.D.1 and Tary Riley. Dr. Alburgds recent performances have included the premieres of Sidmlks of New Yo&: Henry Miller in Brooklyn in Sen Francisco and Mice Suites at Cal State Stanislaus. He recently completed Symphony No. 4 f'sequence Muric'l), is at work on 12 Preludes and Fugues ('Topical'l), and has been commissioned to write a new work for woodwind quintet, stnng quartet and piano for Uax Lifchitz's NorthISouth Consonance Ensemble in New York.

QUADRUPLE CONCERTO ("METAL") FOR WINDS (1999) is a "grid" work based on 's Ebony Concerto, from which is taken form and spirit (including exact number of measures, gestural frameworks, and tempo markings), but comparatively little content. Other touchstones here include Glenn Milleh "In the Mood"; Stravinsky's Rite of Spring and ; Alburger's own Mice and Men, Sidewalks of New Yo&: Henty Miller in Brooklyn (a variation on the "At the Blood Bank" rap), Some Shm; and Symphony No. 4; 's Symphony No. 1 (the "Frere Jacques" third movement); a generic snake charmer's song; Sibelius's Symphony No. 2; and the rock classic "Smoke on the Water." The four solo woodwind parts may be performed as a quartet or with the accompaniment of a metallic orchestra (flutes, woodwind keys, saxophones, brass, metal percussion, and non-gut strings). Quadtuple Conce~owas written in three sequential days of December (3-5) and is dedicated to NACUSA flutist Diana Tucker.

JOHN BEEMAN studied composition with Peter Fricker, and later with William Bergsma at the University of Washington, where he received his Master's degree. His first opera, The Great American Dinner Table, was produced on National Public Radio. Orchestral works have been performed by the Fremont-Newark FMhannonic, Prometheus Symphony, and Santa Rosa Symphony. Desert Sketches, a chamber work, was released in 19% on the Classic Sketches CD by the Violeto Trio. Chamber music compositions such as Six Etudes for String Qua~et,Elegy for Solo Cello, and 77ie Five GI& of Lie were performed on recent NACUSA concerts. The composer's second opera, Law Ofices, premiered in San Francisco in 1996 and was performed again in 1998 at the San Mate0 County Courthouse, through a grant from Philanthropic Ventures Foundation. Channels, an electronic music composition, was created for an art installation at the Aspen (Colorado) Art Museum fium October 15 - November 29, 1998. Beeman has also received a 1998 ASCAP standard award.

Many composers, as others in the arts, have received numerous "not interested" responses before and while emerging as respected artists. DEAR COMPOSER for Three Narrators, Tape, and Two Live Instruments (1999) utilizes spoken fragments from rejection letters set against bluesy music.

JOANNE D. CAREY holds a Bachelds Degree and Mastds Degree in Music Composition from San Jose State University, where she studied with Allen Strange and Lou Harrison. A guest composer at the Center for Computer Research in Music end Awustics (CCRMA, Stanford University) since 1983, she lives in Palo Alto with her husband and two children. Ms. Carey has composed three computer-generated tape pieces at CCRMA. Two of these, Intonations of the Wind (1990) end Clouds' Lament (1988) are based on FM synthesis of singing tones and represent an intense exploration of this medium. Her recent work has focused on pieces using the Radio-Baton with a live soloist. These include ntree Spish Songs and Adventures on a Z'hemefor Flute and RadieBaton, which uses improvisation programs she developed with the help of Uax Mathews. The Z'hme Spcmish Songs have been performed in Guanajuato, Mexico (1 9%), in San Jose, California (1 995), at the 1995 SEAMUS (Society of Electro Acoustic Music in the United States) conference in Ithaca, New York and in Warsaw and Krakow (1 993).

LA SOLEDAD (1992), along with its companions "Aqui" (1993) and "Gracias" (1994), were inspired and influenced by Spanish Flamenco and indigenous South American music, and the later poetry of Chilean poet Pablo Neruda. The spirituality and humanity of this great poet continues to impress me deeply. In the process of blendmg Neruda's poetry with the rhythms, flourishes and instrumental sound of these Spanish end South American musical traditions, I drew mainly from strains of solitary meditation and deep sorrow buoyed by irrepressible exuberance and hope. The score of the electronic accompaniment was created on a Macintosh IIfx using a composition program called DMIX that was developed by Stanford graduate Daniel Oppenheim, DMA. The sound material was generated on a Yamaha SY77. Most of the voices are presets, with the exception of the bell sounds and a couple of hybrid sounds that I constructed and a sound that might be described as a "sliding sigh" that was made by Dr. Oppenheim. actual performance is improvised.

NANCY BLOOMER DEUSSEN is well known vghoutthe San Francisco Bay Area as a composer, performer, arts organizer and music educator. She is a leader in the growing movement for more melodic, tonally4riented contemporary music, and is co-founder of the SF Bay Chapter of the National Association of Composers, USA. Her works have been performed throughout the US and Canada and she has received numerouslcommissions both laally and nationally hmsuch performers and ensembles as The Oakland Chamber Orchestra, The Walnut Sfreet Chamber Ensemble, The Baton Rouge Concert Band, The Bresquan Trio, The Santa Clara Chorale, The Women's Caucus $ the Arts, OPUS 90 Chamber Ensemble, clarinetist Richard Nunemaker, the Tanana High School Band, the Gabrieli Brass, Soundmoves, the Mission Chamber Orchestra, flutist Angela Koregelos, the Semper Virens environmental group, The Sandusp Music Festival, ,Jim and Pat Watt, and Mu Phi Epsilon Some recent performances of her works for the 1999-2000 seaaon include Woodwind Quintet by the Stanford Woodwind Quintet and The World is a Butterfly's Wing (song cycle) at the kereGuard Festival in San Francisco

I ftrst met Allen Cohen, the poet whose words I have used for this song cycle, at a meeting of poets and composers

achieved recognition as a painter and writer. You are invited to stay after the concert and speak with the composers.

The National Association of Composers USA (NACUSA) is a non-profit organization whose goal is to foster the composition and performance of new music. Founded in 1932 and now with branches in Los Angeles, New York, Philadelphia, and San Francisco, NACUSA continues to be an active and most vital outlet for composers throughout the country. Inquires regarding membership may be addressed to Ilana Cotton at (650) 367-1683. General inquires may be directed to Nancy Bloomer Deussen, (650) 858-0172.

NACUSA San Francisco is a non-profit organization in need of support Taxdeductible contributions may be sent to:

THE NATIONAL ASSOCIATION OF COMPOSERS San Francisco Bay Area Chapter 3065 Greer Road Palo Alto, CA 94303

Acknowledgements

The Members of NACUSA San Francisco would like to recognize with heartfelt thanks the following contributors to the 1999- 2000 concert season:

Dr. Mark Alburger Ms. Annette Axtmann Music Library, University of California at Berkeley Ms. Use Calabi Mano Murthy NEW MUSIC Publications and Recordings Ms. Jeana Ogren Mr. Robert and Ms. Carla Schenk Mr. and Mrs. Michael Scofield Ms. Emily I. Ward

This concert is presented by the National Association of Composers, USA, San Francisco Bay Area Chapter

Committee for tonight's concert:

Concert Production: Owen Lee Publicity: John Beeman, Carolyn Hawley, Marilyn Hudson Program:Mark Alburger, NEW MUSIC Publications Programming: John Beeman, Nancy Bloomer Deussen, Diana Tucker

LA SOLEDAD SOLlTUDE

Aqui Here no hay calle, nadie tiene puatas, there is no street, no one has a door. solo con un temblor se abre la arena, only with a tremor does the sand open up Y iabre todo el mar, And the whole sea opens up, todo el silencio, all of silence, el espacio con flores amarillas; the space with yellow flowers; se abre el prefiune ciego de la tierra the blind perfiune of the earth opens, y como no hay caminos and because there aren't any roads no vendra nadie, solo no one will come, only la soledad, que suena solitude, which rings con canto de campana. with the song of a bell.

Program Pangram Dawn K. Williams Chiho Sugo, clarinet Suite for Trumpet Daniel Fullerton I. Moderato 11. Slowly 111. Fast Daniel Fullerton, trumpet

Two Short Pieces for tape Alone William Price I. Ignorant Bliss #3 11. A Crime of Passion

Poetic Discipline Andrea Mitternight I. Disgrace 11. Incompetent 111. Ashamed JY. Tradition John Perrine, alto saxophone

6 Bye Six Aaron Johnson

Man for tape alone Aaron Johnson

Three Diminutive Pieces for Solo Tuba William Price I. Wuorinen one, Tuba nothing 11. Fleeting Images 111. With Motion Bradley DeBow, tuba

Poeines d 'Amour (for voice and piano) Dawn K. Williams

Dawn Williams, mezzo- Robert Peck, piano

A Short Flight for tape alone Jonathan Peters a 1 ABOUT THE COMPOSERS i .I Paula Diehl received an MA hmTemple School of Music where she formed the ensemble, I SOUNDS, which has performed at the Painted Bride and FM station WRTI. Her interests in . .. I dance led her to 1981. At that time, after a number of years of choregraphy. she began to feel the need to express her thoughts in words and found she had much to say. She is now NACUSA ., i providing musical settings for some of her poetry. The National Association of Composers ,

. Fred and Marie Gaertner are a creative artist husband-wife team working in the areas of Music Drama, and Concert Hall. Within the latter category are works for orchestra, solo piano and piano with orchestra. The Gaertners reside in Macmurray Pa. near The Philadelphia ~ha~ter' .' , Pittsburgh. Marie is a former student of Roy and Johanna Harris and Fred studied composi- : tion with Harvey Gaul. Since Fred's early retirement from teaching they devote their full time . . to composition. Karel Husa. In 1996 the musical world celebrated the 75th birthday of this great Czech- presents: American composer. Through his music and conducting he has reached a wide and ever-. expanding audience without compromising either his artistic or esthetic ideals.. His music turns,its face radiantly towards the new while extending the finest traditions of the past. Dr.-~nard-~ein;retired-music-professor~ow-devotes-most-of-his-time-to-compsing-and F-I-F-TH-A~IYIEWSARIY performing. He works with computers, synthesizers and music software. Dr. Klein and his wife live in southern New Jersey with their two dogs. Besides composing he likes cooking FREE CONCERT' and going to plays and the opera. James Marshall-Mr. Marshall writes "These songs represent a shift in my interest from . . choral to solo works. The Song Nocturne has an unusual genesis: The poet Louise Bogan, interested in her daughtds singing about dreams, was inspired to write a poem, M. Singing. In turn, that poem inspired me to write a similar poem and set it to my own music". Mr. Marshall studied cello at the new school of music, received an M.A. at the University of Pennsylvania and at the present time composes and plays cello in the Wayne Coterie String ' Orchestra which performed his Avian Suite in 1999. Paul Stouffer has devoted a lifetime to composition and music education. His works for band, orchestra; instrumental ensembles and vocal works are published by leading music publishers. His compositional idiom has been described as contemporary Neo-Classicism. The National Association of Composers1 USA is a non-profit organization. One of its many goals is to present professional quality performances of its member's music. More ! information about the services of the organization can be found on its web page at w.music-usa.org/nacusa where you can view: CONCERT LISTINGS, ITEMS OF INTER- EST, MEMBER CATALOGUE, MEMBER LINKS and hear AUDIO SAMPLES of mem- bets compositions. Membership is not restricted to composers but is open to anyone wishmg to FRIENDS MEETING HOUSE become associated with a cultural organization which has been in existence since 1933. Lansdowne and Stewart Avenue Lansdowne, PA , ~s'to the Philadelphia Chapter of NACUSA, existent copies of programs indicate that a Philadelphia Chapter ofNACUSA existed from 1944 until the musical season of 196162. In 1995 when the National Organization sent requests to all members for volunteers interested Sunday, ,200I) 3 P.M. in organizing affiliated Chapters, the Philadelphia Chapter was again established. Today there are LA, SF, East Coast, Mid South, Boston, Philadelphia and Virginia Chapters. PROGRAM

Sonata for Viola and Piano (1 990) Leonard Klein Variations on a "Strut" The Gaertners I. Tempo guisto 11. Lento I11 Con mot0 for Piano and Orchestra Fred and Marie Peter Nocella, viola I. Theme 11. Toccata Leonard Klein, piano I11 Capriccio IV Waltz World Premiere Performance V Romance VI Etude VII Reprise VIII Fugue Phuses (2000) Paula Diehl Paul Fejko, piano soloist Michael Higgens, guitar Symphonic accompaniment, Synthesizer World Premiere Performance Sonatina for Piano (1 943) Karl Husa Allegretto moderato Andante cantabile Allegretto marciale ttttttttt~ttttttt~ttttttttttt~*ttttttt*tttt t t Leonard Klein, piano t t t ACKNOWLEDGEMENTS t t t Eternal Love (1 992) (Paul Stouffer) Paul Stouffer t t :: The Philadelphia Chapter.thanks: t Lullaby (1 991) (Paul Stouffer) ' t t Elizabeth Cope of the Friend's Meeting for arranging the use of the a Barbara Nyce, soprano t g FRIENDS MEETING HOUSE for today's concert. t Nazoma Takashima, piano t *Paul Fejko for recording today's concert. t t Elizabeth Hewitt for preparing the program for printing. t INTERMISSION g Leonard Klein for consenting to perform Karel Husa's Sonatina t* t Deborah Kravetz for her critique of this performance. t Whiprsof Heavenly Death (1 999) () James Marshall , t t* t Ajter the Dazzle of Day (1 999) (Walt Whitman) t *For information on purchasing recordings of today's concert t t call 610-534-1521. t Nocturne (2000) (James Marshall) t t t t Barbara Nyce, soprano *tttttt~ttttttttttttttttttttttttt*ttttt*ttt Nazorni Takashima, piano World Premiere Performance Next NACUSA Concert Sunday, ,3:00 P.M., Princeton, NJ ETERNAL LOVE

Somewllere in the life-stream of Man a Love exists like an atoll1 in time, an emotional muceleus focused on trust, friendship and necessity. An a~norpllousform ever bearing seed, A positive charge igniting the heart, A positive current touching the soul with Feeling!

The earth revolves upon its axis turning day into night and night into day. Time undefined, place unspecified Moments stretch to years and Fears preside. Time undefined, place unspecified Love comes along and all doubts subside.

Humans-tossed-about;-L-overs-havingdoubts. Solnewhere within this vast world of ours True Love finds ways to mend broken dreams. Somewhere witllin this Life-span rue Love is always near, True Love can lessen fears, True Love will always find a way.

Words and music by the colnposer

LULLABY

Sleep lily baby sleep today Lu-la-lay, Lu-la-lay. Cares will come another day Lu-la-lu-la-lay.

On lny breast you lay your head, Curley hair and cheeks so red I will snug you into bed Lu-la-lu-la lay.

Pleasant dreams Pleasant dreams Lu-la-lu-la lay.

Words and music by the composer.

Concert Bon Ecouter * 3:00 PM, Sunday, May 21,2000

Sonata Caprice Paul Stouffer Leigh Baxter John Wlnsor, clarinet John Wlnsor, clarinet Jeanette Winsor, piano Jeanette Winsor, piano

Three Preludes Sonnets Nos 1 & 2 John Wlnsor Paul Stouffer Jeanette Winsor, piano Jeanette Winsor, piano Romanza Sonata for Clarinet and Piano Walter Ross John Wlnsor John Wlnsor, clarinet John Wlnsor, clarinet Jeanette Winsor, piano Jeanette Winsor, piano yes is a pleasant country Rob Tannen Sonata No 2 Alan Naidoff, tenor Adolphus Hailstock Jeanette Wlnsor, piano Jeanette Winsor, piano

* This event sponsored by NACUSA and Concert Eon Ecouter. For further information or to be placed on the mailing list for future events contact: Paul Souffer for NACUSA [(610) 623-62223 and Rob Tannen for Concert Eon Ecouter [(609)92479551. y.

COMPOSER BIOGRAPHIES JOHN WlNSOR studied clarinet with Robert Harrison, David Hams, and Robert Marcellus of the Cleveland Orchestra and composition with John LEIGH BAXTER teaches chorus, piano, theory and music appreciation at John Tyler Rinehart and James Waters. He received a Bachelor of Music degree from and J. S. Reynolds Community Colleges. He has sewed as interim director of the Heidelberg College and a Master of Arts degree in music theory from Kent V.C.U. Choral Arts Society. He holds a master of music degree in composition and . State University. He has taught music theory and designed bandsman conducting from Virginia Commonwealth Un:rersity, where he studied with Allan Blank training materials at the Armed Forces School of Music. He has also taught and Jack Jarrett. His music, published by Seesaw Music, Inc. of New York, includes clarinet, music theory, and composition at the Virginia Governds Sdrod for works for Sax Quartet, Clarinet and Piano, Flute, and Organ. Other works include the Arts. He is a member of the Hardwick Chamber Ensemble. He is music for orchestra, band, jazz band, chorus. French hom, percussion, and guitar. NACUSA's Membership Coordinator and Webmaster. He is also a senior computer programmer for Unisys. John's composition prizes include the WALTER ROSS is professor of composiion at the University of Virginia and former 1992 Delius Vocal Category Award, the 1995 Delius Keyboard Category chairman of the music department. His works have been performed in over 30 Award, the 1992 and 1994 VMTA Commissioned Composer Competitions, countries. He is perhaps best known for his compositions featuring brass and and the Modem Music Festiil 2000 Film Scoring Prize. He has also woodwinds. Born in Lincoln, Nebraska in 1936, Walter became a professional French received grants from the American Music Center and from Meet the hom player at age fourteen. He studied composition with Robert Beadell at the Composer, Inc. and ASCAP awards. His chamber works are frequently University of Nebraska and then continued for his Doctor of Musical Arts degree at performed on new music festivals, conferences, and concerts around the Come11 University, where his wmposition teachers were Robert Palmer and Karel United States. Premieres of his works during 1999 included the Virginia Husa. He received an Organization of American States Fellowship to study Beach Chorale's performance of Jabberwocky and performance of Chamber composition privately under Alberto Ginastera in Argentina. He also studied briefly Symphony on the Cologne Radio Symphonfs chamber music series. The there with Roger Sessions and Mario Dawdovsky. Walter has Hlritten over 100 works, Cologne performance was broadcast on the WDR (West German Radio). including concertos for oboe, bassoon, flute and guitar, trombone, tuba, double bass, Since 1992, John has received seven commissionsfrom-~arious~arts and.violin.-He-is currently-miting-aconcerto for-twopianos-and orchestrarHis-music organ6tions.Articles by and about him have appeared in ComposeNSA. is published by Boosey 8 Hawkes, Tezak Veriag (West Germany), and Dom Publications (Massachusetts), among others. Twek of his works have been recorded commercially on CRI, Albany, Golden Crest. Crystal, and other labels. Walter has PERFORMER BIOGRAPHIES received a number of awards and prizes and many significant grants and fellomhips. Currently a resident of Chariottesville, Virginia, he has sewed as president of the JEANElTE WINSOR studied piano with Clifford Herzer, Lois Rova Southeastern Composers League and as a judge at international composition symposia. Ozanich, and Shirley Harrison. She received a Bachelor of Music degree He has been a visiting canposer at the Aspen Music Festival and a featured composer cum laude from Heidelberg College and a Master of Music degree in piano at several universities and forums and on national and international radio broadcasts. perlmnce from Kent State Univerdy. She has occasionally coached with He is currently a member of the board of the Capital Composers Alliance. Thomas Schumacher. She teaches piano in her studio in Chesapeake and at the Virginia Governor's School for the Arts, accompanies the Virginia PAUL STOUFFER has devoted a lifetime to composition and music educatiin. His Beach Chorale, and semas an adjudicator fathe National Guild of Piano works for band, orchestra, instrumental ensembles and vocal works are published by Teachers. She frequentty appears as a soloist and lecturer. She is also a leading music publishers. His cornposittonal idiom has been descnias contemporary member of the Hardwick Chamber Ensemble. Jeanette holds National and Neo Classicism. State Professional Teaching Certificates from MTNA and VMTA as well as certifwtion through the American College of Musicians. Jeanette is listed ROB TANNEN obtained a Bachelor of Arts degree in Biology from NYU, with minor in the 21st edition of Who's Who of American Women. She Is past concentrations in philosophy and music. He eamed his dodorate in pharmacology from president of the Tidewater Music Teachers Forum and president of the the University of Michigan Medical School. Ann Arbor and makes his living as a Virginia Music Teachers Association. Her articles on piano pedagogy have consultant in clinical trials research and regulatory affairs for the pharmaceutical been published by Piano Guild Notes. She is an adjunct faculty member of industry. Largely self-taught in music, he draws inspiration from the organ music of Tidewater Community College and Old Dominion University. Buxtehude, Bach and Frank and from the successful dual career of chemisthrmed composer Alexander Borodin; he composes music and sponsors the performance of ALAN NAlWFF is a singercomposerattourneydentistwho sings regularty new music as an avocation. Rob's works have been perfamed under the auspices of at community based theaters in central New Jersey. He is thrilledlterrified Crissey Concerts in Conjunction with Composer's Services at the Settlement Music to be premiering a new song by composer Rob Tannen. School in Philadelphia and at the Lansdowne Public Library Chamber Music Series in Lansdawne, Pennsylvania. Rob's formation of Concert Bon tcouter marks the beginning of what he hopes will be a series of public concerts of accessible new music in the central New Jersey area.

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(Jaql!a$0~) JayleaM han aql s! qloq

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Presents:

One of Nature's Majesties Woodwind Quintet Pu-Gesaenge The Light of Darkness

(Embarcadero and Newell)

MARK ALBURGER is an eclectic American composer of postminimal, postpopular, and postcomedic sensibilities. He is Editor-Publisher of 2lstCentutyMusic Journal, an award-winning ASCAP composer of concert music published by New Music, oboist, pianist, vocalist, recording artist, musicologist, author, and music critic. Alburger began playing the oboe and composing with Dorothy and James Freeman, George Crumb, and Richard Wernick. He studied with Karl Kohn at Pomona College; Joan Panetti and Gerald Levinson at Swarthmore College (B.A.); Jules Langert at Dominican College (MA.); Roland Jackson at Claremont Graduate School (Ph.D.), and Terry Riley. Alburgds recent performances have included the premieres of Sidewalkr of New Yo&: Henty Miller in Brooklyn in San Francisco and Mice Suites at Cal State Stanislaus. He recently completed I2 Preludes and Fugues ("Topicalr>,and has been commissioned to write a new work for woodwind quintet, string quartet, and piano for Max Lifchitz's North/South Consonance Ensemble in New York Henry Miller will be performed again at Goat Hall, in San Francisco's Potrero Hill district, on and 18.

ADAGIO / ALLEGRO MOLT0 E V7VACE ("Casinof>is the fourth and final movement of SWHONY NO. I, OP. 21 ("It nwsn'l classical, it was symphonic..." "It wasn't a symphony, because it did not have a sonau allegro...'> (1998), the fust of a projected series of nine "grid" symphonies based on works by older composers. The magic book for this composition is that of Beethoven's S'phory No. I, from which is taken form and spirit (including exact number of measures, tempo markings, keys, and even opus number), but little content. The lengthy subtitle refers to overheard comments which form the melodic bases of two themes in the opening movement. The Adagio/Allegro is based on Nevada casino slot-machine pulsations, the "Bed" section hmGlass's Einstein on the Beach, Alburgds "Uncertain Need" from ForMy Brother ForMy Brother, and notes sketched in a hot desert sun.

IZANA COTTON is a composer, improviser and pianist who has written extensively for acoustic chamber ensembles and for electronic instruments. Her work has been performed throughout the US and has won several awards, including two awards in 1999 from the Peninsula Community Foundation: an Individual Artist Grant in support of a concert of her works CO-sponsored by the City of Palo Alto, California, and an Emaging Arts grant supporting a commission for Pacific Sticks, a California percussion quartet. She was also invited to create a new work for the 1999 Ernest Bloch Festival Composers' Symposium in Newport, Oregon. Other recent awards include the Chicago Chamber Music Collective and Britten-on-the-Bay. She is an active member of the National Association of ComposerdJSA (NACUSA), the (ACF), and the International Alliance for Women in Music (IAWM). She has also collaborated with other musicians and artists in visual and theatrical medie, and has created several commissions for choreographers and poets. She holds an MA. in composition hmthe University of California at Las Angeles, with undergraduate music study at the San Francisco Conservatory of Music.

NANCY BLOOMER DEUSSEN is well known throughout the San Francisco Bay Area as a composer, performer, arts organizer and music educator. She is a leader in the growing movement for more melodic, tonally oriented contemporary music and is CO- founder of the SF Bay Chapta of the National Association of Composers, USA. Her original works have been performed throughout the US and Canada and she has received numerous commissions both locally and nationally from such performers and ensembles as: The Oakland Chamber Orchestra, The Walnut Street Chamber Ensemble, The Baton Rouge Concert Band, The Bresquan Trio, The Santa Clara Chorale, The Women's Caucus in the Arts, OPUS 90 Chamber Ensemble, Richard Nunemaker, clarinetist, the Tanana High School Band, the Gabrieli Brass, Soundmoves, the Mission Chamber Orchestra, flautist Angela Koregelos, Semper Virens environmental group, Jim and Pat Watt, and Mu Phi Epsilon. Her works are available on CD from North/South Records, ERM Records, Keynote Designs, and BMS Recordings. A new CD of ha orchestral music will be released on the Arizona University Recording label in Fall 2000

ONE OF NATURE'S h4AJESTlES was composed for OPUS 90 Chamber Ensemble in 1995. Several composers were selected to compose music to poems written by children who were under treatment at Lucille Packard Children's Hospital at Stanford. The poems were surprisingly good and I filyselected "One of Nature's Majesties" by Rachel Swan. a 13 -year-old patient. Rather than having it actually sung, I decided to have the poem printed in the program and compose the music for instruments only.

CAROLYN HAWLEY is a pianist-composer-conductor with a Master's Degree from Mills College, former Lany College Music Instructor, and ten-year Conductor of the Ukiah Symphony. She resides in Mendocino County where she teaches privately and performs as pianist with the Coast Classics Trio. The former Berkeleyan worked as Composer-Accompanist for the UC Berkeley Modern Dance Department, and was later awarded a grant from the institute of International Education to spend a year in Spain composing her fmt symphony. Hawley has won numerous awards for composition and piano performance. Ha Russian River Mass was premiered in 1989 by the Ukiah Symphony and Mendocino College Chorus. Hawley's teachers included , Leon Kirchner, Glenn Glasow, and Egan Petri. Besides ha dozens of musical compositions, she has also achieved recognition as a painter and writer. Constantinos Yiannoudes, a nati?e of Cyprus, has appeared with great success as Germont in La Traviata, scami ill lo in Carmen. Figaro in ZI Barbiere di Siviglia; Marcel lo and Schaunard in La Boheme, ~dlcorein L 'Elisir d 'Amore, Malatesta in Don Pasquale, Dr. Falke in Die Fledemaus, the Showman in Vaughan Williams' Hugh the Drover and Henrik in Carl Nielsen's Maskardde. He has performed with Opera San Josk, Portland Opera Repertory Theatre, ~aconiLOpera, Hudson Opera Theatre, St. Luke's Chamber Ensemble, Dicapo Opera and othkrs. I Mr. Yiannoudes' operatic experienceI also extends to more contemporary pieces including Kun Weill's ~aha~ont!~-~on~s~iel.'s Four Saints in Three Acts, Robert Trefousse's Found qbjects and Menotti's Amah1 and the Night Visitors. He has also performed the role of Drosselmeir in the world premiere of The Tale of the Nutcracker by Craig Bohmler, theirole of Marius in the New York premiere of Robert Starer's Apollonia and Inspector Vignon in the world premiere of Wendy Griffith's The Quiet American.

His concert performances have inkluded Faurk's Requiem, Handel's Utrecht Jubilate and Vaughan Williams' Five ~~sficalSongs. Mr. Yiannoudes has introduced audiences to much of the Greek repertoire as baritone soloist for the Metropolitan reek Chorale and for the Pancyprian ~hbir.He recently performed at Avery Fisher Hall in the "Salute to the Hellenic Spirit" andlgave a recital at the at the invitation - - . - - of the Ambassador fiom Cyprus.

He earned a Master's Degree jn vdca~Performance from Mannes College of Music and is currently completing his ~octorhteof Musical Arts at the City University of New York. Presently, Mr. Yiannoudes is a principal resident baritone at Opera San Jod.

1. Baerenhonigliebe. I Was es doch nicht alles gibt. Seht, wie Pu den Honig liebt! Sum, sum. sum. ich Guess6 ge&, warum? I " 1 I Wenn der Baer ein BienchenI waer,

Was eaeb' es~ da-~ zu machen? 1 Er miesste neimals kletternl mehr, weil sein Nest am Boden waer! Wie wuerde ich wohl lachen! 3. Wolkenlied Wie shoen ist es, eine Wolke 4u sein, zu schweben ueber der Welt allein: zu segeln dort, wo Himmel blaut, damsingt jede Wolke laut: Wie shoen ist es, eine Wolke zu sein. Zu fliegen ins Paradies hinein. wenn Jie Sonne uns umschw~rmt und mit ihren Strahlen waermt. I 6. Polmarsch I Es ist ein weiter Wen zum Pol 1 I der hoch im ord den-liegen so!. Man saert. er haette sich versteckt.

I doch hden wir ihn erst entdedkt.' ' I dann feiern wir ein grosses ~dst auf dem man alle leben laesst: I-aah und Ferkel, Kaenga und Roo, Kaninchen und Kaninchens Freunde Eule un Pu. I und ~hrist6~hRobin auch dam.I I I I 7. Aengstlicher Pu-gesang Es war einmal ein kleiner Baer dem fie1 das Denken ziemlich schwer, auch schwarnm er eigentlich nicht gut, doch rettet' er aus grosser Flut einst seinen Freund, das Schwein. Er sprang beherzt ins Boot hinein das vie1 zu eng war und nicht gross und trieb ouf diesem schwanken Floss hinaus bis an des Freundes Haus und holte dort Ferkel, das Schwein, heraus. Fragt ihr mich, wer war es, er Baer? Es war der kleine, tapfere Pu. Er lebe heut' und immerzu.

ONE OF NATURE'S MAJESTIES (Rachel Swan)

Under a maflcent mountain lies a brook calmly babbling Almost hidden by trees such as Douglas Fir Saplings Calmly flowing, through a channel so narrow the stillness intempted by the chirp of a sparrow - . Towering above it a mountain so grand With a waterfall to splash down over a rocky form of land sending transparent ripples that &sten like a crystal, hitting the brook's surface like the crack of a pistol Cream& a scene in the wild so splendid, just as nature's creator intended.

TOAD PIZZA (R Scott)

An Overcoat spoke to a Coat of Paint He said with conviction and little restraint: "I cover a women who wears a nice blouse." "So what," shrugged the Pamt, "I cover her house!"

We played some poker with some cheetahs. Their meexplains just why they beat us!

You are invited to stay after the concert and speak with the composers.

The National Association of Composers USA (NACUSA) is a non-profit organization whose goal is to foster the composition and performance of new music. Founded in 1932 and now with branches in Los Angeles, New York, Philadelphia, and San Francisco, NACUSA continues to be an active and most vital outlet for composers throughout the country. Inquires regarding membership may be addressed to I'lana Cotton at (650) 367-1683. General inquires may be directed to Owen Lee, (408) 730-2224.

NACUSA San Francisco is a non-profit organization in need of support. Taxdeductible contributions may be sent to:

THE NATIONAL ASSOCIATION OF COMPOSERS San Francisco Bay Area Chapter 3065 Greer Road Palo Alto, CA 94303

Acknowledgements

The Members of NACUSA San Francisco would like to recognize with heartfelt thanks the following contributors to the 1999-2000 concert season:

Dr. Mark Alburger Ms. Annette Axtmann Music Library, University of California at Berkeley Ms. Ilse Calabri Ms. Kathleen Johannessen Mano Murthy NEW MUSIC Publications and Recordings Ms. Jeana Ogren Mr. Robert and Ms. carla Schenk Mr. and Mrs. Michael Scofield Ms. Diana Tucker Ms. Emily I. Ward

This concert is presented by the National Association of Composers, USA, San Francisco Bay Area Chapter

Committee for tonight's concert:

Concert Production: Owen Lee Publicity: John Beeman, Carolyn Hawley, Marilyn Hudson, Lori Griswold Program: Mark Alburger, NEW MUSIC Publications Programming: John Beernan, Nancy Bloomer Deussen, Diana Tucker of MUSIC

I UPCOMING EVENTS Presents

Friday 8:00 p.m. Recital Hall I Brian Woods Masters Voice Recital Sunday 4:00 p.m. Recital Hall Gospel Choir Concert NACUSA Mid-South Chapter I Wednesday July 26 8:00 p.m. Recital Hall Summer Concert Rex Richardson Masters Tkum~etRecital 1

. .. . Please call the Concert Information Line at 388-3925 for up-to-the-minute informalion. ,.2y,, ~: . . r -. i 7 , ..~ Union Theater Box Office: 388-5128. Dept. of Theatre: 388-4174. . ' , : _>, . i . +. . . .<%, : . ..<' . ,";.;.. : ..' ,, *%p_ .; ;. -.-- :.. 2' .'.:.....,. :f.., -~ .'+ ..;.:+' -?-. ..:y , ..$ >,X :':.~:,...-..;.>. . '..< &.-. "5 ,... -,.s. :r - ' -' . , , ;; ,. Please visit the LSU School of Music website at: I . . . .., 1 ;:%* .,: ,;, . ,. ._.,; 45iPriPriPrj i..5 ~; www.music.lsu.edu and look in your mailbox for the Fall 2000 schedule. . "E; , ...... = 5.,:Ag.:--. ~5,.-;;; F~%5

About the school. . .

' " $VX 'I.--'"* - I ~erformanceandresearch vursuits and thus attract students from all vahs of this coun6v -&v-.-". i- ,kP&?iP~&$RK'""~T About the Artists . . .

Program Bradley E. DeBow received his Bachelor of Music Education from California State Uni- versity at Long Beach in 1997 and his Masters of Music in composition from Louisiana Evocations (2000) John M. Crabtree State University where he studied with Dr. Stephen David Beck. Throughout his time at Long Beach, and the year after, D~BOWtaught in public and private schools and performed with various ensembles all over Southern California. Various chamber ensembles and indi- I. Innocence viduals throughout Southern California and South Louisiana have commissioned and pre- 11. Reconciliation miered his compositions. As a tubist, DeBow has premiered many solo and chamber works 111. Bliss for the tuba, tuba ensemble, and is working with extended techniques for the instrument. IV. Absolution Ms. Di Cavalcanti received her Bachelor of Music degree from Ceara State University in Pepron Pilibossian, piano Brazil. Di Cavalcanti began teaching piano at Ceara in 1994. She studied with Jose Albert Kaplan at the Paraiba Federal Universitjl in Brazil and Ernst Ueckermann at the Hochschule There Will Be Rest For Me On That Day (2000) Bradley DeBow fur Musik in Wurzburg Germany. Presently, she is pursuing her Master of Music degree in Bradley DeBow, tuba and piano piano performance at Louisiana State University, where she studies with Michael Gurt. Sabrina Theresa Hurst, a New Orleans native and graduate of New Orleans Center for s WirLS... for electronic tape (1992) Dawn K. Williams Creative Arts, is currently an undergraduate in flute performance and Information Systems Decision Sciences at Louisiana State University. She comes from the studio of Katherine Three Diminutive Movements for Solo Tuba (2000) William Price Kemler and has performed in several ensembles including the LSU Symphony, LSU Sym- phonic Band, LSU Symphonic Winds, LSU Flute Quartet, and various chamber ensembles I. Wuorinen one, Tuba nothing at the University. In 1997, she won the Louisiana Philharmonic's Concerto Competition and toured throughout Louisiana with them during their 1997 season. In 1999, she placed 11. Fleeting Images third in MTNA's regional competition. Hurst is a recipient of the Louisiana Music Award, 111. With Motion US Coast Guard CWO Scholarship and the LSU Honors Scholarship. Hurst is also an ac- Bradley DeBow, tuba tive member and the former recording secretary of Sigma Alpha Iota, as well Louisiana Flute Society, Association of Information Technology Professionals, Youth for Understand- Quiet Erosion Jonathan Peters ing International Exchange, Gamma Beta Phi, Phi Eta Sigma, Alpha Lambda Delta, Phi Kappa Phi, Omicron Delta Kappa, Beta Gamma Sigma, and the Golden Key National Honor Sarah Matthys, flute Society. Pepron Pilibossian, piano The third piece, ..lay like the sun upon the grass, is also a theme and varia- tions with the each variation becoming more complex and disguised. The main melodic idea is stated at the opening with block accompaniment. Each variation, in addition to further disguising the melody, proceeds through a different jazz-like style. This final piece also comes to a large, climactic Intermission ending.

Sonata No. 2 for flute and piano was commissioned by one of the most FORFEIT (1998) John Crabtree important flautists of Brazil, Alexander Johnson dos Anjos (a.k.a. Sando). music for a film by Meredith Serota Johnson asked Pitombiera to write a work based on the Brazilian Northeast- em modal scales. This work was to be used as reference material for Johnson's I. The Cross (Main Theme) masters dissertation in flute performance at Rio de Janeiro Federal Univer- 11. Towards the Altar sity. Pitombiera built the entire piece upon the main motive of Kaplan's Im- 111. The Interlude provisation for solo flute. This six-note idea integrates the three movements IV. Inner Struggle and it is modified and developed to fit the character of each movement. The -- VXZon t~it.ion whole concept of the piece is to create contrasting atmospheres representing VI. The Cross (Reprise) the intense urban life of Rio de Janeiro, where the flautist was living at that time, and the tranquil atmosphere of his home in Northeast of Brazil. Three Pieces for Piano (2000) Bradley D~BOW

I. Theme With A Couple Variations 11. As Of Yet I Have Found Nothing 111. ...lay like the sun upon the grass Pepron Pilibossian, piano

Sabrina Theresa Hurst, flute Duda Di Cavalcanti, piano Program Notes Three Diminutive Movements for Solo nba is a solo piece for tuba that explores the abstract musical shapes created by opposing direction and simi- lar interval content. The motivic ideas in all three movements are derived Evocations is set in four short movements for piano. Each movement, de- from the same seven-note collection. Phrases in the first movement were picting different moods, is limited to using only five pitches to generate the constructed so that they create a direct juxtaposition of opposing mate'rial in music The second movement was later added and based loosely around a style, but not in pitch content. The second and third movements use this tonal center of E. Movements 1 and 4 use a different set in each staff. same concept, but in a more fluid and intuitive manner. All three movements emphasize the ideas of opposing movement, the time-point compositional There Will Be Rest For Me On That Day is a piece for solo tuba De Bow system used by , and the concept of the "Uber-tubist." wrote for his own performance capabilities. As in my last major work for tuba solo, Three Pieces for Solo Tuba, De Bow took into consideration his Quiet Erosion is a short work for flute and piano. ,The influence of modal abilities and talents as a tubist, and wrote a piece which demonstrated both jazz and classical Indian music can be heard throughout. The drone-like qual- the dramatic and technical capabilities of the tuba. The piece itself is based ity of the piano in the opening bars reflects the way a tambura can create a on the idea and the figure of the Crucifix, both proportionally and dynami- complex sound environment for a soloist to improvise over during a raga. cally. The ratio of the range to the length of the piece is 3:2. In other words, The pitch collections used for the melodic and harmonic material are also there are 3 units of range for every 2 units of length creating the symbol of taken from Indian ragas and are used to create an improvisational tone. The the cross. The piece was written specifically for De Bow's composition mas- piece is Western in that the pitch centers change progressively, there is no ters degree recital in April of 2000. The piece was composed for piano and tuba, but uses only one performer. The tubist plays the piano with his left actual improvisation, and the form is a disguised ternary design. arm and leg while playing the tuba with his right hand. The piano is added The Three Pieces for Piano were each written independently and later put for extra effect and helps to give the piece a certain quality not found in any into a suite. The first piece, Theme With a Couple Variations, explores the other works of the current tuba literature. idea of modality. The beginning is based upon the Phrygian or third church mode. The piece is highly chromatic, but it never seems to stray far from the sWirLS... uses two digital synthesizers, the Yamaha SY77 and TG77, along Phrygian center. The last variation moves from a duple division to a triple with the Performer MIDI sequencing software. All sounds in the work are division. The piece becomes its most chromatic at this point and the first and synthesized and are altered by detuning, panning, and reverb. The composi- third movements tie into one another. In this section, as well as the third tion opens with low, sustained pitches in circular succession, which spiral piece, De Bow tried to have the voices (or hands in piano) begin and end progressively higher throughout the piece. Rapid cascades of notes interrupt phrases in different areas creating an entirely new feel. and temporarily replace the sustained sounds, while several loops create su- perimposed canonic passages. Finally, the piece concludes with high scalar The second piece, As Of Yet I Have Found Nothing, is a foray into the phi- pitches with cross over each other frequently, forming a variety of chromatic losophy of ~othin~ness.The piece is based upon an altered scale and small and microtonal sonorities. pitch collec~ion(C, Db, F, G, Ab). The beginning opens with a series of loud and soft phrases juxtaposed against one another. Part way through the piece, the Duality of Life is symbolized by the addition of a completely different pitch collection, A, C, E (or A minor). A monophonic melody, and then a fragment of it, marks the last section, which also the climax of the piece. UPCOMINGEKENTS . . .

OCTOBER 19 THURSDAY 6:00 PM BORIANA KOJOUHAROVA DMA PIANO RH 19 THURSDAY 8:00 PM 3m ANNUAL OCUBAFEST LSU COLLEGE OF MUSIC JOEL PUGH EUPHONIUM ARTIST RH 22 SUNDAY 3:00 PM LA CHAMBER PLAYERS CT & DRAMiXTIC ARTS 23 MONDAY 8:00 PM LA CONTEMPORARY CHAMBER PLAYERS RH 24 TUESDAY 6:00 PM 3m ANNUAL OCUBAFEST School of Music ED DUCEY SENIOR RECITAL RH 24 TUESDAY 8:00 PM 3RD ANNUAL OCUBAFEST JOSEPH SKILLEN, TUBA RH 25 WEDNESDAY 6:00 PM ~RDANNUAL OCUBAFEST PRE~ENTS NATHAN STREBECK SENIOR RECITAL RH 25 WEDNESDAY 8:00 PM ~RDANNUAL OCUBAFEST

JOHN MANNING GUEST TUBA RH . .

THURSDAY PM 3RD ANNUAL OCUBAFEST _, . 26 6:00 . .,. , .3 STUDIO RECITAL RH . . :.- .. . ,$. .< ,.-7 *."' 26 THURSDAY 8:00 PM ~RDANNUAL OCUBAFEST : ...s . .

TUBA EUPHONIUM ENSEMBLE AND . . , A, ...... THE MID-SOUTH CHAPTEROF~~NACUSA. .. ,.. - - ... , . .. *-: .i* . . _. C',. . .:, CHAMBER GROUPS RECITAL RH :. :. _,,....j. (I . L, . .i.:.-*< _ -.. :i. ,? . . ~ . . '* ~,.'r L .~,. . ,,,. , . ~ . .. '..:,I .;<>.;!.-, ..., . . ".U" 'V ', ,< .. s-*. : :'::::- :.-p " ;,.. . -.. 26 THURSDAY 7:00 PM OPERA - DIE FLEDERMAUS UT , .., , ,., +, -..I . .$,. . ..,a *,- ":,* .. '...+( <, ;,--..,.,$!48, , .. . . .+ ' , - . . -? ; ...... ,. 1.' -=-:--=-,, il. ,\..*?,+ .* ., . -2-7-FRIDAY-8 ZOO-PM-OPERA---DIE-FEDERMAUS W 27 FRIDAY .- 8:00 PM RED STICK SAXOPHONE QUARTET RH 28 SATURDAY 8:00 PM OPERA - DIE FLEDERMAUS UT 29 SUNDAY 3:00 PM OPERA - DIE FLEDERMAUS UT 30 MONDAY 8:00 PM DENNIS PARKER, CELLO RH

ABOUTTHE SCHOOL.. .

FOUNDEDON THE BATONROUGE CAMPUS IN 1931, THE LSU SCHOOLOF MUSICNOW BOASTS A FACUL'IYAND STAFF NUMBERJNG OVER 70, AND A MUSIC MAJOR CONCENTRATION OF NEARLY 450 STUDENTS. THESIZE AND SCOPE OF ITS CURRICULA

TmcDR.EAMS OF A LOTUSBLOSSOM (2000) WILLIAMPRICE MEZZO-CONTRALTODAWN WILLIAMS HAS PERFORMED IN CHORUSES OF OVER FOR TAPE ALONE TWENTY OPERA PRODUCTIONS, RANGING FROM MOZART,ROSSINI, AND VERDITO STRAVINSKY,BERG, AND ORREGO-SALAS.SHEHOLDS DEGREES FROM INDIANA UNIVERSITY-BLOOMINGTON,WHERE SHE STUDIED VOICE WITH DEVERATHOMAS AND COLETTERICE. WHILETHERE, SHE APPEARED IN SIXTY PERFORMANCES BY THE INDIANAUNIVERSITY OPERA THEATER, AS WELL AS PERFORMANCES BY VARI- OUS CHORALENSEMBLES AS A MEMBER AND SOLOIST. SHECURRENTLY SINGS WITH FROW FOUNTAINS(2000) LIDUINORTOMBEIRA THE LSU OPERA,WHERE SHE WILL SOON APPEAR IN DIEFLEDERMAUS. FOR TAPE ALONE HEATHERPINSON IS A MASTERS STUDENT OF MUSICOLOGY AT LSU. CURRENTLY SHE IS STUDYING CLASSICALVIOLIN WITH JAMESALEXANDER AND JAZZ PERFOR- MANCE WITHWILLIS DELONY. MS. PINSONHAS PERFORMED WITH NUMEROUS SYMPHONIES THROUGHOUT LOUISIANA,ALABAMA, AND TENNESSEEAND HAS PERFORMED IN ROME,ITALY AS PART OF AN OPERATIC CONCERT SERIES. PASCIMNosr~m FOR SOLOUNACCOMPANIED VOICE IS A MODERN RENDERING OF A MEDI- EVAL CHANT WHICH IS PAPX OF AN FXER DAYMASS. THENOTES OF THE CHANT PROVIDE THE PITCH AND SIRUCI-URALFRAMEWORK FORTHE PIECE. PHONEMESOCCURRING THROUGH- OUT THE WORK ARE VARIOUS COMBINATIONS OF VOWELS AND CONSONANTS TAKEN FROM THE ORIGINALTEXT: "AULUIA--PASCHA NO~UMIMMOIATUS EST CHRISUS[ALLELUIA--CHRIST OUR PASSOVER IS SACRIFICED]." THEPERFORMER IS GIVEN FREEDOM TO INTERPRET THE MUSIC CREATIVELY THROUGH CHOICES OF TEMPO, RHYTHM, DYNAMIC LEVELS, TIMBRE, ETC., AND TO ELABORATE ON THE PIECE THROUGH ADDITIONS OF VOCAL SPECIAL EFFECTS. WAVES(2000) IS AN EIGHT MINUTE TWO-CHANNEL ELECTRONIC WORK. SOURCEMATERIALS USED IN THE CONSXUCTION OF THlS WORK INCLUDE SINE WAVES, A SAXOPHONE SAMPLE AND A SOUND FILE OF THE SPOKEN WORD "SWOON." SEVERALRECURRJNG MO~CAN BE HEARD THAT ARE BASED ON TIME MANIPULATION, CROSS SYNTHESIS AND CHANGING DENSITY AND SPAWZATION IN GRANULATION. THEPIECE WAS REALIZED AT THE MAb STUDIOAT LOUISIANASTATE UNlVERSlIY USING CSOUND, AND WAS INSPIRED BY THE SEEMINGLY IMPOS- SIBLE JUXTAPOSITION OF CONTRADI(X0RY SENSATIONS THAT ONE CAN EXPERIENCE WHIM SURFING (TERROR AND SERENITY, EXCITEMENT AND TRANQUILITY, AT THE MERCY OF AND PROFOUND ONENESS WITH THE OCEAN, ETC.). WAVESCAN ALSO BE FOUND IN COUNTLESS OTHER BEAUTIFUL ASPECTS OF BOTH THE NATURAL AND THE DIGITAL WORLD AND ARE INSPIR- ING IN MANY WAYS.

Nu BLEUI COMBINES THE VOCABULARY OF CONCERT MUSIC WITH THAT OF JAZZ. IN THE FIRST MOVEMENT A MOTIVE FROM A SOLO BY THE GUITARJST JOHN SCOFIELDIS USED AS THE CENTRAL IDEA. THESECOND MOVEMENT USES THE SAME PROCESS OF THEMATIC DEVELOP- MENT THAT A SOLOIST MIGHT EMPLOYEE IN A BALIAD. THETHIRD MOVEMENT COMBINES ELEMENTS OF BOTH THE FIRST AND SECOND MOVEMENTS AS WELL AS NEW MATERlAL.

TANTRCDMS OF A LOTUSBLOSSOM WAS REALIZEDAT THE ELECTRO-ACOUSTICMUSIC STUDIOSAT LOUISIANASTATE UNIVERSITY USING KYMASOUND SOFTWARE. THEWORK'S GENERAL~ETICFOCUS IS ONE OF NARRATIVE MEDITATION. ALMGLOCKEN BEUS, GRANU- LAR GUITAR STREAMS, AND TUVADRUMS WERE USED TO CREKTE A QUIET, BUT REFLECTIVE ATMOSPHERE.

FROZENFOUMAINS WAS INSPIRED BY THE HAIKU WRITEN BY JUDITH ANN GORGONE: INWINTER MUSIC DOESN'T TRICKLE FROM BAMBOO FOUNTAINS FROZEN TIME WITHOUT BEAT

THEPIECE STARTS IN A TRANQUIL ATMOSPHERE, WHICH IS REPRESENTED BY TWO ELEMENTS: A WATER SOUND AND PENTATONIC MOllVES. AFTER THlS INTRODUCTION, AND BAM- BOO FLUTE SOUNDS ANNOUNCE A SECOND SECTION IN WHICH A RIVER SOUND HAS ITS DEN- slnINCREASED GRADUALLY TO REPRESENT THE FROZEN ELEMENT IN THE POEM. THESEC- OND SECTION USES PHONEMES OF THE POEM AND AT SOME POINTS THE PRONUNCIATION CAN BE CLEARLYPERCEIVED. THEGONG ANNOUNCES AGAIN A CHANGE OF MOOD AND A NEW SECTION STARTS. IN THIS LAST SECTION, THE POEM IS RECITED IN DIFFERENT SPEEDS AND FREQUENCIES TO FORM A SOUND MASS. THISSECTION IS THE CLIMAX OF THE PIECE. THE SOUND MASS DISAPPEARS GRADUALLY AND A "TIBETANCHOIR'' STARTS SINGING MANTRAS, WHICH ARE I~RR~DBY A JAPANESE FEAST IN WHICH THE PENTATONIC ELEMENTS ARE USED. THEPIECE ENDS IN THE SAME TRANQUIL ATMOSPHERE BUT NOW WITHOUT THE WATER

NACUSA CONCERT with the SAN JOSE CHORAL PROJECT Daniel Hughes, Conductor Robin Dahlberg, Soprano Suzanne Duval, Soprano Cathleen Nitz, Soprano Carlton Lowe, Tenor Lilly Sclilacta, Piano Saturday, November 11,2000, dpm, Palo Alto Arts Center, ~mbarcaderoand Newel1

hogram owen Lee SANCTUS from "Missa Academicae" I Rosemary Bmett Byers SHE WALKS IN BEAUTY

Lori Griswold NOEL (GabrielaI Mistral, trans. Doris Dana) I I Brian Holmes SIX LULLABIES (Mark Van Doren) l! Chipmunk, Chipmunk 2! Down Dip the Branches 3! Where Did He Run To? I 4) Old Ben Golliday I 5! Sleep, randm mother 6! He Cut One Finger I I Nancy Bloomer Deussen FLOWER$ BY THE SEA (William Carlos Williams) I Intermission

Brian Holmes JOLLY JA~N(anonymous, 15thcentury) I I I Rosemary Barrett Byers TO A CAT Brian Holmes LET EVEbGCOME (lane Kenyon) I I Daniel Leo Simpson BERCEUSE (Daniel Leo Simpson) I I Mark Alburger AERIAL $EQUIEM Fertorium Agnus Dei I Nancy Bloomer De-n . TWO SON~S yeLong Voyage (Malcolm Cowley) TeRiver (A.R Ammons) HOSANNA from "Missa De Angelisn MARK ALBURGER (b. 1957, Upper Darby, PA) is an eclectic American composer of postminimal, postpopular, and postcomedic sensibilities. He is Editor-Publisher of 2lst-Cenfury Music Journal, an award-winniing ASCAP composer of concert music published by New Music, oboist, piania vocalia recording artist, musicologist, author, and music critic. Albqer began playing the oboe and composing with Dorothy and James Freeman. George C~mb,and Richard Wernick He studied with Karl Kohn at Pomona College; Joan Panetti and Gerald Levinson at Swarthmore College (B.A); Jules Langert at Dominican College (h4.A); Roland Jackson at Claremont Graduate School (PhD.), and Teny Riley. Upcoming perfbrmances include the New Yorlc premiere of his Symphony No. 1 by NorWSouth Consonance Ensemble on January 7, the premiere of excerpts from Antigone on January 27 at Z Space in San Francisco, a nine-performance run of SidewaUu ofNew York: Henry Miller in Brooklyn this spring by Goat Hall RoQldons, and music from Le Petit at Dominican College this fall. He is currently at wdon a setting of Chekhov's Uncle Vanya.

AERIAL REQUIEM (1985) is dedicated to Paul Miley, lost over the plains of Wyoming. It was begun in a Utah parking-lot suns* and finished in a snowy Pennsylvania sunr0o.m Its 10 movements - Introit, Dies he, Tuba Mirum, Rex Tremendae, Recordare. ConfUtatis, Lamimosa, Offertorium, Sanctus, and Agnus Dei -- are miniatures in the spirit, but not style, of Igor Stravinsky's . The composer-model evoked is hopefidly that of Hector Berlioz (one of the few composers who wrote a Requiem in his youth and lived to a respectable old age). The reggae Offertorium features a static build-up of forces on the words "Quam olim Awe" (a text usually treated fugally). The post-minimal Agnus Dei includes a simple cycle of four chords, which grow increasingly lost and poignant.

ROSEMARY BARRETT BYERS has enjoyed a varied career as pianist, conductor, theatrical director, teacher, composer and arranger, Since completing a master's degree in piano performance at Indiana University, she has taught piano, music history and musical theater at various colleges and universities in the Southeast and Midwest, conducted much of the major choral-orchestral literature, and has directed numerous Broadway musicals and musical revues from dirmer theater to the concert stage. As a composer. Ms. Byers has published piano teaching compositions with Myklas Music Ress, Lee Roberts, Hal Leonard and Carl Fischer. Her RhapsodyjCor Piano won fvst place in the division of the 2000 MTAC Composers Today State Contest, and her Animal Crackers a suite of poems and pieces for elementary piano students won fvst place in the Teaching Piece division. Four original children's musicals have been produced by theater companies and show in Tennessee and Kentucky.

NANCY BLOOMER DEUSSEN (b. 1931, New Yorlc) is well known throughout the San Francisco Bay Area as a composer, performer, arts organizer and music educator. She is a leader in the growing movement for more melodic, tonally oriented contemporary music and is co- founder and Resident Emeritus of the SF Bay Chapter of the National Association of Composers, USA Her original works have been performed throughout the US and Canada and she has received nunierous commissions both locally and nationally from such performers and ensembles as: The Oakland Chamber Orchestra, The Walnut Street Chamber Ensemble, The Baton Rouge Concert Band, The Bresquari Trio, The Santa Clara Chorale. The Women's Caucus in the Arts, OPUS 90 Chamber Ensemble. Richard Nunemaker, clarinetist, the Tanana High School Band, the Gabrieli Brass, Soundmoves, the Mission Chamber Orchestra, flautist Angela Koregelos, Semper Vim environmental pup, Jim and Pat Wag and Mu Phi Epsilon Her works are available on CD from NorWSouth Records, ERM Records, Keynote Designs, and BMS Recordings. A new CD of her orchestral music will be released on the Arizona University Recording label in Fall, 2000

FU)HTRS BY THE SELi (1991), inspired by nature and the poetry of William Carlos Williams, was commissioned and premiered by De Anza College Choral in 1992.

HOMAis a sedon of Missa de Angelis (1955), which.dates from the composer's fvst composition period (1950-1966). Only the Kyrie, Christe Eleison, Gloria, Qui Sedes, and Hosanna sections survive, after storage over the years in several different locations in old suitcases and garages, some lost, floating into the nearby creek during a flood in the 70's. This evening's perfbrmance is the world premiere.

TWOAMERICAN SONGS (1988) attempt to represent the flavor of the United States.

LORE GRISWOLD writes mostly vocal music with a smattering of piano pieces from her years of teaching piano. She studied composition with Warner Jepson

NOEL is a setting of a 1922 text by Chilean poet Gabriela Mistral, who won the Nobel Rim for Literature in 1945.

During the last 12 months, BRIAN HOLMES has won the Amadeus Choir (Toronto) Christmas Carol Competition, the Diana Barnhart American Song Competition, the Welcome Christmas! Carol Competition sponsored by the American Composers Forum, the Choral Composition 2000 contest of the Green Bay Chamber Choir, and an ASCAP Standard Award. He is a finalist in the Ithaca College Choral Composition Competition, which explains why he will listen to Jolly Jankin tonight in upstate New York, instead of in Palo Alto. The Peninsula Women's Chorus commissioned Three Songs, which premiered in April and May. Three choral compositions (including Let Evening Come) will soon published by William Thorpe Music Publications; and two vocal pieces will be published by Thompson Edition. On and 17, Schola Cantorum will perform Now is the Time, a cycle of carols for baritone, chorus, brass, and .

In JOLLY JANKIN (1995), a girl goes to church on Yule Day. The Latin phrases in the poem are from the mass. Jankin, the cleric who officiates, sings merrily in a handsome coat bought by the girl; but he ignores her except to step on her foot Alas! She is pregnant, and it is not hard to guess who is responsible. The text, drawn from an anonymous 1 5thcentw-y source, has been updated by the composer.

Jane Kenyon, the author of LET EVENING COME (1998), lived in New Hampshire with her husband, the poet Donald Hall. The poem was her response to learning that her husband had cancer. Ironically, however, the disease claimed her instead This setting was a finalist in the 1998 Ithaca College Choral Composition contest, where it received its premiere (an earlier version for women's chorus was premiered in 1995, just two weeks after Kenyon's untimely death). Both the Stanford Chamber Chorale and the San Francisco Girl's Chorus have performed this piece locally and on tour. Mark Alburger - AERIAL REQUIEM (texts kom1 the Latin Requiem Mass) i Offertoriwn I .. I Domine Jesu Christe, Rex gloriae, libera animas 0 Lord Jesus Christ, King of glory, deliver all omnium fidelium defunctorum de poeniS infimi, the souls of the faithful departed fhm the pains of hell,

et de profilndo lacu: libera eas de ore leonis, and the deep pit: deliver them hmthe mouth of the lion, that ne absorbeat eas tartarus, ne cadant in obsc- hell may not swallow them up, they may not fall into darkness;

sed signifer sanctus Michael but may the holy standard-bearer Michael repraesentet eas in lucem sanctam, introduce them to the holy light,

quam olim Abrahae promisisti, et semini eius. which thou didst promise of old to Abraham, and to his seed

Amus Dei I

Agnus Dei. qui tollis peccata mundi, dona eis req4em Lamb of God, who takes away the Sin of the world, grant them rest Agnus Dei, qui tollis peccata mundi, dona eis requiem Lamb of Gad, who takes away the sin of the world, grant them rest Agnus Dei, qui tollis peccata mundi, dona eis req4em Lamb of God, who takes away the sin of the world, grant them rest aeternum. i eternal. I I Nancy Bloomer Dewsen - FLOWERS TO THE s~A(William Carlos Williams) I - I When over the flowery, sharp pastwe's l edge, unseen, the salt ocean I I lifts its formchicory and daisies tied, released, seem hardly flowers alone

But color and the movement -or the shape perhaps of restlessness, whereas

the sea is circled and sways peacefully upon its plantlike stem I Nancy Bloomer Dewen - TWO AMERICAN SO~GS

The Long Voyage (Malcolm Cowley) I The River (AR Ammons) I Not that the pines were darker thm, j I shall go down to the deep river, nor mid-~aydogwood brighter thae, I to the moon waters nor swifts more swift in summa air, I where the silver willows are and the bay blossoms, I it was my own country, 1 to the songs of dark birds, to the great wooded silence of flowing having its thunder clap at spring, forever down the dark river its long mid-summer ripzning, its corn hoar stiff at harvesting, Shall I go down to the deep river, almost like my country to the moon waters where the silver willows are and the bay blossoms yet being mine; its face, its speech, I to the songs of dark birds, hills within its bent low my reach, !I to the great wooded silence of flowing its river birch and upland beech forever down the dark river. were mine of my o& country

Now the dark waters at the bow fold back like earth against the plow brightens the dogwood now I I at home in my o& country. 5. Sleep, Gmndmoher 6. He Cut One Finger

Sleep, grandmother, sleep. He cut one finger The roc- chair is ready to go, And the other herbled And harness bells are hung in a row He cut off his head, As once you heard them But he didn't have another, In soft snow. So he's dead

Sleep, grandmother, sleep. He shut one eye Your sons are little and silly again; And the other eye was gone. Your daughters are five, and seven, and ten; He put his glasses on; And he that is gone But he couldn't see to see, Was not gone then. So he's done.

Sleep, grandmother, sleep. The dwarf ate a giant The sleigh comes out of the winter woods To become a giant too. And carries you all in boots and hoods He grew and he grew, To town for candy But he couldn't hold him all, And white dress goods. So he's through.

Sleep, grandmother, sleep. The cot became a bed The rocking chair is old as the floor, And the bed became a boat But there he nods, at the noisy door, But the boat couldn't float For you to be dancing Being heavy; and the lights One dance more. Went out.

From Collected and New Poems, 1924-1963 by Mark Van Doren. 01963 by Mark Van Doren. Used by arrangement with Hill and Wang, a division of Fa,Shaus, and Giroux, Inc. The premiere of SUI LULLABIES (1990) y by Jeanne Garson and Bryndcm Hassman in 1991. The songs are dedicated to the composer's son Jerry (who was three years oJd when they were written) and have been recorded by Nancy Ogle of the University of Maine. "Sleep, Grandmother" won this year's Diana Barnhart Ameaican Song Competition, while "He mt one fmger" received an honorable mention

DANIEL HUGHES. Artistic Director and founder of the San J& Choral Project, began studying piano and composition at age four. He is ahrays in demand as an accompanist, coach and choral dtinician in the Bay Area Daniel has been a clinician and led workshops in conducting technique and vocal pedagogy for American Musical Thheof San Jose, the California Music Educators Association (February 200 I), Gateway Music Festivals, Great American Music Festivals, and GALA Choruses. He is Director of Choral Activities at College of Nove Dame in Belmoat and Directm of Choral and Vocal Studies at ~oodsidel~iorySchool, an elite college prepwry school in Portola Valley, California Mr. Hughes is the recipient of a fourth place award in the 35th Mdonal Choral Competition in Goritia, Italy, (1996). Second Place Award in the American Choral Directors Association National Studknt Conducting Competition (1995). the Christina Cadena Memorial Accompanying Scholarship(1989-95). and the California Arts Scholar ~hrdsfor piano and composition (1987). Mr. Hughes is completing his Master's Degree in Conducting under the mentorship of Dr. Charlene ~rchibe~ueat San Josb State University.

OWEN LEE bas been a member of NACUSA since 199!, and now serves as the San Francisco Bay Area Chapter president. Dr. hetook his degrees &om UC Berkeley and UCLA where his teach& included Andrew Imbrie, Roy Travis, Henri Lazarof, and Paul Reale. After teaching privately and part-time at De Anza College, he is now an/Instructor of Music and Director of Music Theory at Diablo Valley College in Pleasant Ha. His music attempts to address and express the human spirit. I SANCTUS consists of three sections, an opening "Sanctus" a "Pleni surd coeli," and a fd"Hosanna" They are part of the much larger Missa Academicae, whose Credo was $miered at a NACUSA Concert last fall. The first section is a serious, solemn, strict fourpart canon on a 12-tone subject full of to@ implication, and whose hannony ends up being quite tonal, albeit quite chromatic. The rather playti11 "Pleni," is a short four-part fitgue, again using a 12-tone I tonal concept. The "Hosanna" returns to the music of the opening.

DANIEL LEO SIMPSON, an American composer with a flair for creating "contagious" music, specializes in unusual, interesting and dynamic works of every genre. From concerti and symphonies to vmmercials and film music, he is distinguishing himself as a unique voice. Simpson studied under Robert McBride and Robert Muczynski, and holds a Master's Degree in Theory and Composition fiom the University of Arizona He also studied at the Grove School of Music io Los Angeles -- under the tutelage of , Bill Conti, Joe Hamel, and Allyn Ferguson - and worked as a commissioned artist aeating music 'for featured films, television talk shows, and commercials. Simpson has received additional recognition as a computer-music software edert, gaining the praise and confidence of such notables as Carlos Rodriquez, Tom 'Bones" Malone, Akira Endo, and . ~dentl~,Mr. Simpson's Solrloquy for violin and piano was performed at the Jewish community Center in Palo by concerto competition winn4 Anat Kardonchick In addition, his Polonaise was premiered in Portola Valley last month by Palo Alto Two-Piano Club members Marge Cassingham and Eugenia Van Deinse. I BERCEUSE, originally composed for violin and piano, was set to lyrics at the request of the composer's wife, Mary, and anxnged for soprano especially for this concert. In keeping @ the title, "Berceuse" (a French word simply meaning "lullaby"), Simpson wrote the text from the view of a mother to her infant son The three verses depict different periods of an individual's life: infancy, adolescence, and adulthood. The simple, but dkep emotion of a mother's expression of love for her child, even beyond a point after her death, remains as the unifyingtherne of the &a I THE SAN JOSE CHORAL PROJECT was founded by Artistic Director & Conductor Daniel Hughes in September of 19% in an effort to expand the choral mnot only in reaching further to increase the e+ellence of high-level choral literalure, but also to stretch the concepts of presentation and perfbunace, bridging the gap between text and music, singer and spectator. The ensemble is composed of 35 multi-talented singers fiom various partP of the San Francisco Bay Area Already be& hailed as "one of the premiere choirs of the San Francisco Bay Area," the Choral Project has performed throughout Northern California in +terfaith services, choral festivals and concerts in addition to being selected as the showcase choir for the National Association of Composers of the USA Composer's Competition in November 2000. I THE SAN JOSE CHORAL PROJECT - Daniel Hughes. histic Director and Conductor - Lilly Schlacta, accompanist

SOPRANO ALTO TENOR BASS

Robin Dahlberg Annette Bronzini Johnahon Atwood Keith Byron Carolyn Derwing Lucy Conley Kenneth Alford Daniel Cudworth Suzanne Duval Susan Fritz TiChokshi David Fritz Kathleen Nitz Kathleen Kuebelbeck, Jim Jenks Eric Horton Sara Rosso Carlton Lowe Nal Johnson Allan Hughes Lilly Schlachta Peggy Mob Matthew Morse Jacques Maitre Britta Peterson Michael McDonald Tony Mauro Sheila Sardi Christopher Patnoe Ryan Nakagawa scon walker

i I You are invited to stay after the concert and speak with the composers.

The National Association of Composers USA (NACUSA) is a non-profit organization whose goal is to foster the composition and performance of new music. Founded in 1932 and now with branches in Los Angeles, New York, Philadelphia, and San Francisco, NACUSA continues to be an active and most vital outlet for composers throughout the country. Inquires regardmg membership may be addressed to Ilana Cotton at (650) 367-1683 I [email protected]. General inquires may be,directed to Owen Lee, (408) 730-2224 I freeheel@earthlinknet.

NACUSA San Francisco is a non-profit organization in need of support. Donations of cash andlor appreciated stock will be most welcome and are deductible. Contributions may be sent to:

THE NATIONAL ASSOCIATION OF COMPOSERS San Francisco Bay Area Chapter 1653-B Belleville Way Sunnyvale, CA 94087

Acknowledgements

The Members of NACUSA San Francisco would like to recognize with heartfelt thanks the following contributors to the 2000-200 1concert season:

Dr. Mark Alburger Ms. Annette Axtmann Music Library, University of California at Berkeley Ms. Ilse Calabri Mano Murthy NEW MUSIC Publications and Recordings Ms. Jeana Ogren Mr. Robert and Ms. Carla Schenk Mr. and Mrs. Michael Scofield Ms. Diana Tucker Ms. Emily I. Ward

This concert is presented by the National Association of Composers, USA, San Francisco Bay Area Chapter

Committee for tonight's concert:

Concert Production: Owen Lee Publicity: John Beeman, Carolyn Hawley, Marilyn Hudson Program: Mark Alburger, NEW MUSIC Publications Programming: John Beeman, Nancy Bloomer Deussen, Diana Tucker

Special thanks to

Professor Elena Sharkova, Director of Choral Activities, San Jose State University, and the SJSU Concert Choir, for the use of their choral risers. About NACUSA The Mid-South Chapter of NACUSA, which was founded in 1933, is one of the oldest organizations devoted to the promotion and performance of music by Americans. Ma@ of themost distinguished composers of the 20th Century have been NACUSA members. NACUSA sponsors several concerts each year which feature music by its 600 members. NACUSA, which has chapters in New York, Los Angeles, San Francisco, Baton Rouge, presents Philadelphia, and Tidewater, is the successor to the National Association of Composers and Conductors.

NACUSA presents many concerts throughout the year in many locations of the US. In the year 2000 thirteen concerts have been -presented-in-nine-different-locations-by-its-vious-chaptersfrom-the-&-st Mat hew s, u Coast to the West Coast. The Mid-South Chapter, headquartered here in ~zieIg itaist Baton Rouge, has continued to be one of the most active chapters in the organization by presenting five concerts since last November.

The goals of the Mid-South Chapter are to promote the music of its membership, to contribute to the artistic and creative development of the community, and to give audiences an opportunity to hear, and performers the opportunity to play, new music. These goals are achieved by presenting numerous public concerts throughout the year highlighting the talents of both the young as well as the experienced composers in our community.

For more information regarding NACUSA and its adivities please visit our website at: The Baton Rouge Gallery Mid-South Chapter http://members.aol.com/NACUSALSU/index.htrnI Tuesday, ~overnber14,2000 National Chapter h~://www.music-usa.org/nacusa 7:30PM Notes about the Artist Program

Mathew Daniels (b. 1971), a native of St. Louis, Missouri, began playing guitar at the age of eleven. He has studied many different styles of Three Thumbnail Sketches Vernon Taranto, Jr. guitar but has concentrated on the classical repertoire since his undergraduate studies at the University of Texas where he received the Six Short Pieces for Guitar Peter Blawelt Bachelor of Business Administration degree in 1993. Upon graduating Cappricio he returned to St. Louis where he studied guitar for a year and a half at Impromptu the St. Louis Symphony Community Music School. In 1998 Mr. Daniels Elegia graduated from Webster University, in St. Louis, with Master of Music Umoresco degrees in both guitar performance and composition, the first student at Ondine Webster University to graduate with both degrees. Currently Mr. Finale Daniels divides his time between his home state of Missouri and London, England. When in London he continues to study with the renowned Moods for Guitar Alone Dinos Constantinides guitar teacher, Michael Lewin. He has also studied guitar with John Impressions McClellan, Dan Rubright, and Peter Clemens. His composition studies Dream were with Kendall Stallings. He has performed in master classes with Madness Charlie Byrd and Herb Ellis, David Russell, Goran Sollcher, and the Hill- Wilchinsky Duo. Apart from presenting many concerts and recitals on . his own Mr. Daniels has been a featured performer with the Louisiana Intermission State University New Music Ensemble, the National Association of ' ' Composers, USA Mid-South Chapter, The Louisiana Sinfonietta, The Tampa Bay Composers Forum, and the Society of Composers, Inc. He Ashmere Jeremy Beck has performed in London, Italy, and throughout the United States. Mr. Birnam Wood Daniels has also been in demand as a clinician for both guitar students and composers. Impromptus Richard Rodney Bennett Recitativo Agitato Elegiaco Con fuoco Arioso

Prelude and Dance Aaron Johnson Notes about heArtists The Mid-South Chapter of

Red Stick Saxophone Quartet Baton Rouge, LA NACUSA Brian Utley, soprano saxophone Joshua Thomas, alto saxophone John Perrine, tenor saxophone Chris Rettie, baritone saxophone presents

The Red Stick Saxophone Quartet was formed in 1997 by students from the studio of Griffin Campbell at the LSU School of Music. The quartet has performed at North American Saxophone Alliance conferences at the University of Georgia and Northwestern University, and has also appeared at St. Joseph Cathedral in Baton Rouge, Murray State Universiiy in Murray, A Concert of Contemporary KYrand-St.-Mads-ColIeg~i~SoutkBned;INrThitetmfmtu~d ensemble at LSU's 54th Festival of Contemporary Music, performing Philip and Experimental Glass' Concerto for Saxophone Quartet and Orchestra with the LSU Symphony Orchestra. As a competitive ensemble, the Red Stick Saxophone Quartet was named National 1st Runner-up at the 1998 MTNA Collegiate Music Chamber Artist Competition in Nashville, TN, and received Third Prize at the 1999 Fischoff Chamber Music Competition in South Bend, IN.

Heather Pinson received her bachelor of music from Samford Universiiy where she studied violin with Jeffrey Flaniken. She is currently working on her masters of musicology at LSU where she continues to perform with the LSU symphony and various other ensembles. Heather has been a member of several orchestras including the Birmingham Symphony, the Montgomery Orchestra, the Jackson Orchestra, and has served as concertmeister for the Jackson Symphony Camerata Strings. This past summer Heather performed concerts throughout Italy with the Rome Festival Orchestra. She currently studies violin with James Alexander and iauimprovisation with Rex Richardson. The Baton Rouge.-Gallery Thursday, December 2,1999 7:30PM Notes about the Music Program

From Anoher World (1998) Peter Blawelt _ Pau-Brasil Liduino Piimbeira "This piece is inspired'by the word "pau-brasil" in which I found associations Red Stick Quartet between my native cwnhy, Brazil, and the city where I am studying since 1998, Baton Rouge, in the United States of America. Pcw-brasil is a redwood tree, which was very popular inEurope during the 16th century. When Brazil was "discoverecP La ~ore^tVierge (The Forest Primeval) Stephen Dcrvid Beck by Cabral and the Portuguese fleet in 1500, they found that this tree wns abounded Rebecca Todaro, harp in the new land, which was named Brasil after this redwood tree. The abbreviation of Brazil is BR, so is the abbreviation of Baton Rouge. Also, the Baton Rouge is a French ward that means red stick or red woad. To complete the chain of coincidences Three Chardr Pieces Melissa Pausina this piece has been written for the Red Stick Qvartet. In this three movement piece, I 1. Playfully use quotations and stylistic impressions of both such as iau, samba, blues, II. Tenderly and choro." Ill. Swiftly Kelsey McNitt, flute; Leslie Evans, clarinet Three Short Pisfor Sdo Tuba Bradley E. DeBaw "A few months ago I set out to begin writing a solo tuba piece which I could perform Arnie Martin, cello and demonstrate the capabilities of the tuba as a solo instrument. I looked at what was in the standard tuba repertoire and then what Iwas capable of doing as a Two Short BA-C-H Pieces For Solo Violin performer. The piece, as a whole, is based on a three-part concept, as are the Passion fbr Maria (1997) William Price pieces. The first piece uses a predetermined collectin of rhythms and pitches that Nomenclahre (1997) John Crabtree slowly move to the second section, which brings out new rhythmdpitches. After the M. climax on one of the highest pitches in the piece, the pitches slowly evotve back to the Heather Pinson, violin original collection. The second piece is based upon a technique found in more modern tuba literature; that of multi-phonics (producing more than one pitch at the same time). Betwen khof these multi-phonic sections, a short melody is played, Three Short Pieces For Solo Tuba (1999) Bradley E. DeBow each tying with, but being different from one another. The third movement is Clingly reminiscent of the first in the sense that the pitch and structure are similar, but moves I. to an even more intense and challenging climax. The third piece ends, like the first, II. Duet for One Tuba with the gradual evolution back to the ideas presented earlier." Ill. With Great Pain and Longing

Contrast Jonathan Pefen Conhast (1999) Jonathan Peters Contrast is a short twelve-tone piece for solo tuba. The main ideas for the piece were Bradley DeBow, tuba composed during the summer of 1999 on the shores of Lake Erie in Pennsyivania. Conditions on the Great Lakes can be anywhere from serene and tranquil to violent and tumultuous, and can change over short periads of time. This idea of extremes in Pau-Brasil (1999) Liduino Pitombeira range is reflected in the piece's use of pitch, dynamics, densi?. and timbre. Contrast is I. Allegro Moderato dedicated to Bradley DeBow, the "Ubertubist." II. Lento Ill. Allegro Red Stick Quartet I

National Association of Composers, USA Home of Deon Nielsen Price,vice-president 10701 Ranch Road, Culver City, CA December 16, 2000

Program I Piano Suite So. 1: The ~esonancdof Childhood (1996) Alex Shapiro

1. Variations on a ~embr~ 2. On My Mother 3. Quiet child 4. For My Father 5. Older Dorothy Spafard Hull, piano

Three Hobo Cadenzas (2000) 1 Peter Yates Peter Yates, guitar

Suite for Violin and Piano (2000) Jeannie Pool

1. Royal Hues 11. Ancient Dance IV. Collage Brian Leonard, violin Delores Stevens, piano

NACUSA - Past Marshall Bialosky NACUSA - Present Deon Price NACUSA - Future Everyone present

Interdission and Delicatessen I

When Lilacs Last in the Dooryaid Bloomod (2000) Alexandra Pierce Carol of the Bird 1 Rpger Pierce, reciter Alexandra Pierce, piano I

Twelve Variations on an Imagina!y Jewish FolkSong Marshall Bialosky I I Peter Yates. guitar Clariphonia (2000) 1 Deon Nielsen Price MARCH to ~lari~hones-DANCEon A- Basset Horn ROMANCE^^ Soprano SCHERZG Eb Contrabass FINALE 1 Be~keley Price, clarinet Deon Nielsen Price, piano

I

This QUARTETwas begun in February, 1992, and completed in July, 1992. In form, if not in style, it is meant to be a "classical" work, in three movements. It begins with a brisk Rondo, continues in a more reflective Romanza Rubato, and concludes with a quirky two-tempoed UCLA DEPARTMENT OF MUSIC AND THE Scherzo-Finale. -DSL NATIONAL ASSOCIATION OF COMPOSERS, USA

TWO VISIONS The first movement, Lust Carillon, seeks to capture the vision of an unexpected discovery of an old carillon, covered with webs and dust, PRESENT: whose bells are somewhat rusty. The finale, Imaginary Flight, is virtually a purely melodic flight. The opening melody revolves very clearly around A-flat, at first gradually adding other melodic materials between appearances of this central tone, and then, more quickly, removing them. DK A NACUSA CONCERT

"MY SOUL WALKS UPON ROSES ..." Thomas Watson (c.1620-1686); minister of St. Stephen's - (London), said the following about the Beatitudes from Christ's Sermon on the Mount: FEATURING This Sermon of Christ on the Mount is a piece of spiritual needlework, wrought about with divers colours; here is both usefulness and sweetness. In this portion of Holy Scripture you have a breviary of religion, the Bible epitomized. Here is the garden of delight, set with curious knots, where you may pluck CAMERATABRAVURA those flowers which will deck the hidden man of your heart. Here is the golden key which will open the gate of Paradise. CATHARINEDERENZIS, FLUTE, LEASTEFFENS, CLARINET Here is the conduit of the Gospel, running wine to cherish such KRISTEN AUTRY, VIOLIN, CATHERINE cAVELLA, 'CELLO as are poor in spirit and pure in heart. Here is the rich cabinet wherein the Pearl of Blessedness is locked up. Here is the DELORES STEVENS, PIANO, AND golden pot in which is that manna which will feed and refocillate DANIELKESSNER, CONDUCTOR (revive) the soul unto everlasting life. Here is a way chalked out to the Holy of Holies." "My soul walks upon roses ..." is a meditation on Christ's Beatitudes. Each of the main movements is a depiction of some aspect of one of the eight Beatitudes-either the affection or the gift. In order to highlight these qualities of character or blessings of reward (...or blessings of character, qualities of reward), traditional hymns are used in diverse fashions with the intent of alluding to the poetic ethos of its musical SATURDAY, ,2001 language and text. In between the eight main movements are short 8:00 PM, JANPOPPER THEATER "points of light." AD V. BEATITUDE 3 (HYMN: BE STILL MY SOUL) VI. POINTOF LIGHT315 LE TOMBEAU DE ZAPPA PETER YATES w. BEATITUDEIV (HYMN: MY HOPE IS BUILT ON NOTHING LESS) (1 995, 6:307') FOR VIOLIN, 'CELLO, AND PIANO (B. 1953) -POINT OF LIGHT 4 -BEATITUDE V (NO HYMN) w. POINTOF LIGHT315 Ix. BEATITUDE VI (HYMN: LETALL MORTAL FLESH KEEP SILENCE) -POINT OF LIGHT 216 DISINTEGRATION MEI-FANGLIN X. BEATITUDE VII (HYMN: A MIGHTY FORTRESS IS OUR GOD) (1999, 1O:OO) FOR PIANO SOLO (B.1973) XI. POINTOF LIGHT 117 NACUSA YOUNG COMPOSERS COMPETITION, -BEATITUDE VII (EPILOGUE) (CHORALE: "ER NAHM ALLES WOHL IN ACHT," AND CELLO SOLO: FIRST PRIZE CO-WINNER, 2000 "... WEINETE BITTERLICH," FROM BACH'SST. JOHNPASSION) (IN FIVE MOVEMENTS)

QUARTET DAVIDS. LEFKOWITZ (1 992, 15') FOR FLUTE, VIOLIN, 'CELLO, AND PIANO (B.1964) RECEPTIONFOLLOWS I. RONDO 11. ROMANZA RUBATO ru. SCHERZO-FINALE PROGRAM NOTES:

LE TOMBEAUDE ZAPPA The tradition of composing instrumental laments, or tombeaux, Two VISIONS DANIELKESSNER on the deaths of celebrated musicians was particularly strong among (1991, 14') FOR FLUTE, CLARINET, (B.1946) lutenists of the seventeenth century, few of whom died without tribute VIOLIN, 'CELLO, AND PIANO from their peers. In keeping with the change of centuries, this tombeau concerns a passing and a tribute by guitarists, rather than lutenists; the I. LOST CARILLON sentiment is otherwise the same, except that the music does not mourn, rr. IMAGINARYFLIGHT but is as irreverent as its dedicatee. -PY

"MY SOUL WALKS UPON ROSES. ..3 3 ANDREW DIONNE DISINTEGRATION consists of five movements. A simple Chinese (MEDITATIONS ON CHRIST'S BEATITUDES) folk song was used as the source of material for the entire piece. The (1 998, 2 1') FOR CLARINET, VIOLIN, 'CELLO, AND PIANO (B. 1 973) tune was introduced without too much distortion in the first movement. As the piece progresses, it disintegrates as if it is being melted and NACUSA YOUNG COMPOSERS COMPETITION, disguises itself in a variety of different shapes. The composer has also SECOND PRIZE CO-WINNER, 1998 tried to combine some aspects of Chinese music other than the tune itself with those of western music. An example of this is the timbral imitation I. BEATITUDE1 (HYMN: ALAS! AND DID MYSA VIOR BLEED) of an old Chinese instrument Zheng in the first and last movements. 11. POINTOF LIGHT117 This piece was commissioned by Ms. Jana Mason and her HI. BEATITUDE2 (HYMN: ABIDE WITH ME) husband Richard Anderson through the 2 1st Century Piano rv. POINTOF LIGHT216 Commission Competition in 1999. MFL GEOFFREY KIDDE

PROGRAM NOTES - Compiled and editbd by Max Lifchitz

Geoffrey Kidde, composer/flutis,t, serves on the music faculties of Hofstra University and

I the unitid States at such eGents and vehues is the Bar Harbor Music ~estivlal,SEAMUS, th; SCI I

recognition in the form of prizes - including one -from the NACUSA National Young Composers Competition -fellowships and grants, as well as critical praise from newspapers and professional journals. He has composed a feature film score, orchestral and choral works, chamber music, and a I series of works for instruments and electronic tape.

England Conservatory. The influence of OFof my teachers from the c6nservatory, John Heiss, as well as the influence of my very first flute teacher, Robert Dick, can be heard throughout the set. Both Long Distance and Sastrugi incorporate a numpof extended techniques, such as multi-phonics, key slaps, . tongue stops, and simultaneous singing ayd playing. Furthermore, Long Distance was inspired by the L microtonal inflections of the blues--how blues performers play and sing the pitches in between the pitches. Sastrugi is a Russian word definbd as the lines on fallen snow made by strong winds. This image was also an inspiration for me." 1 I

ior the Arts, the ~tlantaArts Festival, the Black ~o&tain~estiial, the Philadelphia Fringe Festival and the Resolution 2000 Festival. He has created over 50 works in media ranging from orchestral compositions to electronic works for d~nce.He has received commissions from the Allentown Symphony, the Lehigh Valley Chamber Orchestra, the Asheville Symphony, Wall Street Danceworks 1

International perforAances of his works hbve iaken pla;e at th; 1nteAational Courses for Percussidn I in Bydgoszcz, Poland, the Edinburgh Festival Fringe in Scotland, and in Canada and Tapan. Ovens'

~~- - -- 0 Im&e was described h the New York ~imesas a work of "special appeal ... that has an aln~ost conversational shape and pacing and some wonderfill textural detail." Ovens is Associate Professor and Chair of the Music Department at Muhlenberg College in Allentown, PA. He provided the following statement about his composition: "Improvisation No. 6 continues a dine of development begun with my Inlprovisation No. 1 for Solo Marimba (1982). Each of these iFprovisations is for solo percussion or solo electronic percussion. In Improvisations 1-5, the impyovisational character is largely to be found in the rhythrmc language of the scores. Gestures are shown to go from fast to slow or vice versa but often in a rather free notation that encourages the player to find his or her own "ideal" tempi. This piece, performed as it is over a prerecorded tape part, does not have that degree of rhythmic freedom but I have kept true

computer in live performance. ~oni~ht';performance is the first one using the Alesis ~ir~kefficts controller in performance. The pre-recordkd layer consists of samples from my own CD recording, . Play Us A Tune, for soprano and orchestra. The live part is played on a MalletKat, an electronic I controller laid out like a . Larry Thomas Bell, a composer who is recognized as "a major talent" (The Chicago Tribzlne), has been awarded the Rome Prize, fellowships from the Guggenheim and Rockefeller foundations, and the Charles Ives Award from the American Academy of Arts and Letters. He has received grants form the American Symphony Orchestra League, American Music Center, and Meet the Composer, as well as residencies at the Virginia Center for the Creative Arts and MacDowell Colony. Bell studied with Vincent Persichetti and Roger Sessions at The Juilliard School, where he received his doctorate. Bell's works have been commissioned and played by the , the Seattle Symphony, Music Today (New York), RAI Orchestra of Rome, OENM (Austria), St. Luke's Chamber Ensemble, and Speculum Musicae. In addition his music has been featured in festivals in Russe (Bulgaria), Moscow Autumn (Russia), Pontino (Italy), San Salvador (El Salvador), Aspen (Colorado), Ravinia (Chicago), Christchurch (New Zealand), and Valencia (Spain). As a pianist he performs regularly and has championed the music of , Persichetti, and other American composers. He has given recitals and concerto performances throughout the United States, Italy, and Japan. Bell has recorded frequently for broadcast on WGBH- FM radio in Boston, including their first live broadcast on the World Wide Web (of his trio Mahler in Blue Light). Bell's recording of his Piano Sonata CD has been released on North/South Recordings #1007. Reviewing this recording Fanfare Magazine called him an "exceptionally talented composer." Bell's Piano Concerto was recorded by the Russe Philharmonic in Bulgaria and appears on Vienna Modem Masters #3037. Sacred Symphonies was recorded by the Slovak Radio Orchestra for Vienna Modern Masters #3016. Bell has taught theory and composition at The Boston Conservatory since 1980 and the New England Conservatory of Music since 1992.

The Immortal Beloved is a song cycle based on the three letters that Beethoven wrote in July 1812. The work was written in June of 1999 for mezzo-soprano Judy May and conceived from the point of view of the recipient of the letters. The letters show Beethoven's extraordinary ambivalence towards romantic commitment yet they also have an emotional immediacy and are genuinely heart- felt. This cycle of three songs is permeated with references to Beethoven's own song cycle An de Feme Geliebte (To the Distant Beloved). A fragment of his cycle is quoted towards the end. The texts are taken from a compilation of two translations, of Beethoven's three letters, written in July 1812, to a mysterious woman historians referred to for one hundred and fifty years simply as The Immortal Beloved. Due to research by , we now know the recipient to be Antonie Brentano. A copy of the text that inspired the composer follows:

I. ,1812, in the morning "My angel, my all, my very self. Why this deep sorrow when necessity speaks can our love endure except by demanding everytlung from one another; can you change the fact that you are not wholly mine, I not wholly thine. Oh God, look out into the beauties of nature and comfort your heart. You forget so easily that I must live for me and for you. If we were united you would feel the pain of it as little as I. My journey was a fearful one; I did not reach here until four o,clock in the morning. The post coach chose an awful route; I was warned not to travel at night; I was made fearful of a forest, but that only made me the more eager and I was wrong. The coach broke down on the wretched, bottomless mud road. Esterhazy, traveling by the usual road here, had the same fate with eight horses that I had with four Yet I got some pleasure out of it, as I always do when I successfully overcome difficulties Now a quick change to things internal from things external. We shall surely see each other soon. My heart is full of so many things to say to you ah there are moments when I feel that speech amounts to nothing at all Cheer up remain my true, my only treasure, my all as I am yours. The gods must send the rest, what for us must be and shall be."

11. Evening, Monday, July 6 "My dearest creature You are suffering. Ah, wherever I am you are with me. I will arrange to live with you. What a life!!!! Without youApersecutedby the goodness of manAwhichI little deserve as I little care to deserve it. Humility of man towards man it pains me and when I consider myself in relation to the universe, what am I and what is HeAandyetAherein lies the divine in man. Much as you love mAI love you more. But never conceal your thoughts from me. Oh God so near! so far! Is not our love truly a heavenly structure, firm as the vault of Heaven?" 111. Good morning, on . "While still in bed, my thoughts go out tiyou, my Inlnzortal Beloved, will fate take pity on us. Either I must live only with you or not at all. Yes, 1 have resolved to wander in distant lands until I can fly to your arms. Yes, it must be so. You know my faithfulness to you. No one else can ever possess my I heart never never. Oh God, whv must on&part from one wh& one so loves. Your love makes me at once the happiest and the unhappiest of Ken. At my age I need a steady, quiet lifeAcanthat be so in our connection? My angel, Be calm, only by a calm consideration of our existence can we achieve our aim to live together Be calm love me toddy yesterday what tearful longings for you you you my life my all farewell. Oh continue to love me never misjudge the most faithful heart of your beloved. l ever thine ever mine

. , ever ours

I (Translation from Thayer-Forbes Briefe nb. 582, Letters no. 373). 4 I 1 Composer/pianist Max Lifchitz yas awarded first prize in the 1976 International Gaudeamus Competition for Performers of Twentieth Century Music held in Holland. Robert Commanday, writing for fhe San Francisco Chronicle describbd as "a young composer of brilliant inzaginatibn n,zd stunning, ultra-sensitive pianist." music critic Allan Kozinn praised Mr. Lifchitz for his "clean, nzeasured and sensitive performankes. A graduate of The Juilliard schdol and Harvard University, Mr. Lifchitz has appeared in concert and recital throughout the US, ~a&America and Europe. H& CD devoted to-the piano music of MCxico elicited the following (comment from Fanfare Magazine: "After severnl listenings, NorthlSouth Recordings No. 1010 is recomqzended to more than jzist a specialist audience becazise of the wide variety of attractive and challenging music that it contains. Lifchitz is a poetic pianist with requisite pozuer to make the many granitic clinzaxes register. ~aiil~,the most interesting new piano disc so far in 1996." The American Record Guide comented as follows on Mr. Lifchitz's most recent release The American Collection (N/S R 1014): "suffice it to say that it would be hard to find a better snapshot of what American composers have been writing for the piano in the past decade than this collection. Lifchitz plays everything with sensitivity and force, ulhere appropriate; and recorded sound is vivid and natural." The-coomposerwrites: Yellow Ribbons No. 5 belongs td a series of works written as an homage to the former American hostages in Iran. These compqsitions are a personal way of celebrating the artistic and political freedom so often taken for granted in the West. 1 The melodic and harmonic Gateribls of the single movement composition are derived from a I series of expanding and contracting intebals. ~everarrh~thmicmotives' serve as unifymg elements throughout the piece. The climax of the er-ttire work occurs close to the end when each instrumental part is treated with the utmost degree of independence: three different tempi are presented bimultaneously as each instrumentalis~pl~ysthe gi;en melodic material at a different speed.* Yellow Ribbons No. 5 was completed in the Fall of 1981 under a grant from Meet the Composer, Inc. It was premiered in the Spring of 1982 at the Merkin Concert Hall by clarinetists Stanley and Naomi Drucker accornpaniedl by pianist Miriam Brickman.

The music of pianist/composer hard Nanes first came to the public's attention through the beauty and lyricism of his exquisite keyboard recording of Nocturnes of the Celestial Seas. Nanes' Concerto for Brass Trio and Chamber Orchestira was also given its first performance at this time in Alice Tullv Hall at Lincoln Center. International reconnition came with the European premieres of his I I poGerful Symphony No. 2 by the ond do$ symp60ny Orchestra, followed by' the gymphony No. 1, which received its initial performance a concert telecast nationally and including a featured I performance by the late ~ehudiMenuhin. soon after, the London philharmonic presenteathe premiere I bf one of his most moving and heartfelt wbrks, the Rhapsody Pathetique for violin and orchestra, "A

Hebraic Lament", at the Barbican. with Arther ~erformancesbv other Euro~eanorchestras -- ~~ ------in Paris. Kiev, , ~uda~est,and ~eiji&.The I~omiANippon sym;hony brougAt Nanes' Concerto ~rossd to the Tokyo public with a special broadcast on NHK Television. I I During the early 1990s Nanes was given the unique honor of not one but two invitations to the former Soviet Union, first for the world premiere of his Symphony No. 4-"The Eternal Conflict" by the Moscow Philharmonic and then the performance at the Kiev International Music Festival of the world premiere of his Symphony No. 3 "The Holocatist ". In 1994 the Brooklyn Philharmonic presented the American premiere of the Holocaust Symphony. Performances of this work soon followed by the Chicago Philharmonia during a season that brought performances of Nanes' Synzphony for Strings to Alice.Tully Hall and one week later to Camegie Hall. And it was in the fall of 1997 that Nanes was appointed composer-in-residence to the Santa Fe Symphony Orchestra. The Holocaust Symphony reached its widest audience in 1998 when the BRAVO Network presented four national telecasts of the work as played at the Kiev International Music Festival Orchestra. One of the results of these broadcasts came in 1999 when Richard Nanes was given an international Silver Angel award for excellent moral quality in national television by the Excellence in Media Foundation. Richard Nanes' worldwide popularity was again highlighted late in 1999 when he was awarded the Medal of Honor and Diploma for Achievement in Fine Arts and Science by the Austrian Society. The award, presented in Brussels, , was made in recognition of Nanes' humanitarian works of music. The program booklet for Nanes' own recording of Grand Etude in A Major states that the work "is a "study" on at least two levels. First, it is an exercise of technical skill that demands the greatest virtuosity from the performer. Second, it is a comprehensive display of a wide range of twentieth-century compositional determinants. This study opens with stentorian declamatory tone clusters and pointillistic leaps as salient features. A change of pace suggests a more playful mood. Then there is a subtle modulation towards a tonal focus; a somber chorale which dissolves -into a peaceful sea of ripples. Nanes' music is always episodic, but now the episodes become markedly shorter as myriad tiny fragments of ideas chase each other across the scene; the mood swings are rapid and intense. Now, once again, the music returns to an area of partial ; suspended mysteriously between the tonal and atonal. The end of the etude arrives unexpectedly, and is somewhat in the spirit of Charles Ives' The Unanswered Question:, a flurry of feathery seconds, always moving upward, seems to ask "why?"... but the question hangs suspended; the answer never comes as the etude ends ethereally in the upper register of the keyboard. Richard Nanes has done what many of his contemporaries have been unable to do-create a highly appealing musical style that combines 20th century musical values with the passion and romance of the 19th century."

Judy May, mezzo-soprano, is a graduate of the University of Illinois and The Juilliard School. A versatile interpreter of modem music, she has several world premieres to her credit, including Spiral I1 by Chinery Ung and Dreanz Sequences by . She has taught at Arizona State University since 1986 and has also served on the faculty of the American Institute of Musical studies in Graz, Austria.

Clarinetists Richard Goldsmith has performed with the North/South Consonance Ensemble since 1986. His much praised recording Clarinet Fantasy is available on the North/South Recordings label. Meryl Abt-Greenfield is in much demand as performer of orchestral and chamber music. She has also appeared in many performances sponsored by North/South Consonance and can be heard on North/South Recordings No. 1004.

The National Association of Composers, USA was founded by Henry Hadley in 1933. Mr. Hadley served as an Associate Conductor for the New York Philharmonic during the 1930rs, the first American-born conductor ever appointed to the staff of that institution. The public is kindly invited to the next concert on this series which will take place on Monday evening . The program will feature New York premieres of works by Allen Brings, Brian Fennelly, Matthew Halper, Mary Jeanne van Appledorn and Stefan Weisman. To learn more about the various activities sponsored by the National Association of Composers, USA please visit its website at www.music-usa.org

The public is kindly reminded that the use of recording eq~tipmentof any kind is strictly forbidden. Please turn-offpour watch alarm or atty other noise-producing device before the program starts. Make sure to know where the auditorium exits are. PLEASE REFRAIN FROM SMOKING and/or EATING WHILE IN AUDITORIUM.

Meet the Performers

Pianist Margaret Mills combines an extensive performing career with an active commitment to teaching and lecturing on music. The NY Times referred to her playing "as alzuays setlsitive, characterized by big, carefiilly cotztrolled and oftetz l~istro~issolind and secure passagezuork."

Coloratura soprano, Kathy McNeil, was a first prize winner in the American Institute of Music Studies in Graz, Austria Meistersitzger vocal competition. A versatile performer, she has appeared in opera, oratorio, and recital performances throughout the United States. Ms. McNeil has been a member of the music faculty at Texas Tech University since 1998.

Linda McNeil, , performs repertoire ranpg from baroque oratorio to lieder, chamber music, opera and contemporary art song. Her voice has been described in the press as a "big silvery itzstninletzt, rich itz overtotzes, )ill of textured sheen, like silk taffeta... her technique often hzzled ..." She serves on the music faculty of Trinity University in San Antonio, Texas.

Pianist/composer Max Lifchitz was awarded the first prize in the 1976 International Gaudeamus Competition for Performers of Twentieth Century Music held in Holland. Robert Commanday, writing for The San Francisco Chronicle described him as "a yoling coniposer of brilliant it~lagitzatiotzatzd a stzintzitzg, ultra-setzsitive pianist. "

Cellist Ted Hoyle has recorded for the Vox, Desto, CIU, Chesky and Orion labels and for Spectrum Records and the Musical Heritage Society. He recorded the cello sonatas of Joseph Fennimore for Albany Records and can be heard with the Capitol Chamber Artists performing works of George Walker and James Willey on Centaur Records.

Pianist Allison Brewster Franzetti's most recent projects include two solo CD's - "The Unknown Piazzolla" for Chesky Records and "Scriabin, Ravel and de Falla" for Amapola Records. She has also recorded for Newport Classics, Premier Recordings and the Musical Heritage Society.

Alexander Kouguell, cellist, has toured extensively in the United State, Europe, and the Near and Middle East. He has recorded for Columbia, Decca, Monitor, Nonesuch, and CIU. He is Professor Emeritus at the School of Music at Queens College (CUNY).

Mezzo-Soprano Hai-Ting Allison Chinn recently appeared with Sequitur and the American Composer's Alliance and has sung with several early-music ensembles, including L'Antica Musica New York, Bachworks, The Parthenia 12, and Nova et Antiqua.

Conductor Stephen Black is the artistic director and conductor of the Greater New Haven Community Chorus. He is an active organ recitalist as well, with several prizes to his credit. He graduated with honors from the Yale University School of Music, where he studied conducting with Marguerite Brooks and organ with Thomas Murray.

Violinist Maja Cerar has premiered and recorded numerous works that were written for and dedicated to her both in the US and Europe .... Violinist Jane Chung spent last year studying in Vienna as a Fulbright grant recipient and has collaborated with cellist Steven Isserlis .... Cellist Allen Alexander has taken an active role in local and international festivals throughout the country. He is a graduate of the Masters and Artists' Diploma programs at Mannes College of Music, where he studied with Paul Tobias.

The National Association of Composers, USA was founded by Henry Hadley in 1933. Mr. Hadley senred as an Assocciate Conductor for the New York Philharmonic during the 19301s, the first American-born conductor ever appointed to the staff of that institution. To learn more about various the activities sponsored by the organization please visit its website at www.music-usa.org

The prrblic is kirldly rer~~irldedthat the lrse of recordirlg eqliipn~erltof arij kind is strictly forbiciciet~. Please ti~nr-oflyour\c.atch alar-r~ror. all). other- rroise-procilicirrg device before the program starts. Make sure to k~lo\v)\.here the a~iditoririr~rexits are. PLEASE REFRAIN FROM SMOKING and/or EATING WHILE IN AUDITORIUM. ! PROGRAM NOTES - Compiled aLd edited by Max Lifchitz

Brian Fennelly (born Kingston, ,NY 1937) studied at Yale with Me1 Powell, Donald Martino, Allen Forte, Gunther Schuller, and Geo~gePerle (M.Mus '65, Ph.D. '68). From 1968 to 1997 he was Professor of Music in the Faculty of 4rts and Science at , where he is now Professor Emeritus. In addition to a Guggenheirn fellowship, his awards include three fellowships from the National Endowment for the Arts, three composer grants from the Martha Baird Rockefeller Fund, two Koussevitsky Foundation c~mmissions,and an award for lifetime achievement from the American Academy of Arts and Lette:s. Major works include In Wildness is the Preservation of the World, Fantasy Variations, and A Thoqeatr Symphony, all for orchestra, String Quartet in Two Movements, Wind Quintet, Sonata Seria for piano, Evanescences for instruments and tape, and Locking Horns for . His music has \been awarded prizes in such prestigious competitions as the Louisville Orchestra New Music compd,tition and the Goffredo Petrassi International Competition for orchestral music. He is co-director of the Washington Square Contemporary Music Society, which he founded in 1976. About his work, the composer w'rites: "Sonata Serena was written in 1997-98 on commission from pianist Margaret Mills. It consists / of three movements: 1) Nocturne, rhapsodic in nature and improvisatory in character, although fully notated; 2) Variations, in five sections, based upon the intervallic material presented in the sho)rt opening "theme," and 3) Toccata, a propulsive study in tritones, which are noticeably absent from the conceptual structure of the rest of the sonata. The title is meant to reflect the generally gentle character of the music, especially in relation to my more dramatic Sorlnfn Seria, also for piano."

Mary Jeanne van Appledorn is, the Paul Whitfield Horn Professor of Music at Texas Tech University where she has taught since 11950. A graduate of the Eastman School where she studied with , she recently recefved her 21s t Consecutive ASCAP Standard Panel Award. Her new compositions include Gestllres for Clarinet quartet, commissioned and premiered by the U.S. Naval Academy Clarinet Quartet of /~nna~olis,Maryland; Meliora, a Fanfare for Orchestra, commissioned by The Women's Philharmonic; and a solo piano work, Uptozun Blue, written for pianist Max Lifchitz. Her Rlzapsody for Violin alld Orchestra was recently released on the Opus One label in a performance recorded in 1998 by the Polish Radio National Symphony Orchestra with Charles Rex, Associate Concertmaster of the New York Philharmonic, violin soloist, and Joel Eric Suben, conductor. Dr. van Appledorn writes: "Sonis Without Words for two Coloratura and Piano were commissioned by the McNeil sister!. The text consists of nonsense syllables. The "La la la" of the first song creates a high spirit at quick tempo, while "Ooo-Ah evokes a slow, glycerin-sweet effect against the stationary arm chord playeh repeatedly by the pianist. Finally, "Ta-ka-ta-ka-tu", in a canonic setting (with these syllables also in their reverse order: Tu-ka-ta-ka) concludes this group of short songs."

Matthew Halper is a recipient of a New Jersey State Council on the Arts Individual Artist Fellowship. He received a Whitaker Reading Prize from the American Composers Orchestra for his orchestral work Stalin's Wake: Homage Ito Sltostakovich and his String Quartet was awarded the Walsum Prize and premiered by principal members of the National Symphony. He has lectured on contemporary music and had his works berformed at conferences of the College Music Society, the Society of Composers and at various instiFutions including the Juilliard School and the Massachusetts Institute of Technology. Dr. Halper has b7en a member of the music faculty at Kean Unfversity since 1998 and is Artistic Director of Ars Vitalig: The New Jersey New Music Forum. Dr. Halper kindly provided the folpwing program note for his work: "The first movement of my two-movement Sonata for Cello and Piano is based on my earlier setting of Christina Rossetti's poem "Remember" (1858) for baritone and piano. Like the poem, the tone of this movement is solemn and noble with a plaintive undercurrent - a meditation on death and loss. The more expansive and variegdted second movement serves as a dramatic counterpoise to the first. The two principal themes ate variants of the melodic material from the "Remember" movement, now recast in Stztrnz zlnd Drang guise." I i,

1 Allen Brings was born in New York City in 1934. His major teachers were , \, Gardner Read and Roger Sessions. His published compositions, which include works for orchestra, band, chorus, a wide variety of chamber ensembles, piano, organ, harpsichord, guitar, and voice, have been recorded by Capstone, Centaur, Grenadilla, Contemporary Recording Studios, and North/South Recordings. Allen Brings has performed extensively as pianist both here and abroad especially in programs of music for piano, four-hands, with Genevieve Chinn, with whom he has recorded for Centaur Records, Orion Master Recordings, and Composers Recordings, Inc. Brings is Professor of Music at the Aaron Copland School of Music at Queens College of the City University of New York, where he is co-ordinator of the theory and ear training program. Professor Brings provided the following statement about his composition: "It was a common practice among composers of the and Baroque Era - before the Romantics placed a premium on originality and novelty - to base certain new works on already existing polyphonic compositions by other composers. Indeed the craftsman-ship and inventiveness of those composers can be assessed as much in their parodies as in their original works. The purpose of a parody was not merely to transcribe an old piece but rather to reinvent it while speaking, as it were, in one's own distinctive dialect. My Sonata after Vivaldi is just such a parody, based on a sonata in F major by Antonio Vivaldi for cello and basso continuo. In it I retained the basic phrase structure and rhythms of the cello part while redesigning the melodic routes taken by it from cadence to cadence and elaborating the keyboard part in away that exceeds that of an ordinary figured bass realization. This sonata is said to be for cello "with piano" rather than "and piano" to emphasize the dominant role played by the cello and the subservient role played by the piano. My reason for choosing Vivaldi lay in my admiration for his forthrightness, the variety and power of his expression, and for his economy of means. My choice of this particular sonata perhaps grew out of an awareness that, had I been a contemporary of Vivaldi, this is the kind of sonata I would have hoped to write. The work is in four movements. It was completed in 1981."

Stefan Weisman has received commissions from the Gotham Choir, the Battell Chapel Choir and the Minimum Security Composers Collective. The Miro String Quartet performed his Nervolis People at Bang on a Can's marathon concert. Other performers of his work include the Da Capo Chamber Players, the Woodstock Chamber Orchestra, and the Hudson Valley Philharmonic conducted by Leon Botstein. A graduate of Yale University and Bard College, Weisman's principal composition instructors include David Lang, Joan Tower, Martin Bresnick, and Jacob Druckrnan. Fellowships and residencies include the Foundation, the Blue Mountain Center, the MacDowell Colony and the Djerassi Resident Artists Program. He has written incidental music for the plays GreenlandY2K and What is String Theory?, and was involved with video collaborations at the Knitting Factory and Collective Unconscious. His music has also been heard at Merkin Concert Hall, the HERE Theater, the June in Buffalo festival, the Context Theater, and the Flea Theater. Additionally, he is producing four compact discs to be included in an upcoming book, an overview of oral history for American composers by Vivian Perlis. Mr. Weisman provided the following program note for his work: "Ha! was written in 1999 for the HERE Theater's "American Living Room" festival, as part of a concert called "Bathe in the Blue Light." The pieces in this concert were to react in some way to an aspect of television, and the first performance was accompanied by the following quote: "The laugh track official!^ debuted in 1950 on NBC1s "The Hank McCune Show." A few years before that Milton Berlels mother had begun serving as a one-woman laugh track of sorts on "The Star Theater," always ready to encourage a quiet audience with her outrageous cackle. After the scandal over faked quiz shows brolce out in the late 1950s, CBS President Frank Stanton demanded that the by-then prevalent fake laughter be abandoned as part of a plan to clean up his network's image. Not a single producer obeyed ihe edict. As the laugh track prepares to enter its sixth decade, we might ask why the most popular shows in the history of television have been those that are laughed at by machines. For the answer, we need look no further than the American living room.. ." -- written by Robert J. Thomson for "LTltimate TV." The piece is baaed on the following text: Ha! Ah! Ha!" , I . I . ;'

, I _'

' . * fromThe NACUSA S.F.

"COMPOSERS CAN PLAY, TOO"I BENEFIT Mark Alburger, Tenor John Beeman, Double Bass Sondra Clark, Piano rbna Cotton, Piano Nancy Bloomer Deussen, Piano Bruce Hanull, Piano Carolyn Hawley, Conga Drums and Plano Michael Kimbell, Clarinet Owen Lee, Piano Harriet March Page, Soprano Latisha C. Page, Soprano MarshaRocklin,Piano Melissa Smith, Piano

Q~Y,March 10,2001, Spm, Palo Alto Arts Center, ~mbarderoad Newell

I 1 owen ~ee NOCTURNE for + I / Nancy Bloomer Dewsen A RECOLLECTION for Piano I'lana Cotton PLAmGs2 cmel-le w,conga DNns, imd Piaao 1. Casual, bluesy 2. SP* 1 3. Aw;essional 4. Home, but not the same I Sondra CM FLORIDA FANT~~for Piano, Four-Hands I. Sarasota Circus 11. Key Lime Sunset 111. Miami Mambo

intermission

Carolyn Hawley SPANISH VARIAnONS for Piano El Flamenu? (The Flamenco) El Pajaro (The Bird) Los ~itanorl(The Gypsies) El Tren (The Train) El Tra&co (The Tdc) Los ~spanoiesCIk Spaniards) Las ~ambk(The Main Street of Barcelona) El Toro & Bull) El Marcado kl'k Market) Intertudes ( Joanne Carey THE WETLANDS AT DUSK (Paul T. Carey), a Song for Soprano and Piano I Bruce Hamill PACIFIC SKIES for Piano I Mark AIburger Excerpts from ANTI~NE,a Tragic Opera I. CHORUS! 11. DUET (NdAntigone), IV. RECIT~TIVE& DUET (Isnene/Antigone), V. DUET (Nurse/Antigone) VI. DUET (AntigondHaemon), WI. DUET (GuardlCreon), M, CHORUS

LSU COLLEGE OF MUSIC & DRMTICARTS School of Music Two SmaU Piecesfor Tape(1998&1999) Wiiarn Price

I. Ignorant Bliss #3 11. A Crime of Passion

InteUigent~iaSuite Charles Haarhues A Piece for Solo Piano in Two Movements (2000)

I. Passacaglia Blend 11. A Dark Roasted Odd-metered Blend Duda Di Cavalcanti, piano

In Their Own Word (2001) John M. Crabtree for tape alone

I. "...nothing's definite." () 11. "...influenced by those possibilities." (George Crumb) 111. "...a tendency to talk too quickly." (Milton Babbit)

Humpty Dumpty (2000) Dawn K. Wiiams

Dawn Williams, Mezzo-Contralto Robert Peck, Toy Instruments

Big Chief W T (2000) Charles Haarhues for tape alone

Suite Rwsana (1992) Liduino Pitombeira

I. Pedras 11. Inga' 111. Bonhu IV. TimbaTMba Duda Di Cavalcanti, piano 1" I EL CAMINO COMMUNITY COLLEGE DISTRICT El Camino College Division of Fine Arts, . National Association of Composers, U.S.A., and International Alliance for Women in -Music I, present NEW MUSI~made in California Campus +eatre - March 23, 200 1 composer panel 7:lS pm - David Lefkowitz, moderator concert 8:00 pm I 1 performers Debqrah Kavasch, soprano Deon Nielsen Price, piano Pefere Sheridan, flute Chih-Chen Wei, piano Berkeley Price, clarinet Mary L~UNewmark, electric violin Nathan Campbell, French horn

Celebration, Sorrow, ~trendth Margaret Meier ?, I. Celebration: ~iri4Sang 11. Sorrow: Rachel, Crying for her Children 111. Strength: Deborah Arose

Extolling a Bird Chih-Chen Wei .- Primavera 1 Jeannie Pool A s c PI P

3 on the Green Mary Lou Newmark ? one I two three intermission

Blown Relationship (Carol Lynn Pearson) Deon Nielsen Price 4 S ck 9 Metamorphosis Deborah Kavasch Y Bee! I've Been Expecting You! Crow and the Pitcher

Journeys (Walt Whitman) John Marvin 2 I. A Noiseless Patient Spider 11. The Runner 111. The Last Invocation I Clariphonia - Deon Nielsen Price S 4 March to Clariphones, Dance on A, Basset Horn Romance, Eb Soprano Scherzo, Eb ~ontr!b ja ass The composers of tonight's musical program reside in California and are members of the National Association of Composers, U.S.A. (NACUSA) and the International Alliance for Women in Music (IAWM). Compact discs of their music are available for purchase.

Orchestral and sacred choral compositions of award-winning Margaret S. Meier (Bachelor of Music, Eastman School of Music; Ph.D. in composition, UCLA) are performed internationally,. published and recorded. Dr. Meier teaches at Mt. San Antonio College.

Chih-Chen Wei (in Masters Degree program, UCLA) is studying composition with Ian Krouse. She comes here from Taiwan.

Jeannie Pool (Bachelor of Music, Hunter College of City University of New York; Master of Music, CSU Northridge; in Ph.D. program in musicology, Claremont Graduate School) is a composer, music historian, concert and recording producer, and founder of the International Congresses on Women in Music, now part of IAWM. She teaches a course on Women in Music at Fullerton College. Website: www.jeanniegaylepool.com

Mary Lou Newmark (Bachelor of Music, Southern Methodist University; Master's degree in violin, USC; Master's degree in composition, UCLA) is a composer of electro-acoustic music, a poet, and a virtuoso violinist specializing in electric violin. Website: www.Greenangelmusic.com

Deon Nielsen Price (Bachelor of Arts-piano, Brigham Young University; Master of Music, University of Michigan; Doctor of Musical Arts, USC) is a touring and recording pianist, commissioned and published composer, lecturer and author. Dr. Price is immediate past-president of IAWM and teaches at El Camino College. A catalog of her compositions, books, and recordings is online. Website: www.CulverCrest.com

Deborah Kavasch (Bachelor of Arts in German, Bachelor and Master of Music in Theory/Composition, Bowling Green State University, Ohio; Ph.D. in Music, UC San Diego) has received many grants and commissions for her compositions, recordings, and international vocal performances. Dr. Kavasch is a founding member of the Extended Vocal Techniques Ensemble of UC San Diego and is Professor of Music Theory/Composition and Voice at CSU Stanislaus.

John Marvin (recently retired Professor, Evergreen State College, Washington) has pursued studies and a career split between the mathematical sciences and music performance and composition. His works have been commissioned, recorded and performed by professional performers at Davies Symphony Hall in San Francisco.

David Lefkowitz, moderator, is an often-performed composer, a Vice- president of NACUSA and a member of the composition faculty at UCLA. r 'CELEBRATION:Miriam Sang Deborah, a leader with wisdom, a leader Miriam danced, and Miriam sang. i with courage and strength, Miriam danced and sang of deliverdce. Miriam sang of God's great deliverdce. and all the women followed ~iriarn! Deborah arose. and all the women danced and pladed -Margaret Shelton Meier the tambourine. and Miriam sang: I "We were in bondage and God brought us out. We were in fear and God set us free. You have blown like feathers We were in anguish. Across the landscape We were afraid. Of my life. but now our God has overthrown our enemies I could not gather you now and given to us a glorious victory! If I wanted- Praise to God; sing praise to God!" I You are SORROW: Rachel , Crying For Her Too many Children And too far. I -Carol Lynn Pearson Rachel, crying for her children, with no hope or comfort. for they were not there. Rachel. Rachel of the Bible, mournidg for Metamorhoposis her children, lived in despair. I Rachel. Rachel of the present, weeping for her children, longing to killed by civil war. find, feel. Rachel. Rachel without comfort, grieving fulfill. without respite, for they are no more. Another intervenes, Rachel, crying for her children. Rachel mourning. Rachel. Rachel of the city. son despoyed by gang war. stifling He is no more. suffocating Rachel, ev'ry woman Rachel, carrying the sorrow I am jerked awake, now as before. resistant first. then fight STRENGTH: Deborah Arose to feel. Deborah arose to be a judge. to peel away Deborah arose, a Mother in Israel. layer by layer Deborah arose to be a prophetess. 1 the silent cocoon. A woman of discernment, preparjd to

speak the truth. 1 Unburdened. I A woman to whom God spoke. ,I burst forth possessed of the power that arises from into light. inner strength. I life... A woman of courage. So alive! she instructed, supported, inspired, -Deborah Kavasch those who sought to serve and fallow God. JOURNEYS

I. A Noiseless Pafienf Spider A noiseless patient spider, I mark'd where on a little pomontory it stood isolated, Mark'd how to explore the vacant vast surrounding, It launch'd forth filament, filament, filament, out of itself, Ever unreeling them, ever tirelessly speeding them.

An you 0 my soul where you stand. Surrounded, detached, in measureless oceans of space, Ceaselessly musing, venturing, throwing, seeking the spheres to connect them. Till the bridge you will need to be form'd, till the ductile anchor hold, Till the gossamer thread you fling catch somewhere, 0 my soul

11. The Runner On a flat road runs the well-train'd runner. He is lean and sinewy with muscular legs He is thinly clothed, he leans forward as he runs, With lightly closed fists and arms partially rais'd.

111. The Lasf lnvocation At the last, tenderly, From the walls of the powerful fortress'd house, From the clasp of the knitted locks, from the keep of the well-closed doors, Let me be wafted.

Let me glide noiselessly forth; With the key of softness unlock the locks-with a whisper, Set ope the doors 0 soul.

Tenderly-be not impatient, (Strong is your hold 0 mortal flesh, Strong is your hold 0 love.)

-Walt Whitman I VARIOUS, Depending on schedule Stephen DiJoseph Stephen Diloseph, Piano, Guiiar

VARIATION ON J.S. BACH'S "Come Sweet Death"

DAREST THOU NOW SOUL (Walt Whitman) ANIMALS (Walt Whitman)

FOUR ETUDES FOR PIANO SOLd // Leonard Klein) '\-...... --., Leonard Klein, Piano --- Intermission ---

RAINS ALIVE (Jonathan Pearl) ADVENT (Christina Rosetti)

VARIATIONS ON REFLECTION I . \ ~my~curria1 \ Amy Scuma, Piano \ .-/' WOMAN'S DESIRE (Shannon Coulter) WHEN I LOOK INTO YOUR EYES (Shannon Coulter) MY LOVE WANTS TO PARK (Eloiy K. Healy) -. .._____ - YOU'RE GONNA HAFTA PAY (Paul Stouffer)

FOUR SONGS Tim Smith Tim Smith, Piano Composer Notes 1 Leonard Klein is an emeritus $rofessor of Music from Richard Stanton College and for 25 years was the Musical Director of the Stovkton Chamber Players. James Marshall studied cello 4t the New School of Music in Philadelphia holds an M.A. in theory and composition from tpe University of Pennsylvania.

Paul M. Stouffer continues a ldng career as a composer, arranger and teacher. His arrangements and compositiods, published in U.S.A. and England, includes works for \' band, orchestra, voice and instrumental ensembles. 4 I % .. Tim Smith is a singer-song writer. He has a BA in music and serves as organist and choir director at an area church, an&is 'temporarily' employed as a DotCom programmer until he gets his big break.

Michigan, and the Doctor of Musical Am dew from the Cathdic limversity of America Dr. Hcrbison the MWTrio. Harvey's mmpmtional activities in recent years indude the completion of several teaches theory, humaities, string mahods, and musicappradatian at NdokState University. He also amnisioned works, invited participatim in walerem of the Society of Compas dl as the mdu& the university ordtesha. He is mincioal cellkt of the Williarnsbure Svmohonia and &on Swtheastan Compascrs League Fm,and an invited mpmr residency at West Chester Umversitl.. eelbsi in the Virginia $mphony. He is ceht a& coach of the HICO string q&;t &ch he &ablished The Oxfad Shining Quadel has ddeat tlamoton University. He has ~erlmedin recitals, with chamber mom, aod with mhatms also released internationally on Albany Records a CD mntaining three of hia four atring qmiek throughout & United ~takand & NotaMe among isrecitals are ge pekpe;fbmnmcs at Cathedral of SL Jobo the Divine in New Yokand his ~edormanceat the Kennedv Center fm the Paformine Jeanette Winsor studied piano wiih Clifford limn, Lois Rova Omich, d Shirley h\rts.Chambn performances mcludehre NOV; ~rio'sperformance and coa&ing sesdon with ~cnah; Ihamsrm. She received a Bachelor of Music degre cum laude frm Heidelberg College and a Master of Preder of the bunAm Trio at the Banff Center I Alberta. Canada and the NovaTrio's dmce Music degree in piano performace from Kent State University. She h occ;pjonally coached with on the ampacl disc, "An American Pod d call,"~usic of ~dolph~Hailstork. Thomas Schurmcher. She teaches piano in her studio in C%+e and at the Vinia Govends S~~IOOIfor the Attn,, accompanies hc Vuginia Beach Chorale, and mess JeraldincSaunders Habison is a native of Ridunorid, Virgiia She earned a Elachelm d an adjdcd(or for the National Guild of Piano Teachem She frepuently appears as a deist and Science dew in Mu% Fducation fmm Virginia State College in 16. She taught and dimled string lecher. She is also a member d the tlardwick Chamber Ensemble. Jeanette hdL Natiod and State orch- in the public schmls of Maryland, Nodh Cmlina and Virginia.. In 1979 she wa3 Rofessiunal Teaching Certificatesfrom MMA and VMTA as well as certification hughthe American elected Hworary Composer at the University Diviaian ofthe National Music Camp at Inleilochen . In , College of Musiam. Jeanette is lded in the 21si edition d WsWho of Amaican Wm.She is 1980 James Hnbison donned ha Sonata No. 1. Fatm in Three Moods and Inlermemo on Be mst preident of the Tidewater Music Teachen Fmm and oresident of the Vireinia Music Teachers Compmas Fom of'% National Black Collcquem Cckpetttion at the Kennedy Cmter for the Gation. Her ar~leson plan0 pedago~have baen pubilshed by Piano Gdd Notes. She is an Paformine Ati. Cello Conch No.1, and Concer(ino h Viola and Chamber Orchestra wm ad+ faculty mcmbrr of'lidcwac Community College and Old hmwUrdsmty. conunksio~edhy the AfroAmmctn Chamber Music Society in Cdiania. In 1941, Jeraldineqsmuic wa fated on the%-at Hmton University. hve of her shine .lohn Wimcr sludied darinet with Robert Hamm. David Hartis, md Robert Marcellus d the orchestra piem are bbiished by \'eke PU- Co&any, in Gleb ~o,hilaryiand HR piano and ' Cleveland Orchestra and oomposition with Jahn Rineharl and Jams Waters He reccived a Bachelor of chamber wnks with piano are listed in books by Sdma FptRn and Helen Walker IU. Two of her M Music demfrom Heidelbere Colleee and a Mxta of Arts deeree in miclheolv from Kent Slate Songs are kaiured on a CD by Sebronette 0- ~niversi<: He htaught mu& and desigd edbandsman &hg materials at he AndFom School ofhbc. He has also taught darinet, muic theory, and mmpo$tion at the Vkpa Govds Jaaldine is a mcmhcr or he National AsJociaiion d Compom US4 --he Society of -Si&l-fn-En?ol?oT-He' - -- - - Compm.lmrd the-AmerimC-b IS a member of the ~iardwckChiiber Fnmnble. He is NACLISA'8 Memhhip Coordinator and Webmder. He is a30 a senior mmputer pmgramm~for Unisys. John's Chrh Johnrton is the orchesba director at ThmDale High Schwl. He is concert master of rompmilion piles include the 1992 Delius Vocal Category Award, the 1995Delius Keyboard Categoly the Richmond PhilharmonicOrch- and a menhof the Sumerset wet Award, he 1992 and 1994 VhUA Commiscirmed Composer Competitions, and the Modern Muic Festiva 2000 Film Scoring Rize. He has also renived grants from the r\mericdo Mlrsic C~Rad from Obna Lutqshyn (piano, harpsichord) wac born in the city of Lviv, LMe. After Meet the Compr, lnc. and ASCAP awards. His chamber woh are fnymtly pafmed on new cumplebg her doctoral dew in Mmw, Russia, she bea Visitin! Schdar at tbc: Inhn music festivals, confm,and conoerts amund the United Stam. Since 1992. John has ncRved University Shlof Mic. Ms. hdsyshyn ha appeared in eonm as a soldand chamber musician seven commisiom from vaioos arts argdnizatiw. Articles by and about him have appearad in lhrwghout the fmer Soviet Ilnian, Germany, he United Stab, and South Africa. She gave a New ComprUSA. York debut in the WeiU Recital Hall at Camegie Hall in Septwnber 1990, and a &qn debut in C &ton Bradley Hall at the Chicap CuldCenta in 1995. The Hodgepodge Trio is a spacial blend d dasical, traditional, @me, ultic, popular and Wih Stem @. 1973) ' Erich Stem's music h been performed, hmadded, and relead on any other kind dmnsic we cue to amodate. Ihe trio residR in Ndumberland county, 2 hours mmmd diu buwghwt the United Sbtes and Eime. His chamber and wchdworks have received frm just about anything. We perform for receptions and parties of all kinds as well as public mnarts in seveh performan& at fstivals and cdmces &cluding the AmRicdn Composers Fonun,Society of and around the Northern Neck of Virginia. Our hisavailable in the lobby, after this concnt Composers, Inc., and the Vuginia EhmtM's State Confe~ncc.He ha also collaborated aith well-known groups sdas the Sunrise Quartet, Hardwick L'hamber Ensemble, and the Rpoulh hlusic Series Chkstm. Rmtly, hich's 'Shaded Gray,' for string quartet, waa performed at the living Music Fdvd in Buchared, Romania and relcased on the living Artist Recorhnp label. Along ilk The National Awciition d Composeq USA am formed in 1W3. 11 is ow of ihe several com&sions, Mr. Stem has received adand grdnls from Med the Ccmpaxr, Jmme oldest organizaticm dedicated lo the promotion dperfmce of music by Amerim. NACUSA has Folmdation (Ammican Compos~sFm), and ASCAP. He holL a Ebcbelwr of Mic(1996)dep chapters in California, (La Angels, and San Francisco); New York, Penrsylvania, (Ruladelphia); from Jam Madison University and a Master of Ms (2000) m composition fmm George Mawn Marsachwtts, (Baston);,Louisiaoq (Baton Rougej; and Vugima University. Mr.Stem is currently teadung and pursuing a Doclor of Musical Am dew at tbc 1997 Vkginia Chuter Membm: Jennifer Barker, Floyd Barnes, Leigh Baxta, Aflan Blank, University of Maryland, where he is studjing with cmpma, RobGibson. Jeraldine Herbison, Adolphus Hailstork, Adam Olenn, Walter Ross, Jlstin Stalls, Harvey Stokes. John Wmrand Term Y&. Harvey Stokes is Professor of Music at Hampton University, here he ah is the founder and Ofkers . NACUSANirginia : Erich Stem, Residenl; John Wkr, Vice FmidcnS Jcraldme dimtor of the Computer Music Laboratory. His depare from Midigan Slate University (Ph D.), Hehison, Semtary; Teresa Yoder, timwq and Iqoyd Barnes, tibrarim. the Unrvasity d Gemgia (M.M.), and EH( Carol~naUniversity (B.M). Hist mmpmition hctm NACUSNMRGWLl Web Wee: www.ihcM.~ardwickinfwhome.hhn dudeDIS. Brett Waba Alan Lcichtling, John Corioa. Leais Nielm, Jere Hu~chson,and Charles NACUSANatiooal Web Site: k.thebook.mlna~ Ruggaio. heyis (be author of two books on mlrdc as well an addgcomposer d numerous works. Hh annpmitiona hare been paformed by many emmbies: the Ridmod S~phony,the Lancaster Symphony, the Virginia Rach Symphony, the Word Stnng QMM, the Quapaw Sbing Qmtet, the Sbll Quartd, the Doantown String Fnsemble, thc Richmond Chamber Aayers, the Gcorgra Woodaind @let, (he New F@d Comervatmy Con- Fasemble, and

LSU COLLEGE OF MUSIC & DRAMATIC ARTS School of Music

Compositions by member composers

April 20,.2001 8:00 pm Music Recital Hall The Music Department of Cal Poly Pomona in conjunction with The National Association of ComposersIUSA Suite for Piano Barbara Bennett presents D*w Stwm,pW

Mareas Jason Haney Ancr/Mcwicl/Mw, & J&N&, haup-&

Disintegration Mei-Fang Lin' The Phantom Horsewoman DhwStwm,pW (Thomas Hardy) Alexandra Pierce AhuwubmPievce, picwur Rogw Piwce, 6pedkev Eight Jewish Melodies for Solo Cello Marshall Bialosky TmfzaJ=q, - From the piano suite, Rings of Saturn Alexandra Pierce I. tenderly eloquent From the piano suite Alexandra Pierce Abmmb(i~/Pievw,picwur "the spirits that lend strength are invisible" Rogw Pievce, bpedcev I. Blueslike; yet nonchalant 11. Comfortably, but with a slight edge 111. A bit roughly, Waltz Fantasy for Electronic Orchestra Stan Gibb IV. Sprightly AWmPievw,plam- Four Jazz Preludes Alan Shawn I. andante Twilight Night Garrett Byrnes 11. moderately Poem by Christina Rossetti 111. Spiritual-lento cantabile Susan Burns, soprano IV. Largo; allegro Janel Noll, Piano D*w Stww,pW

' Co-winner of the 2000 NACUSA Young Composers' Competition

The Hardwick Chamber Ensemble is a non-profit organization. Its objectives are to foster the community's appreciation of classical chamber music and cultivate understanding, taste, and love of music. It was formed in 1988 as a performing ensemble for Young Audiences of Virginia, Inc. Since then, the HCE has played school assembly programs for tens of thousands of Virginia children. They have also performed over 100 recitals for colleges, universities, and other presenting organizations throughout Virginia and elsewhere around the United States. The HCE has been awarded grants from the arts commissions of Chesapeake, Norfolk, and Virginia Beach and from the Virginia Commission for the Arts.

Robert Ford received a Bachelor of Arts degree in music and business from Ohio , a Master of Music Degree from the University of Southern California, and a Doctor of Musica Arts degree from Catholic University. He studied trombone with Arnold Jacobs, Milton Stevens, and Robert Marsteller. Bob taught music in the Virginia Beach city schools from 1977 - 1986. He is a member of the Spokane Symphony. He also performs with the Lakeside (Ohio) Music Festival during the summer. He teaches a t Tidewater Community College and Wrginia Wesleyan College and serves as artistic director of the Eastern Virginia Brass.

Jeanette Winsor studied piano with Clifford Herzer, Lois ova Ozanich, and Shirley Harrison. She received a Bachelor of Music degree cum laude from Heidelberg College and a Master of Music degree in piano performance from Kent State University. She has occasionally coached with Thomas Schumacher. She teaches piano in her studio in Chesapeake and at the Virginia Governor's School for the Arts, accompanies the Virginia Beach Chorale, serves as an adjudicator for the National Guild of Piano Teachers. She frequently appears as a soloist and lecturer. Jeanette holds National and State Professional Teaching Certificates from MTNA and VMTA as well as certification through the American College of Musicians. Jeanette is listed in the 21* edition of Who's Who of American Women. She is past president of the Tidewater Music Teachers Forum and president of the Virginia Music Teachers Association. Her articles on piano pedagogy have been published by Piano Guild Notes. She is an adjunct faculty member of Tidewater Community College and Old Dominion University.

John Winsor studied clarinet with Robert Harrison, David Harris, and Robert Marcellus of the Cleveland Orchestra and .compositionwith John Rinehart and James Waters. He received a Bachelor of Music degree from Heidelberg College and a Master of Arts degree in music theory from Kent State University. He has taught music theory and designed bandsman training materials at the Armed Forces School of Music. He has also taught clarinet, music theory, and composition at the Virginia Govemor's School for the Arts. John's composition prizes include the 1992 Delius Vocal Category Award, the 1995 Ddius Keyboard Category Award, and the 1992 and 1994 VMTA Commissioned Composer Competitions. In addition to many NACUSA performances around the United States, his works were recently selected for performance at the 1998 Southeastern Composers League Festival and the 1998 SCI Region Ill Conference. Upcoming performances include the premiere of his Jabberwocky by the Virginia Beach Chorale (May 8%) and the premiere of his Chamber Symphony on the Cologne Radio Symphony Orchestra's chamber music broadcast series (September 19~).He has also received grants from the American Music Center and from Meet the Composer, lnc. Since 1992, he has received swen commissions from various Virginia arts organizations. Articles by and about John have appeared in ComposerUSA.

' We would like to thank the following people and also our anonymous contributors:

~enefactors: Mr. and Mrs. Warren Aleck, Dr. David Best, Dr. Adolphus Hailstark, Lee and Sandy Lively, Dr. and Mrs. Jeny Pickrel, Dr. and Mrs. Soundar Rajan, Mr. and Mrs Lou Sawyer, Mr. and Mrs. Paul Stouffer. Bill Thomas.

Patrons: Leigh and Cindy Baxter, Mr. and Mrs. James Cronau, Mr. and Mrs. Jefferson Cronau, Jim and Laura Dombey, Jim Early, Mr. and Mrs. David Hatfield, Jeraldine Herbison, Mr. and Mrs. Hubert Gray, CDR and Mrs. Steven Lowry, Drs. lqbal and Lali Singh, M.D.

Friends: Miss Jacqueline Cronau, ME. Ann Edwards, Mrs. Mary Jo Ford, Margaret Gupta, Louis and Suzanne Guy, Mr. and Mrs. Marcus Johnson, Mr. and Mrs. Don Korte, LCDR and Mrs. Kenneth Levins, Mrs. Dorothy McCall, Mrs. Jean McHenry, Mr. and Mrs. Dwight Moore, Tony and Phyllis Stein, Mr. and Mrs. Sheu Wong, Preceptor Alpha Alpha Chapter of Beta Sigma Phi Sorority.

HCE Web Site: ~l.TEIEBOOK.COMIHARDWICW

NORTH/SOUTH CONSONANCE, INC and the NATIONAL ASSOCIATION OF COMPOSERS USA, East Coast Chapter

Mtisic by Co~nyosersfrom Africa and the US I Program I OLATUNJI AKIN EUBA Four Pictures from Oyo Calabashes (1991)' Nlrnrber Four - Slrpertlntrtrnl Birds Nltniber Three - Igbn' Ketn Nlrn~berTzoo - Igbli Keji Nlrnlber One - Tile Goltrd, Mnster of tile Palrnzoirieo Saturday Night At The Caban Bamboo (1991)' I EMMA LOU DIEMER A Quiet, Lovely Piece (1991)' I ALEX SHAPIRO Trio for Clarinet, Violin and Piano (1998)' I

Intermission THOMAS WHITMAN

DANIEL KESSNER In The Center (2000)+ Mnil zoeij3 niclrt, zons rirnn ist Gott nichts rtnd nlles Song of Myself Gott ergreift nrnrl niclit Der Hinlnlel ist ill dir En el centro de Dios Tllree cilornles to silence

111. Dns st~lsc~rro~~et~deGebet

Desiree Halac, mezzo-soprano Deborah Buck, violin Richard Goldsmith, clarinet Max Lifchitz, piano Daniel Kessner, guest conductor

Liuh-Wen Tina viola Bruce Wang. cello I

Christ and St. Stephen's Church, New York City

* First Performance + US Premiere ' New York Premiere Meet Todav's Artists

Desiree Halac, mezzo-soprano, is the winner of the year 2000 Joy in Singing Award as well as the Jennie Tourel Prize in the Poulenc Plus Competition. She was a finalist in the most recent Concert Artist Guild Competition and received the Shoshana Foundation Award. Ms. Halac has appeared at the Aspen Festival and Crested Butte Festivals. This summer she will be singing at the Ravinia Festival. Ms. Halac and pianist Dalton Baldwin recently completed an extensive recording project featuring the art songs by Argentinean composer Carlos Guastavino. A graduate of the National Conservatory in Buenos Aires and the Mannes School of Music, Ms. Halac has appeared as soloist with the American Composers Orchestra, the Metamorphoses Orchestra, the Stamford Symphony, the Washington Concert Opera and the Jupiter Symphony.

Composer/conductor Daniel Kessner has appeared at the helm of the New Music Group and the Black Sea Philharmonic of Romania. Born in Los Angeles in 1946, he attended the University of California, Los Angeles where he studied composition under the tutelage of Henri Lazarof. In 1970, he joined the faculty of the Department of Music at California State University, Northridge, where in addition to teaching composition and theory, he directs its highly regarded New Music Ensemble. His works have been performed throughout the US and abroad by prestigious organizations including the Los Angeles Philharmonic Orchestra, the Indianapolis Symphony, the St. Luke's Chamber Ensemble of New York, the Radio Chamber Orchestra, the Utrecht Symphony and the El Salvador National Symphony. His opera The 'Telltale Heart received a highly acclaimed production during the 1982 Holland Festival. Kessner's works are available on the Capstone, Centaur, North/South and Orion Master Recordings labels.

Richard Goldsmith, clarinetist, has performed with North/South Consonance since 1986. A graduate of the Manhattan School of Music, Mr. Goldsmith has taught at New York University and CUNY's Aaron Copland School of Music. He has recorded for the Albany, Classic Masters, CRI and Opus One labels. His acclaimed solo album Clarinet Fantasy appears on the North/South label (N/S R 1006).

Violinist Deborah Buck studied at The Juilliard School and the University of Southern California where she was awarded the Jascha Heifetz Scholarship. As a recitalist she has appeared on the prestigious Dame Myra Hess Series in Chicago and the Phillips Collection in Washington, DC.

Pianist Max Lifchitz was awarded the first prize in the 1976 International Gaudeamus Competition for Performers of Twentieth Century Music held in Holland. Robert Commanday, writing for The San Francisco Chronicle described him as "a young conlposer of brilliant inlagination and a sttrnning, ultra-sensitive pianist." The New York Times music critic Allan Kozinn praised Mr. Lifchitz for his "clean, nleaslrred and sensitive performances."

The NorthISouth String Quartet consists of musicians who have appeared with the ~orth/~outhConsonance Ensemble. Its members pursue active professional careers as soloists and chamber musicians. This evening, Ms. Buck is being joined by the following performers: Adelaide Federici, violin, has appeared as soloist with the National Repertory Orchestra and the Atlanta Youth Symphony. Ms. Federici was awarded prizes at the Maurice K. Pamess Concerto Competition, the Georgia Federation of Music Clubs, the Peninsula Young Artist competition and the Pro-Mozart Society Competition. Liuh-Wen Ting, viola, is the winner of the Lincoln Center Chamber Music Award and was featured in the "Young Artist Showcase" on WQXR. This April, she performed a recital at the Merkin Concert Hall sponsored by the "Interpretation Series" which showcased the premiere of five pieces she commissioned. Bruce Wang, cello, graduated from the Curtis Institute and The Juilliard School. He is a much-sought after studio musician in New York City and has appeared on several television shows.

The National Association of Composers, USA was founded by Henry Hadley in 1933. Mr. Hadley served as an Associate Conductor for the New York Philharmonic during the 1930's, the first American-born conductor ever appointed to the staff of that institution. With headquarters in Los Angeles and chapters throughout the country, this organization sponsors over twenty concerts each season featuring music by distinguished American composers. To learn more about various the activities sponsored by this organization, or to join the organization, please visit its website at www.music-usa.org

Since 1980, NORTHISOUTH CONSONANCE, Inc. has brought to the New York public over 700 different compositions from throughout the United States, Canada, Latin America, Russia and Europe. featuring performances by Mr. Lifchitz and the North/South Consonance Ensemble are available through the internet at www.northsouthmusic.org or by calling 1(800) 752-1951.

The public is kindly reminded that the use of recording eqlripnlent of any kind is strictly forbidden. Please turn-off your zuatch alarm or any other noise-producing device before the program starts. Make sure to know wllere the alrditorizrm exits are. PLEASE REFRAIN FROM SMOKlNG andlor EATING WHILE IN AUDITORIUM. Olatunji Akin Euba's creative idioh derives from his fluency in both the African and Western musical cultures. Many of his compositions combine elements from the two. A native of Lagos, Nieeria. Euba is a leadine authoritv on neo-~fricanart music and is the ~ioneerof several scholarlv

~a~reuth,, ~alzbur~,London, #oscow, New Yore, 'and various parts of ~fzca(Nigeria, I Ghana, Togo, Kenya, South Africa) and Asia (Pakistan, Malaysia). Akin Euba's opera Clzaka was

University of Pittsburgh. He is also the fdunder and director of the Centre for Intercultural Music Arts I has~din T nndnn. Envland. I

I inspired by decorated calabasfies madelbv the craftsmen of Oyo, one of the principal cities of the

Emma Lou Diemer is professor emeritus of composition at the University of California, Santa Barbara, and organist at the First Preybyterian Church in Santa Barbara. She is a composition graduate of Yale and Eastman and stuqied further on a Fulbright scholarship in Brussels and at Tanglewood. Her mentors included and Roger Sessions. Her oeuvre includes I orchestral, band, chamber, instrumental land vocal solo, choral, and electronic compositions. Her

North/South Recordings ( N/S R 1005). hs. Diemer kindly provided the following program note fdr her work: "A Quiet, Lovely Piece was written yn , 1991 in honor of the 50th anniversary of the California Chapters of the Music Library Association and dedicated to University of California, I Santa Barbara music librarians Martin Silver and Susan Bower. The ~ieceis in an uncom~licated

Contemporary ~ecordin~Society label on Ln album titled ~lbti'n~Leaf."

Alex Shapiro was born in New Yor* City in 1962 and Currently resides in Malibu, CA. She received her training at The Juilliard S~hooland the Manhattan School of Music, where her composition mentors included Ursula Mamlok and John Corigliano. A recipient of the distinguished I 2000 Artists Fellowship Award from ~hkCalifornia Arts Council. Ms. Sha~irois a former Vice I Ms. Shapiro writes about her work: 1 "Trio for Clarinet, Violin and Piarzo (1998) uses classical sonata form as a point of departure for a more modern tonal and rhythmic palette, and each of the three movements evokes a distinctive mood. The Allegro introduces a strong theme, first heard in the clarinet and then developed for all three instruments throughout the movement. A quiet piano entrance begins the Adagio, which has a very romantic feeling that slowly builds with an ascending lyrical line. By the end of the movement, all three instruments converge into expressive melody. The third movement, Vivace, is a fun, raucous sort of gypsy dance that cavorts through bitonality and shifting meters and ends the entire Trio with a big grin."

Thomas Whitman was born in New York City in 1960. His works have been performed by ensembles in the United States, Europe, and Japan and are available on CD's issued by CRI and North/South Recordings. Mr. Whitman's composition teachers include Gerald Levinson, George Crumb, Jay Reise, and Richard Wernick. His many prizes and honors include an ASCAP Foundation Grant and artist residencies at the MacDowell colony and at Yaddo. As a Luce Scholar in 1986-87, he spent a year studying traditional music and culture in Bali, Indonesia. He has taught at Swarthmore College since 1990, where he is the founder and artistic director of Gamelan Semara Santi, the Philadelphia area's only traditional Balinese percussion orchestra. His first opera, The Black Swan,written in collaboration with the poet Nathalie Anderson, was produced by Orchestra 2001 at Swarthmore in 1998 with stage direction by . Mr. Whitman writes: "Ori, from the Hebrew word for "shine", is a response to Kabala, the medieval Judaic mystical tradition. The slow, opening section is a meditation on Alef, the first letter of the Hebrew alphabet. This enigmatic letter has no sound of its own. It emerges from silence, as the universe was created out of void and darkness. The fast middle section is derived from "Aveinu Malkeinu", perhaps the most fervent prayer from Yom Kippur, the Jewish Day of Atonement. The more tranquil final section is a meditation on the letter Reish, associated with the power of healing. The original version of this work, for string quartet and dancers, derived .from a collaboration with choreographers Sharon Friedler and Sally Hess during the fall of 1999. This version, intended for concert performance, is dedicated to my first composition teacher, Max Lifchitz, in honor of the twentieth anniversary of North/South Consonance."

Daniel Kessner's In the Center was composed at the invitation of the festival Forfest Kromeriz 2000 in the Czech Republic, and was premiered there last June with soprano Kristyna Valouskova, the Moravian String Quartet, and pianist Dolly Eugenio Kessner. The composer writes: "The texts, which I love dearly, 'all deal with the nature of god, all in different ways, and all admitting our lack of knowledge and understanding in this area. They are from three different periods and are cast in three different languages, yet they all protect the essential mystery. The third and sixth movements are the largest and most elaborate sections, presenting the most imposing texts of the , the poems of the 19th century American Walt Whitman and the contemporary Salvadoran Javier Alas. These two movements are the most clearly thematic and architectural, in the traditional sense. The miniatures of the German mystic Angelus Silesius (1624-77) are given appropriately brief settings, finally closing the work with a set of "three chorales to silence." Following are the texts that inspired the composer:

IN THE CENTER [translations by the composer]

I - Angelus Silesius (1624-77): from Cherubinischer Wandersmann/Angelic Traveler

[I, 5) Man weiB nicht, was man ist One knows not what one is

Ich weiB nicht was ich bin; I know not what I am; ich bin nicht was ich weiB I am not what I know; Ein Ding und nit ein Ding; A thing and not a thing; ein Tiipchen und ein Kreis. a point and a circle. b I1 - Silesius: [IV, 381 Gott nichts und dlles God, nothing and everything I Gott ist ein Geist, ein Feu'r, I God is a spirit, a fire, ein Wesen und ein Licht a being and a light, Und ist doch wiederum auch dieses And is then, on the contrary, alles nicht none of these

111: Walt Whitman (1819-92): from "Song of Myself"

(No array of terms can say how much I aA at peace about.~odand about death.) I I hear and behold God in every object yet / understand God not in the least, Nor do I understand who there can be more wonderful than myself.

In the faces of ken and women I see God, And in my own face in the glass; I

It is happiness.

IV: Silesius: [I, 251 Gott ergreift man nicht One does not grasp God Gott ist ein lauter Nichts, God is a pure nothing, neither ihn ruhrt kein Nun noch Hier; Now nor Here move him; Je mehr du nach ihm greifst, The more you reach for him, je mehr entwird er dir. the more he eludes you.

V: Silesius: [I, 821 Der Himmel ist in dir Heaven is within you Halt an, wo laufst du hin, Stop, where are you running? der Himrnel ist in dir; heaven is within you; Suchst du Gott anderswo, 1 If you seek God elsewhere, du fehlst ihn fur und fur. you miss him time and again.

VI: Javier Alas (b. 1964): En el centro de Dios In the Center of God

En el centro de Dios In the center of God En el centro de Dios In the center of God jHabrd una inmensa piedra, Will there be an immense stone, una pirimide perfecta a perfect pyramid con un reloj atomic0 por coraz6n with an atomic clock for a heart, palpitando bajo el musgo de la superficie? beating under the moss of the surface?

En el centro de Dios: In the center of God: jHabrd un mar? Will there be a sea? jun rio de peces breves como un beso? a river of small fish like a kiss? juna hoja otoiial a1 borde del olvido? an autumn leaf on the edge of oblivion? juna oruga soiiando la seda? a caterpillar dreaming silk? jHabrd un hombre? Will there be a man?

VII: Three Chorales to Silence

Silesius: (a) [111, 2001 Der Weise redet wenig The wiseman speaks little

Ein weis&, wann er red't, A wiseman, when he says, was nutzet und behagt, w hat is useful and pleasing, Obgleich es wenig ist, Although it is little, hat vie1 genug gesagt. has said quite enough.

(b) [II,32] Mit Schweigen singt man schon With silence one sings beautifully

Die Engel singen schon; The angels sing beautifully; ich weiB, daB dein Gesinge, I know that your song, So du nur ganzlich schwiegst, Were you to be completely silent, dem Hochsten besser klinge. would sound better to God.

(c) [I, 2401 Das stillschweigende Gebet The silent prayer

Gott is so iiber all's, God is so infinite, daG man nichts sprechen kann, that one can say nothing, Drum betest du ihn Therefore you pray to him auch mit Schweigen besser an. better yet with silence.

Funding from Meet the Composer, Inc. I is provided with the support of NY-state Council on the A&, NYC Department of Cultural Affairs, ASCAP, Virgil Thomson Foundation, Jerome Foundation, JP Morgan, Mary Flagler Cary Charitable Trust, The Eleanor Naylor Dana Charitable Trust, The Greenwall Foundation, and the National Endowment for the Arts.

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June 2001 14 Thursday 8:00 pm Hot Summer Nights Concert #1 RH 15 Friday 7:00 pm Ann Earl Jones DMA Organ Recital Cancelled LSU COLLEGE OF MUSIC 17-22 Sun-Fri Honors Chamber Winds Camp (more info- LSU Bands - 578-2384) 20 Wednesday 7:OOpm Atlantic Brass Quintet RH & DWTICARTS 22 Friday 4:00 pm Carolyn Treybig Guest Flute RH 27 Wednesday 8:00 pm Gert Wuestemann, Guest Guitar RH School of Music 28 Thursday 8:00 pm Hot Summer Nights Concert #2 RH 29 Friday 6:00 pm Amy Stamps ~asiersVocal Recital RH 29 Friday 8:00 pm Matthew Sanderlin Masters Tuba Recital RH

Jdy 2001 PRESENTS 6 Friday 6:00 pm Becky Fowkes Masters Horn Recital RH 9 Monday 8:00 pm Rex Richardson DMATrumpet Recital RH 10 Tuesday 8:00 pm Louisiana Brass RH -l-l-Wednesday-8:OO-pm-NAGUSA-Mid-South-Ghapter------RH------.

12 Thursday 8:00 pm Hot Summer Nights Concert #3 RH . ~ :,., .. . .. 19 Thursday 8:00 pm Joe Skillen Faculty Tuba Recital ! RH ipt ,> .,.. .. <> 1. .. :. . .-y Thursday pm Hot Summer Nights Concert -.:a ..* : . :,- 26 8:00 #4 RH . <-5. . *> *: *: ".> ' . . CI.. :

UUMC = University United Methodist Church UT = Union Theater RH = Recital Hall ST = Shaver Theatre FBC = First Baptist Church CB = Cotillion Ballroom CT = Colonnade Theater TBA = to be announced

ABOUT THE SCHOOL. . . FOUNDEDON THE BATON ROUGECAMPUS IN 1931, THE LSU SCHOOLOF MUSICNOW BOASTS A FACULTY AND STAFF NUMBERING OVER 70, AND A MUSIC MAJOR CONCENTRATION OF NEARLY 450 STUDENTS. THESIZE AND SCOPE OF ITS CURRICULA+OMPREHENSIVE PROGRAMS FROM THE BACCA- LAUREATE THROUGH THE DOCTORATE-PLACE IT IN THE TOP CATEGORY OF MUSIC SCHOOLS NATIONWIDE. NUMEROUSFACULTY MEMBERS HAVE EARNED NATIONAL AND INTERNATIONAL REPUTA- TIONS THROUGH PERFORMANCE AND RESEARCH PURSUITS AND THUS ATIXACT STUDENTS FROM ALL PARTS OF THIS COUNTRY AND THE WORLD. MANYOF THE SCHOOL'SPERFORMING ENSEMBLES ENJOY WIDE ACCLAIM, APPEAFUNG AT THE BERLINCATHEDRAL, THE VATICANIN ROME,CARNEGIE HALL IN NEWYORK CITYAND THE KENNEDYCENTER IN WASHINGTON,D.C., AMONG OTHER NOTABLE VENUES. LSU School of Music Website: www.music.lsu.edu I n 1 K 4 z3wg ? 4 r$-' g s- 3=' 8 ;?hCZFP 9 '2 Fs.5.; L" 2 =.CD " 3. g 5- G"27i -u3 EL 5.g 8 50o c Pgigs CD0o0% ww-0 goo3- rg 330 =CDCDzr July 200 1 12 Thursday 8:00 pm Hot Summer Nights Concert $3 19 Thursday 8:00 pm Joe Skillen Faculty Tuba Recital LSU COLLEGE OF MUSIC 20 Friday 6:00 pm Kimberly Roberts, DMA Vocal Recital 26 Thursday 8:00 pm Hot Summer Nights Concert $4 & DRAMATIC ARTS School of Music

UUMC = University United Methodist Church UT = Union Theater RH = Recital Hall ST = Shaver Theatre FBC = First Baptist Church PRESENTS CB = Cotillion Ballroom CT = Colonnade Theater TBA = to be announced

AN, Ev

.,-. L ABOUT THE SCHOOL...... FOUNDEDON ME BATONROUGE CAMPUS IN 1 931, THE LSU SCHOOLOF MUSIC NOW BOASTS A . . . . FACULTY AND STAFF NUMBERING OVER 70, AND A MUSIC MAJOR CONCENTRATION OF N~Y450 STUDENTS. THESIZE AND SCOPE OF ITS CURRICUUI-EOMPREHENSIVF, PROGRAMS FROM THE BAW- LAUREATE THROUGH THE DOCTORATE-PUCE IT IN THE TOP CATEGORY OF MUSIC SCHOOLS NATIONWqE NUMEROUSFACULTY MEMBERS HAVE WEDNATIONAL AND INTERNATIONAL WWA- TIONS THROUGH PERFORMANCE AND RF.SEARCH PUlUlTS AND THUS ATTRACT STUDENTS FROM ALL PRTS OF THIS COWRY AND WE WORLD. M OF THE SCHOOL'SPERFORMING ENSEMBLES ENJOY WlDE ACCWM, APPEARING AT THE BWN CATHEDRAL,THE VATICAN IN ROME,CARNEGIE HALL IN NEW'0" CITY AND WEKENNEDY CENTERIN WASHINGTON,D.C., AMONG OTHER NOTABLE VENUES. .. . . - LSU School of Music Website: www.rnusic.lsu.edu WEDNESDAY,JULY 11,2001 8:OOPM RECITALHm Imprrssionr ofJapan is an arrangement of two movements from a composition that was originally written as a four-movement work for woodwind quintet. The first movement. Garden of the Tojin Temple, is a musical representation of a secluded Buddhist temple garden in Kyoto. The symmetry of the raked gravel in its rock garden is portrayed through parallel motion in the musical voices. The mood of serenity and Impressions ofJapan (2001) Charles Haarhues unity with nature is represented through the use of parallel fourths and fifths. The second movement, I. Garden of the Tojin Temple Song of the Uguisu, is inspired by the call of a Japanese bird that is commonly found throughout the 11. Song of the Uguisu country. Its unique and lyrical song evokes the Japanese love of nature and of the simple beauty that is at the heart of the culture. Leigh Ann Reech, flute Maria Di Cavalcanti, piano Solitary Momena is a suite of short pieces for solo cello. There are a total of six movements, whereby the sixth is a repeat of the first - allowing the cycle to dose upon itself. The difirent movements describe contrasting moods of a solitary person, in this case a cellist. Solitaty Moments for Cello in Six Movements (1772) Peter Blauvelt Twengsuch is a three movement piece for flute and piano that uses two distinct musical ideas as its basis. The first idea, dominanr in the first movement and obscured in the second, is an accented syncopated David LeDoux, cello rhythmic partern which is derived from two letters (S and H) of the Morse code language. The second idea, dominant in the second and third movements, and used as development in the first, is an that contains a tritone interval in its upper voices. They are juxtaposed in all movements by a modal and disjunct melody in the flute with harmonic tritone inflections. Twentyuch (1777) John M. Crabtree I. Fierce with Motion Second Caricarure (tangoesqw) is the second of a set of two caricature pieces. Although not a traditional 11. Passionately , the piece uses various elements found in a great part of the tango repertoire of Piazzolla and others, namely descending minor scales, chromatic ornamentation, and particular tango rhythms and melodic 111. Quick and Accented figuration. Leigh Ann Reech, flute

Sonataparaflauta epiano is built upon a twelve-tone theme, which is framed harmonically in a tonal- Maria Di Cavalcanti, piano modal language and developed using traditional contrapunral techniques. Jazz and changes of characrer permeate the entire work, which consists of three connected movements. It is dedicated to Brazilian flutist virtuoso Celso Wolnenlogel. Second Caricature (tangoesque) (1777) Aaron Johnson Brian Utley, saxophone David LeDow, cello Leigh Ann Reech is currently flute instructor at Nicholls State University and director of the Greater Maria Di Cavalcanti, piano Baton Rouge Flute Choir. She holds a bachelor's degree and a master's degree, both in flute performance, from Louisiana State University. While studying at LSU, Ms. Reech performed with the LSU Wind Ensemble, the LSU Symphony Orchestra, and the Acadiana Symphony Orchestra. In addition, she has been a winner in events such as the Louisiana MTNA Collegiate Woodwinds competition and the Mon- Sonata para flauta e piano No.1, Op.14 (1774) Liduino Pitombeira roe Symphony Concerto competition. Leigh Ann Reech, flute

David LeDoux is an undergraduate at LSU majoring in cello performance. He performs with the LSU Maria Di Cavalcanti, piano Symphony Orchestra and the Louisiana Sinfonietta.

Maria Di Cavacanti holds a B.M. from Ceara State University (Brazil). She also studied privately with Jose Alberto Kaplan (Paraiba Federal University) from 1991 to 1997. In 1997 she received a scholarship from the Deutscher Musikrat to study with Ernst Ueckerman in the Hochschule for Musik Wonburg (Germany). Since 1994 she has taught piano at Ceara State University in Brazil. Presently she is pursuing her master degree in piano performance at LSU where she studies with Michael Gurt. ~alifoiniaState University, Fullerton Department of Music presents

a clncert of chamber music by members bf the Los Angeles Chapter of the

National ~ssociationof Composers - USA (NACUSA) I Recital all 23 September 2001 4 PM I I Suite Spice [20011 I Kathy --- - I I --T -Penner -rr-- I I 11. Cardamom I III. Paprika 1 Ralph ~illidms,clarinet; Patrice Langsdale, bassoon; ( David Lauren, piano Fading. .. (away) [1998-991 I Anthony J. Wardzinski I Luke Maurer, viola; Peter Jacobson, 'cello I The Ping Pong Prelude [I9991 David Rubinstein Sorry, Wrong Cabaret [I9981 I I 1 David Rubinstein, piano I Seven Last Words [20] I Peter Knell I. Father, forgive them; for hey know not, what they do. 11. Verily I say thee, Today shalt thou be with me in paradise. III. Woman, behold thy son! - Behold, thy mother! IV. My God, my God, why hast thou forsaken me? V. I thirst. I VI. It is finished. 1 VII. Father, into thy hands Ilcommend my spirit. I 'I Mary Kim, violin I Sonata for flute and Piano 119811 1 Jeremy Beck* I Maestoso Allegro giocoso Allegro non troppo Cynthia ~llis,flute*; Roberta Garten, piano I / intermission * faculty. California State University, Fullerton - Department of Music I I Two for Christine [U)01] Leonard Mark Lewis I. Aria 11. Aria inside Capriccio Christine Beard, flute

Sketches of Maine [I9991 Scott Brickman Scott Brickman, piano

West and North of Kettleman [I9961 Robert Bowen Klondike Steadman, guitar

Music for Two Big Instruments [XI001 Alex Shapiro Norm Pearson, tuba; Cindy Williams, piano

Jeremy Beck Associate Professor of Music - coordinator

Sketches of Maine was composed for me to play on the 1999 SCI Region I conference at Bowdoin College. My title is an allusion to Miles Davis' Sketches of Spain, although the music has no conscious surface reference to that album, except perhaps to the voicings of certain chords. I wanted to create a narrative that was like the Maine landscape, envisioning allusions to the craggy rocks, fog, and saltwater of Maine's coast coexisting with the Acadian culture, moose and pines of Maine's north woods. Sketches of Maine was composed by using a 12-tone row whose first six pitches are a subset of the octatonic scale, and isolating, reinterpreting and transforming that row to construct and acknowledge a grammar reminiscent of Vernacular Music. Sketches of Maine (1999) is recorded by pianist Jeffrey Jacob and available on New Ariel AE 005 CD. - SB

Robert Bowen, a native of Placentia, California, began composing as a teenager, largely in response to his studies in jazz piano. After high school, he went on to study music composition and jazz at the University of California, Santa Barbara (College of Creative Studies) and Princeton University. His teachers have included composers Steven Mackey, Paul Lansky, William Kraft, Margaret Mayer and pianistJimproviser Larry Karush (MOKAVE, Oregon). His compositions have been performed in concert by the Minneapolis Guitar Quartet, bassist Bertram Turetzky, the Relsche Ensemble and in live radio broadcast on KUSC's Sundays at Four series. Robert has received two ASCAP Foundation GrantsIMorton Gould Young Composer Awards as well as prizes from the Latin American Music Center of Indiana University, Metropolitan Theaters and the Santa Barbara Arts Council. Two of his Preludes for Guitar were recently recorded by Texas- guitarist Klondike Steadman. Having recently completed a Ph.D. in Music Composition at Princeton University (September, 2001), Robert now teaches in the Department of Music Theory and Composition at West Chester University in Pennsylvania. West of Kettleman is the 41 highway, which forks from the 46, which bisects the 101, which touches the sea. North of Kettleman is Interstate 5, which flanks the mountains, which feeds the 132-which is far enough for me, thank you. The 5 heads south from Kettleman, too; likewise, the 41 keeps on going east. But I've never driven on these routes these ways. As far as I'm concerned, the world is flat, and Kettleman City is the comer. It's the desert comer where God stores extra gas stations and fast food joints, and where I fa up while putting miles on my car, 350 at a time. - Robert Bowen, 1996

Cynthia Ellis is a member of the Music Department faculty at Cal State Fullerton where she received both her Bachelor and Master of Music degrees with honors. She has been reviewed by the Los Angeles Times in 1993 as bringing "...moments of silken ensemble and a gathering excitement to Debussy's 1916 Sonata..." She plays the solo piccolo with the Pacific Symphony, and has also performed with the Los Angeles Music Center Opera, the Hollywood Bowl Orchestra, the Pasadena Chamber Orchestra and the Cabrillo Music Festival in Santa Cruz, California. She was most recently appointed principal flutist of the Opera Pacific Orchestra in 1995 and has also recorded on several motion picture, television and cartoon soundtracks. Her chamber trio, Les Amis Musicalles, recently won first place in the National Flute Association Chamber Music Competition. The trio performed at the NFA annual convention held in Columbus, Ohio, in August 2000. While'at the convention, Ms. Ellis also performed the publication premiere of Thomas Pasatieri's Flute Sonata, a Theodore Presser publication. In 1996, she was the soloist for the Renaissance Concerto with the Pacific Symphony Institute Orchestra, choreographed by the St. Joseph Ballet Company. Ms. Ellis has been published in Flute Talk magazine and has served on the adjunct faculty of Pomona College, Biola University, Claremont Graduate School and the Pacific Symphony Institute. 'I I I I I Roberta Garten received both h4r Bachelor and Master of Music degrees in piano performance from the University of Southern California. Her performances have received awards from both the Musical Merit Foundation and Music Teachers Association of California as a member of their Young Artists Guild. She has performed at the Kennedy Center and the Falla Conservatory in Buenos Aires, Argentina, as well as in Japan, Korea, and Spain. She was featured as accompanist for Gene Pokorny, Principal Tuba; Chicago Symphony on his 1990 CD Tuba Tracks. Ms. Garten is the staff accompanist at the Colburn School in Los Angeles and is frequently heard in recitals throughout the Southland. I A native of Los Angeles, composer Kathy Henkel holds a BA in History from UCLA in addition to a BM (1976) and an M+ (1982) in music composition from California State University, Northridge, where she studied with Frank Campo and Aurelio de la Vega. She has been a reviewer for the Los Angeles Times (1979-80), worked in music clearance and research at Paramount Pictures (1978-8 I), served as Ernest Fleischmann's executive secretary at the LA Philharmonic (Jan-Dec, 1981), worked in the Programming Department at radio station KUSC-FM (1982-84), written 300 broadcast concert scripts as a scriptwriter-producer at KUSC-FM (1984-89), was the visiting in-school classroom speaker and on-stage host for school concert programs (1990-93), acting concert manager for Chamber MusicILA Festival (1994-95) and served as program director Totator for the Los Angeles Chamber Orchestra (1988-98). Currently, she freelances as a program annotator and pre-concert lecturer for various music organizations in Southern California, including the Orange County Performing Arts Center and the Da Camera Society. She is also actively involved in the "Meet the Music" elementary school outreach program with the Los Angeles Chamber Orchestra. In addition, she writes liner notes for Pro Piano Records in New York and serves on the VATEA Advisory Board for the Music Department at Los Angeles City (college. As a composer, recent performances of her music include Book of Hours for solo harp at an arts festival in Gubbio, Italy, the debut of Alaskan Fantasy and Fanfare for brass quptet in Fairbanks, Alaska, and the premiere of her Sonata for Flute and Piano in London, England. I The 2001 International Clarinet Association Competition afforded the opportunity to create a piece for three good friends - just for Sun. Suite Sw opens with "Pepper," a movement which employs the device of medieval hocketing to give the impression of a sprinkling of notes. Its themes and motifs spell out, in musical notes, types of pepper and pepper plants (e.g., cubeb, betel, black), as well as places from which pepper originates (Africa, South America, Malabar and Madagascar - the home of green peppercorns). A chameleon commodity which bridges the realms of sweet and savory, the luxurious ,"CardamomNsports an exotic tinge. The solo clarinet takes the spotlight, initiating and closing the movement. To conclude, "Paprika" dances along with a South Central European flavor. KH 1 - I Mary Kim, professor of violid at California State University, Northridge, is a native of Lawrenceville, New Jersey. She made her orchestral debut at the age of 12 with The Philadelphia Orchestra and has since then performed throughout the northeast, Utah, and Los Angeles as a recitalist, chamber musician, and orchestral player. She was educated at Yale University (MM), Princeton University (BA) and The Juilliard School (Pre-college division). Her principal teachers have been Dorothy DeLay, Masao f(awasakiand Syoko Aki. Peter Knell (b. 1970) has received awards in numerous national and international competitions, including First Prizes in the W,innipeg Symphony Orchestra's 10th New Music Festival International Composers Competition, the Indiana State University Contemporary Music Festival Louisville Orchestra Competition, and the Omaha Symphony Guild International New Music Competition, and Second Prizes lin the Fourth International Witold Lutoslawski Composers Competition, the First International Composers' Competition "In Memoriam Zoltiln KodBly", and the Cincinnati Symphony Orchestra's Young Composers Competition. He has also received a Fulbright Fellowship, a BMI Student Composer Award, two ASCAP Foundation Morton Gould I I I I Young Composers Awards, grants from the Paloheimo Foundation and Meet the Composer, and commissions from the Winnipeg Symphony Orchestra, Barlow Endowment for Music Composition, Stem-Schoenhals Duo, Virginia Music Teachers Association, Oakland East Bay Symphony, Guild Trio, Southwest Chamber Music, and Dale Warland Singers. His music has been performed throughout North America and Europe by ensembles such as the Hungarian Radio Orchestra, Louisville Orchestra, Winnipeg Symphony Orchestra, Omaha, Richmond, Memphis, and Oakland East Bay Symphonies, Onyx String Quartet, Verdi Quartett, Southwest Chamber Music, Aspen Contemporary Ensemble, Continuum Ensemble (UK), Left Coast Chamber Ensemble, Pone Ensemble, Stern-Schoenhals Duo, and Ensemble Musicattuale (Italy). It has been broadcast nationally in Canada and Hungary, statewide on Nebraska Public Radio, and on stations in Charlottesville [VA], Richmond, Austin, Omaha, Los Angeles, San Francisco, Oakland, San Diego, and Helsinki. A compact disc featuring his orchestral work, "...the weakening eye of day" in a live performance by the Budapest Symphony Orchestra, is available on the Artisjus label. Mr. Knell holds degrees from Princeton University (BA), the Juilliard School (MM), and the University of Texas at Austin (DMA). His principal teachers have included Dan Welcher, Donald Grantham, and David Diamond. $even Last Words was composed during the sumer of 2000. It was commissioned by the German violinist Peter Stein to accompany a display of a series of woodcuts by his father, Rolf Stein. The work is cast as a series of seven short movements, each of which evokes the spirit of the corresponding woodcut. The first performance was given on April 1, 2001, in Holzhausen, Germany, along with an exhibition of the woodcuts. - PK

Patrice Langsdale plays bassoon with many local orchestras in Los Angeles and Orange .., . . . . Counties.. While studying..in..Salzburg,she had the opportunity to play with orchestras in Germany :.--. .- and Austria. She also is a recording musician, composer/artist on the CD "Dreamer", and at present she and clarinetist Ralph Williams are collaborating on their second CD.

Pianist David Lauren studied with Aube Tzerko at UCLA and with Nadia Boulanger in Paris; He garnered First Prize in the National Federation of Music Clubs competition and has appeared as a solo recitalist and with orchestras in various venues around the United States. Currently, he is using his musical talents in the Los Angeles Unified School District.

Composer Leonard Mark Lewis (DMA, Composition, University of Texas; MM, Composition, University of Houston) is Assistant Professor of Music at the University of Missouri-Columbia, where he teaches composition, arranging, orchestration, and music theory. Lewis, a member of BMI, is the recipient of awards from ASCAP (Morton Gould Young Composer Award), BMI, Columbia University (Bearns Prize), and Voices of Change (Russell Horn Young Composers Award). His Concerto for Orchestra, recently chosen for inclusion in the American Composers Orchestra Whitaker New Music Readings series, was conducted by Dennis Russell Davies. Compositions by Lewis have been commissioned and performed by pianist James Dick, oboist Erin Gustafson (principal, Saint Louis Symphony), AURA (University of Houston), Symposium for New Band Music, flutist Christine Gustafson, University of Texas Composer's Orchestra, and New Music Camerata (East Carolina University), among others. New Music Camerata premiered his wind ensemble piece Black Against White Sky at The Kennedy Center in Washington, D.C., in March 2000. Lewis's main composition teachers were Dan Welcher (University of Texas) and Carlisle Floyd (University of Houston); he has also worked with several other leading American composers including David Del Tredici and Tania Leon. In addition to his compositional activities, Lewis also maintains an active performing career as a pianist and conductor of new music. I Aria inside Capricci~was commissioned by flutist Christine Gustafson in the Summer of 2000. This work is part of a collection of lworks for solo instruments, all based around truncated fast and slow movements which are combined. Today's performance features Christine Beard, a flutist with whom the composer has worked for several years. - LML I Norman Pearson, principal tubistiwith the Los Angeles Philharmonic Orchestra since 1993, is a native of Pasadena and a graduate of the University of Southern California. In 1982, prior to graduation, Mr. Pearson was appojted p~cipaltuba with the Orquesta Filarmonica de Caracas in Caracas, Venezuela. Upon his retu,m to Los Angeles he embarked on a freelance career that has included many performances with the Pacific Symphony, Joffrey Ballet, Los Angeles Music Center Opera and recordings for most of the major Hollywood motion picture and television studios. Mr. Pearson has also been, a featured soloist with several local bands and orchestras and was a featured soloist at the 1996 International Brassfest. Norm can also be heard as a prominent voice on the Los Angela Philharmonic recording Sensemavd - Music of Silvestre Revuelu (Esa- Pekka Salonen conductor, Sony Classical). Norm is a Yamaha Performing Artist. Born in New York City, David hubinstein has lived in Los Angeles since 1986, where he combines performance and composing. In addition to scoring for theater and film, he has written for orchestra, voice, chamber ensembles and piano. His music has been presented by Pacific Composers Forum, the American Society of Composers and Arrangers, and the Pacific Contemporary Music Center. ~w&dshe has received include the Recognition of Excellence at the Diana Barnhart American Song Coinposers Competition for his setting of the Alfred Noyes poem, Daddy Fell into the Pond, as well as the Ojai FativaYGould Foundation Award for his 'limepieces for Salvador Dali. Ensembles wh$h have performed his music include the North Wind Quintet, Calico Winds and Duo Trouveres: which gave the world premiere of his Serenade for flute and guitar. His music is published by Columbia Music (NC) and Walrus Music (CA). I

Corigliano. Recent awards include a 2000 Artists Fellowship Award from The California Arts Council, grants from ASCAP and Mu Phi Epsilon, and a 2001 award from The International Society of Bassists for her duet for double bass and piano, Of Bow and Touch. Ms. Shapiro's chamber works are heard regularly in concerts across the U.S. and abroad, and as a composer, essayist and panelist she is an active participant in the Southern California music community. Alex resides in Malibu, and frequently updates her website, "www.alexshapiro.org" with concert information and audio clips of her pieces. Her works are available on the Cambria Master Recordings, Innova and Millennia &s labels. Whenever I mentioned to non-mudician friends that I was composing a work for tuba and piano, the response was usually one of s$rprise and barely muffled laughter. The exclamation, 'Tuba, eh? What a funny instrument!" was often accompanied by exaggerated hand and mouth gestures that somewhat resembled a trout atpmpting to inflate a balloon. 1hew I had my work cut out for me. Thus, the arrival of Music for Two Big Instruments, borne of my desire to create good PR for a sometimes beleaguered and misunderstood instrument. I realized that most people see only the orchestral tuba's gallant role in seating the pitch and rhythm for the rest of the band. Listeners know little of the tuba's gorgeous lyrical qualities, and I was delighted when the L.A. Phil's principal tubist Norm Pearson and his wife, pianist Cynthia Williams, invited me to write this duet for them. - AS I I I I I Klondike Steadman has been awarded several important honors including first prize at the 1997 Music Teachers National Association Guitar Competition, the 1996 University of Texas Concerto Competition, the 1994 University of California, Santa Barbara Concerto Competition, Third Prize at the Portland International Guitar Competition and numerous academic scholarships and awards. He has concertized both in Texas and in his native California since 1994 including appearing as a soloist with orchestras in Santa Barbara and Austin. He holds a Bachelor of Music in guitar from the University of California at Santa Barbara and a Master's of Music from the University of Texas where he is currently working on his Doctorate in guitar with Adam Holzrnan. Klondike is the president of the Austin Classical Guitar Society and has taught for the University of Texas and Huston-Tillotson College. "...just beautiful melodies from many places and many eras, played with quiet dexterity" -- Lake Travis View

A native Californian, Anthony Wardzinski was born in Northridge in 1973. He studied composition with Daniel Kessner and George Heussenstamm at California State University, N0rthridge:Though early in his career, he has produced pieces for a wide array of ensembles, including orchestra, wind ensemble, mixed chorus, and many chamber pieces with a wide range of instrumentations. Many of his pieces were performed while studying at California State University, Northridge, including Lucid Requiem Fantasy performed by the CSUN Wind Symphony conducted by Gary Pratt in 1998. He received his Bachelor of Music, Cum Laude in 1997 and completed his Master of Music, with Distinction in 2000. Currently, he is Adjunct Professor of Music Theory at Moorpark College.

Cynthia Williams,-is currently a freelance pianist in the Los Angeles area. She has performed at the Aspen Music Festival, the University of Texas, Sam Houston State University, the University of Houston, Cal State-Dominguez Hills, the University of Redlands, and as a guest on the Dame Myra Hess Concert Series. She performs regularly with members of the Los Angeles , . . . Philharmonic, Pacific Symphony and Long Beach-Symphony. Dr. Williams has also collaborated on numerous faculty artist recitals at universities throughout Southern California. As an accompanist, she has worked at UCLA, California State University-Fullerton, the International String Conference in Graz, Austria and in , Switzerland, and at the National Cello Institute. Dr. Williams completed the DMA in Accompanying at USC.

The Principal Clarinet with Opera Pacific, Ralph Williams is a studio recording musician and a symphonic musician with several orchestras in the Los Angeles and Orange County area. During the summer, he plays with the Hollywood Bowl Orchestra. Mr. Williams is also a composer/artist on the CD "Dreamer".

Notes About the Artist. . .

Pianist Maria Di Cavalcanti holds a B.M. in piano from Ceara State University in kazil, where she studied privately with Jose Alberto Kaplan (Paraiba Federal University). In 1997 she received a scholarship from the Deutscher Musikrat to study in Germany with Ernst Ueckerman at the Hochschule for Musik Worzburg. Since 1994 she has taught piano at Ceara State University in kazil and is presently pursuing her masters degree in piano performance at LSU where she studies with Michael Gurt.

Notes About the Music . . .

Si Potential Episin Time, Space, and Energy Aaron Johnson Six Potential Episodes in Time, Space, and Energy is a collection of short piano piece that explores the atmospheres of sound, space, and silence. Each piece is meticulously and tightly constructed and relies on motivic gestures to propel it forward creating a collage-like cascade of sonic events. Each motkic gesture could easily be expanded into a lengthy musical thought, but it was the composer's desire merely to suggest these thoughts.

Conception for piano John M. Gabtree Conception for pPanois a short piece that attempts to briefly illustrate in two movements "the careful creation of thought that one experiences &en an idea is conceived." The composer created and finished this piece in ten minutes after being awakened in the middle of the night from a dream.

+ntsia Suite Charles Haarhves This two-movement piece is dedicated to the Intelligentsia Roasting Works of Chicago, Illinois. Their care and dedication to quality has resulted in wonderful coffee that is truly a work of art.

The Beastty Baby Matt Schaffner The BeattEy 6aby is based on a story of the same name by Edward Gorey. "Once upon a time there was a baby... It had never been given a name since no one cared to talk about it. When it was absolutely necessary to do so, it was referred to as the Beastty Baby."

Deon Nielsen Price Angelic Piano Pieces . -. I.Pink Clouds and Harps 5. Snow Angels 2. Blue Angel Cookies 6. Angels Dancing on the Black and White Keys 3. Descending Night 7. Green Tara 4. Cupid's Darts 8. Cherubic Messenger Deon Nielsen Price, piano

Duo for Flute and Bassoon #I Gernot Wolfgang Susan Greenberg, flute Judy Farmer, bassoon

Fantasy for Electronic Orchestra Stan Gibb

Eight by Emily - on Love and Marriage Margaret Shelton Meier I. In Lands I've Never Seen 5. Wild Nights 2. 0 Friend 6. Wedded 3. Possession 7. The Wife 4. Apotheosis 8. Apocalypse The text is on the last page ofthe program. Elizabeth Sanford, mezzo-soprano, Jonathan wright. violin, Ana Maria Moldonado, violoncello

Twenty-Four Jewish Folk Melodies for Piano Marshall Bialosky Delores Stevens, piano

Colloquies for Flute and Clarinet Bernard Gilmore Daniel Kessner, Flute Julia Heinen, Clarinet

Imaginary Dream Dennis Anderson Digital Music

Levoca's White Lady Sharon Zhu Delores Stevens, piano

We invite you to remain after the concert for a time ofquestions from the audience. This will be immediately followed by an informal reception held in the courtyard in front of the Recital Hall.

MawbaU B~aloskyhas been the president of NACUSA for the last 25 years. An Emeritus Professor Music at Cal State University - Dominguez Hills, he was the Founding Chairman ofboth their Music and Art Departments.

Be~na~dGzlmo~e is a long time member of the faculty at UC lrvine and has recently concluded a term as chairman of the music department. Colloquies for Flute and Clarinet - The word "colloquy" denotes a formalized, highly structured dialogue. The work explores a myriad of relationships between the two instrumental voices, including complete independence, unison. octave doubling. homophony and heterophony (the simultaneous use of very similar lines).

Dennzs Andewon is a member of the faculties of Mt. Son Antonio College, Golden West College and Cal State University - Fullerton. He has been active as a composer for many years, has worked in electronic music since its inception and has been involved with digital music since the 1980s. In the 70s he studied in Poland as a Fulbright Scholar. He has extensive experience as an audio technician and has received awards in that field. As a journalist he writes for MUSIC BIZ magazine. Imaginary Dream, a sonic , employs state of the art digital effects to achieve its many sounds and colors. The composition uses sampled instruments and voice, concrete sounds and electronically generated sounds.

Sba~onZbu, originally from Shanghai. China, is now a graduate student at Princeton. University. She was a co-winner of the 2000 Composers' Competition sponsored by NACUSA. Levoca's White Lady had its origins in a trip Sharon Zhu took to northeast Slovakia and the town of Levoca. In her hotel room was a portrait of a young woman in a white dress who was turning around and gesturing to the specter with her right index finger. The mesmerizing look in the woman's eye reminded Zhu of the Mona . . Lisa. Upon inquiry Zhu was told that the woman, a resident of the town, fell in love with an officer of enemy forces during a long ago war. When the two were discovered they were both beheaded. JZ~IT~FF~K~~K is an orchestral bnd chamber musician, a soloist and a teacher. In 1995-96 she was a visiting drofessor at the Hochschule fiir Musik in Graz, Austria and from 1984-96 she was the principal bassoonist of the Austrian Radio 7 Orchestra in Graz. I I is very visibly active in the Los Angeles area as a soloist and w Susan Grreenke~~ chamber and orchestral player, und a recording artist. She has taught at Cal Arts and Occidental College and recorded for the Crystal, Orion and Angel labels. ~d~aHe~nen is an Associate brofessor of Music at Cal State University - Northridge, where she teaches c~brinetand heads the musicianship program. She received her doctorate from the university of Minnesota. I Dan~elKessne~ is an emeritus !professor at Cal State University - Northridge. where he chaired the composition department for many years. He also conducted their Discovery Players. Dr. Kessner received his Ph.D. from UCLA. Ana Ma~laMaldonado received her graduate degree from the University of

University - Son Bernardino and the Claremont Community School of Music. I ~hzake~bSanro~d currently teaches voice, piano and music appreciation at Mt. San Antonio College. She has albo taught at California Baptist University and at

a variety of programs, presenting and performing the music of , Kurt Weill and Pauline Viardot-Gbrcia. Ms. Sanford is Director of Musiclat East Whittier Presbyterian Church. Delolles S~evensis one of the most active pianists in the Los Angeles area. She is an outstanding interpreter of contemporary music and has premiered dozens of - new music compositions. Ms. *Stevens directs chamber music series in Pacific Palisades and on Martha's ~ine~urd. 1 I Jona~banWKIG~T was born in northern England, where he began his violin t studies at the age of8. He studieb with Bernard Partridge in London and has given numerous solo and chamber recitals. In South Dakota he founded the Serenata Strings: a string quartet. He is currently an associate professor of biology. specializing in animal physiology, at Pomona College. Eight by Emily (Dickinson) - on Love and Marriage

1. In Lands I Never Saw 5. Wild Nights! In lands I never saw, they say, Wild nights! Wild nights! Immortal Alps look down, Were I with thee. Whose bonnets touch the firmament, Wild nights would be our luxury! Whose sandals touch the town, Futile the winds to a heart in port,-- Meek at whose everlasting feet Done with the compass, A myriad daises play. Done with the chart. Which, sir, are you, and which am I, Upon an August day? Rowing in Eden! Ah! the sea! Might I but moor tonight in thee! 2. 0 Friend Wild nights! Wild nights! Alter? When the hills do. Falter? When the sun 6. Wedded Question if his glory be the perfect one. A solemnthing it was, I said, A woman white to be, Surfeit? When the daffodil doth of the dew: And wear, if God .should count me fit, Even as herself, 0 friend! I will of you! Her hallowed mystery. 3. Possession A timid thing to drop a life Did the harebell loose her -girdle Into the purple well, To the lover bee, Too plummetless that it come back Would the bee the harebell hallow Eternity unto. Much as formerly? 7. The Wife Did the paradise, persuaded, She rose to his reauirements, Yield her moat of pearl, Dropped the playihings of her life Would the Eden be an Eden, To take the honorable work Or the earl an earl? Of woman and of wife. 4. A otheosis If aught she missed in her new day Come-err s ow y, Eden! Of amplitude and awe, Lips unused to thee, Or first prospective, Bashful, sip thy jasmines, Or the gold in using wore away, As the fainting bee, Reaching late his flower, It lay unmentioned, Round her chamber hums As the sea develops pearl and weed. Counts his nectars --- enters, But only to himself is known And is lost in balms. The fathoms they abide. 8. Apocalypse I'm wife: I've finished that, 1 think that earth seems so that other state; To those in heaven now. I'm Czar, I'm woman now: It's safer so. This being comfort, Then that other kind was pain; How odd the girl's life looks But why compare? Behind this soft eclipse! I'm wife! Stop there!

(Titles were not created by the composer, nor were most of them cr& by Emily Dickimon. Most were attached to the poems by their original editors.) NACUSA CONCERTS At thk 'Palo,Alto Art Center Embarcadero & Newell, Palo Alto ., ' . , compdeeri ,can.P~~~.TO,O.:. 8pm Saturday . ,

March2,2002 , ' . .

I -. 1' . .'

Spring ~esonance.'. ,8pmSaprday . , . -' June 8,2002 , Com~orrs'Performance ~nsemblq . ' young Compbvrs Contest Winner

. . . . . - -PROGRAM- . , ' .. . . , <

, Hornburg Sonata (1 99 1) . . Leigh Baxter . . . . . , . I / , . . . . ,

' Marlene Ford, Horn , . . . . Jeanette Winsor, piano

, ,- . . . Piano Sonata No. 2. .. . Harvey. Stokes . . , , . ' , Wendy. Young . .' ...... Four for Three'' .John Winsor '. ., prelude-~u~ue-w arch-w in ale . , , . Elaine Swinney, Violin . . ' '. John winsor, clarinet

. . , ' . ~ar~~u~hes,cello. , .

. . Trio Giocondo WalterRoss Elaine swiney,'violin - John Winsor, Clarinet ... .Jeanette Winsor, Piano . . .. , .

Two Mobiles Paul Stouffer , John Winsor, Clarinet Jeanette Winsor, Piano

... . , , .

' miniature. . Images for clarinet" Jeraldine ~aundersHerbison' March of the Little clowns- he Sloth and the Caterpillar-The Hiker-Tag

John Winsor, Clarinet .- . ~. ' . .

~eanette-winsor,'piano . , ' ......

*Suite No. 2 "Sketches from the 80s" . . ~lo~dBarnes . ' ' . . 8 1 1: Phrygian Delight -2. ~bartalPbrtal-3: Clouds -4. Love Song

Jeanette wins?r,'~iano .: ' . . .. ,

Ten.. . ". Celeste Gates

, ' .. . Terri . lkes, Contialto. . . . ' Dave Hershiser, clarinet

. ' ' , . . , James Herbison, Cello . .. ,...... Todd ~arnes;piano . . Celeste Gates, Conductor . ,. . . .. , . . . .

*(Premiere) ......

, I . .

. . . ,

-Composers & Performers- Floyd Carleton Barnes, an electrical engineer and ordained minister of the United Church of Canada, although born in New York State, received most of his education in Canada. His early training in music theory was at the Royal Conservatory of Music in Toronto, and he later studied compositionunder Dr. F. R. S. Clarke at Queens University. Since he moved to Virginia,he has studied composition with John Davye at Old Dominion University in Norfolk. Floyd's works include anthems, carols, cantatas, song cycles, a Requiem Mass, ballets,'a symphony, a violin concerto, other orchestral works, and instrumental chamber music. His Elegy for Flute and Strings (1985), and Intrada for Brass and Percussion (1990) were recorded in Bratislava in the summer of 1994 by the Slovak Radio Symphony Orchestra. The Intrada was released in 1996 on a CD of works by 8 American composers under the Master Musicians' Collective label entitiled Orchestral Miniatures, Vol. 1 (MMC 2022). Other recent works include two piano suites, "Lament for the People of Iraq" for narrator and orchestra, and "The 7 Days of Creation" for Narrator, B-Flat Clarinet, and Piano, and a suite fiom the music of his ballet, , "Pinocchio."

Todd Barnes, piano, is a graduate of Virginia Commonwealth University. She has a Bachelor's in Music Education and presently teaches elementary school music at Northumberland Elementary school in Heathsville, VA. ,She also directs two chiors, one 4th grade and one 5th grade, both after school hours. In the summer she directs the Judgement Day Refreshment Committee; a Choir made of 75 teenagers and adults. She has perform Carnival of the Animals and other concerts with the Northern Neck Orchestra.

Leigh Baxter teaches chorus, piano, theory and music appreciation at John Tyler and J. S. Reynolds Community.Colleges. He has served as interim director of the V.C.U. Choral Arts Society. He holds a master of music degree in composition and conducting from Virginia Commonwealth University, where he studied with Allan Blank and Jack Jarrett. His music, published by Seesaw Music, Inc. of New York, includes works for Sax - Quartet, Clarinet and Piano, Flute, and Organ. Other works include music for orchestra, band, jazz band, chorus, French horn, percussion, and guitar

Marlene Morvaji Ford studied horn with Ernani Angelucci and Martin Moms of the Cleveland Orchestra and Edwin Thayer of the National Symphony. She received a Bachelor of Fine Arts degree fiom Ohio University and a Master of Music degree from Norfolk State University. She is a member the Williamsburg Symphonia, the Eastern ~ir~inia'~rass,the Hardwick Chamber Ensemble, the Tidewater Winds and the Prelude Woodwind Quintet. She is a former member ofihe Virginia Beach Pops and the Virginia Symphony. Marlene is an adjunct faculty member of Old Dominion University and Tidewater Community College.

Celeste Gates, Composer-Conductor holds a Bachelor of Science degree in music composition and creative writing fiom Indiana University School of Music, where she studied composition with Fred Fox, clarinet with Henry Gulick and Earl Bates, saxophone in the studio of Eugene Rousseau, flute in the studio of James Pellerite and jazz studies with both David Baker and Dominic Spera. She also holds a Master of Music degree in music composition fiom Virginia Commonwealth University, where she studied composition with Allan Blank and Dika Newlin, piano with Joan Kong and Landen Bileyu, conducting with Thomas Wilkins and graduated Magna Cum Laude. She is an elected member of Pi Kappa Lambda Music Honor Society (1993) and a member of the American Society of Composers, Authors and Publishers (ASCAP), and the International Clarinet Association. Celeste was the conductor for the Northern Neck Community Orchestra froml993-98 and taught music appreciation at Rappahannock Community College in 1994. Currently, Celeste is a member of the Norwood McCarty Big Band, The Hodgepodge Trio and A Jazz Trio.

James Preston Herbison, cello, a native of Oklahoma, is Associate Professor of Music at Norfolk State University, where he teaches music theory, literature, and appreciation and conducts the University 'Orchestra. He earned the Bachelor of Music Education degree from the University of Oklahoma, the Master of Music degree fiom the University of Michigan, and the Doctor of Musical Arts degree from the Catholic University of America. He is currently cellist with the Virginia Symphony, and principal cellist of the Williamsburg Symphonia. He has performed in recitals, chamber ensembles, and with orchestras throughout the United States and Canada. Notable among these performances were his performance .of Jeraldine Herbison's compositions for cello at the Kennedy Center for the Performing Arts in Washington, D.C., the Nova Trio's performance and coaching session with Menahem Pressler of the Beaux Arts Trio at the B'anff Center I Alberta,

Contemporary Ensemble, and the Milhaud Trio. Haivey's compositionai activities in recent years include the completion of several commissioned works, invited participations in conferences of the Society of Composers as well as the Southeastern Composers League Forum, and an invited composer residency at West Chester University. The Oxford String Quartet has also released internationally on klbany Records a CD containing three of his four string quartets. - ...... ' Paul Stouffer was'born in ch&bersburg, Pennsylvania. He studied clarinet with Gilbert Stange ahd . . harmony with Louis Chestnut at the Peabody Conservatory: He holds Bachelor of Arts 'arid Master-of Arts . . . . , . degrees from the School of ~ine-&tsat the University of Pennsylvania, where he studie'd composition with , . Robert Elmore and e and re Vailclain. He .has devoted a.lifetime to composition and music education. His works for

barid, orchestra, instrumental ensembles, and chorus'have been publishe'a by leading music publishers. ~uringhis 40 '

years' of teakhing; first at the ~hiladel~hiaMusical Academy, then in and private schools in Pennsylvania ' . ', . and ~aryland,bands under his leadership have performed throughout the mid-Atlantic region at State and . Natio'nal Mu'sic Education conventions. Stouffer is Treasurer of Composers Service, Inc: (CSI) and Treasurei of

the ~hiladel~hiachapter of NACUSA. He is also-a'member'of the American Society of Composers,, Authors; and , ,

Publishers (ASCAP) and the American Composers ~orum.Pau1.M.Stouffer's ,catalogue of compositions is . , . . .. . laee,variedand includes works of many -forms. His compositions are.published by.a wide range of well known - '

publishers. His works. . etc. can. be found at come.to/plaul~touffer. . or NACUSA, composer catalogue. . ' . .: , . . ,. , . . .. -. . , .. ElaineSwinney is a graduate oc~aldwin-wallriceCbllege in Beiea, ,Ohio. She is 4 violinist-h the .

Virginia Symphony and'is a founding member of the casual Elegance string Ensemble. ,She is active as .a freelance . '. , ' , violinist'in the ~idewaterarea'and is a vioiii inStructor. -.Shealso. plays in the Virginia Opera,Orchestra, :' '

William'sbur'g'Symphonia and the Richmond ~~m~hon~."'She has played in,the: ~ro~usicaChamber Ensemble.of ' . , Columbus, ~olumbusSymphony, Cplumbus Light Opera, Fort Wayne Symphony, Wheeling Symphony; canton-

Symphony, 'Akron Symphony, and the Youngsfown Symphony.. .I . . ",. \...... , . . , . . *. .. . Jean& te Winso,r studied piano with Clifford ~erier,Lois Roki Ozgnich; and Shirley Harrison. 'She received a Bachelor of Music degree cum laude from.Heidelberg ,College and a Master of Music degree in.piano

performance from Kent State University. she has occasionally coach.ed'with Thomas Schumacher. , she teaches . . piano in her s~dioin Chesapeake and for the Coinmunity Music Academy at Old Domiriion ~niversi~,inusic ' . . appreciation, theory and piano at Tidewater.Community College, accompanies the Virginia Beach Chorale, and - . ,serves as an adjudicator for the National Guild ,of Piano ~eachers.She fiequently appk&s as a soloist and lecturer.. . She is also a member of,the ~ardwickChamber ~nsemble.Jeatiette holds National sin'd State Profes'si.onal - '. I Teaching Certificates from MTNA.~~VMTA as well as certification.thro,ugh the ~mericanCollege of . - . . . . , . . . . Musicians. Jeanette-is listed in the 2lst edition of Who's Who-ofAmerican Women. She is past president of the-

~idewaterMusic Teachers' Forum and the Virginia Music ~eachersAssociation. ,Her artjcles,on 'pian~'~eda~o~~' ' I.. . ,. .. , , . .. - ' have'been pub1ished.b~Piatio Guild Notes. - ...... , . . . , . . \ . , .. . John ~iisoistudied clarinet with Robert Harrison, ~avid~-mis,andRobert kc ell us of the Cleveland . , . Orchestra and composition with John Rinehart and James Waters. He received a Bachelor of ~usicdegree fiom Heidelberg College and a Master of Arts degree in music theory from Kent State.,University..He has taught music, . theory and designed bandsman training materials at the Armed Forces School of Music. He has also taught . . .clarinet, music theory, arid composition at the Virginia ~ovemor's'~choolfor the Arts. He is a member:of the . ' - ' . . . Hardwick Chamber Ensemble; He is ~~~~~~'s.~embershi~Coordinator and.Webmaster. He is also a.senior. , .. computer programmer for Unisys. John's composition prizes include the ,1992 Delius Vocal Category Award, .the,, ; . 1995 Delius Keyboard Category Award, the 1992 and 1994 VMTA Codssioned Composer Competitions, and . . ' the Modem -Music ~estival2000 Film Scoring Prize. He has.received grants from the American Music Center and . .' from Meet the Composer;Inc, and ASCAP awards. His chamber works are,fiequeritly performed on new music , . , festivals, conferences, and concerts around the United States. Since' 1992; John has received seven commissions - -.. '

. ' fiom various arts organizations. 'Articles by and about.him have appeared in ComposerUSA......

'

The Nationaal ~sso~iitibaof ~omp&e&, .USA,+~~ formed in 1933. It is one of the oldes! org&zations '; ..

, , dedicated to the promotion and pafohnance.of music by ~ieiicans.NACUS~GINIA web page: . . . . www.thebook.com/hardwick/ntwhome.htm NACUSA/National Web Site: www.thebook.cornlnacusa. November 200 1 7 Wednesday 4:00 PM David LeDoux Senior Cello Recital RH 7 Wednesday 6:OO PM Kristen Parker Undergraduate Flute Recital RH 7 Wednesday 8:00 PM Harry Skip Martin Graduate Clarinet Recital RH 8 Thursday 6:00 PM Sarah Wimmer Undergraduate Flute Recital RH LSU COLLEGE OF MUSIC 8 Thursday 8:00 PM Percussion Ensemble Concert UT & 9 Friday 6:00 PM Amanda Montgomery DMA Piano Recital RH DRAMATIC ARTS 11 Sunday 3:00 PM Louisiana Chamber Players Concert RH 11 Sunday 4:00 PM Gospel Choir Concert UT School of Music 12 Monday 8:00 PM David Vining Guest Trombone Recital RH 13 Tuesday 8:00 PM Select Women's Ensemble Concert RH 13 Tuesday 8:00 PM Symphonic Winds UT 14 Wednesday 8:00 PM Chamber Winds Concert RH 15 Thursday 8:00 PM Tiger Band Tigerama Concert #1 UT 15 Thursday 6:00 PM Boriana Kojouharova DMA Concerto Recital RH 15 Thursday 8:00 PM Myung-Jin Kuh Graduate Piano Recital RH THEMID-SOUTH CHAPTER OF NACUSA 16 Friday 4:00 PM James Stuart Guest Lecture --- (The Music-of-Gilb~rrah-d~S~lliv

16 Friday 6:00 PM Susan Smith Undergraduate Clarinet Recital RH .. . 16 Friday 8:00 PM Tiger Band-Tigerama Concert #2 UT

16 Friday 8:00 PM Richard Jupin DMA Vocal Recital RH PRESENTS 17 Saturday 8:00 PM Friends of the School of Music Alumnus of the Year Recital RH 18 Sunday 2:00 PM ~romboneEnsemble Concert RH

UUMC = University United Methodist Church UT = Union Theater RH = Recital Hall TEC = Trinity Episcopal Church ST = Shaver Theatre FBC = First Baptist Church CB = Cotillion Ballroom CT = Colonnade Theater TBA =To be announced RT = Reilly Theatre * = Note event change

FOUNDEDON THE BATONROUGE CAMPUS IN 1931, THE LSU SCHOOLOF MUSICNOW BOASTSA FACULTY AND STAFF NUMBERING OVER 70, AND A MUSIC MAJOR CONCENTRATION OF NEARLY 450 STUDENTS.THE SIZE AND SCOPE OF ITS CURRICULA~OMPREHENSNE PROGRAMS FROM THE BACCA- LAUREATE THROUGH THE DOCTORATE-PLACE IT IN THE TOP CATEGORY OF MUSIC SCHOOLS NATIONWIDE. NUMEROUSFACULTY MEMBERS HAVE EARNED NATIONAL AND INTERNATIONAL REPUTA- us ' TIONS THROUGH PERFORMANCE AND RESEARCH PURSUITS AND THUS ATTRACT STUDENTS FROM ALL PARTS OF THIS COUNTRY AND THE WORLD. ANY OF THE SCHOOL'SPEWORMING ENSEMBLES ENJOY I . .. WIDE ACCWM, APPEARJNG AT THE BERLINCATHEDRAL, THE VATICANIN ROME,CARNEGIE HALL IN NEWYORK CITY AND THE KENNEDYCENTER IN WASHINGTON,D.C., AMONG OTHER NOTABLE VENUES. LSU School of Music Website: www.music.lsu.edu 8:00 P.M. RECITALHALL Sonatafor Trumpet andpiano is a three movement work composed for tonight's guest performer Rex Richardson. The first movement, subtitled "Parade," with its quick rhythms and short gestures, falls traditionally into sonata-allegro form and attempts to programmatically depict a festive parade that is making its way down a small town street. While the two outer movements are somewhat festive in character, the second and inner movement, "Elegy," portrays a more serious emotional and melancholic mood. Finally, the third movement, en- titled "The Syncopated Juggler," attempts to portray humorously the annoy- ing antics of a playhl and clumsy mime (who is actually part of the parade) as he juggles, dances, and entertains his surrounding audience like a jester.

Seresta is the Brazilian denomination for serenade, which appeared in the early 16th-century tradition of Portugal. It consists of performing lyrical songs at night while walking through the streets. Two elements are impor- tant in the formation of the Brazilian seresta: the vocal style becomes lament- like and the musical language incorporates elements of choro. This two- movement work started as an exercise in 20th century music. The main theme of the first movement, a modinha, which is a Portuguese and Brazilian love song from the 19th century, is built upon interval classes [3,1]. This motive is expanded and varied throughout the entire movement. The second movement is inspired by a very strong Brazilian dance called zamb?.

Remembrance for trumpet and piano was written in the Spring of 2000. It uses extended modal harmonies and a semi-chromatic melodic contour to reinforce the somber mood of the work. Extended instrumental techniques, such as playing into the piano and into the music stand, add variety to the instrumental sound and emphasize the concept of a life eternal. It is dedi- cated to the memory of my brother-in-law, Mark Hilyer. Program

Herb Gellis

Christopher Ballard

I'lana S. Cotton CHRISTOPHER BALLARD graduated from the University of California, San Diego, in 1990 with a B.A. in Music. He is currently a student of fellow NACUSA composer I'lana Cotton.

JOHN BEEMAN studied composition with Peter Fricker and later with William Bergsma at the University of Washington where he received his Master's degree. His first opera, The Great American Dinner Table was produced on National Public Radio. Orchestral works have been performed by the Fremont-Newark Philharmonic, Prometheus Symphony, and Santa Rosa Symphony. Desert Sketches, a chamber work, was released in 1996 on the Classic Sketches CD by the Violeto Trio. The composer's second opera, Law Oflces, premiered in San Francisco in 1996 and was performed again in 1998 at the San Mateo County Courthouse through a grant from Philanthropic Ventures Foundation. Mr. Beeman has attended the Ernest Bloch Composers' Symposium and the Bard Composer-Conductor Program Recently, he received an individual artist grant from The Peninsula Community Foundation for his opera, The Answering Machine (libretto by Carla Brooke) which had its premiere on , 2000 at The Palo Alto Art Center. His Concerto For Electric Guitar And Orchestra was premiered by the Peninsula Symphony on Jan 19, 2001 with Paul Dresher on electric guitar.

ESCAPADE is defined by the Standard College Dictionary as "a brief piece of reckless behavior or prankish disregard of convention; fling spree." It was with this spirit of escaping from constraint that the idea for the piece was developed. Escapade is in three sections. The first is fast with a soaring melody set against a rock-like accompaniment. Harmonies are mostly open using fourths, Nths, sevenths and ninths. This fast theme slips into a slow, bluesy section which begins with muted trombone followed by soli in the . The texture then thickens and the tempo accelerates as the first theme returns followed by a flashy coda to end the quintet. The composer intends to write two more movements to complete the quintet.

ROSEMARY BARRETT BYERS has enjoyed a varied career as pianist, conductor, theatrical director, teacher, composer, and arranger. Since completing a master's degree in piano performance at Indiana University, she has taught piano, music history, and musical theater at various colleges and universities in the Southeast and Midwest, conducted much of the major choral-orchestral literature, and has directed numerous "Broadway" musicals and musical revues from dinner theater to the concert stage. Ms. Byers has published piano teaching compositions with Myklas Music Press, Lee Roberts, Hal Leonard, and Carl Fischer. Her Rhapsody for Piano won first place in the advanced division of the 2000 MTAC Composers Today State Contest, and her Animal Crackers, a suite of poems and pieces for elementary piano students, won first place in the Teaching Piece division. Four original children's musicals have been produced by theater companies and show choirs in Tennessee and Kentucky.

SONDRA CLARK is a graduate of the Juilliard School (B.M.), San Jose State U (M.A.), and Stanford University (Ph.D.) A long- time Bay area music critic and member of the music faculty at San Jose State University, Dr. Clark has won over forty awards for her compositions since she began composing ten years ago. Her Three Scenesfiom New Orleans was published in 1998 by Kjos Music and six more of her works will be published in 2002 by Hal Leonard Corp. Dr. Clark's Requiem for Lost Children, written for the San Jose Symphonic Choir and Orchestra and the Cantabile Children's Chorus, has been performed three times to packed houses and critical acclaim since its prehiere in 19%. Clark has been the only composer chosen to be featured by the award-winning Grand Piano Show in an hour-long program, The Wonderful Piano Music of Sondra Clark, which is being aired on cable television in 450 cities throughout the country.

The first movement of TWO FOR FIVE was written especially for the Menlo Brass Quintet and seeks to celebrate each of the . 1! instruments with solos in a gentle, Poulenc-type humor. The second movement is also humorous, but in a more joyous mood. This music, written in a meter of 3 + 3 + 4, was a winner in the 1999 California Composers Today contest and has seen performances in various incarnations: as a mixed ensemble, as a duet for piano, as a harpsichord solo (available on CD by Elaine Funaro) and as a choral work!

I'LANA COTTON is a composer, improviser and pianist who has written extensively for acoustic chamber ensembles, choral groups and electronic instruments. Her work has been performed throughout the US and has won several awards, most recently from the California-based Peninsula Community Foundation, the Ernest Bloch Festival Composers' Symposium in Newport, Oregon, Britten- on-the-Bay and the Chicago Chamber Music Collective. She is an active member of the National Association of ComposerstUSA (NACUSA), the American Composers Forum (ACF), and the International Alliance for Women in Music (IAWM). She has also collaborated with other musicians and artists in visual and theatrical media, and has created several commissions for choreographers and poets. She holds an M.A in composition fiom the University of California at Los Angeles, with undergraduate music study at the San Francisco Conservatory of Music. Other studies include north Indian classical vocal technique with Faquir Pran Nath, and Javanese gamelan with Max Harrell. She is currently on the music faculty of the College of San Mateo, and is the author of Music of the Moment: A Graded Approach to the Art of Keyboard Improvisation, available from New Music Publications. i NANCY BLOOMER DEUSSEN is well known +oughout the San Francisco Bay Area as a composer, performer, arts organizer and music educator. She is a leader in the growing moyement for more melodic, tonally-oriented contemporary music, and is co-founder of the SF Bay Chapter of the National Association of Composers, USA. Her works have been performed throughout the US and Canada and she has received numerous commissio~both locally and nationally from such performers and ensembles as The Oakland Chamber Orchestra, The Walnut Street Chamber Ensemble, The Baton Rouge Concert Band, The Bresquan Trio, The Santa Clara Chorale, The Women's Caucus in the Arts, OPUS \90 Chamber Ensemble, clarinetist Richard Nunemaker, the Tanana High School Band, the Gabrieli Brass, Soundmoves, the Mission Chamber Orchestra, flutist Angela Koregelos, the Semper Virens environmental group, The Sanchsky Music Festival, Jim and Pat Vtt, and Mu Phi Epsilon Some recent performances of her works for the 1999- 2000 season include Woodwind Quintet by the Sqord Woodwind Wtetand The World is a Butterfly's Wing (song cycle) at the Demere Guard Festival in San Francisco. i I I HERB GELLIS I I MOJA VE is a four-movement tone poem for brass quintet, thematically based on several impressions of scenes and events in a desert canyon in the Mojave Desert area! This is a tonal work using distinctive melodies and rhythms to paint the sound impressions, and is approximately 10 minutes long. The short first movement Intrada depicts the entrance to the desert canyon as might be seen from the valley I floor. Somewhat imposing and majestic, with a tendency towards fanfare, the canyon walls vault ever upward The second movement Desert Canyon is slow and yearning with angular melody. It finds us within the canyon looking out on distant vistas, craggy wonders, lonely, vast, and ultimately of stark beauty. Before the sun gets too high and the temperature rises, we take a light-hearted early morning march. This short third movement Scherzo entitled Morning March, is in 12/8, and its theme is taken from a phrase first encountered in the Intrada. The previous three movements are all grounded in the key of F, or its Jekyll and Hyde partner D minor, borrowing freely from F minor. The fourth movement Allegretto Gioioso entitled Condor Soaring takes us from the third movement ending in D minor, to take wing into the key of D major. Here we fave spotted a lone Condor soaring above. This movement is a celebration of free - spirit and joy. i During the past year, BRIAN HOLMES's choral have won four contests, while another received an honorable mention. One of these, Jolly Jankm, was heard at last fall's NACUSA concert. William Thorpe has published three choral pieces, and Thompson Edition has published a vocal piece for tenor, violin, prn, and piano. Thorpe has two additional chorus pieces in press, including Let Evening Come, also heard in last fall's concert. Rogef Dean has two more in press, and Thompson Edition will publish Three Hunting Songs for soprano and horn quartet. In addition, Holmes received the ASCAP Standard Award Holmes is composer in residence of the Cantabile Children's chorus, which has commissioned and premiered two pieces during the last year. I TALES OF THE CULTURAL REVOLUTIO~is very loosely based on events that occurred in China during the 1960's and 70's. The illustrations are by Justin Novak: a New York City artist. The illustrations and poem have been published in TUBA Journal, and in San Jose Studies. qepoem has had three or four addtional publications. Tales premiered in 1980, and it was recorded in 1985 by the Cambridge Symphonic Brass Quintet on Crystal Records. Tales also exists a version for narrator and tuba duo, and another for narrator, solo tuba, and concert Band I A graduate of Oberlin Comatory, WARNER EPSON has been composing in San Francisco for theatre (A.C.T.), film (The Bed), dance (San Francisco Ballet's Totentanz], museum +d gallery openings (music made on the then-new Buchla synthesizer), video (composer-in- residence at KQED's National Center for Experiments in TV, 5 programs for PBS, and an NEA Grant). His first works as well as more recent ones were musicals (Sun Francisco's Burning ran six months; The Money Tree played in Chicago in '97). I I I I I I

I I I I You are invited to stay 'after the concert and speak with the composers.

The National Association of Composers USA (NACUSA) is a non-profit organization whose goal is to foster the composition and performance of new music. Founded in 1932 and now with branches in Los Angeles, New York, Philadelphia, and San Francisco, NACUSA continues to be an active and most vital outlet for composers throughout the country. Inquires regarding membership may be addressed to Michael Kimbell, (650) 359-7693, [email protected]. General inquires may be directed to Nancy Bloomer Deussen, (650) 858-0172.

NACUSA San Francisco is a non-profit organization in need of support. Tax-deductible contributions may be sent to:

THE NATIONAL ASSOCIATION OF COMPOSERS San Francisco Bay Area Chapter 3065 Greer Road Palo Alto, CA 94303

Acknowledgements

The Members of NACUSA San Francisco would like to recognize with heartfelt thanks the following contributors to the 1999-2000 concert season:

Dr. Mark Alburger Ms. Annette Axtmann Ms. Mary A. Beeman Ms. Rosemary Barrett Byers Ms. llse Calabi Ms. Patti Noel Deuter Ms. Aileen Lee Mr. Mano Murthy ' NEW MUSIC Publications and Recordings Ms. Jeana Ogren Mr. Robert and Ms. Carla Schenk Mr. and Mrs. Michael Scofield Music Library, University of California at Berkeley Ms. Emily I. Ward

This concert is presented by the National Association of Composers, USA, San Francisco Bay Area Chapter

Committee for tonight's concert:

Concert Production: Owen Lee Publicity: John Beeman, Carolyn Hawley, Marilyn Hudson Program: Mark Alburger, NEW MUSIC Publications Programming: John Beeman, Nancy Bloomer Deussen, Diana Tucker Creators of the "Music Niqhts SeriesP The International Cultural Center and Aaron Johnson, President of Mid-South Chapter of NACUSA Dr. Harald Leader, Producer The Mid-South Chapter of William Price, Vice-President of Mid-South Chapter of NACUSA Alexander Tselebrovski, Artistic Director NACUSA

Upmincr Music Nights Events present

Friday, 7:OOPM Electro-Acoustic Black Box Friday, Noveimber 30 7:OOPM An Evening of New Music ------__ _ _ - __ -- -. -- A Concert of Voices, Piano and Sax The ICC and the Mid-South Chapter of NACUSA would like to express their appreciation to the following people:

Ms. Virginia Grenier, Executive Director of the International Hospitality Foundation

Dr. Earnest and Phyllis Harrison

Mikel LeDee, President of the Board of Directors of Louisiana Sinfonietta

The LSU International Cultural Center Friday, October 5,2001 7:OOPM

Retrato de uma cidade Liduino Pitom beira Rdrdo d. uma cidade (Picture of a Ciwas mr4the second prize in the First National Composition Competition Ro de Janeiro, in 1995 and it was published by RoArte Editora. The poem is written by Carlos Drummond de Andrade, one of the most important modernist poets of Brazil.

Poemes d Amour Dawn K Williams Poemes $Amour (2000) for Voice and Piano is a set of short songs, which may be sung by any and may be performed in any order. The songs are settings of wrks by the nineteenth-century French poet Paul Verlaine, and may be considered to be modern lieder. Each song has a distinct character: the piece features a chant, a shepherd song, a declamation of the text, etc. The singer uses various methods of vocal production, such as singing into a paper bug, spoken text, etc., in addition to ordinario (operatic) singing. The pianist also produces sounds in various ways, including rapping the closed keybard lid and playing wind chimes.

Music, When Soft Voices Die Aaron Johnson

Music, when soft voices die, Vibrates in the memory. Odoun, when sweet violets sicken, live within the sense they quicken.

Rose leaves, when the rose is dead, Are heap'd for the beloved's bed And so thy thoughts, when thou art gone, love itself shall slumber on. - Percy Byshe Shelley

Seresta No. 2 Liduino Pitombeira Seresb is the Brazilian denomination for serenade, which appeared in the early 16th century tradition of Portugal. It consists of performing F~alsongs at night while walking through the streets. Two elements are important in the formation of the Brazilian serresta: the vocal style becomes lament-like and the musical language incorporates elements of choro. The two movement work is inspired in the seresta and it is a tribute to Noel Rosa (1910.1937) and Pixinguinha (1897-1973), who were both great Brazilian composers associated with this genre. The first movement - Noel Rosa - is a slow and free movement. The second one - Piinguinnh - is fast and rhythmic. The piece ends with a coda that brings back ideas from the first movement. Creators of the "Music Nicrhts Series" The International Cultural Center and Aaron Johnson, President of Mid-South Chapter of NACUSA Dr. Harald Leder, Producer The Mid-South Chapter of William Price, Vice-President of Mid-South Chapter of NACUSA Alexander Tselebrovski, Artistic Director NACUSA

present

Upcominq.- Music Nights Events -- ---A -Black-b-2-Co"c 6-d------

Friday, 7:OOPM An Evening of New Music of EIedroAcoustic Music

The ICC and the Mid-South NACUSA would like to express our appreciation to the following people:

Ms. Virginia Grenier, Executive Director of the International Hospitality Foundation

Dr. Earnest and Phyllis Harrison

Mikel LeDee, President of the Board of Directors of Louisiana Sinfonietta The LSU International cultural Center Friday, November 9,2001 7:OOPM Notes About the Music . . . Program

In neir Own Words (2001) is an electronic tribute to several important and influential composers of the 20th Century: George Crumb, John Cage, and Milton Babbitt. The Introduction and Ldre...... Charles Haahues piece is separated into three short movements in which sound clips from each composer talking is electronically manipulated and morphed into a surreal electronic landscape. Each movement also incorporates the sounds of a manipulated acoustic instrument that, for the most part, best represents the composers' musical philosophies. Sarahnade Stephen David Beck

Tmtric Dreams of a Lotus Blossom (2000) was realized at the Electro-Acoustic Music Oh No! (Musicfor Kenneth) Stephen David Beck Studios at Louisiana State University using Kyma sound software. The work's general aesthetic focus is one of narrative meditation. Almglocken bells, granular guitar streams, and Tuva drums were used to create a quiet, but reflective atmosphere. Pjammin ' Aaron Johnson

Scintillate Plectrums (2001) was composed entirely with the CSound program and was In Their Own Words John M. Crabtree recently the winner of the International New Music Consortium, Inc. Composition I. .. .influenced by those possibilities (George Crumb) Contest of 200 I. 11. ...nothing's definite (John Cage) 111. .. . a tendency to talk too quickly (Milton Babbitt) Rock, Paper, Scissors was commissioned by the Of Moving Colors dance group for their Spring 2001 production White. The music was created using the KYMA hardwardsofbare system as well as Peak and ProTools software. First recordings Comets Mark Francis were made of rocks clacking, paper being shredded, scissors snipping, and the singer Mayumi Yotsumoto improvising melodies on the childrens game Rock, Paper, Several Species of Small Fuv Animals Gathered Jonathan Peters Scissors. Next recordings were edited and manipulated. For example a recording of the Together in a Cave and Grooving with the Tooth composer saying "paper" was rhythmicized using a drum machine, and the singer's vocalizations were harmonized to sound like a choir and then delayed using echo Fairy effects. Perhaps the most unusual manipulation of a natural sound involved a pair of snipping scissors being transformed into guitar-like sounds. First rhythms were Big Chief W.T. Charles Haarhues generated using a drum machine. Next these were resonated and tuned to create actual pitched notes. Finally these sounds were processed using reverb, chorusing, and delay Tantric Dreams of a Lotus Blossom William Price to fatten them up. The resulting inshument sounds something like a cross between an electric guitar and a Japanese kolo. Even though some samples of actual instruments were used, most of the sounds in the piece were created this way. Scintillate Plectrums John M. Crabtree Canudos "Canudos" was an important religious and civil war that happened in Brazil, Rock, Paper, Scissors Charles Haarhues at the end of the 19th century. In its final moment there is a remarkable episode in which a two thousand men army was fighting against five persons. The piece is full of mystical elements representing the religiosity of Antonio Conselheiro, and its Canudos Liduino Pitombeira crescendo depicts the increasing tension of this historical fact. Spline William Price Spline (2001) is a two-minute work based on the concept of interruption and constant change of media focus. The work uses several layers of background and foreground activity, which create a dialogue throughout the work. Various sources of sound media were used, including samples taken folk music, popular music, and art music sources.

Meet the Artists

Metropolitan Opera soprano Heidi Skok made her debut in 1992 as the Young Shepherd in Tannhauser. She has since performed many roles with the Met including Moses und Aron, Queen of Spades, and Parsifal. Skok has performed concerts in Europe, South America, the Middle East and North America, in addition to singing with The Wolf Trap Opera Company, Pittsburgh Opera, and Lyric Opera of Kansas City The past two summers Ms. Skok appeared with the Ravinia Festival and the Marlboro Music Festival. Her debut album entitled Women's Voices b Songs of Martin Hennessy was released on the Newport label. Ms. Skok is a graduate of Carnegie Mellon University, holds an artist diploma from Tito Capobianco's Pittsburgh Opera Center at Duquesne, and is a former member of the 's Young Artist Development Program.

Pianist/composer Martin Hennessy studied at Georgetown University and at The Juilliard School with such luminaries as Marshall Williamson and Samuel Sanders. As a pianist and vocal coach, he has toured worldwide with the Be1 Canto Trio and the Ambassadors of Opera. As an educator, he has served on the faculties of The Juilliard Opera Center and Carlo Bergonzi's Be1 Canto Seminar. As a composer, Mr. Hennessy has received awards from Meet the Composer, ASCAP and the American Music Center. Vital Theater Co. produced his musical Edgar, as an equity showcase this past summer in New York City. His music is published by Glendower Jones at Classical Vocal Reprints and can be heard most recently on the Newport Classic release Women's Voices. The Axiom Duo - cellist and double bassist Pascale Delache-Feldman - were described by NPR's Ron Schachter as "a musical Laois and Clark, opening up new musical territories" and pioneering a new and unexpected chamber music experience." They have appeared throughout the United States and have toured in France, Germany, Austria and Hungary. Champions of new music, the Duo recently released its first CD on the Synergy Classics label featuring several works especially written for the ensemble by American composers. Since 1980, the NORTHISOUTH CONSONANCE ENSEMBLE has brought to the New York public over 750 different works by composers from throughout the United States, Canada, Latin America, Africa, Asia and Europe. Flutist Lisa Hansen won critical acclaim for her EMI/Angel recording of Joaquin Rodrigo's Concierto Pastoral with the London Royal Philharmonic Orchestra. Her recent recording of Nielsen's Flute Concerto was featured on NPR's Performance Today and was warmly praised by Fanfare Magazine. Ms. Hansen implements and directs the ever popular Summer Serenades Festival held during the month of June in Washington Heights Lisa Stokes Chin, double bass, has recorded for the Newport Classics, New World, North/South and Bridge labels. Her professional experience includes the New York Chamber Soloists, Riverside Symphony, The Vermont Mozart Festival, Washington Square Contemporary Ensemble, Bang on a Can, and June in Buffalo Pianist Max Lifchitz was awarded the first prize in the 1976 International Gaudeamus Competition for Performers of Twentieth Century Music held in Holland. Robert Comrnanday, writing for The San Francisco

Chronicle described him as "a young composer of brilliant imagination and a stunning, ultra-sensitive pianist. " The New York Times music critic Allan Kozinn praised Mr. Lifchitz for his "clean, measured and sensitive performances. " Albums featuring performances by the North/South Consonance Ensemble are available through the internet at www.northsouthmusic.org or by calling 1 (800) 752-1951. The National Association of Composers, USA was founded by Henry Hadley in 1933. Mr. Hadley served as an Associate Conductor for the New York Philharmonic during the 1930's, the first American-born conductor ever appointed to the staff of that institution. To learn more about various the activities sponsored by the National Association of Composers, USA please visit its website at www.music-usa.ore;

The public is kindly reminded that the use of recording equipment of any kind is strictly forbidden. Please turn-offyour watch alarm or any other noise-producing device before the program starts. Make sure to know where the auditorium exits are. PLEASE REFRAIN FROM SMOKING and/or EATING WHILE IN AUDITORIUM. PROGRAM NOTES and TEXTS- Ampiled and edited by Max Lifchitr

Martin Hennessy kindly providbd the following comments for his songs: "I was searching among a variety of texts for the next song in a Ben Jonson group. It was the week after the September ll*attack and Echo's Song jumped out at me. I began musicalizing it as a dirge in honor of all those who had died. Yet as it progressed, I realized that the piece is really for those who mourn. And so it is dedicated!" I Echo's Song by Ben Jonson

Slow, slow, fresh fount, keep time with !mysalt tears: Yet, slower, yet; 0 faintly, gentle springs:I List to the heavy part the music bears, I Woe weeps out her division, when she sings. Droop herbs, and flowers, I Fall grief in showers, I I Our beauties are not ours: I 0, I could still, I Like melting snow upon some craggy hill, Drop, drop, drop, drop, I Since nature's pride is, now, a withered; daffodil. ll girasole by Eugenio Montale I The Sunflower (trans. William Arrowsmith) Portami il girasole ch'io lo trapianti Bring me the sunflower, 1/11 plant it here nel mio terreno bruciato dal salino, I in my patch of ground scorched by salt spume, e mostri tutto il giorno agli azzurri spec$hianti where all day long it will lift the craving del cielo lfansieta del suo volto giallino. 1 of its golden face to the mirroring blue. Tendono alla chiarita le cose oscure, i Dark things are drawn to brighter si esauriscono I corpi in un fluire 1 bodies languish in a flowing di tinte: queste in musiche. Svanire of colors, colors in musics. To vanish, e dunque la ventura delle venture. i then, is the venture of ventures. I Portami tu la pianta che conduce I Bring me the flower that leads us out dove sorgono bionde trasparenze where blond transparencies rise e vapora la vita quale essenza: and life evaporates as essence I portami il girasole impazzito di luce. Bring me the sunflower crazed with light.

Max Lifchitzfs Episodes - for dbuble bass and piano - is in five contrasting movements. Highly virtuosic and demanding of the perfor4ers, the music explores the extreme registers of the instruments while employing unusual sound production techniques. The work was written at the request of Donald Palma, who premiered it at the invitatidn of the 1983 International Double Bass Society. Yellow Ribbons No. 1 belongs to a series of works written as homage to the former American hostages in Iran. These compositions represent a personal way of celebrating the artistic and political freedom so often taken for granted in the West. The work is in three contrasting movements performed without pause. Its melodic and harmonic materials are derived from a series ofi expanding and contracting intervals while easily identifiable rhythmic motives serve as unifymg elem~ntsthroughout the piece. Mosaico Latinoamen'cano (Latin American Mosaic) is based on folk melodies native to several Latin American countries. The first movbment, marked slow, is built around two melodies associated with funeral ceremonies: the Afro-Cuban "Canto Lucum"' and the Mayan "Xtoles." These two melodies exhibit a pentatonic background although they contrasting in terms of rhythm and character. The character of the music is meditativd and somewhat dramatic. The second movement marked fast, combines dance melodies from the coastal areas of M6xic0, El Salvador and the Caribbean including fragments of a Huapango and a Merengue. The music is definitely upbeat and has an understated sense of humor. Mosaico Latinoamen'cano was written at the request of flutist Lisa Hansen and pianist Katrina Krimsky who premiered it in Ziirich, Switzerland on June 1,1991. Hayg Boyadjian was born in Paris to Armenian parents. He lived in France and Argentina before moving to the US in 1958. While his musical education began in Argentina, it culminated with studies at the New England Conservatory and . A long time Boston resident, Boyadjian's extensive oeuvre includes works for orchestra, solo instruments and numerous chamber compositions. Boyadjian's works have been performed throughout the world and appear on recordings issued on the North/South, Opus One, Living Music, and Society of Composers labels. The Washington Post described his music as "delicate and transparent" and commented on the "anguish and intensity expressed" in his scores. The composer writes about his work: "The musical ideas found in Eclipse grew out of my interests in astronomy. The music is built around two contrasting ideas; one slow, or heavy, associated with the darkness during an eclipse, and the other light and active, associated with the return of the light at the end of the eclipse. The piece ends quietly as the moon and/or the sun continue on their journey. Eclipse was written for and is dedicated to the Axiom Duo."

Stefania de Kenessey is a leading figure in the current revival of neoclassicism. Honored repeatedly with awards from ASCAP, her music has been heard in Europe, Australia, Singapore and China as well as throughout the United States. Highly regarded as a composer of instrumental works, her newly commissioned concerto for trumpet virtuoso Christopher Gekker was released on Helicon Records in 2001. During the summer of 2001, she was composer-in-residence at the Bridgehampton Summer Music Festival, which opened with a performance of her flute concerto by artistic director Marya Martin. She has also written for, among others, flutist Elizabeth Mann and the St. Luke's Chamber Ensemble, the Meridian String Quartet, the Singapore Symphony Orchestra, the San Jose Symphony, the Manhattan Chamber Orchestra, the North/South Consonance Orchestra and the Absolute Ensemble, conducted by Kristjan Jarvi. Her popular piano sonata Sunburst has been honored with three different recordings and is available simultaneously on the North/South, E.R.M. and Leonarda labels; "Shades of Light, Shades of Dark", a CD of her chamber music performed by renowned clarinetist Julian Milkis and the Andiamo Chamber Ensemble, has just been released on North/South Records and received a rave review in Fanfare Magazine as "...fully worthy to share a program or disc with the masterpieces by Mozart or Brahms." Featured in the PBS documentary on the return of classicism "Art Under the Radar", she is also the founder and artistic director of The Derriere Guard, an alliance of traditionalist contemporary artists, architects, poets and composers. The First Derriere Guard Festival took place in March 1997 at The Kitchen and featured cultural critic Tom Wolfe as its keynote speaker. Ms. de Kenessey was educated at Yale and Princeton Universities, receiving her doctorate under the tutelage of Milton Babbitt, and is currently artist-in-residence at the New School University in New York City. Inspired by the poetry of Tom Disch, High Summer was premiered at Columbia University's Miller Theatre on Oct.25,2001. The texts follow: High Summer Poems by Tom Disch

I. High Summer When the bluebells have left off blooming And the woods are dusty and dry, It's time to go to the movies And switch from Low Cool to Hi. When all the daffodils have withered And the scum is thick on the shore, Then go where the weather caresses In a large department store. The season of blossoms is fleeting; Then come the wearisome weeks When even the beaches are beastly And the rusty screen door squeaks, And you sigh for those simpler summers When you stayed in the city and drank Perriers by a recycling fountain In the plaza of Chemical Bank.

Creators of the "Music Nights Series" The lnternational Cultural Center Aaron Johnson and Dr. Harald Leder, Producer William Price, President of Mid-South Chapter of NACUSA The Mid-South Chapter of / Alexander Tselebrovski, Artistic Director NACUSA

present Uvominq Music Niqhts Events at the ICC Friday, March 8 7:OOPM Earnest Harrison Oboe Recital Friday, 7:OOPM Music, Dance, Art and lmprw Friday, April 19 6:OOPM New Music, New Views ---A-Blac-k-Box-Concert - Upcoming NACUSA Music Events at he LSU Recital Hall of EIectroAcoustic Wednesday, February 27 8:OOPM An Evening of New Music Wednesday, 8:OOPM KFQ Percussion Quartet Concert Music

The ICC and heMid-Souh NACUSA would like to express our appreciation to hefollowing people: I Ms. Virginia Grenier, Executive Director of the International Hospitality Foundation

Dr. Earnest and Phyllis Harrison

Mike1 LeDee, President of the Board of Directors of Louisiana Sinfonietta The LSU lnternational Cultural Center Dr. Stephen David Beck and he LSU Eledrc+A~o~~ticStudios Friday, February 22,2002 7:OOPM I Notes About heMusic . . . Program

In Their Own Words (2001) is an electronic tribute to several important and influential Sarahnade Stephen David Beck composers of the 20th Century: George Crumb, John Cage, and Milton Babbitt. The piece is separated into three short movements in which sound clips from each Oh No! (Musicfor Kenneth) Stephen David Beck composer talking is electronically manipulated and morphed into a surreal electronic landscape. Each movement also incorporates the sounds of a manipulated acoustic instrument that, for the most part, best represents the composers' musical philosophies. Pjammin ' Aaron Johnson

Scintillate Plectrums (2001) was composed entirely with the CSound program and was recently the winner of the International New Music Consortium, Inc. Composition In Their Own Words John M. Crabtree Contest of 200 1. I. . . . influenced by those possibilities (George Crumb) 11. Rock, Paper, Scissors was commissioned by the Of Moving Colors dance group for . ..nothing's definite (John Cage) their Spring 2001' production White. The music was created using the KYMA 111. ... a tendency to talk too quickly (Milton Babbitt) hardware/sofbare system as well as Peak and ProTools software. First recordings were made of rocks clacking, paper being shredded, scissors snipping, and the singer Comets Mark Francis Mayumi Yotsumoto improvising melodies on the childrens game Rock, Paper, Scissors. Next recordings were edited and manipulated. For example a recording of the composer saying "paper" was rhythmicized using a, drum machine, and the singer's vocalizations were harmonized to sound like a choir and then delayed using echo Lullaby Jonathan Peters effects. Perhaps the most unusual manipulation of a natural sound involved a pair of snipping scissors being transformed into guitar-like sounds. First rhythms were generated using a drum machine. Next these. were resonated and tuned to create actual Big Chief W.T. Charles Haarhues pitched notes. Finally these sounds were processed using reverb, chorusing, and delay to fatten them up. The resulting instrument sounds something like a cross between an electric guitar and a Japanese koto. Even though some samples of actual instruments were used, most of the sounds in the piece were created this way. 2 Days in the Tank William Price

Camrdos "Canudos" was an important religious and civil war that happened in Brazil, at the end of the 19th century. In its final moment there is a remarkable episode in Scintillate Plectrums John M. Crabtree which a two thousand men army was fighting against five persons. The piece is full of mystical elements representing the religiosity of Antonio Conselheiro, and its crescendo depicts the increasing tension of this historical fact. Rock, Paper, Scissors Charles Haarhues Spline (2001) is a two-minute work based on the concept of interruption and constant change of media focus. The work uses several layers of background and foreground activity, which create a dialogue throughout the work. Various sources of soundmedia were used, including samples taken folk music, popular music, and art music sources. Canudos Liduino Pitombeira

Spline William Price ARTS BUILDING

UNNERSITY OF CALIFORNIA. RIVERSIDE Department of Music presents

Contemporary American Chamber Music The National As sociation of Composers, USA (NACUSA) with the UCR Department of Music

March 10, Sunday 4:00 P.M. ARTS Building Performance Lab PROGRAM

Viokztion Tom Flaherty Cynthia Fogg, viola

Three Songs for soprano and piano Byron Adams 1. Green text by D.H. Lawrence 2. To be mng on the water text by Louise Bogan 3. Heaven-Ham text by Gerard Manley Hopkins

Catherine Card, soprano Byron Adams, piano

Daniel Kessner Daniel Kessner, bass flute Dolly Eugenio Kessner, piano

INTERMISSION

-Piano Va@trons Morten Lauridsen Abraham Fabella, piano

Trio Popukzire for Piano, Bb Clarinet and Cello Michael Glenn Williams 1. Fantastic Waltz 2. Song Without Words 3. Scherzo Don Foster, danne.t; Timothy Loo, cello Michael Williams, piano

In Search Of . . .(1996,2001) Barbara A. Bennett Ihen Cahill, flute; Audrey Lamprey, horn Abraharn Fabella, piano

Please: No flash photography or videotaping. Remember to turn off cell phones and pagers. TEXTS Green Heaven-Haven D.H. Lawrence Gerard Manley Hopkins The dawn was apple-green, I have desired to go The s$ was green wine held up in the sun, Where springs not fad, . The moon was a golden petal between. b To fields where flies no sharp and sided hail She opened her eyes, and green And a few lilies grow. d& They shone, like flou&s undone And I have asked to be 1 For the &st time, now for the htst time seen. Where no storms come To be sung on the water Where the green swell is in the havens dumb, Louise Bogan And out of the swing of the sea. Beautiful, my delight, pass, As we pass the wave. Pass asLthemottled kght ------_Leaves-what it.cannOt.save, -. ------A - .- - - I ___.---

?-+.. Scattering dark and bright. Beautiful, pass and be Less than the guiltless shade TO which our vows were said. Less than the sound of the oar To which our vows were made, Less than the sound of its blade Dipping the stteam once more. Text reproduced here bypermission of thep~bhher I NOTES Tom Flaherty Viokztion Helpful definitions fiom the Random House Dictionary: viola, a four-sttinged insttument of the violin class. -tion, a suffix occurkg in words of Latin origin, used to form abstract nouns from verbs. Is viola of Latin origin? Random House considers that uncertain, but suggests that it is perhaps connected with vituldari, to be joyful Is viola a verb? Perhaps it should be. Viokztion is based on the musical notes fo&d in the dedicatee's name, CinDy FoGG. In the open- ing of the piece C, D, F, and G are recorded into a computer, which instantly begins to slice the I , sound into bygranules. These granules are atranged throughout the rest of the piece in response to pitches played. I am grateful to both Nobuyasu Sakodna and Ted Ape4 whose Max patches and . objects figure prominently in this piece And of course to my wife Cynthia Fogg, whose patience, forbearance, and willingless to learn music with fantastic speed are legbdary. 1 tf. I

February 2002 28 Thursday 8:00 PM Symphonic Winds/Symphonic Band Concert UT

March 2002 1 Friday 6:00 PM Kendra Heilernan Voice Recital 1 Friday 8:00 PM Jennifer Hayghe Faculty Piano Recital 1 Friday 8:00 PM Holly Hughes (Performing Arts Series) LSU COLLEGE OF MUSIC 2 Saturday 8:00 PM Holly Hughes (Performing Arts Series) & DRAAMTIC ARTS 4 Monday 8:00 PM Trombone Ensemble Concert 5 Tuesday 8:00 PM Javier Rodriguez Masters Bassoon Recital 6 Wednesday 8:00 PM Philharmonia Concert School of Music 7 Thursday 6:00 PM Craig Heinzen DMA Trumpet Recital 8 Friday 8:00 PM Mayumi Yotsumoto DMA Voice Recital 11 Monday 8:00 PM Mark Nuccio Guest Clarinet Recital 12 Tuesday TBA Mark Nuccio Master Class 13 Wednesday 4:00 PM Daniela Shtereva Masters Violin Recital PRESENTS . .. 13 Wednesday 6:00 PM Jonathan Boswell Percussion Recital -Th------. - _- _- ursday 6:OO i%-- Pamela Smith Senior Flute Recital 14 Thursday 7:30 PM Opera-A Midsummer Night's Dream 15 Friday 9:OO AM Jorja Fleezanis Violin Master Class 15 Friday 3:30 PM Jorja Fleezanis Violin Master Class 15 Friday 6:00 PM Jessica Privler Senior Horn Recital 15 Friday 8:00 PM Chamber Winds Concert 15 Friday 7:30 PM Opera-A Midsummer Night's Dream 16 Saturday 1o:oo AM Jorja Fleezanis Violin Master Class 16 Saturday 2:30 PM Jorja Fleezanis Violin Master Class 17 Sunday 1o:oo AM Jorja Fleezanis Violin Master Class 17 Sunday 3:00 PM Opera-A Midsummer Night's Dream

UUMC = University United Methodist Church UT = Union Theater RH = Recital Hall TEC = Trinity Episcopal Church ST = Shaver Theatre FBC = First Baptist Church FPC = First Presbyterian Church CB = Cotillion Ballroom CT = Colonnade Theater TBA = To be announced RT = Reilly Theatre ** = Note event change

ABOUT THE SCHOOL . . . FOUNDEDON THE BATONROUGE CAMPUS IN 1931, THE LSU SCHOOLOF MUSICNOW BOASTS A FACULTY AND STAFF NUMBERING OVER 70, AND A MUSIC MAJOR CONCENTRATION OF NEARLY 450 STUDENTS. THESIZE AND SCOPE OF ITS CURRICUIA~OMPREHENSNEPROGWS FROM THE BACCA- LAUREATE THROUGH THE DOCTORATE-PLACE IT IN THE TOP CATEGORY OF MUSIC SCHOOLS NATIONWIDE. NUMEROUSFACULTY MEMBERS HAVE EARNED NATIONAL AND INTERNATIONAL REPUTA- TIONS THROUGH PERFORMANCE AND RESEARCH PURSUITS AND THUS AlTRACT STUDENTS FROM ALL PARTS OF THIS COUNTRY AND THE WORLD. OF THE SCHOOL'SPERFORMING ENSEMBLES ENJOY WIDE ACCWM,APPEARING AT THE BERLINCATHEDRAL, THE VATICANIN ROME,CARNEGIE I-~LL IN NEWYORK Cm AND THE KENNEDYCENTER IN WASHINGTON,D.C., AMONG OTHER NOTABLE VENUES. LSU School of Music Website: www.music.lsu.edu

NACUSA CONCERT

Joanne Carey, Radio Baton . Maureen Chowning, Soprano SondraClarkPiano ,L Dan Hallock, Tnunpet .' Lorraine Hanccck, Piano Carolyn Hawley, Piano Brian Holmes, French Horn Sally Mouzon, Mezzo-soprano, Harriet March Page, Soprano Marsha Rocklq Piano Barbara Sigler, Tmbone Trina Stoneham, Violin

Saturday, March 2,2002,8pm, Palo Alto Art Center, ~mbarhderoI and Newell

I Nancy Bloomer Deussen TWO PIECES FOR FOLIN AND PIANO I. Julia's Spng II. Jubilan$ I Carolyn Hawley THREE PIECES FOR PIANO I. Prelude II. Sweet Dreams m. PT ..

Mark Alburger THE WIND GOD, Monodrama in One Act, Op. 96 (Hamet March Page) I. I got rnyi~sh II: I've a crick III. Ocean is my fiend q.Big ship Vi Sitting goose

I VI. I didn't have to be here I W. But you see (Builder's Blue Tango ...) I WI. I loved him I XL All my money I X. We're six days out I XI. My son sleeps XII. My little finger (Blues) XIII. We almost mutinied (March) XN. In alull XV. Noah XVI. All there is i XW. A dozen dolphins intermission. i

Joanne Carey TWO SONGS FOR SOPRANO AND RADIO BATON I. I Am the Magical Mouse () II. Gracias Pablo Neruda) I Robert Arnold Hall LULLABY for Sodoand Tape (E1ise Thoron) I Sondra Clark COASTAL LANDSC$PES for Two 1. Muir Wogds II. Bodega Bay m. The Gol'penGate I Brian Holmes TRIOFORBRASS. , I. Bus Fare for the Common Man II. On Hearing the First Turkey of the Fiscal Year m. Men 90Eat Lard IV. Westmoreland's Victory MARK ALBURGER is an eclectic American composer of postminimal, postpopular, and postcomedic sensibilities. He is Editor- Publisher of 2lst-Cenfury Music Journal, an award-winning ASCAP composer of concert music published by New Music, oboist, pianist, vocalist, recording artist, musicologist, author, and music critic. Dr. Alburger teaches at Diablo Valley College, directs the NOW Music Festivals, and serves as President of the College Music Society (Central Pacific Chapter). He began playing the oboe and composing with Dorothy and James Freeman, George Crumb, and Richard Wernick; and studied with Karl Kohn at Pomona College, Joan Panetti and Gerald Levinson at Swarthmore College (B.A.), Jules Langert at Dominican University (M.A.), Roland Jackson at Claremont Graduate University (Ph.D.), and Terry Riley. Among his 107 opus numbers are 5 concertos, 11 chamber ensemble pieces, 4 masses, 12 , 4 oratorios, 2 piano suites, 11 song cycles, and 7 symphonies. His Henry Miller in Brooh'y received acclaim in a 9evening run last spring at Potrero Hill Neighborhood House. Symphony No. I ("It wasn't classical...")will receive its West Coast premiere with the San Francisco Composers Chamber Orchestra on March 22 at Goat Hall in San Francisco.

THE FWND WD(2001, libretto by Harriet March Page, ,first performed in October 2000), Alburgefs ninth opera, is a minimalist boatfid of Giuseppe Verdi's Rigoletto, with. stowaways from Satie Gnossiennes, Debussy's La Mer, 's Jaws, the pop standard "You Made Me Love You," cowboy songs, "Three Blind Mice," tangos, a certain sinister- creepy chromaticism, 's "Money," Rossini's Barber of Seville, generic blues, Shostakovich song cycles, Stravhsl@s The Flmd, 's Noye's Fludde 8nd Peter Grimes, the hymn tune "Lord Jesus Think on Me," and vaudeville ditties: In these Hegelian ship collisions, the flotsam of Verdian theses float amongst antithetic jetsam toward soupy syntheses.

JOANNE D. CAREY studied 'with Tikey Zes, Allen Strange, and Lou Harrison at San Jose State University, where she earned Bachelor's and Master's degrees in Music Composition Her approach to writing music has always been through direct expression and is essentially lyrical. A guest composer at the Center for Computer Research in Music and Acoustics (CCRMA, Stanford University) since 1983, she composed three computer-generated tape pieces. Two of these, Clouds Lament (1988) and Intonations of he Wind (1990) and 'Clouds' Lament' (1988) are based on an intense exploration of the FM synthesis of singing tones. Her recent work has focused on pieces using the radio-baton with a live soloist. These include Three Spanish Songs and Adventures on a Theme, the latter using improvisation programs in C that she developed with the help of Max Mathews, inventor of the radio-baton.

The TWO SONGS are "I am the Magical Mouse" (1978) (the original piano part here orchestrated for radio baton) and . . "Graciasn(1995),to texts of Kenneth Patchen and Pablo Neruda. Perhaps these poets have little in common except individual intensity and a strong concern for the inner life. Kenneth Patchen was living in Palo Alto in a small house on Sierra Court with his wife Miriam when he died in 1972. The poem, "I am the Magical Mouse" is representative of his playful vivid imagery. Whether playful or serious, Patchen's poetry has always been visual, and in later life he produced several books of picture-poems, depicting Klee-like characters who become the mouthpieces of the poetry. The setting of "Graciis" is one the Three Spanish Songs composed in the early 1990's. These were inspired and influenced by Flamenco, indigenous South American music, and the poetry of the Chilean Neruda. "Gracias" was inspired by an anonymous song on an old record recording of Victoria de Los Angeles. The scores of both accompaniments were created on a Macintosh IIfx using the DMLX program developed by Daniel Oppenheim The sound material was generated on a Yarnaha SY77.

SONDRA CLARK is a graduate of the Juilliard Schdol (B.M.), San Jose State University (M.A.), and Stanford University (Ph.D.) A long-time Bay Area music critic and member of the music faculty at San Jose State University, Dr. Clark has won over forty awards for her compositions since she began composing ten years ago. Her Three Scenesfiom New Orleans was published in 1998 by Kjos Music and six more of her works will be published in 2002 by Hal Leonard Corp. Clark's Requiem for Lost Children, written for the San Jose Symphonic Choir and Orchestra and the Cantabile Children's Chorus, has been performed three times to packed houses and critical acclaim since its premiere in 19%. Clark has been the only composer chosen to be featured by the award-winning Grand Piano Show in an hour-long program, The Wondetjiul Piano Music of Sondra Clark, which is being aired on cable television in 450 cities throughout the country. Current projects include a comic opera and a violin concerto, both of which are planned for premieres this year.

COASTAL LANDSCAPES was inspired by the beauty of three scenic places in California, and the movements are written in three different compositional styles. "Muir Woods" has a majestic, classical flavor, and the music depicts the towering redwood trees named in honor of John Muir: "After a whole day in the woods, we are already immortal!" "Bodega Bay" has a somewhat impressionist style, portraying the breezy yet peaceful scene, with the faraway call of gulls and the ebb and flow of the tide, and written in changing meters with a touch of romanticism that recalls the settlement's early Russian influence. "The Golden Gate" refers not to the bridge, but to the sentinel cliffs announcing the entrance to the fabled, glittering City by the Bay. A more modern, eclectic style of music drives the excitement of this multicultured landscape, throbbing with life and enticing with the agedd promise: "Come through my Gate and find the gold!"

NANCY BLOOMER DEUSSEN is well known throughout the San Francisco Bay Area as a composer, performer, and arts impresario. She is a leader in the growing movement for more melodic, tonallyaiented contemporary music, and is co-founder of the San Francisco Bay Area Chapter of the National Association of Composers, USA. Her works have been performed throughout the US and Canada, and she has received numerous commissions both locally and nationally from such performers and ensembles as The Oakland Chamber Orchestra, The Walnut Street Chamber Ensemble, The Baton Rouge Concert Band, The Bresquan Trio, The Santa Joanne Carey - TWO SONGS

"I Am The Magical Mouse" (Kenneth Patchen)

I am the magical mouse I don't eat cheese I eat sunsets And the tops of trees I don't wear fir I wear funnels Of lost ships and the weather That's under dead leaves

I am the magical mouse I don't fear Or woodsowls I do as I please Always I don't eat crusts I am the magical mouse I eat Little birds - and maidens That taste like dust.

"G~acias"(Pablo Neruda)

Gracias, violines, por este dia de cuatro cuerdas. Puro es el sonido del cielo, la voz am1 del aire.

Thank-you, violins, for this day of four strings. Pure is the sound of the sky, the blue voice of the air.

I I

Clara Chomle, The Women's Caucus in the Arts, OPUS 90 Chamber Ensemble, clarinetist Richard Nunemaker, the TmHigh School Band, the Gabrieli Brass, Soundmoves, $e Mission Chamber Orchestra, flutist Angela Koregelos, the Semper Virens environmental group, The Sandusky Music Festival, Jim and Pat Watt, and Mu Phi Epsilon Some recent performances of her works for the 2001-2002 season include: Reflections on the Hudson by The Kona Community Orchestra, The Ba6wn Symphony, and the Santa Clara University Symphony, and "Ascent to Victory" by the Providence College Orchestra. TWO PIECES FOR VIOLIN AND PI AN^ (1990) were composed for a Mu Phi Epsilon concert in Palo Alto, CA. "Julia's Song," is dedicated to the composer's mother, who the composer lost at age five. A heartfelt lament, the music opens with a moving lyrical melody presented in the piano which is subsequently restarted and developed by the violin In contrast, the second piece "Jubilate," is an affirmation of life and spirit representing uplifting sentiments associated with overcoming previous adversities. I I ROBERT ARNOLD HALL (b. Boston, MA) has sthied with Music Faculty at San Jose State University, and performed on reeds, cello, and voice.. He has written music aver 40 years, especially in the last ten Instrumental compositions include works for large and mall ensembles, and solo instnunents. Hall is Wtlywriting a series of suites for unaccompanied violin. Vocal works include many with piano and ensembles. A musical theateq work for broadcast, based on Don Marquis's cockroach poet, archy!, is being sponsored by Vermont Public Television. He is completing a short song cycle, Nine Eleven, for voices and ensemble. With eminent liirettist Elise Thoron, Hall is writing an opera based'on the Lewis and Clark story. Information about many of these works, including audio and visual clips can be reached at http://www.Music-Hall.net. These include recordings of Lullaby and other episodes from the opera, and a video of a puppet performance of a yng, "archy hears from mars." His work has been performed by numerous ensembles in northern California. He is a member of lNACUSA, ASCAP, and the American Music Center. I LULLABY (Elise Thoron) is an aria from ah opera-in-progress, based on the epic Lewis and Clark Emtion to the Pacific Coast in 1804-1805. The work is set at the Tennessee inn where Lewis spends his last night The drama deals with his turmoil over his shortcomings subsequent to his heroic leading of the Corps of Discovery. Paramount among these was his failure to publish his journals, especially precious to Thomas Jefferson, his mentor, who sent him on this trek. In the opera, Sacagawea, the resourceful young Indian woman who contributed crucial geographical guidance to the expedition becpmes the one from whom he seeks spiritual guidance, to little avail. In his crazed state he will ultimately commit suicide. A narrator, Mark Adams, playing Meriwhether Lewis, introduces the music by reading an entry from Lewis' very important neglected journal . The use of tape allows the use of sound effects recorded over the narrator's voice. It also permits sounds that would be unplayable on an acoustic harp, contrasting with the unusual sounds of the taped synthetic instruments. I CAROLYN HAWLEY is a pianistcomposerconddctor with a Masteh Degree from Mills College, former Lany College Music Instructor, and ten-year Conductor of the Ukiah Symphony. She resides in Half Moon Bay where she teaches privately. The former Berkeleyan worked as Composer-Accompanist for qeUC Berkeley Modem Dance Department, and was later awarded a grant fiom the institute of International Education to spend a year in Spain composing her first symphony. Ms. Hawley has won numerous awards for composition and piano performance. Her Russian River Mass was premiered in 1989 by the Ukiah Symphony and Mendocino College Chorus. Ms. Hawley's teachers included Darius Milhaud, Leon Kirchner, Glenn Glasow, and Egan Petri. Besides her dozens of musical compositions, she has also achieved recognition as a painter and writer. She is currently working on an oratorio, Story Of the World, but stopped long enough to write Three Piecesfor Piano for this concert. I The THREE PIECES FOR PlANO are &or( because the composer has a 4-month old puppy who is only quiet for a nap one hour a day. The first two, "Prelude" and "Nocturne," are in a peacefid, impressionistic style, while the third, "Scherzo," features an Ah-Cuban rhythm called Pa*, consisting of 12 beats divided into two groups of 6 as follows: 3 + 3 and 2+2+2. However, Hawley has altered the p@o part by dividing the 12 beats into alternating measures of 718 and 518. It all comes out even. The Palmas 12 beats are clapped as follows: clap - - clap - - clap - clap - clap - As such, the audience will participate by clapping after a quick rehdwith the conductor. Good Luck! I BRIAN HOLMES is a professor of physics at San ~oseState University with interests in the physics of music. Roger Dean recently published two of his choral pieces, So We'll Go No More A Roving and Roger Bobo Plays the Tuba. William Thorpe recently published ktEvening Come, which was performed by the San Jose Choral Project in its November 2000 NACUSA concert Three chorus pieces will premier this spring: The Women's Chorus of Notre Dame de Nameur will sing Roger Bobo, the Peninsula Women's Chorus I Shall Keep Singing! (written in memory!of the group's long-time music director Patty Hennings), and the Cantabile Children's Chorus Jo~lNoise, settings of four imy poems by Paul Fleischman

7'RIO FOR BRASS premiered in 1974. A dscussion of the meauings of the titles of the movements (if any), not to mention the connection between this trio and "doodah-ism," a musical technique inspired by the genius of Stephen Foster, may or may not be offered between the movements of this work. Whatever. I 1

I I 1 You are invited to stay after the concert and speak with the composers.

The National Association of Composers USA (NACUSA) is a non-profit organization whose goal is to foster the composition and performance of new music. Founded in 1932 and now with branches in Los Angeles, New York, Philadelphia, and San Francisco, NACUSA continues to be an active and most vital outlet for composers throughout the cow. Inquires regarding membership may be addressed to Ilana Cotton at (650) 367-1683. General inquires may be directed to Nancy Bloomer Deussen, (650) 858-0172.

NACUSA San Francisco is a non-profit organhation in need of support. Taxdeductible contributions may be sent to:

THE NATIONAL ASSOCIATION OF COMPOSERS San Francisco Bay Area Chapter 3065 Greer Road Palo Alto, CA 94303

Acknowledgements

The Members of NACUSA San Francisco would like to recognize with heartfelt thanks the following contributors to the 2001-2002 concert season:

Mark Alburger Mary A. Beeman Rosemary Bmtt Byers Patti Deuter Betty M. ~iler' Aileen Lee NEW MUSIC Publications Lyn Reyna B.J. Rosco Lusijah and Dainwi Rott Peter and Paulina Monaco Jack Morton Alan Spool Patricia and James Watt

This concert is presented by the National Association of Composers, USA, San Francisco Bay Area Chapter

Committee for tonight's concert:

Concert Production: Owen Lee, Michael Kimbell Publicity: John Beeman, Carolyn Hawley, Marilyn Hudson Progmm: Mark Alburger, NEW MUSIC Publications Programming: Sondra Clark, Nancy Bloomer Deussen, Kathleen Nitz

NACUSA San Francisco Officers

President: Owen J. Lee Vice President: Michael Kimbell Secretary: Mark Alburger Treasurer I'lana Cotton President Emeritus and Founder: Nancy Bloomer Deussen April 2002 18 Thursday 6:00 PM Nan Baker Senior Piano Recital RH 18 Thursday 8:00 PM Maria Carini Masters Voice Recital RH 18 Thursday 8:00 PM Schola Cantorum Concert UUMC* 18 Thursday High Voltage-Guys with Big Cars CANCELLED 19 Friday Emily Fischer Masters Voice Recital RH LSU COLLEGE OF MUSIC 19 Friday Sarah Griswold Senior Horn Recital RH 19 Friday Yesenia DeJesus Masters Trumpet Recital RH & DRAMATIC ARTS 20 Saturday LSU Collegium Musicurn, Dennis Malfatti, Conductor St. Alban's Chapel School of Music 21 Sunday Louisiana Chamber Players Recital RH 22 Monday Donald McInnes Viola Masterclass RH 22 Monday Allison Gutzwiller Senior Clarinet Recital RH AND 22 Monday John Perrine DMA Saxophone Lecture Recital RH 22 Monday 8:00 PM Tinisha Lindsey Graduate Voice Recital RH 23 Tuesday 4:00 PM Valentina Takova Senior Cello Recital RH 23-..Tuesday- --6:OO-PM--LSU-Trombone-Ensemble- - ---RH-----

23 Tuesday Renee Siebert Guest Flute Recital -. .g ,:: 23 Tuesday Percussion Ensemble Concert PRESENT ; ,,:. .. . : ..\ ,-- 3-p : ..?., . ,,j' ,- . . 24 Wednesday Kristin Isaacson DMA Cello Recital e.. 24 Wednesday Juan Jose Gutierrez Canossa Masters Cello 24 Wednesday Maria Di Cavalcanti Masters Piano Recital 25 Thursday Thomas Lowry Masters Saxophone Recital 25 Thursday Richard Jupin DMA Voice Chamber Recital 25 Thursday Symphonic Band Concert

UUMC = University United Methodist Church UT = Union Theater RH = Recital Hall TEC = Trinity Episcopal Church ST = Shaver Theatre FBC = First Baptist Church FPC = First Presbyterian Church CB = Cotillion Ballroom CT = Colonnade Theater TBA = To be announced RT = Reilly Theatre ** = Note event change

FOUNDEDON THE BATONROUGE OUIPUS IN 1931, THE LSU SCHOOLOF MUSICNOW BOASTSA FACULTY AND STAFF NUMBERING OVER 70, AND A MUSIC MAJOR CONCENTRATION OF NEARLY 450 STUDENTS. THESIZE AND SCOPE OF ITS CURRICULA-COMPREHENSIVE PROGRAMS FROM THE BACCA- LAUREATE THROUGH THE DOCTORATE-PLACE IT IN THE TOP CATEGORY OF MUSIC SCHOOLS NATIONWIDE.NUMEROUS FACULTY MEMBERS HAVEEARNED NATIONAL A~'DINTERNATIONAL REPUTA- TIONS THROUGH PERFORMANCE AND RE.5EARCH PURSUITS AND THUS ATI'RACT STUDENTS FROM ALL PARTS OF WIS COUNTRYAND THE WORLD.W OF WE SCHOOL'SPERFORMING ENSEMBLES ENJOY WDE ACCLAIM,APPEANNG AT WE BERLINCATHEDRAL, THE VATICANIN ROME,CARNECIE l-Lu~ IN NEWYORK CITY AND THE KENNEDYCENTER IN WASHINGTON,D.C., AMONG OTHER NOTABLE VENUES. Wednesday, April 17,2002 LSU School of Music Website: www.music.lsu.edu 8:00 p.m. Recital Hall Adzjo Charles Haarhues The KPO- Percussion 0-uartet The KPQ Percussion Quartet Doran Bugg, Doctoral Candidate at LSU, Student of John Raush Joseph LaBrie, Senior at LSU, Student of Michael Kingan Sonata for Dumbek and Goats' Hooves Thomas Zirkle Brett Landry, Sophomore at LSU, Student of Michael Kingan Thomas Zirkle, dumbek and goats' hooves James Stafford, Junior at Southern University, Student of Herman Jackson Three Pieces for Percussion Quartet Dinos Constantinides and I. Allegro 11. Adagio Thomas Zirkle, Doctoral Candidate at LSU, Student of John Raush 111. Allegro Vivo The KPQ Percussion Quartet

Merlin Andrew Thomas I. Beyond the Faint Edge of the World 11. Time's Way Thomas Zirkle, marimba

Two Mexican Dances Gordon Stout I. 11. Thomas Zirkle, marimba

Three Pieces for Solo Marimba Mark Francis Thomas Zirkle, marimba

Frivolity ~eorgeHamilton Green

Ventes Christina Fannin

Boogaloo: Rough and Tumble William Price The KPQ Percussion Quartet Creators of the "Music Niqhts Series" The International Cultural Center Aaron Johnson and Dr. Harald Leder, Producer William Price, President of id-south Chapter of NACUSA The Mid-South Chapter of Alexander Tselebrovski, Artistic Director NACUSA

Upcorninq Louisiana Sinfonietta Events present Sunday, 2:OOPM Concert at First Baptist Church (529 Convention Street) Thursday, May 9 4:OOPM Solo Series at Whealdon Estates

- - -_-- --_ -- ____ --- -- Upcorninq Louisiana Composers Events AnnEvenirig of- Saturday, April 27 3:OOPM Louisiana Composers Consortium Concert (LSUschool OF Music Recital Hall) New Music and New Views

The ICC and the Mid-South NACUSA would like to express our appreciation to the following people:

Ms. Virginia Grenier, Executive Director of the International Hospitality Foundation

Dr. Earnest and Phyllis Harrison

Mikel LeDee, President of the Board of Directors of Louisiana Sinfonietta

The LSU Composers Forum The LSU lnternational Cultural Center For More Information about NACUSA visit: Friday, ,2002 National - www.music-usa.org/nacusa 6:OOPM Mid-South Chapter: members.aol.com/NACUSALSU.html Program

Sans Tihe II br solo saxophone (2001) William Price Shing Quartet (2002) Dorian Wesley Djamel Mami, soprano saxophone I. Pax (Peace)

Flight 93 (2002) Brad Preddy I. Moderato Six Pieces for Piano (2002) Carlo Vincetti Friuo Lora Lipova, Raluca Dumitrache, violins Carlo Vincetti Friuo Sonia Feres-Lloyd, viola Juan Jose Gutierrez, cello

Love's Alchemyie (2002) Nicholas Gish Lampshade for Bobo No. 1 (2002) Christina A. Fannin text by John Donne Melissa Harding, clarinet Kendra Heileman, soprano I; Barbara Douthat, soprano II; Amanda West, alto I; Tara Wilson, alto 11; Joel Roberts, tenor I; Ron Cooper, tenor \I; Christopher Dillard, baritone; Steve Lovell, bass I; John Sikon, bass II Karl Erik Nelson, conductor Three Dances for piano (2002) WinSadoh I. Atilogwu Dance 11. Beggars' Chant Ill. Eko Akete Two Movements h-om Soiree de Musique Charles Haarhues WinSadoh, piano pour piano (2002) I, Apertif - Third Stream Prelude V. Dessert- Lullaby Judy Hung, piano

The Happy Dance (2002) Chris Stevens Seresta No. I for saxophone and piano (2001) Liduino Pitombeira Tony Marinello, clarinet Djamel Mami, alto saxophone Chris Stevens, piano Judy Hung, piano with the COMPOSERS PERFORMANCEI ENSEMBLE

I I'lana Cotton, Piano I

Michael Kimbell, Clarinet I Colleen Kobussen, Piano Kathleen Nitz, Soprano I Diana Tucker, Flute , Kris Yenney, Cello I

Saturday, , 2002,8prn, Palo Alto Art center, 13 13 Newell Road, Palo Alto, CA I I

Program I Michael Kimbell THREE LlEDER for Voice and Piano I I Bernard Brindel ELEGY for Cello and Piano , Lorie Griswold REMEMBRANCE for Flute, Cello, and Piano A. Cakewalk ' B. Cloud Over CloudsI C. and now..T~~lSUN D. ~emembrancel I Warner Jepson JOURNEY TO... for Flute', Clarinet, Cello, and Piano I Brian Holmes UPDIKE'S SCIENCE for boice and Piano (John Updike) 1. ~hermod~namics(Lament, for Cocoa) 2. Particle physids (Cosmic Gall) 3. Chemistry (In Praise of (C IOH905)x) 4. Hydrodynamics (Bendix) 5. Meteorology (The Descent of Mr. Aldez) 6. Biology (V. B/ Nimble, V. B. Quick) I intermission 1

Robert Hall A DYING CHILD for Soprano and Piano

I'lana Cotton MCANTATIONS for piano Tuning I I. For Strength ( 11. For Gentleness 111. For Clear Thoughts IV. For a Moment of Grace V. For Joy I I John Beeman TWO RETABLOS for Soprano, Flute, Cello, and Piano I. Don Artemio Velazquez 2. Junto con mis nientos I Sondra Clark DALMATIA and DALMATIO for Soprano, Flute, Cello and Piano I Dalmatia's Aria1 JOHN BEEMAN studied composition with Peter Fricker and later with William Bergsma at the University of Washington where he received his Master's degree. His first opera, The Great A~tzericanDinner Table was produced on National Public Radio. Orchestral works have been performed by the Fremont-Newark Philharmonic, Prometheus Symphony, and Santa Rosa Symphony. Desert Sketches, a chamber work, was released in 1996 on the Classic Sketches CD by the Violeto Trio. The composer's second opera, Law Ofices, premiered in San Francisco in 1996 and was performed again in 1998 at the San Mateo County Courthouse through a grant from Philanthropic Ventures Foundation. Mr. Beeman has attended the Ernest Bloch Composers' Symposium and the Bard Composer-Conductor Program. Recently, he received an individual artist grant from The Peninsula Community Foundation for his opera, The Answering Machine (libretto by Carla Brooke) which had its premiere on May 13, 2000 at The Palo Alto Art Center. His Concerto For Electric Guitar And Orchestra was premiered by the Peninsula Symphony on Jan. 19,2001 with Paul Dresher on electric guitar.

The TWO RETABLOS for Soprano, Flute, Piano, and Cello are based on anonymous Mexican folk with texts that offer thanks to God.

BERNARD BFUNDEL (1912-1997) taught music theory and composition in the Chicago area for many years. (Chicago Musical College, Morton College, and the National Music Camp (Interlochen, MI).

SONDRA CLARK is a graduate of The Juilliard School (B.M.), San Jose State University (M.A.) and Stanford University (Ph.D.) Before retiring, sh,? ;s~asa long-time member of the San Jose State University Music Facultyand music critic for San Francisco area newspapers. 'Over forty of her compositions have won awards, the most recent being a 2003 ASCAP award., Her choral work, "Benediction" won the Sigma Alpha Iota sponsored Centennial Composition Competition and will be premiered at the SAI International Convention in July 2003. Her music, which ranges from solo to symphonic works, is performed internationally and has received unanimously enthusiastic response. Her critically acclaimed "Requiem for Lost Children," premiered by the San Jose Symphonic Choir and Orchestra has been likened to the requiems of Brahrns and Britten. She is the only composer to be featured on the award-winning Grand Piano Show , and her hour-long program, "The Wonderful Piano Music of Sondra Clark," is presently being aired on 450 cable television stations. Several of her solo and ensemble works are available from her current publisher, the Hal Leonard Corporation.

DALMTIA AND DALMTIO is a one-act comic opera with words by Sally M. Gall and music by Sondra Clark. Premiered last summer at Goat Hall Opera Productions in San Francisco, a condensed version of this neo-rococo opera parody of grand opera played three nights to packed houses and cheering audiences. The opera's story is about Dalmatia and Dalmatio, a pair of Dalmatian dogs, who are newcomers to a village which is ruled by the bully Mastiffo. Once Mastiffo sees Dalmatia, he becomes smitten, scorns his faithful mate Mastiffa, and vows to have Dalmatia for his mate, even if it means killing Dalmatio. In tonight's aria, Dalmatia sings of her love for Dalmatio and prays to Sirius, God of the Dog Star, to protect her mate from Mastiffo.

I'LANA COTTON is a composer and pianist specializing in improvised and multi-arts performance. She has collaborated with other musicians and artists in visual and theatrical media, and extensively with dancers and choreographers. Her work has appeared on several Bay Area concert series, including the Dominican College NOW Music Festival, Marin Community Playhouse Contemporary Music Series, Alea I1 at Stanford University, City of Palo Alto Cultural Center, Trinity Chamber Concerts in Berkeley. She holds an M.A. in composition from UCLA, with undergraduate music study at San Francisco Conservatory. She has also Indian Classical vocal technique with Faquir Pran Nath, and studied gamelan with Max Harrell. For many years on the music faculties of the College of San Mateo, Skyline College, and San Jose City College, she will soon be willing to teach whatever she knows in Medford, OR. She is also the author of Music of the Moment: A Graded Approach to the Art of Keyboard Improvisation, available from New Music Publications.

LOME GRlSWOLD has been a member of ASCAP since 1967 and receives a yearly Honorary Standards Award from ASCAP. She writes mostly vocal music, this Spring's entry being an exception.

"Cakewalk," the opening selection of REMEMBRANCE, is dedicated to the memory the composer's friend, Claude Barlow. "Cloud Over Clouds" was an idea suggested by my friend, Laura Barton Holding and "and now..THE SUN" is in honor of friend and community gardening partner, Leslie Grimm. "Remembrance" is dedicated to the memory of Dr. John Hoff. i I I Brian Holmes - UPDIKE'S SCIENCE (John Updike) I I 4 I. Thermodynamics (Lament, for Cocoa) for Frank Kearly When I am, in lay language, dead, I Across my crumbling sternum The scum has come, I Shall lie a spanking fresh cravat I Unsullied ad aeternum, My cocoa's cold. 1 The cup is numb, I A grave a solemn prospect that And 1 grow old. Makes light of our allotted 1 Three score and ten, for terylene It seems an age Shall never be unknotted. Since from the pot i It bubbled, beige 1 ! And burning hot-- I 4. Hydrodynamics (Bendix) for Paul Doherty Too not to be This porthole overlooks a sea Too quickly quaffed. i Forever falling from the sky, Accordingly, The water inextricably I found a draA I Involved with buttons, suds, and dye. I Like bits of shrapnel, shards of foam And in it placed I The boiling brew Fly heavenward; a bedsheet heaves, And took a taste i A stocking wrestles with a comb, Of toast or two. I And cotton angels wave their sleeves I 4. I. Alas, time flies I The boiling purgatorial tide I Revolves our dreary shorts and slips And minutes chill; I While Mother coolly bakes beside My cocoa lies I Dull brown and still. I Her little jugged apocalypse. I How wearisome! I In likelihood, I 5. Meteorology (The Descent of Mr. Aldez) for Pat Hamill The scum, once come, Is come for good. That cloud--amiguous, not I a horse, or a whale, but what?-- I comes down through crystalline mist. 2. Particle Physics (Cosmic Gall) for the Morrissons i It is a physicist! Neutrinos, they are very small. I Like fog, on cat's feet, tiptoeing They have no charge, and have no mass to where the bits of ice are blowing, And do not interact at all. I it drifts, and eddies, and spies The earth is just a silly ball i its prey through vaporous eyes To them, through which they simply pass, Like dustmaids down a draAy hall 1 and pounces! With billowing paws I the vague thing smokily claws Or photons through a pane of glass. 1 They snub the most exquisite gas, I the fluttering air, notes its traits, Ignore the most substantial wall, smiles knowingly, and dissipates. Cold-shoulder steel and sounding brass, i Insult the stallion in his stall, 1 And, scorning barriers of class, 6. Biology (V. B. Nimble, V. B. Quick) for John Hildebrand Infiltrate you and me! Like tall 1 V. B. Wigglesworth wakes at noon, And painless guillotines, they fall ! Down through our heads into the grass. Washes, shaves, and very soon At night, they enter at Nepal Is at the lab; he reads his mail, And pierce the lover and his lass i Tweaks a tadpole by the tail, From underneath the bed--you call I Undoes his coat, removes his hat, It wonderful: I call it . Dips a spider in a vat i Of alkaline, phones the press, Tells them he is F. R. S., 1 3. Chemistry (In Praise of (CI 0H905)x) for Laurie Mets Subdivides six protocells, I Kills a rat by ringing bells, I My tie is made of terylene; I Writes a treatise, edits two Eternally I wear it, , Symposia on "Will Man Do?," For time can neither wither, stale, I Gives a lecture, audits three, Shred, shrink, fray, fade, or tear it. Has the sperm Club in for tea, The storms of January fail i Pensions off an aging spore, To loosen it with bluster; I Cracks a test tube, takes some pure The rains of April fail to stain 1 Science and applies it, finds Its polyester luster; His hat, adjusts it, pulls the blinds, July's hot sun beats down in vain; Instructs the jellytish to spawn, October's frosts fall futilely; i And, by one o'clock, is gone. December's snow can blow and blow-- I My tie remains acutely Immutable! When I'm below, I Dissolving in that halcyon I Retort, my carbohydrates shed I From off my frame of calcium-- I I I, I

You are invited to stay after the concert and speak with the composers.

The National Association of Composers USA (NACUSA) is a non-profit organization whose goal is to foster the composition and performance of new music. Founded in 1932 and now with branches in Los Angeles, New York, Philadelphia, and San Francisco, NACUSA continues to be an active and most vital outlet for composers throughout the country. Inquires regarding membership may be addressed to I'lana Cotton at (650) 367-1683. General inquires may be directed to Nancy Bloomer Deussen, (650) 858-0172.

NACUSA is a 501(c)(3) organization. Donations are tax-exempt, and are gratefully accepted by the San Francisco chapter. Please make out donation checks to NACUSAsf, and mail to Anne Baldwin, 1243 Los Trancos Road, Portola Valley, CA 94028. We also accept donations of appreciated stock. For information, call (650) 85 1-0954.

Acknowledgements

The Members of NACUSA San Francisco would like to recognize with heartfelt thanks the following contributors to the 2002-2003 concert season:

Mark Alburger Mary A. Beeman Rosemary Barrett Byers Patti Deuter Betty M. Eiler Aileen Lee NEW MUSIC Publications Lyn Reyna B.J. Rosco Lusijah and Dainuri Rott Peter and Paulina Monaco Jack Morton Alan Spool Patricia and James Watt

This concert is presented by the National Association of Composers, USA, San Francisco Bay Area Chapter

Committee for tonight's concert:

Concert Production: Owen Lee, Michael Kimbell Publicity: John Beeman, Carolyn Hawley, Marilyn Hudson Program: Mark Alburger, NEW MUSIC Publications Programming: Sondra Clark, Brian Holmes, Kathleen Nitz

NACUSA San Francisco Officers

President: Owen J. Lee Vice,President: Michael Kimbell Secretary: Joanne Carey Treasurer: I'lana Cotton President Emeritus and Founder: Nancy Bloomer Deussen . , . . , . ': r. . ~'. , . . . . . ,.'. I-: : .. ,., ... , . .,, ...... _' .I,. ' ...... ~ ...j , , . , < ...... \, ...... I.' . . . , '. ,., ,'...... c _I. , .;, ' .,, ( .>. _. I 'I ., . I .. , .. ,. . i ,' . :. . , , . I I-. ., . ... ,., ..' 5.. . . . ; . ... * 'Ir ...... 1 ...,.. .:. 7 .. 1 . . . L._ , . . . . . < . , . . , ...... , . ,. . , . . . - :., .... . '. : ... , . r' . . , . ,...... *' ." ,~~aturinith;; corn pose'^^' ~erfo&an~e~nse~ble. ' ...... , ...... ,. ... . ! . . ' . . . . I. . . . ,.. .I ~erfo'rming,hew.&usic:: : , . . . I, .. . . * .. . '. . . ., ' , ,,doh?Beeman &tablb ~:o~iocfr.aviquez . ' ' . ' ...... : I , . 4. . .' . , , . . . . -. Rosemary Bairett Byers . Scenes#omMother Goose . , . . . , , ... >..# ' ' . . . -. '. . ,plana',Cotion:~hhe; : , ., \ ...... , , , ...... ' ', ' , . . :. :, , ..Ste"eEttinger~ ~dvenhes' . , : . '... , /. . . . ., . . . . ' .. : Lorie Griswold.-spring!may ' . . , - , ... . carolyll euinte*#2 . , . , . . . .. 'iBrian. Holm- Higgini 1s Go& : : ...... '~;~a&erk~~in~&t~Blan~he:~.. . .,: , I. ... , , , ; WenLee Dtro. -'.: ...... ,. , a.. , ,Robert ~tii,= S& . , . , , ' , . .

. ,:: ~~le,~i~~~"~~%M~~ . ; ., , . ~. . . L .. , .. ,...... , ... ' . : .. .: ~esen~,.bythe ~ational A.koc&tiPn bf ~oq,~ers;USA:. .. ~bthe ~~rnpositionifroin the ...... 5 -. .. L ...... , . - :. sari ~~jmck~~B~~ chapter: :-, :2002'NACUSA~/Youqg. . . .\ Composers Contest: ' .

' , ' , . in c,oopemtiq+The City of P~OAlto, Dieionof ArtsArts+Culture , , ' ..: . - , . wcb&than prk~&+ ihc&'. .. .. , . ' . : himis'siori $12 general admission, $8,students @d &OF , :: . . . d' , :- ... lofOdb4 p~~a5:2888~685 (2f . ; ...' . \ . . :rormom ..... IPYIVM~~~U. . ~q~r~~rnoros~ . . PZ~C~) . I , ...... ,...... : . :;-, ...... _,... 3 , . 1. , . , . >. .- ...... >. . . , ,' . . , '. . . ,. . ". .; . . ,\;. t , * , , &. 2 :1 ... with the COMPOSERS PERFORMANCE ENSEMBLE

Brian Bensing, Flute Mark Alburger, Oboe Kathleen Nitz, Soprano Miles Graber, Piano Brooke Aird, Violin Kris Yenni, Cello John Beeman, String Bass

Saturday, June 8,2O02,8pm, Palo Alto Art ~ebter,1313 Newel1 Road, Palo Alto, CA I I Program I .. I T.,&ie Griswold SPRING MAY for Soprano-. dnd Pig19 (e.e. ci$mhgs)':4.... -. Carolyn Hawley QUINTET NO. 2 ("500") foqI Flute, Oboe, Violin, Cello, and String Bass I11 ,. . IV

Dale Victorine SONATA for Violin and No I1 I I11

John Beeman RETABLO 2: ELODIA VASQUEZ for Soprano, Flute, Cello, and Piano

Warner Jepson TO BLANCHE for vidlin and Piano

I'lana Cotton FLAME for Violin, Cello, and Piano I. White - flame ete@ 11. Blue - flame past; 111. Gold - flame prysent IV. Indigo - flame ekrnal V. Luminous lavender - flame future

Intermission I I Tyler Mazaika NOITURN0 AMOROSO i

Michael Chan PRELUDE

Robert Stein SUMMER SOUND for nut! and Electronic Sounds (Wallace Stevens)

Rosemary Barrett Byers SCENES FROM MOTHER\G~~SEfor Soprano and Piano There Was An Old /Woman "Old Woman, Old Woman" " Shall Wy Go A-Shearing" "Dead Sonsn "That's Al!! " I Owen Lee DUO for Violin and Cello I

Brian Holmes HIGGINS IS GONE for Sodm, Violin, Horn, and Piano Steve Ettinger ADVENTURES for Violin, 'Cello, and Piano I1 III I I JOHN BEEMAN studied composition with Peter Fricker and later with William Bergsma at the University of Washington where he received his Master's degree. His first opera, The Great American Dinner Table was produced on National Public Radio. Orchestral works have been performed by the Fremont-Newark Philharmonic, Prometheus Symphony, and Santa Rosa Symphony. Desert Sketches, a chamber work, was released in 1996 on the Classic Sketches CD by the Violeto Trio. The composer's second opera, Law Offices, premiered in San Francisco in 1996 and was performed again in 1998 at the San Mateo County Courthouse through a grant from Philanthropic Ventures Foundation Mr. Beeman has attended the Ernest Bloch Composers' Symposium and the Bard Composer-Conductor Program. Recently, he received an individual artist grant from The Peninsula Community Foundation for his opera, The AnsweringMachine (libretto by Carla Brooke) which had its premiere on May 13, 2000 at The Palo Alto Art Center. His Concerto For Electric Guitar And Orchestra was premiered by the Peninsula Symphony on Jan. 19, 2001 with Paul Dresher on electric guitar.

The TWO RETABLOS for Soprano, Flute, Piano, and Cello are based on anonymous Mexican folk paintings with texts that offer thanks to God. "Retablo 2" tells the story of Elodia Vazquez who goes into labor while alone at the ranch. As she begins walking to town, she prays to the Viafor strength to endure the pain. The miracle is granted, and she arrives tin time to give birth to a fine son.

ROSEMARY BARRETT BYERS has enjoyed a varied career as pianist, conductor, theatrical director, teacher, composer, and arranger. Since completing a master's degree in piano performance at Indiana University, she has taught piano, music history, and musical theater at various colleges and universities in the Southeast and Midwest, conducted much of the major choral-orchestral literature, and has directed numerous "Broadway" musicals and musical revues from dinner theater to the concert stage. Ms. Byers has published piano teaching compositions with Myklas Music Press, Lee Roberts, Hal Leonard, and Carl Fischer. Her Rhapsody for Piano won first place in the advanced division of the 2000 MTAC Composers Today State Contest, and her Animal Crackers, a suite of poems and pieces for elementary piano stucisnts, won first place in the Teaching Piece division. Four original children's musicals have been produced by theater companies and show choirs in Tennessee and Kentucky. ,.

I'LANA COTTON is a composer and pianist specializing in improvised and multi-arts performance. She has collaborated with other musicians and artists in visual and theatrical media, and extensively with dancers and choreographers. Her work has appeared on several Bay Area concert series, including the Dominican College NOW Music Festival, Marin Community Playhouse Contemporary Music Series, Alea I1 at Stanford University, City of Palo Alto Cultural Center, Trinity Chamber Concerts in Berkeley. She holds an M.A. in composition from UCLA, with undergraduate music study at San Francisco Conservatory. She has also Indian Classical vocal technique with Faquir Pran Nath, and studied gamelan with Max Harrell. Currently on the music faculties of Skyline College, College of San Mateo, and San Jose City College, she also teaches in her Menlo Park studio, specializing in teaching improvisation, composition, and theory, and is the author of "Music of the Moment: A Graded Approach to the Art of Keyboard Improvisation," available from New Music.

In referring to FLAME, for Piano Trio, the composer notes -- "We watch the flame, all of us from all time, as one observer, united in the mesmerizing updraft of its colors."

LORIE GRISWOLD writes mostly vocal music and has studied with Warner Jepson. She notes, "Queen Elisabeth and I are both celebrating our golden jubilees, she, of course, has been ruling England and I've been composing for 50 years."

The composer relates that she has, "set about 25 e.e. cumrnings poems [includmg SPRING MAY], primarily because they are so musical and easy to sing. I would really like to go back and set a dozen more."

CAROLYN HAWLEY is a pianistcomposerconductor with a Master's Degree from Mills College, former Lany College Music Instructor, and ten-year Conductor of the Ukiah Symphony. She resides in Half Moon Bay where she teaches privately and performs as pianist with the Coast Classics Trio. Hawley is also a Church Organist / Choir Director in San Francisco. The former Berkeleyan worked as Composer-Accompanist for the UC Berkeley Modem Dance Department, and was later awarded a grant from the institute of International Education to spend a year in Spain composing her first symphony. Ms. Hawley has won numerous awards for composition and piano performance. Her "Russian River Mass" was premiered in 1989 by the Ukiah Symphony and Mendocino College Chorus. Ms. Hawley's teachers included Darius Milhaud, Leon Kirchner, Glenn Glasow, and Egan Petri. Besides her dozens of musical compositions, she has also achieved recognition as an oil painter and author of many literary works.

QUINTET NO. 2 ("500") was composed in Hawley's pre-postimpressionism style of writing: 12-tone and serialized technique. It was written to the layout of the Midwestern card game called "500." The cards were shuffled and dealt to five imaginary players. The number on the cad dictated which note of the 12 tone row would be played. The four suits we3 given to four players, and the fX€h had notes assigned to the face cards. Dynamics were also selected serially, and the music basically composed itself ("chance music"), although many decisions still had to be made by the composer. After several years of composing in this dissonantlabstract style Hawley felt "a longing for a C major chord, singable melodies and danceable rhythms", and that a large gap existed between impressionism and 12-tone/serialized/dissonantmusic, and has been composing in a post/impressionist/atonal style ever since.

I BRIAN HOLMES is a Professor of Physics at San Jose State University. swcializing in the rrhvsics of musical instruments. The oast I year has seen premieres of Now is the hme, commissio~edby the stadford symphokc chomnr*the Cantabile Children's ~horus,'and the Peninsula Symphony; Three Songs for women's chov and piano, commissioned by the Peninsula Women's Chorus; and Updike's Science (settings of six poems about science by John Updike) for high voice and band, premiered by the Connecticut College Band. Joyjiul Noise, settings of four poems by Paul Fleisc- will be premiered tomorrow night by the Cantabile Children's Chorus. Homes recently received an ASCAP Standard Award, won the Amadeus Choir Christmas Carol Writing Contest (for the fourth time in a decade), and won the Diana Barnhart American Song Competition. In addition, five of his pieces have been accepted for publication by Thorpe Music Publishing and Thompson )Edition.

A graduate of Oberlin Conservatory, WARNER EPSON has been composing in San Francisco for theatre (A.C.T.), film (The Bed), I dance (San Francisco Ballet's Totentanz], museum and gallery openings (music made on the then-new Buchla synthesizer), video I (composer-in- residence at KQED's National Center for Experiments in TV, 5 programs for PBS, and an NEA Grant). His first works as well as more recent ones were musicals (Sun ~rancisio'sBurning ran six months; The Money Tree played in Chicago in '97).

OWEN LEE, born near Stanford University, was educaiFd at the University of California at Berkeley, where he studied with Andrew Imbrie, and at the University of California at Los Angelys, where he studied with Paul Reale, Roy Travis, and Henri Lazarof, Dr. Lee is now an Instructor of Music and Director of Music Theory at Diablo Valley College in Pleasant Hill, CA.

ROBERT STINE has written works in a wide variety of genres, including orchestra, string quartet, various mixed chamber ensembles, solo piano, guitar, music for film, and quite a few works combining electronic sounds, and solo instruments. He studied composition at the University of North Carolina with Roger Hannay bdat the Cleveland Institute of Music with Donald Erb and Eugene OIBrien where he received his Doctorate in 1980. Some of his mlilsic is available at www.mp3.comlrobertstine. I SUMMER SOUND for Flute and Electronic sounds (1988) is after an excerpt from Wallace Stevens's The Idea o/Order at v,.. . rrT- -4 I I

DALE VICTORINE began composing in high school1 and studied composition at Hartnell College. He has written a variety of compositions, including piano and organ works, songs, yhoral settings, a symphony for concert band, a violin and piano sonata, and a string quartet. His inspiration comes from the greats of classical music. I

Lone Griwold - SPRING MAY (e.e. cummings) I Robert Stine - SUMMER SOUND I (Wallace Stevens - from Idea of Order at Key West 1 I spring!may- I everywhere's here I If it was only the dark voice of the sea, I [&th Q ln.xr himh In.., 71rn+ ..Arm A.. mrrnn rnlnmrl I.., mnny waves; and the bud on the bough) I If it was only the outer voice of sky how?why I And cloud, of the sunken coral water-walled, -we never we how 1 However clear, it would have been deep air, (so kiss me\ shv wet P~WP~IV I The hpavino of air, a summer sound

I Kepeatea m a summer without end I I And sound alone. But it was more than that. I (die!live) -, I ------Mnre men-.--. than-.------her vnice. ----, ---and nllrs,-- among I I The mean' .'---' ~--.~--- -e--~. the new is the true I ungess plungngs or water and the wind, I I and to lose is to have Theatrical distances., hrnnze-. - -. - -- shadowsI-- - .. -. -he~d - -- r-- 1 -we never we how- I On high horizons, nnountainous atmospheres I brave! brave I Of sky and sea. I (the earth and the sky are one today)my very so gay young love

why?how- -we never we how (with a high low high in the may in the spring) live!die (forever is now) and dance you suddenly blossoming tree -i'u sing You are invited to stay after the concert and speak with the composers.

The ~ationalAssociation of Composers USA (NACUSA) is a non-profit organization whose goal is to foster the composition and performance of new music. Founded in 1932 and now with branches in Los Angeles, New York, Philadelphia, and San Francisco, NACUSA continues to be an active and most vital outlet for composers throughout the country. Inquires regarding membership may be addressed to I'lana Cotton at (650) 367-1683. General inquires may be directed to Nancy Bloomer Deussen, (650) 858-0 172.

NACUSA San Francisco is a non-profit organization in need of support. Tax-deductible contributions may be sent to:

THE NATIQNAL ASSOCIATION OF COMPOSERS San Francisco Bay Area Chapter 3065 Greer Road Palo Alto, CA 94303

Acknowledgements

The Members of NACUSA San Francisco would like to recognize with heartfelt thanks the following contributors to the 200 1-2002 concert season:

Dr. Mark Alburger Anonymous Friend of NACUSAsf Mary A. Beeman Rosemary Barrett Byers Patti Deuter Betty M. Eiler Aileen Lee Peter and Paulina Monaco Jack Morton NEW MUSIC Publications and Recordings Lyn Reyna B.J. Rosco Lusijah and Dainuri Rott Alan Spool Patricia and James Watt

This concert is presented by the National Association of Composers, USA, San Francisco Bay Area Chapter

Committee for tonight's concert:

Concert Production: Owen Lee Publicity: Lori Griswold Program: Mark Alburger, I'lana Cotton, NEW MUSIC Publications Programming: Sondra Clark, Brian Holmes, Kathleen Nitz

About the performers ... PROGRAM Sarah Beth Hanson, flute, is principal flutist of the Baton Rouge Symphony Orchestra and the Louis@a Smfonietta. She has appeared with the Washington D.C. Civic Opera, $e'~a~&dgh~~~mphon~,. .,. ..: the Memphls Symphony, and the New World Reflections Upon a Windowsill A1 Benner .. . Symphony, perfo,rrn~g'withsuch conductors as Michael Tilson Thomas, Neeme Jarvi, Andre ~re&h;:iuid,;i$mes Paul. She was a featured artist at the 1989 National Flute Association~~onvention:Ms. Hanson received her Bachelor and Master of Music degrees froh'~l.oridaState University, where she was a student of Charles Shadow Casting Mike1 LeDee

DeLaney. . "': " , . Jan Grimes, piano, received her Bachelor of Music degree in Piano perforrnancel from the University of Cincinnati College-Conservatory of Music and her Master of Spins and Turns for Flute Aaron Johnson Music degree in piGo p,e&o+wce from LSU. She is principal keyboard in the Baton Rouge ~~m~hon~.~O~hestfa.'In 1990, Ms. Grimes performed the United States premiere of ~1fi-ed;SchnittkelsConcerto for Piano and String Orchestra, and in 1992 performed the ConGrto 'for 'Prepared Piano and String Orchestra by John cage. In Sfogato both perfoman~&'ishee.'app.eaiedwith the LSU Symphony Orchestra under the direction of 'Timo+y '.Muffitt Her frequent performances with duo partner, saxophonist ~riffm';cepbell, led to their recording, Tableaux, on the Worldwinds label. She also r&kled a' compact disc with flutist Katherine Kemler. She can' be Twenty Such John M. Crabtree heard on the Centaur and, .Vestige labels. I. fierce with motion .\...... , . passionately quick and accented About the music... m. ., , : .> '. Refictions upon- a wd&ill (1991) musically portrays the different shadows produced "upor!'a <$d:',::. , , ,.,. t Shadow Cadng:wai hrig@aily composed for piano. It transferred very ease to solo . :Serestra No. 2 Liduino PitombeirA flute. The major, ilifiuei&s. ,.:,,, i6 ihis piece are J.S. Bach and ~eonard'~ernstein. 1. Noel Rosa ., ,> : ,, < . . ..:., . 2. Pixinguinha The idea for .Spins &d ''T~~sfor Flute was originally conceived after the composer showed ~arese'i~&~1:ry"21.5 to a number of his composition students. The goal in showing them the, Vavse piece was to illustrate how a lot can be done with only a . few notes. Wljiig lhii pi+&'may use all twelve notes of the chromatic scale (as does . Hymn of Pan for Flute Alone Charles DeLaney @. the Varese), it is'b'aseq.>. .. ;on 'a single five note cell. The title refers not only to the Inspired by a poem of Percy Bysshe Shelley 1925) surface figuraiio+i.f.I:,.,: ,the ,!inusic but also to the rotations and transpositions the original five note cell,...,. is put'through.,:,.. , r. . i

.. . , . (continued on back) '7 Grecianas Brasileiras Dinos Constantinides .. .

The National Association of Composers Concert and Reception honoring Marshall Bialosky and Donald Thompson for their many years of outstanding and dedicated sentice on behalf of American composers and American music Sunday, 2 pm September 15, 2002, Recital Hall, Los Angeles Hahor College Pianist Delores Stevens and The Mladi Quartet

Welcome Daniel Kessner, President Los Angeles Chapter NACUSA

Three Movementsfor Piano Marshall Bialosky Allegro Spiritoso Adagio Quasi Una Recitativo Allegro Delores Stevens piano

String Quartet No. I Donald Bryce Thompson I. Adagio; allegro con fuoco 11. Lento e doloroso 111. Allegro risoluto- The Mladi Quartet Alwyn Wright, violin; Lisa Dondlinger, violin; Brett Banducci, viola; Timothy Loo, cello

Two Movementsfor String Quartet-and Piano- Marshall Bialosky-- -

Introduction of Presentations David Lefkowitz, Vice-president NACUSA

NACUSA Proclamation presented by Marshall Bialosky, President NACUSA

Letters fmm across the United States read by Paul ~urn~hre~s,'~nterimSecretary NACUSA, Daniel Kessner, Vice-president NACUSA; and Tony Wardzinski, Treasurer NACUSA

The International Alliance for Women in Music Certificate of Appreciation presented by JeanniePool, Advisor IAWM

Mu Phi Epsilon International President's Award of Excellence presented by Ramona Gifford, President Palos Verdes Peninsula Alumni Chapter of Mu Phi Epsilon

The American Society of Composers, Authors, and Publiphers Plaque presented by Deon Nielsen Price, Vice president NACUSA

American Composers Forum Award presented by Bill Kraft, President of the Board, ACF-LA and Heidi Lesemann, Director ACF-LA

NACUSA Resolution read by Deon Nielsen Price, Interim President NACUSA

Reception hosted by NACUSA and the Palos Verdes Chapter of Mu Phi Epsilon I

1

BIOGRAPE!IES OF HONOREDCOMPOSERS

Donald Bryce Thompson was born in chi&igo on October 15,1925 to parents who were active in musical comedy and vaudeville. His older brother, and only sibling, came to some notoriety as "Wallace Wimple" and the "Old Timer" plus other voices on the "Fibber McGee and Molly" radio show. He also furnished voices for Walt disney in such productions as "Alice in Wonderland," "Lady and the Tramp," "Peter Pan," the weekly TV show, plus many others. After receiving his Master of Music degree, Donald, through a series of circumstances too involved to note, began a career in aerospace at North American Aviation. During his 43 years in aerospace, Donald wfis awarded the NASA Astronaut's Silver Snoopy Award for his work ont he Space Shuttle Program, was nominated for company Engineer of the Year and was Engineer of the Year for his department, Payloard Integration, and was rec0gnized.b~NASAS as a Manned Launch Awareness Honoree. His career extended fiom programs for fighter aircraft, through avionics programs for the X-15, , Apollo-Soyuz, Space Shuttle, Mission to Mir, and the International Space Station. I Donald was a charter member of the Los kgeles Chapter of the National Association of American Com- posers and Conductors and a charter member of the National Association of Composers, USA and has been treasuer of both the Los Angeles Chaper and the National office of NACUSA since 1978. A member of ASCAP, his published music includes pieces for symphonic band (one of whch is a collaboration with his teacher, Halsey Stevens) and chamber mkic for trombone. A teaching film, for which he composed the score, was used extensively in the Los Angeles Unified School District for several years. Donald married Diane Black in 1958. They have three children (two girls and a boy) and six grandchildren (three each, girls and boys). I I I Marshall Bialosky was born October 30,1923 in Cleveland, Ohio. He attended Syracuse University where - - he received a Bachelor of Music degree, anh ~orthwesternUniversity, where he received a Master of Music degree. He studied with Lionel Nowak, E& ~acon,Roy Harris, Robert Delaney, and with Luigi Dallapiccola in Italy. He received a Fulbright to study,in Italy, 1954-56, the Wechsler Commission at Tanglewood in 1958, and numerous other contests and awards. He has held faculty positions at Milton College, Wisconsin, University if Chicago, State University of New York, Stony Brook, and served as Professor and Chairman, Fine Arts Department of California-StateUniversity Dominguez Hills. He was named Outstanding Profes- sion of CSUDH in 1977, where he taught,choral conducting, American music, contemporary music, and various theory and history courses. I

I His visionary leadership and meticulous ahnistrative slulls have always been highly valued. He has served as NACUSA President since 1978; was National Chairman of the American Society of University Compos- ers; served on the National Council of the College Music Society, served on the Board of Monday Evening Concerts, and President of the ~aculty don of CSUDH Chapter of the California Facutly Association, to mention a few positions he has held over the years. His compositions have been heard in New York, Phila- delpha, Chicago,Washington, Clevelandl Minneapolis, Boston, Los Angeles, London, Rome, Florence, Naples, , and Bari, among other places, and is regularly heard on radio. He has composed music for piano, organ, mixed chorus, women's chorus, for woodwinds, harp, strings, and solo voice. Hundreds of composers have benefited fiom his encovagement, promotion, support and advocacy. Well-known as a writer on American music, his articles and reviews have been published in a wide variety of journals. His music is available through Sanjo Music Co. He lives with his wife, Sanjo, and daughter, Shara, in Palos Verdes. I I I I I I

I The National Association of ComposersNSA A PROCLAMATION WHEREAS, Donald Thompson has been the treasurer of NACUSA for more than a quarter century, and WHEREAS, in a time of so much corporate and accounting corruption, where to do the legal thing is often the immoral thing as well, and WHEREAS, he has husbanded our scarce resources in a manner that has allowed us to gve concerts, continue the publication of our thrice-yearly newsletter, hold an annual composition contest, and financially assist some of our sister chapters,

NOW, THEREFORE, be it resolved that DONALD THOMPSON is to be celebrated and honored for hs incorruptible honesty and efficiency in handling the financial affairs ofNACUSA these last twenty-six years, and further that the Association and all its members and officers wish him well and the very best as he travels the world and enjoys a much deserved respite from the duties of the aerospace world and the tribulations of his musical colleagues. For the National Association of ComposersNSA, Marshall Bialoslq, President Los Angeles, California September 15,2002

The National Association of ComposersNSA A PROCLAMATION WHEREAS, The National Association of American Composers and Conductors-NAACC, was organized in 1932, under the leadership of composer/conductor Henry Hadley, as the next oldest concert hall music organization in the United States (the oldest being the American League of Composers, now united with the International Society for Contemporary Music); WHEREAS, Henry Hadley 's wife, Inez Hadley, like Marian MacDowell before her, was able to carry on her husband's work long after his passing and produced cham- ber and orchestral concerts in many of the larger cities, includrng New York, Chicago, San Francisco, Philadelphia, Washington D.C. and Los Angeles: WHEREAS, upon her demise, John Vincent, formerly head of the Music Department at the University of California, Los Angeles, stepped up in 1975, changed its headquarters from New York to Los Angeles, and re-christened the group as the National Association of ComposersNSA (NACUSA);-WHEREASyupon John-Vincent's-death;Marshall-Bialosky,founder of the Music Department at California State University, Dominguez Hills and a fine composer with experience in several composer organizations, arose to become the president in 1977;

NOW THEREFORE, let it be resolved that the National Association of ComposersNSA does here and now celebrate the twenty-five year record compiled by MARSHALL BIALOSKY, assisting the establish- ment of a NACUSA website on the internet which has contact information for over 300 composers and lists over nine hundred compositions; writing, Messages from the President in NACUSA's publication, Com- poser USA, disseminated thrice-yearly to some 600 NACUSA members, many in chapters in the greater areas of New York City, Philadelphia, Tidewater Virginia, Baton Rouge, San Francisco, and Los Ang e - les; leading our organizationto non-profit, tax exempt status which now allows us to receive tax-deductible grants and contributions; realizing his god of having a national meeting, to be held September 25-29,2002, in Kansas City, MO in conjunction with The College Music Society; offering inspiration, unending encour- agement, performance and publication opportunities, and career assistance to both senior and junior, na- tional and international men and women composers through teaching, lecturing, chairing annual contests for young composers, responding to every request for help from countless young musicians, personally listen- ing to virtually every recording sent to him and being the ultimate concert goer in his constant search for the challenging music of our time; and, finally, being the first NACUSA president with enough foresight to retire while he can still enjoy Disneyland with Sanjo and Shara! For the National Association of Composers/ USA, Los Angeles, California, September 15,2002. I I

I . BIOGRAPHIES OF PERFORMERS An active freelancer in Los Angeles, ~lw~o'wright has travelled Europe and Asia as a soloist and orchestra member. Originally from Marin County, ~alifornia,Alwyn received her Bachelors Degree from Cal State Northndge and Advanced Studies Certificate from USC under the tutelage of Robert C. Lipsett.

A graduate of the Indiana University School of Music, Lisa Dondlinger has been an active performer in the LA area for the past two years. Lisa's grformance engagements range from the New West and Santa Barbara Symphonies to Mladi, LA'S newest conductorless chamber orchestra, to The Tonight Show with Jay Leno. Lisa was recently added to the music faculty at Pepperdine University, teaching private violin lessons and coaching chamber music. She also h& her own private studio in Studio City where she teaches violin

and voice lessons. I

Brett Banducci (viola) is a graduate of CSU, Northridge where he studied with Pamela Goldsmith and Keith Greene. He is a founding member of (he Mladi Chamber Orchestra. With this ensemble he has recently performed for Sunday's Live at the Los Angeles County Musuem of Art and UCLA's exclusive Brurnan Chamber Music Series. Brett is currently on the faculty of Fullerton College.

Timothy Loo (cello), involved in an eclectic array of projects, has performed in Europe numerous times as solo cellist for the lounge band, Pink Martini, and as a member of Philharmonie der Nationen in Hamburg, Germany. A freelance cellist in Los Angeles since 1992, he performs regularly with the New West Sym- phony, Santa Barbara Symphony, and is drincipal cellist of Mladi. Timothy graduated from USC in 2001 with an Advanced Studies in Cello Performance. He studied with Ronald Leonard from 1999-200 1.

Delores Stevens (piano) is truly an artist for the "global" 21st Century. Her recent career engagements I have ranged from her Los Angeles base to Buenos Aires, Australia, the Czech Republic, Japan, China and, j I in the U.S. to Martha's Vineyard San Diego, San Francisco and multiple appearances in the greater Los I Angeles area. Acclaimed as a soloist and chamber musician, she is a recognized champion of contemporary music having been honored by the ~atiokalAssociation of Composers for "Outstanding Achievement in Contemporary Music." With the Los Angeles Philharmonic New Music Group, she performed the West Coast premiere of Pierre Boulez's most recent major score, Sur Incises. This work was called 'his most dazzling yet" by Mark Swed of the LOS kngeles Times, who described the performance of the New Music Group as "a virtuosic one, with a number of experienced Boulezians." Ms. Stevens is a six-term former 1 DirectorlTrustee of the National Academy of Recording Arts and Sciences (NARAS) and is the Director of Chamber Music for the Young Musicians Foundation in Los Angeles. To underscore her nationwide range, she is Co-Artistic Director of two major chamber music series, the Martha's Vineyard Chamber Music Society in Massachusetts and Chamber Music Palisades in Los Angeles. She has recorded for ten labels and i recently completed recording Maria Newman7snew piano concerto "Emma McChesney" and a DVD 5.1 I Surround recording of the Brahrns piand Quintet with the Ives String Quartet. Her solo CD "Pilgrimage" i showcases the works of five distinguished contemporary U.S. composers. Ms. Stevens studied with Bach I authority Jan Chiapuso, Ernst Von Dohnanyi and Joanna Graudan, Shortly after her arrival in Southern California she won the coveted ~olemhAward and joined the acclaimed Montagnana Trio for extensive tours of North America, Europe, and Asia under Columbia Artists management.

I NACUSA Celebration Committee: Deon Price, Jeannie fiool, Daniel Kessner, Tony Wardzinski and other NACUSA officers; Pat Arand, Carol Kuraock, Ramona Gifford and other members of Mu Phi Epsilon; Rod Oakes and Lany Richardson of Harbor College. I 1

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I Program Notes

"When I first began composing Three Movementfor Piano, many, many years ago, I was so innocent that I didn't even know I was working with a semi-combinatorial tone row, one in which the first six notes can be I inverted at a certain pitch level to provide the missing six other notes. Upon learning this property, the work went through many years of revisions. The first movement is in a kind of quasi-sonata form, finally reaching a kind of "Wozzeck-ish" climax at the end of the development before returning to a more playful mood. The second movement is a kind of recitative which comes to a rather Lisztian climax in octaves before subsiding into a condensed return of the main thematic idea. The finale alternates three different ideas somewhat in the playful spirit of the first movement.-MB.

String Quartet No. I, submitted as the Master's Thesis for the degree of Master of Music Composition from the University of Southern California, is a little more than a half-century old. The present performance is perhaps its second public performance. Shortly after completion, the quartet was submitted to a prestigious national competition and placed second, the winning quartet being composed by Robert Linn. Mr. Linn, past president of NACUSA and a close friend of the composer, received his Master of Music Composition degree from the same institution in the same year.

The style of the quartet is obviously heavily influenced by the music of Bela Bartok (the composer face- tiously characterizing it as Bartok's Quartet 6 718). The driving concept for the quartet was an attempt to successfully derive all melodic and harmonic materials from a five-note motive which is stated, simply, in the first few measures of the quartet. Other criteria for the quartet were to treat all members of the ensemble as

equal voices, and to utilize as logcally-as possible all techniques which string instruments-werecapable of as -- a means of musical expression. The five-note motive contains within itself all the intervals of the diatonic scale, in their natural and inverted states. This property was not intentional but as composition evolved, this "mother-cell" more or less justified all that the quartet contains, melodically and harmonically.-DBT

Two Movementsfor String Quartel and Piano was commissioned by the Wechsler Fund of the Tanglewood Music center and awarded annually to a former Tanglewood composition student. When I learned there was such a thing as a "degenerate" tone row, I was immediately attracted to it. Such rows have only two forms as the retrograde of both the prime and its inversion are the same. The first movement is a kind of permuted passacaglia in which instead of returning to the opening measures of the theme, it returns to the second measure, the third time to the third measure and so on. Reaching the end it backs up on itself and ends with a canonic version of the solo opening idea. The second movement is in a kind of sonata-form again with much use of "derived" tone rows which take three note segments of the original row and make new rows out of them. The passacaglia theme returns toward the end, but in a new rhythmic formulation.-MI

On the eastern end ofWest Couina take the Grand Aue. exit off of the 10 Freeway. Go south several miles. You will ascend a huge'hill. As you descend watch for Sun lose Hills Rd.. Turn left (7-1 1 store on right) to enter the campus. On your immediate right is a large parking lot available for concert goers. The Recital Hall is in the Music Building, directly north of the parking lot (on your left as you enter San lose Hills Rd.)

The Recital Hall is part of our large Arts complex, which will be to your left as you turn on Sun Jose Hills Rd. Ascend the stairs and the Recital Hall is at the back ofthefirst patio to your right. 1

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Seuse aud /Vouseuse (197712000) Margaret Shelton Meier with text by dmis Carroll 1. Morals 2. Pro-found : 3. No Meaning Ralph well;, baritone Margaret S. lMeier, piano

, V"4.V.- . .-,.-" - -- . ------. - . . - - - I. Intonazione 2. Possible horlds 3. Doubles for a Minute? Carter Dewberry, violoncello

Aviaw Suite for Solo eb elaridet (1985) Deborah Kavasch

1. Feucock ' 4. Eagle 5. Ostrich Berkeley Pdce, clarinet

Wteseau ty: Cariug for Auiwals Alexandra Pierce Ants poem by Roger Pierce Bible Bestiary poems by ~o~erPierce 1. Cockroach 2. Sparrow Sheep poem by Robert Francis Psalm 104 (aerses 24-31) 1 Roger Pierde, speaker and mover . Alexandra Pierce, piano I ~ntermiision I Stream - for flutes aud harps\chord (2001) Daniel Kessner , # I - Stream : 11 - Allegro scherzando III - Chorale; andantino I IV - Finale; allegro molto Daniel ~essner,bass flute/ alto flute/ flute Dolly ~ugehoKessner, (digital) harpsichord

~heu~od- odealls MS to ewe i (2001) Jeannie G. Pool Ralph Wells, baritone Margaret darkins, violoncello Margaret S: Meier, piano

ffexichord for ~uaccom~auihdQariuet Deon Nielson Price Berkeley Price, clarinet i 6 Night 'I-houghts (2002) Margaret Shelton Meier premiere pbrformance Margaret Parkins, violoncello I Margaret $. Meier, piano Program Notes (listed by their order in the program)

Sense and Nonsense - began life as a group of five songs for choir which were published in the late 70s. In recent years I have reworked them for solo voice. Only three are presented tonight. The text is taken from Lewis Carroll's Alice in Wonderland, : words spoken to Alice by the Duchess during the croquet game. Anyone who has taken a music theory class has had to memorize the "key circle" or "circle of fifths". The tonal and harmonic base for these songs is that circle, sometimes as single notes and sometimes as chords, sometimes lingering on a chord and sometimes whirling around the circle. In keeping with the spirit of . Alice-- the musical endeavor is to create a world that appears "normal" and yet is, at times, a bit off center, changing shape too rapidly. Morals: Everything has a moral, if only you can find it! You're thinking about somethmg, my dear, and that makes you forget to talk. I can't tell you just now what the moral of that is, but I shall rememberit in a bit. Pro-yound: Never imagine yourself not to be otherwise than what it might appear to others that what you were, or might have been, was not otherwise than what you had been would have appeared to them to be otherwise! No Meaning: If there's no meaningin it that saves a world of trouble, you know, as we needn't try' to find any! possible Worlds - is a set of three short studies for solo cello, written between 1989 and 1991. lntonazione explores and tests the cellist's intonation and, through its slow expansion of sonorities, acts as a warm-up to the next two pieces. Possible Worlds is an exploration of different pizzicato and glissando effects. Doubles for a Minute? is so named because most every note is repeated (doubled), most every note is a double stop, and the entire movement should take exactly a minute to play. Possible Worlds was awarded the top prize for the 1992 NACUSA Young Composers' Competition and was first performed in Southern California with Tom Flaherty playing the second movement on a NACUSA concert.

Brute Beauty: earing @r Animals - is the current touring program of Mov i ng Voices. The program explores how animals bring out the best and worst in us humans. There is considerable range of mood, from sardonic, to mocking, to musing, to philsophic, to humorous. Ants is one of the six Bestiary poems that was originally set for children's chorus. Sparrow and Cockroach were originally set for tuba and speaker. The goal of Moving Voices, begun in 1985 by Alexandra and Roger Pierce and composer Paul Melzer, is to reveal the poem's meaning and evoke a vivid listening experience by integrating speech, gesture, movement and music. Moving Voices has performed and conducted workshops and classes in universities across the U.S. and Canada. It has performed in museums, libraries and churches. Stream - was written for the fesfival Forjest, in the eastern Czech Republic, where it was premiered this past June. She four movements are connected without pause, and feature bass flute, flute, alto,flute and again bass flute, respectively. The choice of harpsichord over piano obviously favors the delicate sonorities of the larger flutes, blending in interesting ;ways with them. The movements also alternate between relatively free, flexible meter and machine-like motor rhythms. I When god Calls us to Sewe - was written for my musical Jonah ! As Jonah is trying to decide if he will follow God's command to go to Nineveh or will flee in the opposite direction, he encountei-s a wise man on the beach. This older man gives him the following advice. I When God calls us to serve, it is a privilege well deserved. With all your heart you know God holds great love for you. It is a love so true, always there for you. You should not run away. There is no need to hde. At every turn, God's by your side. We're called in the morninglight, or in the middle of the night: We know God's voice, calls us by name. God knows what we need the most. He calls us to help with His work on this earth. God calls us to serve all humankind, To relieve sufkring and pain) to end wickedness and shame. Best of all, when we help do 'His work, we find ourselves. His call gves us new life! I Night Thoughts - is dedicatedto Bozhena Petrova, the talented young pianist who performed the solo celesta park in the 1996 recording of my orchestral piece The Dawning in Rousse, Bulgaria, +d to her mother, Bogdana Petleva, principal cellist of the Rousse Philharmonic. Two themes were derived by applying the letters of the alphabet to the notes of the;chromatic scale and extracting those attached to the letters BOZHENA and PETROVA!. After a free flowing introduction, the first theme is explored in a lively countrapun'tal dance between the instruments. This gives way to a lyrical and romantic secon'd theme. Several sections end with a chorale based on the BOZHENA notes. In the concluding climax this chorale Style brings the two themes together: BOZHENA in the piano and PETROVA in the cello. COMPOSER AND PERFORMER BIOGRAPHIES (listed alphabetically) Cellist CARTER DEWBERRY is attending UCLA and working toward her DMA in Chamber Music. She is currently focused on founding and managing a chamber music organization called the Definienes Project, which has a diverse base of performers from Los Angeles and Orange counties and is committed to performing contemporary chamber music. In her nearly twenty years of playing cello, she has performed in pop, rock and techno bands, as well as with symphonies and as a soloist.

Composer DEBORAH KAVASCH has had works commissioned and performed in North America and Europe. She was a 1987 Fulbright Senior Scholar in Stockholm, and has received grants and residencies in composition and performance from the National Endowment for the Arts, the California Arts council, Meet the Composer, the Ernest Bloch Music Festival, the CSU Summer Arts Program, and the Djerassi Foundation. She is published by Edition Reimers of Stockholm (distributed through Theodore Presser) and is recorded on Lovely Records, Composer Recordings, Inc., and Cambria Records. Her most recent compact discs, The Dark Side of the Muse and Fables and Fantasies, are released under the TNC Classical labels. , Roger Reynolds, and Robert Erickson are the internationally acclaimed composers with whom she has studied. Dr. Kavasch holds a B.A. in German and a Bachelor and Master of Music in theory/composition from Bowling Green State University, Ohio, and a Ph.D. in music from UC - San Diego. She is currently Professor of Music Theory/Composition and Voice at CSU - Stanislaus.

Composer/conductor/flutist DANIEL KESSNER is Emeritus Professor of Music at California State University, Northridge, where he has taught Composition and Theory and directed The Discovery Players since 1970. Dr. Kessner's compositions have received more than 400 performances worldwide. Recent successes include the release of a CD of five of his compositions on the Capstone label and performances of his works in Iceland, Spain and Germany. He has received a Fulbright Senior Scholar Award for the spring semester 2003 to lecture, conduct a new music ensemble and perform at the StaatlicheHochschule fiir Musik in Trossingen, Germany.

DOLLY EUGENIO KESSNER is Chair of the MusicIDance Department at Moorpark College, where she teaches music theory and chamber music. She received bachelor's and master's degrees at UCLA and completed her Ph.D. in music theory at USC. Dr. Kessner has performed as a soloist and with her husband in the Czech Republic, Italy, England, France, El Salvador, Hawaii, Romania, Ireland and in many U.S. cities. Composer DAVID S. LEFKOWITZ was born in 1%4 in New York City. As a child he studied bassoon, clarinet and piano. He has studied with three Pulitzer Prize winning composers. At Cornell University, where he studied composition with Karel Husa, he received his bachelor's degree. He studied with George Crumb at the University of Pennsylvania, where he received his M.A. in 1990. His Ph.D. was awarded in 1994 by the Eastman School of Music, where he studied with Joseph Schwantner and Samuel Adler. Dr. Lefkowitz is currently associate professor of music theory and composition at UCLA. Dr. Lefkowitz has received international acclaim for works performed throughout the world. His awards and areas of special recognition include the Fukui Harp Music Award, the ASCAP Grant to Young Composers, NACUSA, the Guild of Temple Musicians, Pacific Composers' Forum,

, Chicago Civic Orchestra, Washington International Competition, Brian M. Israel Prize, ALEA I11 International Competition and the Gaudeamus Music Week. He has been a Meet-the-Composer "composer in residence". His most recent commission is a ninety minute dance-drama for the China National Opera and the Dance-DramaTheatre of Beijing. I I I Compositions of MARGARET S. MEIER have been performed throughout the United States and in several European countries. Two of her orchestral works, as well as her G capella Mass for the Third Millennium, are recorded on the ViennuModem Masters label. Her Romantic Passacaglia on a Twelve Tone Theme, performed by organist Frances Nobert, can be found on the Raven label. Dr. Meier's choral compositions have'been published by Abingdon Press, Lawson Gould, Gentry Publications and Thomas House. Her composition awards include the ASCAP Standard Award (19!20-2003), an Axel-Stordahl Scholarship/Commission, a Margaret Fairbanks Jory Award, nine awards from the Music Teachers' Association of California and, most recently, a "Top Winner" rating from the I Wage Peace choral composition competition. Dr. Meierreceived her Bachelor of Music degree from the Eastman School of Music and her Ph.D. in composition from UCLA. She has taught at a number of universities in California's two university systems and is currently a part-time professor at Mt. San Antonio College and a Director of Music at Bell Memorial United Methodist Church. I I Cellist MARGARET PARKINS enjoys a varied musical life as both a performer and teacher. She has performed in solo. recitals and as a chamber and orchestral musician in concerts, tours and festivals throughout North Americab and Europe. She has participated at the Banff Centre, Festival International deM'sica de Cadaquees, Heidelberg Castle Festival, Spoleto, Toas, Bach Aria Festival and Tanglewood. As a member of the Stonybrook Piano Trio, Dr. Parkins was a top prize winner in the 1991 Fischoff ~adionalChamber Music Competition. She has performed with the Ornni Ensemble, Brooklyn Philharmonic, Syracuse Symphony, Jazz Passengers, Anthony Braxton Ensemble, Asia America philharmonic, Riverside Symphony, Los Angeles Mozart Orchestra and the L.A. Master Chorale. She can be heard on the Avan, Tzadik, Victo and New Jersey Composers ' Guild labels. I Dr. Parkins received her Bachelor of Music degree from the Eastman School of Music and her doctorate from the State University of New York at Stony Brook. She is professor of cello at UC Irvine and at Concordia University. , I ALEXANDRA PIERCE, Ph. D., rkcipient of the yearly ASCAP Standard Awards for music composition since 1979, publishes most of her music with Seesaw Music Corporation, NYC. Other publishers are Media Press, Hildegard Publications and Arsis-Sisra Publications. Two CD's of her recent solo instrumental, vocal and chamber music are distributed by Arizona University Recordings. Her symphonic works are recorded on three other commercial CD's. She is Emerita Professor of Music and Movement at the University of Redlands.

ROGER PIERCE, Ph. D., was ProfLssor of Theater at Stanford University and the University of California, Riverside. Among the plays he has directed are Pinter's The Birthday Party, Brecht's Saint Joan of the Stockyards, and Ionesco's Rhinoceros. He has been for many years a practicing Rolfer and a movement teacher, and is the author of a book on Walt Whitman's poetry. I JEANNIE POOL is a composer, music historian and producer. In 2000-2001 she had eleven premiere performances of new compositions, including her musical Jonah and her cantata We Believe in You, 0 God. Her composition and orchestration teachers include Otto Luening, Ruth Anderson, Mauro Bruno, Peter ~o~erand Frank Campo. Her music is published by Jaygayle Music (ASCAP). I , Dr. Pool served as the Executive Director of the Film Music Society from 1990 to 2002 and lectures frequently on film music history and preservation in Europe and the United States. She is also an award-winning radio producer who specializes in contemporary music of the Americas. From 1981-1996 she was heard weekly on KPFK-FM, PacificaRadio in Los Angeles, where she interviewed many composers and performers. Dr. Pool produces recordings for Cambria Master Recordings.

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I I Dr. Pool is the founder of the Infem~tionalCongress on Women in Music, and since 1980 has organized many international conferences, congresses and concerts in New York, Los Angeles and Mexico City. She has produced festivals on contemporary and world music. In 1995 she was honored by NACUSA for her work to promote Arnericancomposers and their music. She holds a B.A. in music from the City University of New York, a Master's degree from California State University, Northridge, and a Ph.D. in musicology from the Claremont Graduate University.

Clarinetist BERKELEY PRICE is a freelance clarinet soloist, chamber musician and recording artist. Dr. Price's recent concert tours include London, England, and China. His solo recordings are available on CarnbriaMaster Recordings. Dr. Price received his Doctor of Musical Arts and Master of Music from the Eastman School of Music and his Bachelor of Music from Brigham Young University. He was appointed Assistant Professor of Woodwinds and Music Education at West Virginia Wesleyan College and is cumntly the director of instrumental music at the Windward School in West L.A. .

DEON NIELSEN PRICE'S recordingsSunRays, SunRays 11: City Views, Clan'phonia and America Themes (Carnbria) are critiqued as "first rate" and "inventive and entertaining, quite charming and appealing ..." in American Record Guide. Dr. Price has received grants and commissions from the Barlow Foundation, ASCAP, Mu Phi Epsilon, Alaska Arts Council, Midwest Arts Council and Meet the Composer. Her books, Accompanying Skills for Pianists and Sightplay with Skillful Eyes are published by Culver Crest Publications. She is the editor of College Class Piano- Comprehensive Approach published by Dernibach Editions. Dr. Price is currently the Interim President of NACUSA and she is the past president of the International Alliance for Women in Music. She performs and lectures as Resident Artist and Composer throughout the Americas and Europe. Dr. Price earned degrees with honors at Brigham Young University, the University of Michigan, and the University of Southern California. Her career as an educator has been on the adjunct faculties of UC-Santa Barbara, several California Community Colleges and California State University, Northridge.

Baritone RALPH WELLS made his debut with the Los Angeles Opera this September, singing the role of Sonora in La Fanciulla del West. On the morning of September 11, 2002 he was a soloist with the Pasadena Pops in the Mozart Requiem. Wells has performed over forty operatic roles, including Oberto, Figaro, Escamillo, Germone, Don Carol, Francesco, Ford, Taddeo, Slook, Sharpless, Schaunard, Mercutio, Valentin, Salieri, Danilo, Eisenstein and Gordon Getty's Falstaff. These were performed for the Seattle Opera, Portland Opera, Tulsa Opera, Oakland Opera, Western Opera Theater and the Eugene Opera. He has also soloed in many oratorios: Elijah, The Messiah, L'Enfance du Christ, Mass in Time of War, Carminu Buranu, Faure's Requiem, and Getty 's Joan and the Bells. Mr. Wells made his New York recital debut in 1997 at the Roosevelt Birthplace in a tribute to Lawrence Tibbett. He has won the Petri Scholarship and the San Francisco Opera Auditions. Mr. Wells teaches voice in Los Angeles and Portland. He has written a show, Farewell, Viennu!, based on the life of Erich Wolfgang Korngold, which previewed in 1998 at the International Fh Music Conference.

Notes About the Artist. . . Program Patricia Ann Martin has degrees from the Eastman School of Music, Michlgan State University, and Louisiana State University. In addition to touring across the United States and Europe, Ms. Martin has been Persiflage John M. Crabtree principal clarinet with the Baton Rouge Symphony since 1996. She has also performed with the Acadiana Smphony, Grand Teton Summerfest Orchestra, and the Louisiana Philharmonic Orchestra. She has been a member of the faculties of Southeastem Louisiana University, Blue Lake Fine Arts Camp in Michigan, and taught at Louisiana State University through & ~ssistantshi~.Patricia made her Camegie Hall fw solo Peter Blawelt debut at Weill Recital Hall in 1999 as soloist with the Louisiana Srudiei Sinfonietta, performing Transformations for Clarinet and Chamber Orchestra by Dinos Constantinides. She has been a featured soloist with the Dayton Philharmonic, Columbus Symphony, Baton Rouge Symphony Summerfest Orchestra, Baton Rouge Symphony Chamber Players, and the Louisiana Sinfonietta. 'Y bime des oiseaux" Olivier Messiaen from the Quartet for the End of Time

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Pangram Dawn K. Williams 1. 11. Ill.

Three Pieces For Solo Clarinet Igor Stravinsky I. It. Ill. MOVEMENT III: A fanfare-like motive articulates three subsections of this fastest and most energetic movement. Rhythmic and metric patterns of the previous movements combine, with an increasing emphasis on the fast chromatic lines of the second movement.

Three Pieces for Solo Clarinet Ipor Stravinsky Igor Stravinsky (1 882-1971) was introduced to the world of jazz in 1918 by Swiss conductor (1882-1969), who presented him with what the composer later described as "a bundle of ragtime music." Ansermet had just returned to Switzerland, Stravinsky's wartime refuge, from an American tour with the Russian Ballet. His purported bundle included a combination of piano reductions and instrumental parts, and while Stravinsky had never heard any of the pieces performed, he took great interest in many of the rhythmic ideas in the scores. That interest made itself known in two works from the same year: Raglime, for eleven players, and the intimate ballet, The Soldier's Tale. Within a matter of months, Stravinsky heard his first live jazz bands and immediately realized that the heart of the music, improvisation, was not in the - - -. wntten-note.-His-interest-in-the-new-soundgrew ever-stronger, evidenced by 1919's _ - - Piano-Rag-Mzlsic and the Three Pieces for Clarinet Solo, the latter of which was a gesture of thanks to Werner Reinhart, a patron of the arts and amateur clarinetist, who had financed the first production of The SoMier 's Tale. Each of the Three Pieces was written on a single day in the fall of that year, and in those three days at the ofice, Stravinsky paved the way for much of the solo repertory that has followed for the instrument. The first of the Three Pieces concentrates on the clarinet's chalumeau or low register, with its dark and vaguely ominous character. Stravinsky builds on this tone color with soft, even phrases composed of widely spaced intervals that subtly vary and extend selected fragments of the melody. The phrases tend to end on the rise in the first half of the piece, whereas the second half finds them gravitating to the clarinet's lowest note, both as a point of rest and a temporary home pitch. While the first piece is far from metrical in a conventional sense, with frequent changes in the time signature and breath marks that only take passing notice of the downbeat, the second piece eliminates bamng altogether. Stravinsky employs the full range of the clarinet here, beginning with virtuosic passage work in a pattern of triplets that has the nature of a fanfare coming unglued. The middle section presents a sharp contrast in register, texture, and dynamics, as large leaps join droll grace notes in search of a Saturday morning cartoon. The third piece was conceived for the clarinet's clarino or upper register, and within that bright but limited melodic range, it is all about momentum. In one of the few passages where the composer breaks into a regular rhythm, he tricks the eye by accenting every third beat, giving the strong sense of triple meter, but casting it in ,214 time. The piece is a smile as well as a technical feat, with metrical changes in virtually every measure countered by more accents still, reducing the bar line to little more than a visual aid.

STRING FLINGI

NACUSA CONCERTI with the BLOSSOM STRING QUARTETI and GUEST ARTISTS

Randy Weiss. Violin 1 I Betty Comer. Violin 11 I Patty Whaley. Viola 1i Durwynne Hsieh, Cello I I Kathleen Nitz, Soprano Frank Farris, Tenor I! Ed Ballengee. Baritone I Friday, November 8, 2002. 8pm. Palo Alto An center. 13 13 Newell Road. Palo Alto, CA I I Program I I Dale Victorine QUARTET IN C MAJOR I I I ! Steve Ettinger LOOKING FOR A SUNSET~BIRDIN WINTER I Sondra Clark SIERRA SEASONS I I. Scquoirl Autumn / 11. Donncr Wintcr I Ill. Yosclnitc Spring IV. Talloc Suln~ncrNights I Anne Baldwin QUARTET NO. I I I I I Warner Jcpson REMARKABLE SAM

Brian Holmcs FOUR SONGS lioln DEATHIS JEST-BOOK (Tllomas Lovcll Bcddocs) 1. Dirgc: If thou would'sl casc tllinc IIG~~ 11. Old Adam. tllc qmon Crow Ill. Drcvn-Pcdlan I 1V. l'hc Pllilnto~n-W~cr

intermission

Nancy Bloomer Deussen SARATOGA from SAN A~REASSUITE I Lori G~~SWOI~ HERE IS THE OCEAN I ! I Ken Takan RENAISSANCE I 1v I I I'lana Cotton TAKING LEAVE. for StringiQuanct bqving. with great vdncss Awakening lo a new cncrgy Amving al a ncwr placc. flowing casily Acccpting I I John Beanan BEELINE Ii

presents A Concert of Music by Virginia Composers

Sonata for Clarinet and Piano Celeste Gates Mvt. I Mvt. I1 Mvt. I11 Celeste Gates, Clarinet Kristi Reynolds, Piano

Fantasia for Solo Violoncello* James Guthrie James Guthrie, Cello

Lewis and Clark Sketches* Leigh Baxter Jeanette Winsor, Piano John Winsor, Clarinet Marlene Ford, Horn Robert Ford, Trombone

Intermission Four for Three John Winsor Prelude Fugue March Finale John Winsor, Clarinet Elaine Swinney, Violin James P. Herbison, Cello

Simple Simon Says* (words by Linda Rimel) Floyd Barnes Hagar in the Wilderness* Arnetta Sherrod, Mezzo-soprano Carol Craig, Piano

6 African Lullabies* Jeraldine Herbison No. 1. Ntyllo-Ntyllo-Bird Song No. 2. Thula Mtwana No. 3. Nyandolo-Kenya No. 4. Mayo Mpapa-Zambia No. 5. Omo-Nigeria No. 6. Thula Thula-South Africa Elaine Swinney, Violin James P. Herbison, Cello Jeraldine Herbison, Percussion

2:00 p.m. February 22, 2003 Gellman Room, Richmond Public Library

"premierperformance Biographies

Floyd Carleton Barnes, an electrical engineer and ordained minister of the United Church of Canada, although born in New York State, received most of his education in Canada. His early training in music theory was at the Royal Conservatory in Toronto, and he later studied composition under Dr. F.R.S.Clarke at Queens University. Since he moved to Norfolk, he has studied composition with John Davye at Old Dominion University in Norfolk. Floyd's works include anthems, carols, cantatas, song cycles, a Requiem Mass, ballets, a symphony, a violin concerto, other orchestral works and instrumental chamber music. His Elegy for Flute and Strings (1985), and lntrada for Brass and Percussion (1 990) were recorded in Brataslava in the summer of 1994 by the Slovak Radio Symphony Orchestra. The Intrada was released in 1996 on a CD of works by 8 American Composers under the Master Musicians' Collective label entitled Orchestral Miniatures, Vol. 1 (MMC 2022); the Elegy on another disc in mid-2000. Other recent works include two piano suites, "Lament for the People of Iraq" for narrator and orchestra, and "The 7 Days of Creation" for narrator, Bb clarinet, and piano, and a suite from his ballet, "Pinocchio."

Leigh Baxter teaches music theory, music appreciation, American music history, and piano at John Tyler and J. S. Reynolds Community Colleges. He holds a master of music degree in composition and conducting from Virginia Commonwealth University where he studied with Allan Blank and Sonia Vlahcevic. Leigh is president of NACUSA, VA. He is published with Seesaw Music, Inc. of New York. Works include music for orchestra, band, chorus, jazz band, piano, organ, sax quartet, guitar, horn, violin, flute, clarinet and percussion. The orchestral version of "Lewis and Clark" was premiered by the Richmond Symphony Orchestra on Feb. 8, 2003. It is also scheduled for performance in the Spring of 2004 by the St. Charles, MO Symphony Orchestra in conjunction with the Lewis and Clark Bicentennial Celebration, and is being considered by several other orchestras.

Carol Craig has studied and played piano for the last 28 years. She is CEOfPresident of Craig Technical Consulting, Inc. and a former Naval Flight Oficer. She studied piano at Knox College in Galesburg, IL after being awarded several music scholarships and also studied piano at the University of Illinois at Champaign-Urbana, IL. She has been accompanying musicians for the last 15 years, including members of the Virginia Opera. She most recently performed Brahms' Requiem with the First Presbyterian Church choir.

Marlene Mowaji Ford studied horn with Ernani Angelucci and Martin Morris of the Cleveland orchestra and Edwin Thayer and Sylvia Alimena of the National Symphony. She received a Bachelor of Fine Arts degree from Ohio University and a Master of Music degree from Norfolk State University. She is a member of the Virginia Symphony, the Williamsburg Symphonia, the Eastern Virginia Brass, the Hardwick Chamber Ensemble, and the Prelude Woodwind Quintet. Marlene is an adjunct faculty member of Old Dominion University, Tidewater Community College and Virginia Wesleyan College.

Robert Ford received a Bachelor of Arts degree in music and business from Ohio Wesleyan University, a Master of Music Degree from the University of Southern California, and a Doctor of Music Arts Degree from Catholic University. He studied trombone with Arnold Jacobs, Milton Stevens, and Robert Marsteller. Bob taught music in the Virginia Beach city schools from 1977 to 1986. He is a member of the Spokane Symphony. He also performs with the'lakeside (Ohio) Music Festival during the summer. He teaches at Tidewater Community College and Virginia Wesleyan College and serves as artistic director of the Eastern Virginia Brass. Notes

Fantasia for Solo Violoncello seeks to reconcile two opposing ideas. The first is a short agitated theme based on [0,1,7,10]. The second idea is a lyrical theme based on a synthetic multi-octave whole-tone scale. The piece is constructed along the lines of a sonata form. Through the development process, elements of both ideas are combined to form a brief quotation from the Prelude of the Bach G-Major Cello Suite. The quotation is then developed and eventually consumed by the continuing conflict between the two opposing elements.

Four for Three is a short work for clarinet, violin and cello. Phrase structure in the piece is fairly conventional. The melodic material is pantonal and quite chromatic. Harmonically, fourths and sevenths are emphasized more than thirds and sixths. The linear aspect of the piece takes precedence over the vertical. It contains a great deal of imitative counterpoint.

Simple Simon Says Floyd Barnes contacted Linda Rime1 several years ago through the American Composers' Forum where she called for composers to work with her. She sent him some poems and he was immediately drawn to Simple Simon Says. Ms. Rimel has written a book and the lyrics for two musicals. She lives in Eugene, OR.

Hagar in the Wilderness is an 1 1 minute work for . The story (from Genesis 21) goes like this: God had promised Abraham in a vision years earlier that He would bless him with children by his wife Sarah, and that their offspring would be "as many as the grains of sand on the seashore." He believed God, but year after year Sarah remained barren. Since he was now around 100 years old, and Sarah not much younger and past the age of child bearing, she suggested that he take her slave Hagar to bear a child in her place. He did, and she bore Ishmael, a son. Then God spoke to him again, explaining that this was not the offspring that He had meant, but that Sarah truly WOULD conceive. Shortly afterward, Sarah did conceive and bore a son, Isaac. Now, she was jealous, and asked Abraham to send Hagar and Ishmael away so there would be no chance for him to gain the inheritance over Isaac. He did, and we take up the story on the second day after their departure. Their one-day's supply of water was gone already, due to the intense heat of the desert. She placed Ishmael under a bush to die and went off a distance to pray for mercy. We hear her side of the conversation with God as imagined by the composer, based on what is told in Genesis.

6 African Lullabies Four of the lullabies are traditional, or folk songs. No. 1, "Ntyllo-Ntyllo" and No. 5, "Omo" were composed by modem African songwriters. These lullabies were selected, adapted and arranged for violin and cello duo with rhythm instruments to convey the specific message of the cradle song through instrumental sounds alone. Rhythm instruments to be used, may be anything from hand clapping to accented vocal sounds (No. 6, "Thula Thula"). The following types of rhythm instruments have been indicated: Idiophones---bells, clappers, sticks and rattles (). Two clicking sticks or one stick on a rim, and a high pitched bell like the triangle are indicated for Lullaby No. 4. Membranophones---skin drums with a single or double drumhead. They are usually beaten with the hand (using the fingers, fist, or palm), or with a curved stick. In Lullaby No. 5, the Gangan or Dundun drum is suggested. It is shaped like an hourglass. The membranes at each end are joined to each other by numerous strings. In this way it is possible for the drummer to vary the pitch by holding the drum under his arm and squeezing it with his elbow, thus tightening the drumheads and producing a glissando sound in the pitch. Celeste Gates holds a B.S. in Music Composition and Creative Writing from the Indiana University School of Music, and a M.M. in composition from Virginia Commonwealth University, where she studied composition with Allan Blank and Dika Newlin, and conducting with Thomas Wilkins. Celeste graduated Magna Cum Laude and is an elected member of Pi Kappa Lambda Music Honor Society (1993). She is a member of ASCAP, the International Clarinet Association and NACUSA, VA. She was conductor of the Northern Neck Community Orchestra from 1993-98 and has taught music for Rappahannock Community College. In her studio, "Realistic Expectations", Celeste continues to teach music privately. Currently, she is a member of the Norwood McCarty Big Band, A Jazz Trio, and The Hodgepodge Trio.

James M. Guthrie (D.M.A.Louisiana State University, 1989) serves as organist/choirmaster at Emmanuel Episcopal Church in Franklin, VA, Editor of Music Now, The Newsletter of the Southeastern Composers' League, and Professor of Music at the Eastern College of Music in Greensboro, NC. For more information, please visit http://www.jamesguthrie.com.

James Preston Herbison is a native of Oklahoma. He earned a Bachelor of Music Education degree from the University of Oklahoma, a Master of Music degree from the University ofMichigan, and a Doctor of Musical Arts degree from the Catholic University of America. Dr. Herbison teaches theory, Humanities, string methods, and music appreciation at Norfolk State University. He also conducts the university orchestra. He is principal cellist in the Williamsburg Symphonia and section cellist in the Virginia Symphony. He is cellist and coach of the HICO string quartet which he established while at Hampton University. He has performed in recitals, with chamber groups, and with orchestras throughout the United States and Canada. Notable among his recitals are the performances at Cathedral of St. John the Divine in New York; and his performance at the Kennedy Center for the Performing Arts. Chamber performances include the Nova Trio's performance and coaching session with Menachem Pressler of the Beaux Arts Trio at the Banff Center I Alberta, Canada, and the Nova Trio's performance on the compact disc, "An American Port of Call," Music of Adolphus Hailstork.

Jeraldine Saunders Herbison is a native of Richmond, VA. She earned a Bachelor of Science degree in Music Education fiom Virginia State College in 1963. She taught and directed string orchestra in the public schools of Maryland, North Carolina, and Virginia. In 1979 she was elected Honorary Composer at the University Division of the National Music Camp at Interlochen. In 1980 James Herbison performed her Sonata No. 1, Fantasy in Three Moods and Intermezzo on the Composers Forum of The National Black Colloquem Competition at the Kennedy Center for the Performing Arts. Her Cello Concerto No. 1 and Concertina for Viola and Chamber Orchestra were commissioned by the Afro-American Chamber Music Society in California. In 1997, Jeraldine's music was featured on the 7 Wosersat Hampton University. Five of her string orchestra pieces are published by Velke Publishing Company, in Glen Echo, Maryland. Her piano and chamber works with piano are listed in books by Selma Eptstein and Helen Walker Hill. Twoof her Art Songs are featured on a CD by Sebronette Barnes You Can 'JeU the World, Jeraldine is secretary of NACUSA,VA, a member of ASCAP, and the American Composers Forum.

Kristi Reynolds teaches piano at the University of Richmond. She is also organist/choirmaster at St. Paul's Episcopal Church in Miller's Tavern. A native of Texas, she obtained a bachelor of music degree in piano performance with a minor jn piano pedagogy from East Texas State University and a master of music degree in piano performance from Hardin-Simmons University. She has performed as soloist and accompanist throughout the nation, including a concert in the Chamizal Auditorium in El Paso, the Richmond Public Library Gellman room series, and for the Fullwood Foundation in Baltimore. She has continued to grow as a musician through study with Santiago Rodriguez as well as master classes with Joseph Banowitz and John Sa!mon. Ms. Reynolds is a member of the Richmond Symphony Chorus, Pi Kappa Lambda music fraternity, and the Richmond chapter of the Music Teacher's National Association. Arnetta Sherrod is a Professor of Biology at Norfolk State University. She began her professional musical career in 1999 with the Virginia Opera. She has performed with the opera chorus in VOA's productions of "Othello", "Porgy and Bess", "Turandot", "Don Giovami", "Don Pasquale", "Carmen", "Tosca", "The Masked Ball", "Mikado", and " La Traviata". She will be performing in this season's productions of "Andrea Chenier" and "Die Fledermaus". She is currently studying with Emily Stauch of Virginia Beach.

Elaine Swinney is a graduate of Baldwin-Wallace College in Berea, Ohio. She is a violinist in the Virginia Symphony and is a founding member of the Casual Elegance String Ensemble. She is active as a 6eelance violinist in the Tidewater area and is a violin instructor. She also plays in the Virginia Opera Orchestra, Williamsburg Symphonia and the Richmond Symphony. She has played in the ProMusica Chamber Ensemble of Columbus, Columbus Symphony, Columbus Light Opera, Fort Wayne Symphony, Wheeling Symphony, Canton Symphony, Akron Symphony, and the Youngstown Symphony.

Jeanette Winsor studied piano with Clifford Herzer, Lois Rova Ozanich, and Shirlet Harrison. She received a Bachelor of Music degree cum laude from Heidelberg College and a Master of Music degree in piano performance from Kent State University. She has occasionally coached with Thomas Schumacher. She teaches piano in her studio in Chesapeake and at the Virginia Governor's School for the Arts, accompanies the Virginia Beach Chorale, serves as an adjudicator for the National Guild of Piano Teachers. She frequently appears as a soloist and lecturer. Jeanette holds National and State Professional Teaching Certificates from MTNA and VMTA as well as certification through the American College of Musicians. Jeanette is listed in the 2 1 st edition of Who's Who of American Worn. She is past president of the Tidewater Music Teachers Forum and president of the Virginia Music Teachers Association. Her articles on piano pedagogy have been published by Piano Guild Notes. She is an adjunct faculty member of Tidewater Community College and Old Dominion University.

John Winsor studied clarinet with Robert Harrison, David Harris, and Robert Marcellus of the Cleveland Orchestra and composition with John Rinehart and James Waters. He received a Bachelor of Music degree from Heidelberg College and a Master of Arts degree in music theory from Kent State University. He has taught music theory and designed bandsman training materials at the Armed Forces School of Music. He has also taught clarinet, music theory, and composition at the Virginia Governor's School for the Arts. John's composition prizes include the Modem Music Festival 2000 Film Scoring Prize, 1992 and 1995 Delius Awards, and the 1992 and 1994 VMTA Commissioned Composer Competitions. His works frequently appear at new music festivals, conferences, and chamber music concerts around the United States. He has also received grants from the American music Center and from Meet the Composer, Inc. Since 1992, he has received seven commissions from various Virginia arts organizations. Articles by and about John have appeared in com~oserUSA. His book Breaking the Sound Barriea: is available at Barnes and Noble.com. John is the webmaster for NACUSA. 7 7 National Association of Composers, USA East Coast Chapter

Program

STEFANIA DE KENESSEY Autumn Elegy (2001) Veterans' Cemetery The End ofthe World I A Curse on Geographers Samuel Hepler, bbitone and Stefania de Kenessey, piano

ELIZABETH BELL Songs of Here and Forever (1970) Cache Lake Communication Bridge Light Song of Worship Stonn Gavla Bauer Blaisdell. somano and Max Lifchitz. ~iano Intermission

I MAX LlFCHITZ Three Songs for Voice and Trumpet (1988) Do AnimaLs Think? Insects Honey Deborah Horne, soprano and Eric Miller, trumpet Yellow Ribbons No. 22 (1984) Ah-ling heu, viola and Max Lifchitz, piano

MARSHALL BIALOSKY A Prologue and Three Songs To the Words of American Indian Chiefs (1989)" , mot Z. Levine, baritone Max Lifchitz, conductor The NorthlSouth Consonance Ensemble Lisa Hansen, flute Gilbert Dejean, bassoon Brenda Sakofsky, alto flute Atsuko Sato, bassoon Frank Cassara, percussion

Christ and St. Stephen's Church, NYC Free Admission

*Premiere perfovance - in honor of the composer's 80hbirthday

70th season (1933-2003) ?I Meet the Performers

/ Soprano Gayla Bauer Blaisdell has appeared as a soloist with the Chicago Symphony ' Orchestra at the Ravinia Summer Music Festival where she had the honor of attending the Steans Institute for Young Artists. She made her Carnegie Hall debut as soloist in Beethoven's 9th Symphony with the American Composers Orchestra.

Deborah Home, soprano, performs with the Hudson Valley Bach Fest and the Doansburg Chamber Ensemble. She has sung with the Aspen Opera and recently performed at St. Peter's Music in Chelsea Series and at Lincoln Center at the centennial concert of the Music Publishers Association.

Elliot Z. Levine has been the baritone for the Western Wind Vocal Ensemble since its inception in 1969. He has appeared as a soloist with such groups as Musica Sacra, the Rome Opera, La Fenice, the Mannes Camerata, Music at Ascension, the Ensemble for Early Music, and the Folger Consort.

Baritone Samuel Hepler has recorded for the Vox and Newport Classic labels. In the fall of 1997 Mr. Hepler made his national television debut with "Livefrom Lincoln Center" in a production of Hansel und Gretel designed by . Recent concert appearances include performances of Handel's Messiah with the Singapore Symphony, and the Faure Requiem and Haydn's Schopfungmesse with the Chorale Society.

Ah-ling Neu, violist, is a former member of the and the Ridge String Quartet. Currently, she serves as principal viola for the Eos Ensemble and .the New York Philomusica and performs with the Brooklyn Philharmonic and the American Composers Orchestra.

Trumpeter Eric Miller graduated from the University of Northern Iowa and Indiana University. He is a member of the United States Military Academy Band at West Point.

Composer/pianist Stefania de Kenessey's most recent CD Shades of Light, Shades of Dark received rave reviews as "fully worthy to share a program or disc with the masterpieces by Mozart or Brahms" (Fanfare). Her music has been performed in Europe, Australia, Singapore and China, as well as throughout the United States. She is the founder and artistic director of the Derriere Guard, an alliance of traditionalist contemporary artists, architects, poets and composers, whose inaugural festival featured noted author Tom Wolfe as the keynote speaker.

Pianist/composer Max Lifchitz was awarded the first prize in the 1976 International Gaudeamus Competition for Performers of Twentieth Century Music held in Holland. Robert Commanday, writing for The San Francisco Chronicle described him as "a young composer of brilliant imagination and a stunning, ultra-sensitive pianist." The American Record Guide commented as follows on Mr. Lifchitz's most recent release The American Collection (N/S R 1014): "suffice it to say that it would be hard tofind a better snapshot of what Ammican composers have been writing for the piano in the past decade than this collection. Lifchitz plays everything with sensitivity and force, where appropriate; and recorded sound is vivid and natural."

Since 1980, the NORTWSOUTH CONSONANCE ENSEMBLE has brought to the New York public over 750 different works by composers from throughout the United States, Canada, Latin America, Africa, Asia and Europe. Albums featuring performances by the North/South Consonance Ensemble are available through the internet at www.northsouthmusic.org or by calling 1 (800) 752-1951.

The National Association of Composers, USA was founded by Henry Hadley in 1933. Mr. Hadley served as an Associate Conductor for the New York Philharmonic during the 1930's, the first American-born conductor ever appointed to the staff of that institution. To learn more about various the activities sponsored by the National Association of Composers, USA please visit its website at www.music-usa.org i'.

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Stefania de Kenessey's music has been presented in Europe, Australia, Singapore and China, as well as throughout the United States. Honored repeatedly with awards from ASCAP, her output includes works in all genres, from chamber and vocal to opera and symphonic. She has written concertos for virtuosos such as trumpeter Chris Gekker and flutist Elizabeth Mann; she has had premieres with the Singapore Symphony, St. Luke's Chamber Ensemble, Manhattan Chamber Orchestra, the North/South Chamber Orchestra, and the Absolute Ensemble Orchestra conducted by Kristjan Jarvi. Recent successes include a double bill of her one-act operas by the Mannes Opera; a memorial song cycle for sculptor Frederick Hart at the National Cathedral in Washington D.C., and a work for chorus and orchestra premiered by the Turtle Creek Chorale at Carnegie Hall.

The song cycle Autumn Elegylfor baritone and piano was inspired by the September 11 attack on America. It employs texts ,by poet Dana Gioia who was recently appointed head of the National Endowment for the Arts. This evening's performers premiered the work last September.

(Please see attached texts on next page)

A founding officer of New York Women Composers, Inc. Elizabeth Bell's music has been performed in Australia, Brazil, Japan, Russia, and throughout the United States. Her oeuvre includes works for solo iqstruments, voice, chamber ensembles and orchestra. A graduate of Wellesley College and The Juilliard School, she perfected her compositional craft under the guidance of Vittorio Giannini, Paul Alan Levi and Peter Mennin. Four highly successful retrospective concerts have been dedicated to her works: in 1973 at Cornell University in Ithaca, NY; in 1985 in her native city of Cincinnati, Ohio; in 1991 and 1998 in New York City. Her works have been recorded for the Classic Masters, CRS, North/South and Vienna Modem Masters labels. Her chamber ensemble composition Spectra was awarded the 1996 Grand Prize at the Utah Composers' Guild Competition. Two all-Bell compact discs were released recently: one on the MMC label and the other on the North/South Recordings label

(N/S R 1029). I

About the Songs of Here and Forever the composer writes: I "This song cycle sets poems I wrote while in my teens and early 20's: mostly love poems

to my future husband ("forever" I- or so I thought!). Those are balanced by two purely

love ("here and forever"). , I The premiere performance of the cycle took place at Barnes Hall, Cornell University, in Ithaca, NY in January, 1973. It was sung by Linda Paterson, soprano, for whom it was written, and accompanied by composer/pianist Ann Silsbee." (Please see attached texts) '

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I Autumn Elegy Poems by Dana Gioia Music by Stefania de Kenessey

2. The End Of The World

"We're going", they said, "to the end of the world." So they stopped the car where the river curled, 1 Veterans' Cemetery And we scrambled down beneath the bridge' On the gravel track of a narrow bridge. The ceremonies of the day have ceased, Abandoned to the ragged crow's parade. We tramped for miles on a wooded walk The flags unravel in the caterpillar's feast. Where dog-hobble grew on its twisted stalk. The wreaths collapse onto the stones they Two ospreys watched from the opposite shade. shore While slowly the current built to a roar. How quietly doves gather by the gate Like souls who have no heaven and no hell. We came to a bend, where the river grew The patient grass reclaims its lost estate wide Where one stone angel stands as sentinel. And green mountains rose on the opposite side. The voices whispering in the burning leaves, My guides moved back. I stood alone, Faint and inhuman, what can they desire As the current streaked over the smooth flat When every season feeds upon the past, stone. And summer's green ignites the autumn's fire? Shelf by shelf the river fell. The white-water goosetailed with eddying The afternoon's a single thread of light swell. Sewn through the tatters of a leafless Faster and louder the current dropped willow, Till it reached a cliff, and the trail stopped. As one by one the branches fade from sight, And time curls up like paper turning yellow. I stood at the edge where the mist ascended, My journey done where the world ended. I looked downstream. There was nothing but sky, The sound of the water, and the water's reply.

3. A Curse On Geographers

We want an earth to walk upon, Not reasons to remain at home. Shall we make journeys only to see The same stars circling in the night? Breathe the same air? Sail across These oceans only to discover Our own island's other shore?

Let oceans spill their green from off The edges of the earth, and let The curving plain unbend itself Behind the mountains. Put wind back Into the cheeks of demons. Voice, Pronounce your reasonable desire And sing the round earth flat again!

Poems O by Dana Gioia (Used by permission)

Or shiver to a pale, impotent shadow In the twilight. VI Storm They say there's strength to stand and wait, To make content with what one is, but not High in the sky hang clouds of black and contented with. gray, But I have not that strength, And thunder rolls on distant hillsides. But only hope - pushing, impelling me My love is far away. . . . Over the threshold Into the blinding ecstasy of light! How slowly rain begins to fall upon this roof, How quietly storm gathers to herself, V Celebration Enfolds this land in gentle damp. My heart dances, sings Glorifying the order of the singing world! My love and I have seen high mysteries; Dazzle, betray thy ecstasy, 0 my soul, Tall wonders, as between us grew Join in the whirling announcement of bliss, That burning mystery of all -- that charging Of sacrament everlasting! pain Of deepest joy, deepest desire. Joyfully I devote myself, Gaily, with ringing lips, The rain falls faster; wind blows in my I account myself to the service window, wetting Of the Good which hath brought light in the Cheeks grown cold from absence of delight. twilight, Delight is short. Love grows forever, and is Stars in the pallid purple o'erhanging of still not done; dawn. It warms through time, when all about is cold. A new reign shines forth, Promising eternity, Green sky of tearing passion - Swearing forever in joy Gusts and streaks of light, and booms of To those who give themselves, terror. Pour forth with glad and grateful hands Warm black -- fright for those who flee The essence of their hearts. alone; Now white -- a moth falls -- No longer one for one, Slaughtered by tumultuous storm; Beating and striving to stand And leaves writhe, rudely caught in ecstasy Bravely, alone in magnificent bewilderment. of wind -- Oh, unrestrained! I throw myself before thy throne, 0 king of being-brightness, Oh love, oh mine, Stopping my mouth from wonder, We sing together from our separate roads Holding my mind stiff, stem, Leading together -- to create in peace That I may plunge straightly, swiftly What in desire we've conceived. Into the pool of seething delight. The rain falls quiet now -- calm My voice weaves a pattem of praise, In the knowledge it has struck its full. Counting, rehearsing the tolls of Quiet I wait, and you wait far away; enchantment We hold, each one, the lamp that joins Reaching toward the lofty, glowing sky. eternally Our souls -- unknown to calm, too small Sing to infinity, To hold this flame that bums within, and so Golden bird of beauty; Relinquished, while they live on, to desire. In song thou art no longer brave, But braver than braveness -- (0Elizabeth Bell - Used by permission) Rising immortally Toward endless bright radiance of bliss! I I I Max Lifchitz's Three Songs lfor Voice and Trumpet were written at the request of soprano Judith Otten in 1988. At that time, Ms. Otten and trumpeter James Harnlin were involved in an extensive series of recitals exploring both baroque and contemporary repertoire featuring the combination of trumpet land voice. The vocal writing exploits a wide range of possibilities ranging from slow, lyrical melodic lines, to sprechsfimme (speaking voice), to instrumental-like flourishes. Diverse timbres are achieved by employing various trumpet mutes. A healthy, non-doctrinaire musical eclecticism permeates the writing, effectively higyighting the emotions inherent in the texts. The composer was inspired, by the poetry of Steve Levine, Ron Padgett and Gary Lenhart which originally appeared in' the magazine Transfer. The texts follow: I Do Animals Think? I Poem by Steve Levine I Music by Max Lifchitz Yes, they do. I But not of you. I I Copyright O 19?2, by Steve Levine. Used by permission.

I I Insects Poem by ~on~ad~ett(From "Lessons in Things") Music by Max Lifchitz I I 1. Insects have thin nervous bodies with little legs and feet with shoes, they do not have an easy existence. If even a small rock falls on them it will break of their legs and they cannot go to a doctor! 2. Some insects such as the mosquito, the sand flea, and the louse, are nuisances. It is good when a rock1 falls on them and breaks their legs. 3. The butterfly has two wings that look exactly alike. They flash colors and flutter and go nowhere in;particular. They print images of beauty on the air, that, like music; seem to stay there after they themselves have gone.

Questions I I 1. Have you ever had a bug fly into your mouth? What words did you say? 2. It is said some ants form a giant army that goes along eating everything. Would you like to shoot ,these ants with a gun? 3. Sometimes a stick will jump and fly away. Do you think it was an insect or a stick (stick with a motor)? I Copyright O 1993, by Ron Padgett. Used by permission. Reprinted from Padgett's Blood Work: Selected Prose published by Bamberger Books. I I Honey I Text by Gary Lenhart I Music by Max Lifchitz

Since we've joined flesh and forces do boot, My desire has known no no. I I The sky above, the earth below, I Shine in congressional testimony. I We share the honey, we share the bdloney, Only personal failure makes us lonely. I Copyright O 1283, by Gary Lenhart. Used by permission. I I I I I Max Lifchitz's Yellow Ribbons No. 22 for viola and piano belongs to a series of works written as an hornmage to the former American hostages in Iran. These compositions are a personal way of celebrating the artistic and political freedom so often taken for granted in the West.

The composition is in three contrasting movements performed without pause. The melodic and harmonic material for the entire composition is derived from a series of expanding and contracting intervals. Several rhythmic motives serve as unifying elements throughout the piece. The climax of the entire work occurs towards the conclusion of the second movement when each instrumental part is treated with the utmost degree of independence as each instrument moves at a different tempo.

Yellow Ribbons No. 22 was completed in the Spring of 1984 on a commission from the Organization of American States in Washington, DC.

Marshall Bialosky, galloping rapidly toward his 80h year, served as president of the National Association of Composers/USA (NACUSA) from 1977 until 2002. Along the way, he also served as the national chair of the Society of Composers, Inc. from 1974 to 1977 and twice as co-chair of this organization's Region W (the western states). He is now an Emeritus Professor of Music at the California State University, Dorninguez Hills where he was the Founding Chairman of both the Music and Art Departments in 1964. He continues to teach in the External Degree program for the M.A. in Humanities. His song-cycle, The Far Theatricals of Day won the first prize in the 2001 Division II Class A in the Mu Phi Epsilon Original Composition Competition. He was a student of Lionel Nowak, Luigi Dallapiccola, and Ernst Bacon, and is a graduate of Syracuse and Northwestem Universities.

The composer kindly provided the following program note for his work:

"My interest in American Indian Life emerged during the 1970's. I became friends with many Indians and even spent some considerable time in their homes and villages. This led to reading about their history in America, and a sad tale it is, continuing to this day to be fraught with illegal mischief and grossly unfair government treatment, often depriving them of legitimate royalties for the use of their lands, non-payment of grazing fees and the like, and letting their unspeakable poverty continue on to the present while we waste millions on missile sites and armaments. I like to think of this work as my contribution to protest music following the lead of one of my teachers, Luigi Dallapiccola, whose Songs of Imprisonment made such a strong statement against Fascism in Italy.

The song cycle itself composed in 1989, whatever its ultimate merit or demerit may be, is a highly organized work. Elements of 'the Prologue appear in the first song as well. At an important point in the second song, elements of the first song re-appear, and in the third song, elements of the Prologue and the first song are heard again.

The problem of writing music about the Indians without resorting to movie music cliches is a difficult one. Native Indian music has nothing to do with atonality or other modem devices. What I have tried to do here is to give the vocal part twelve-tone-like inflections of a very diatonic nature contrasted with an accompaniment using drones and pedal points somewhat in the Indian manner. For the instrumentation, I have chosen to incorporate the idea that flute playing is quite natural to them and, indeed, in recent times many virtuoso Indian flute players have become extensively recorded. Of course, the Indian association with drums is well known. The need to find some instruments capable of low notes led to the inclusion of the two , employed here to evoke some of the dry landscape one finds on the Hopi mesas in Arizona and on other Indian lands." Ked Cloud

Enna T

I I I will we let ourselves be destrdyed in dur turn without a struggle, give up our homes, our

Tecumseh of the Shawnees I i

Wovoka, The Paiute Messiah

Song I11 I did not know then how much was ended. When I look back now from this high hill of my old age, I can still see the butchered women and children lying heaped and scattered all along the crooked gulch as plain as when I saw them with eyes still young. And I can see that

I center any longer, and the sacred tree is dead. Black Elk (on the Sand Creek massacre)

Piano Courtesy of YAMAHA PIANOS

u ., 2 u a > ~lease'turn-oflyour-cell phone, watch alarm ind any other noise-producing device before the program I starts. Make sure :to know where the auditorium exits are. PLEASE REFRAIN FROM :SMOKINGandlor EATING WHILE IN AUDITORIUM. I I

I

I

MARK ALBURGER is an eclectic American composer of postminimal, postpopular, and postcomedic sensibilities. He is Editor-Publisher of Zlst-Century Music, an award-winning ASC>AF)comqoser published by New Music, oboist, pianist, vocalist, recording artist, musicologist, author, and critic. Dr. Alburger teaches at Diablo Valley College, directs the NOW Festivals, conducts the SF Composers Chamber Orchestra, and serves as President of the College Music Society (PCC). He began composing in association with George Crumb and Richard Wernick; and studied with Karl Kohn at Pomona, Joan Panetti and Gerald Levinson at Swarthmore (B.A.). Jules Langert at Dominican (M.A.). Roland Jackson at Claremont (Ph.D.), and Terry Riley. Among his 107 opus numbers are 5 concertos, 11 chamber ensemble pieces, 4 masses, 13 operhs, 3 oratorios, 2 piano suites, 11 song cycles, and 7 symphonies. His music has been performed recently by the American Composers Forum, NACUSA Philadelphia, the NorlhlSouth Consonance Chamber Orchestra WC), the Onyx Quartet, Orchestra 2001, and the Oregon Bach Festival. Camino Real will premiere on July 27-23 at Goat Hall (SF). A 14th opera, 23e Playboy of the Western World, has been commissioned by Solo Opera of Walnut Creek.

CATS, DOGS, AND DIVAS (libretto by Harriet March Page), Alburger's 1lth opera, is a gypsy festival of Giuseppe Verdi's 11 Trovatore, with party crashers including Stravinsky's Mass, soft-shoe, diabolical rag, minimalist figuration, tango, Verdi's Aida, strip-tease allusions, organa, ecstatic 60's rock, and the medieval Orkney Hymn to St. Magnus. Parts I1 and I11 of this four-part composition will be performed tonight.

SONDRA CLARK is a graduate of the Juilliard School (B.M.), San Jose State University (M.A.), and Stanford University (Ph.D.) A long-time Bay Area music critic and member of the music faculty at San Jose State University, Dr. Clark has won over forty awards for her compositions since she began composing ten years ago. Her Rree Scenesfrom New Orleans was published in 1998 by Kjos Music and six more of her works will be published in 2002 by Hal Leo~lardCorp. Clark's Requiem for Lost Childen, written for the Sa11 Jo;c Symphonic Choir and Orchestra and the Cantabile Children's Chorus, has been performed three times to packed houses and critical acclaim since its premiere in 1996. Clark has been the only composer chosen to be featured by the award-winning Grand Piano Show in an hour-long program, 23e WondeffrAiLpi~nzu ~Wusic of Soda Clark, which is being aired on cable television in 450 cities throughout the country. Current projects include a comic opera and a violin concerto, both of which are planned for premieres this year.

LOUISE CONSTIGAN-KERNS has performed internationally as a concert pianist, accompanist and conductor. 1 She is a former faculty member of New England Conservatory, , and Artist-in-Residence at Brandeis University. In the San Francisco Bay Area, Ms. Costigan-Kerns has been affiliated with the San 1 Francisco Symphony Chorus, Opera San Jose, Berkeley Opera, and West Bay Opera; and she is in demand as a coach and recitalist. She will also be heard with Sally Mouzon in a recital at The CFapel cf the San Francisco I1 Presidio on April 6. Ii NANCY BLOOMER DEUSSEN is well known throughout the San Francisco Bay Area as a composer, 1 performer, and arts impresario. She is a leader in the growing movement for more melodic, tonally-oriented contemporary music, and is co-founder of the San Francisco Bay Area Chapter of the National Association of I Composers, USA. Her works have been performed throughout the US and Canada, and she has received i numerous commissions both locally and nationally from such performers and ensembles as The Oakland Chamber Orchestra, The Walnu~Street Chamber Ensemble, The Bat011 Rouge Concert Band, Tl~eBresquan Trio, The Santa Clara Chorale, The Women's Caucus in the Arts, OPUS 90 Charnber Ensemble, clarinetist Richard Nunemaker, the Tanana High School Band, the Gabrieli Brass, Soundmoves, the Mission Chamber Orchestra, flutist Angela Koregelos, the Semper Virens environmental group, The Sandusky Music Festival, Jim and Pat Watt, and Mu Phi Epsilon. Some recent performances of her works include: Reflections on the Hudson by The Kona Community Orchestra, The Baytown Symphony, and the Santa Clara University Symphony, and Ascent to Victory by the Providence College Orchestra. I I I ADIRONDAK MORN and SANTA BARBARA are the first two pieces of a suite for piano in progress entitled American Images. The next three pieces will be titled "Joshua Tree," "The Everglades," and "The Space Needle." The composer has traveled extensively throughout the USA and been very impressed with the beauty, scope and varicty of imzges in the United States. I ILYA DIMOV studied composition with ~.~ildanovand later with professor F.Yanov-Yanovsky at the State Conservatory of Tashkent city (Uzbekistan) bhere he received his Master's degrc-. 17- !;as written a number of compsotions for puppet theatre shows, movies, cartoon films, and chamber compositioris. In 1986 he became a member of the USSR Composer League. In 1990 DIMOV immigrated to Israel where he taught composition, harmony and music theory for 10 years at the conservatories of music of Tel-Aviv, Jerusalem, and Ashdod. Also, he published a number of musical pieces and arrangements for chamber ensembles that were later performed at various international festivals of contemporary music and piano competitions in Israel, Russia. Hong-Kong, USA and several Western European countries, such as Belgium, Germany, and E'ugoslavia.

CYALIZ AND KAti17ME (1 995) begad as incidental music for Anton Checkov'r The Seagull. I JACOB ROSS FRUMKIN began music wiling at the age of ten. He is studying and performing on trombone and piano. I I ROBERT ARNOLD HALL (b. Boston, MA) has studied with Music Faculty at San Jose State University, and performed on reeds, cello, and voice.. He has written music over 40 years, especislly in the last ten. Instrumental compositions include works for ,large and small ensembles, and solo instruments. Hall is currently writing a series of suites fur unaccompaiiied,violin. Vocal works include many with piano and ensembles. I? musical theater work for broadcast, based dn Don Marquis's cockroach poet, urc:Iy!,is being sponsored by Vermont Public Television. He is completing a short song cycle, Nine Eleven, for voices and ensemble. With eminent librettist Elise Thoron, Hall is writing an opera on the Lewis and Clark story, and another on writings of Lewis Caroll. Information about many OF these works, including audio and visual clips can be reached at http://www.Music-Hall.net. These include recordings of Lullaby and other episodes fiom the opera, and a video of a puppet performance uT a ~ig,"a~cliyl I~t;(n liur~~111a.t 3." His woi k has been performed by iluliierous ensembles in Northern California. He is a mkmber of NACUSA, ASCAP, and the hmericaa? Music Center. I The composer and his 11-year old grindson, Jacob Ross Frumkin, were to;a:l-I-dLy a lost cat notice on a telephone pole and used it, with elaboration, for the text of 358. The duo also collaborated on PIPER, fiom a text by Seamus O'Sullivan, the penname for James Sullivan Starkey (1879-1958), the Dublin born writer who founded and edited 7he Dublin Magazine. The anonymous Lancashire poet who wrote WDDING is one of many writing in !'Lanky," an ~n~lishdialect. I SALLY MOUZON, mezzo-soprano, has appeared with many Bay Area companies in opera, operetta, and oratorio, including roleswith Opera San lose! West Bay Opera, and San Francisco Opera, where she created the role of SisterLillianne in the world premiere of Jake Heggie's Dead Man walk in‘^. M3r.t rcazntly she was heard in Charles Gounod's Faust with Sacramento:Opera. She is a hll-time, tenured member of the San Francisco Opera Chorus. I

Mezzo-soprano HARRIET MARCH PAGE is Artistic Director of Goat Hall Productions, San Francisco's Cabaret Opera Company. She has directed many music dramas, including Mark Alburger's Antigone; Henry Miller in Brooklyn; and 7he Little Prince; ,Leonard Bernstein's Carldide and TrozrEle irl Tahiti; Gian-Carlo Menotti's Amah1 and the Night Visitors and, 7he Consul; Sarah Michael's Arachne; W.A. Mozart's Cosi Fan Tuttr and Ihe Magic Flute, Lisa Prosek's Satyrrcon; and Kurt Weill's Thr-eepen1z.v OL.eraMs Page has appeared on the stage as Mr. Martin in Alburger's The Bald Soprano and Baba in Menotti's 'The Mcdium, and will sing the role of Maurya in an upcoming presentation of Ralph Vaughan Williams's Riders to the Sea at Holy Names College Four of her performance pieces --' CATS, DOGS, AND DIVAS; Flying Ozct he Mouth; Out on the Porch; and Be Wind God -- have been set as:operas by Alburger. I I You are invited to stay after the concert and speak with the composers.

The National Association of Composers USA (NACUSA) is a non-profit organization whose goal is to foster the composition and performance of new music. Founded in 1932 and now with branches in Los Angeles, New Y ork, Philadelphia, and San Francisco, NACUSA continues to be an active and most vital outlet for composers throughout the country. Inquires regarding membership may be addressed to I'lana Cotton .at (650) 367-1683. General inquires may be directed to Nancy Bloomer Deussen, (650) 858-01 72.

NACUSA is a 501(c)(3) organization. Donations are tax-exempt, and are gratehlly accepted by the San Francisco chapter. Please make out donation checks to NACUSAsf, and mail to Anne Baldwin, 1243 Los Trancos Road, Portola Valley, CA 94028. We also accept donations of appreciated stock. For information, call (650) 85 1-0954.

Acknowledgements

The Members of NACUSA San Francisco would like to recognize with heartfelt thanks the following contributors to the 2002-2003 concert season:

Mark Alburger Mary A. Beeman Rosemary Barrett Byers Patti Deuter Betty M. Eiler Aileen Lee NEW MUSIC Publications Lyn Reyna B.J. Rosw Lusi.jah and Dainuri Rott Peter and Paulina Monaco Jack Morton Ala11 Spool Patricia and James Watt

This concert is presented by the National Association of Composers, USA, San Francisco Bay Area Chapter

Committee for tonight's concert: .. .

Concert Production: Owcn Lcc, Michacl Kimbcll Publicity: John Beeman, Carolyn Hawley, Marilyn Hudson Program: Mark Alburger, NEW MUSIC Publications Programming: Sondra Clark, Nancy Bloomer Deussen, Kathleen Nitz

NACUSA San Francisco Officers

President: Owen J. Lee Vice President: Michael Kimbell Secretary: Joanne Carey Treasurer: I'lana Cotton President Emeritus and Founder: Nancy Bloomer Deussen UPCOMINGEVENTS. . . MARCH2003 11 Tuesday 8:00 PM Mid-South NACUSA Concert RH 12 Wednesday 6:00 PM Mary Druhan DMA Clarinet Recital SOM 115 13 Thursday 8:00 PM Sheri Oyan Graduate Saxophone Recital RH 14 Friday 4:00 PM Jeffery McLemore Masters Saxophone Recital RH 14 Friday 8:00 PM John Marcellus Guest Trombone Recital RH 17 Monday 8:00 PM High Voltage Cinema for the Ears RH LSU COLLEGE OF MUSIC 18 Tuesday 6:00 PM Benjamin Cadle Masters Horn Recital RH 18 Tuesday 8:00 PM Paul York Guest Cello Recital RH & DRAMATIC ARTS 19 Wednesday 8:00 PM LSU Trombone Ensemble Recital RH 20 Thursday 8:00 PM Harumi Kurihara DMA Piano Recital RH School of Music 21 Friday 1:30 PM Donna Lee Piano Masterclass RH 21 Friday 730 PM Opera Performance - Marriage of Figaro UT 23 Sunday 3:00 PM Opera Performance - Marriage of Figaro UT 24 Monday 10:30 AM Stefan Kamasa Viola Master Class RH 24 Monday 8:00 PM Louisiana Sinfonietta Concert RH PRESENTS 25 Tuesday 6:00 PM Chamber Singers Concert RH 25 Tuesday - 8:00 PM- --Terwilliger-Cooperstock Duo - - - -- UT ---- 25 Tuesday 8:00 PM Wind Ensemble Concert UT 26 Wednesday 8:00 PM Strings of LSU RH 26 Wednesday 8:00 PM Philharmonia Orchestra Concert UT 27 Thursday 8:00 PM Select Women's Ensemble Concert RH 28 Friday 8:00 PM Cara Laine McCool Masters Piano Recital RH 29 Saturday 8:00 PM Reduced Shakespeare Company (Great Performances) UT , 30 Sunday 3:00 PM Annabelle Taubl Guest Harp Recital RH 31 Monday 4:00 PM Roland Karnatz DMA Clarinet Chamber RecitalRH 31 Monday 6:00 PM Jennifer Dreispul Senior Clarinet Recital RH 31 Monday 8:00 PM Louisiana Chamber Players Recital RH

UT = Union Theater RH = Recital Hall Concerts at the Recital Hall are free and open to the public (unless otherwise noted). Tickets for performancesat the LSU Union Theater are available through the LSU Union Box Ofice (388-5 128), Ticketmaster, or at the door.

ABOUT THE SCHOOL. . . FOUNDEDON MEBATON ROUGE CAMPUS IN 1931, mE LSU SCHOOLOF MUSIC NOW BOASTS A FACULTY AND STAFF NUMBERING OVER 70, AND A MUSIC MAJOR CONCENTRATION OF NEARLY 450 STUDENTS.THE SIZE AND SCOPE OF ITS CUR- RICULA4OMPREHENSIVE PROGRAMS FROM THE BACCALAUREATE THROUGH THE DOCTORATE-PLACE IT IN THE TOP CATEGORY OF MUSIC SCHOOLS NATIONWIDE. NUMEROUSFACULTY MEMBERS HAVE EARNED NATIONAL AND INTERNATIONAL REPU- TATIONS THROUGH PERFORMANCE AND RESEARCH PURSUITS AND THUS ATTRACT STUDENTS FROM ALL PARTS OF THIS COUNTRYAND THE WORLD.MANY OF THE SCHOOL'SPERFORMING ENSEMBLES ENJOY WIDE ACCLAIM,APPEAR~NG AT ME BER- LIN CATHEDRAL,THE VATICANIN ROME,CARNEGIE HALL IN NEWYORK Cln AND THE KENNEDYCENTER IN WASHINGTON,D.C., AMONG OTHER NOTABLE VENUES. LSU School of Music Website: www.music.lsu.edu Grey Mrjt (2000) Dawn K. Williams Robert Peck, cello

The Bucket (1991) Bill Kelley Kelli Sco,tt Kelley, keyboard, percussion, voice Trip Fuchs, percussion The Clocktower 5 Nightmare Andrea Mitternight Bill Kelley, string-can-board, pipe, voice Maria Di Cavacanti, piano

Ensaios Para Violino e Piano (2003) Maria Di Cavalcanti James Alexander, violin Surf Bites (2002)for tape alone Charles Haarhues Maria Di Cavacanti, piano

Six Bagatelles (1991) Stephen Kemp Sfogato (2002) Carlo Vincetti Frizm I. Allegretto Giocoso Kristen Kean, flute 11. Lento ma non troppo 111. Allegro con moto IV. Moderato cantabile . V Scherzando Childhood Dreams (2001) Godwin Sadoh VI. Maestoso .I. Iwe Kiko Maria Di Cavacanti, piano 11. Iya ni Wura 111. Sasa Kroma IV Olurombi V Variations on Ise Oluwa Octatonic Theme and Variations (2002) Dorian Wesley VI. Nkosi Sikelel' Africa Chris Gongora, euphonium VII. Uqongqotlhwane VIII. Omo Oba Sokoto IX. Badagry X. Nigerian Wedding Dance The Hollow Earth, Op. 70a (2002) Liduino Pitombeira Sallye Jeffcoat, piano Anne Chabreck, alto flute ' Roland Karnatz, bassett horn Ileana Colon, harp 7...... UPCOMING EVENTS LOYOLA AMA'RYMOUN T->UN.IV.ERSIT.Y LMU Guitar and Master Class Series Prese~tts Murphy Recital Hall COLLEGE OF COM.M'LJNICA'130N AND :Fl:NE AR.'I:'S I'he Amadeus Duo in Concert Saturday, ,2003, 8:OorM Dey arimeixt of Music For Tickets Call 310.338.7588 ,:. .... Sz: An Afternoon of chamber Music ~&~h~~&italHall National Association of Coinposers, U.S.A. Saturday, , 2003, ~:oo~M..... ,. : Free . .,, . . Spring Concert of World Music & Dance . r Murphy Recital3Hall Dr. Paul Humphreys, director ...... _ . Saturday, April 12, 2003,8:00~~ Free , .z . . , . %. , 38"' Annual Spring Chorale: Sacred Heart Chapel LMU Choruses Saturday, Ma For T~cketsE a11 3rd1 310.338.7588 2003/ 8PM ...... -. .... -

Robert B. Lawton, S.J.. i...... President ...... :...... Dr. Joseph G;~abbra. ;...... ;..~cademic vice Presid~kt Barbara Busse ...... ~cting Dean, College of Communication & Fine Arts Dr. Suzanne Frentz .....Assoc. Dean, College of Communication &Fine Arts :, ., . )I . <, ;,.;, . :.. ..., .' . .... Dr. Mary Breden ....'. .. .:...... 1...... :. .Chair,Deparlment of Music Dr. Deon Price Acting President, National Association of Composers, U.S.A. Dr. Paul Humpl~reys...... Program.Coordinator and Artistic Director Nes tor Pereira ...... Director, Burns Fine Arts Center - Murphy RecitalHall . .

Paul Holliday ...... Administrative & Production Coordinator

The Department of ~usic'usesKawai pianos exclusively from Piano Warehouse

DEPARTMEN'T OF. MUSIC CONTACT INFO:

'". 'PH 310.338.5386"' FAX 310.338.6046 , " '' ''. MURP.HY R-ECI'TAL M'ALL . EMAIL [email protected] . - " ... WEB www.lmu.edu/colleges/cfa/music' FREE.AND 0,PEN T.O THE COMMUNITY Three Mtisings of Kyekye (1999-2000) Paul Humphreys... 7 Preludes Revisited Mark Saya 1. Takada. No. 14* in E-flat minor (Buoyant, dancing) 2.. Slow Blues . No. 4 in E minor (Fiey) 3. Toccata No. 7 in A major (Serene, expressive)

.No. 5 in D major (Racing) \I Paul Humphreys, piano No. 10 in C-sharp minor (Fierce) No. 11 in B major (Flowing, tempo rubato) No. 19 in E-flat major (Radiant)

* Number in Chopin's Op. 28 Excerpts from.Collage Stiite ~ichaelWilliams : ., :., Wojciech Kocyan,. piano .. , . . . < .... 1. Physique . . : ...... - 2. The Cock and the Swan ...... 3. Beautiful Spanish ~Ancer ... ..~.. *. 4. Lullabye . . ,......

7. Brigades ; - . ... ,.. -(Sur-)Real(cine-)~usic I: The Chase

-. >-i..?. Through...... Escher's Metamorphosen (2000) David S. Lefkowitz Michael Williams, piano :.. 8 . , ...... Jennifer Rotli; flute . ,......

.i,? . .' ,i,.: -. Daphne Chen, yiolin ...... waiter Marsh, Buzz Gravelle, guitar ...... : ,...... < . Cosmopolitan Etudes (2002) Garrett Byrnes

1. Moderato, meditativo 2. Preciso Rhapj;dy '. Duane ~a tro 3. Tagliente, articolato ...... : . . I ..I. . 4. Con fuoco I ... ' . ~ruceBroughten, piano ... 5. Lent0.e sostenuto -Belfnda Broughten;.violin : 6. Vorace e presto . . Michael Will'iams, piano . . . i. ... This performanceis bekg recorded for archiJe and broadcast purposes. .Kindly reserve your applause until the end of each section of the program. - Intermission - ... 11 PROGRAMNOTES 11

Paul Humphreys teaches, composes, writes, and pdrfoms in Los,Angeles where he is Assistant Professor of Music and Director of World Music Ensembles at Loyola Marymount University. He has published and presented papers based upon ethnomusicological field work conducted in Ghana, Japan, and the Southwest Pueblo region of the United States. In addition to the work presented on this program, compositions that reflect and interpret culture-specific sensibilities of place include a chamber opera Cabeza de Vaca-A Ghost Play in the Style of Noh (1987), A Legend of Lao Tse-Thirteen Scenarios for Mezzo Soprano and Piano (1998), and Gending ~~bekor(with I Dewa Berata; 2001). In Three Musings of Kyekye, I draw upon experiences as a student of traditional West African or gyil. Within the repertoires of this instrument, a song frequently serves as the basis for compositions that combine accompanying ostinati and variation procedures to produce a clearly etched, almost "tactile" form of two-part counterpoint. The performer has considerable liberty in realizing such compositions, allowing the pace of variations and incidence of reprise elements to be suggested by circumstances of a specific occasion. In Northern Ghana, for example, gyil are frequently used to provide music for dancing that celebrates the memory of an individual who has recently passed away. Movement one beg& with a melodic figure that "cuts across" the metric framework of a rhythm in 128 that is associated with takada, a dance genre of tlie Volta, Region in Eastern Ghana. The ostinato that embodies this rhythmic phrase continues with variations throughout two large cycles that comprise the body of the piece. Ideas within Movement two are unified within the framework of another cyclic form, the African-American twelve-bar blues. Polychords enrich the traditional harmony in both eycles of the progression. The third and ha1movement is a lyric toccata in lo8. The title of the work makes referenck to a Ghanaian (Akan) proverb: "Kyekye (the North Star, pron. 'chyeh- chyeh') is fond of marriage." Each "musing"celebrates a marriage and is dedicated to the couple whose wedding ceremony it commemorates. The work as a whole is dedicated to J. H. Kwabena Nketia.

Michael Williams composes for a wide range of musical styles and purposes, from prize winning contemporary symphonic concert music, concert choir, chamber and solo piano works to avant-garde electronic music. Christian, Hebrew and popular songwriting, jazz, television ahd film. His new jazz group "1 40 4 20has released two albums (on Pocket Jazz Records): Jazz Trespassers and Wet, to critical acclaim. Mr. Williams' music and piano performance is featured in the recent film The Limey from Universal Pictures. As a columnist, his articles have appeared in Electronic Music Educator, Klavier and Computer Music Journal. MGW is well kriown in the computer industry as an expert in operating system design, system hardware design and computer chip functional design. He serves full time as the Chief Technical Architect for Nokia's Internet Communications division. He was the author of the music, MIDI seq~encing,typesetting and printing program Superscore, and consulted on the design of the original music font for general use "Sonata" with Adobe Systems. His name appears in two IEEE international computer standards. I Mr. Williams has served as director of contemporary music at Ascension Lutheran Church in Thousand Oaks, and for the Rothstein conservative temple in Woodland.Hills,CA. He has served as accompanist or organist for numerous churches, temples, colleges and master classes in Southern California. As an accomplished classical pianist, Michael Williams twice won the Northridge Chamber Music award, and has premiered works written for bun by composers such as Jeffery Cotton and Jeff Rona. In the last five years, Michael Williams has composed five musicals for children and youth; music for the television series Chicago Hope; scored scenes for movies such as King of the Hill, Forever Younger and House of Yes; a new trio for the Westlake Chamber Ensemble; over sixty songs for use in Christian worship; over forty songs for his instrumental jazz group; a concert march for symphonic band; an orchestral tone poem; and numerous contemporary pieces for solo piano. I Mr. Williams taught music composition at UCLA extension. He studied composition and piano performance at California State University Northridge and at the Eastman School of Music, where he won the Howard Hanson Prize for orchestral composition. He lives in Ventura County, California. Italian concert pianist Roberto Prosseda recorded a collection of Michael Glenn Williams piano works for AIX media group. Garrett Byrnes is currently pursuing his doctorate at Indiana University where he is associate instructor of compositioni: B Principal teachers have included Sven-David Sandstrom, Chen Yi, Don Freund, David Dzubay, and Larry Bell. He has received awards and scholarships from the National Association of Composers USA, Southeastern Composers' League, Tampa Bay Composers Forum, Contra Costa Chamber Orchestra, Indiana University, Peabody Conservatory, the Boston Conservatory and ASCAP. Recent performances have included The Stars Shall Look Not Down for flute choir and orchestra, Five Pieces for Cello & Piano, Triptyclysm for percussion trio, and Visions in Twilight for solo harp, performed at the 8th World Harp Congress in Geneva, Switzerland. This set of six etudes for piano was written while on vacation in Europe at the end of July 2002. Four of the etudes were written in Italy, one in France and one in Switzerland. All were written during the tranquil train rides from one city to the next. I consider them etudes in composition as well as technical etudes for the pianist since I was determined to compose one etude per train trip. I relied on familiar procedures and techniques, established simple forms and guidelines, and except for the last etude in the set, managed to complete them all within the beautiful two to five hour rides.

Mark Saya (b. 1954, Michigan City, Indiana) studied composition at Indiana University South Bend and the University of Cincinnati College-Conservatory of Music. He currently is an Associate Professor of Music at Loyola Marymount University in Los Angeles. An active composer, his works have been performed throughout the country, including performances at the Great Hall of Cooper Union, Alice Tully Hall, the Kennedy Center for the Performing Arts, and many major universities. Although he writes for a variety of genres, he specializes in vocal works, both solo and choral, and works for instrumental chamber ensembles, particularly percussion. Several of his works, including The Murphy Sonata, for solo vibraphone, 7 Preludes Revisited, for solo piano, and From the Book of Imaginary Beings, for three percussionists, have been published by Inter-~edia'pressMusic. He has received awards from ASCAP, BMI, New England Conservatory, the Ohio Arts Council, and the Society of Composers, Inc. Each piece in 7 Preludes Revisited is a transformation of one of Chopin's Op. 28 preludes. The basic method of transformation is to eliminate much of the original prelude, then manipulate the remaining material in a variety of ways with one important restriction: each chosen note must remain in the same rhythmic place as it was in the original. Thus the transformed preludes accurately map back onto their sources. In a sense these new pieces have always been there, waiting to be extracted, waiting for someone to "let them out." In some of the preludes, such as the A major, the selected notes were chosen intuitively; in others, like the E-flat minor and D major preludes, a pre-compositional rhythmic frame helped to lirmt pitch choices. In the B major prelude pitches are both eliminated and accumulated. Repeat signs as used in the E minor, D major and E-flat major preludes create temporal "bulges" in the music, transforming the structural shape of the original without violating the mapping restriction. Parallels to this technique can be found in the writings of Tom Phillips, the paintings of Mark Tansey, the graphic analyses of Heinrich Schenker, and the music of John Cage.

David S. Lefkowitz was born in 1964 in New York City. As a child he studied bassoon, clarinet, and piano. He received his bachelors degree from Cornell University where he studied composition with Pulitzer Prize winning composer Karel Husa. He then went on to University of Pennsylvania, studying with Pulitzer Prize winner George Crumb and receiving his M.A. in 1990, and The Eastman School of Music, studying primarily with Pulitzer Prize winner Joseph Schwantner and Samuel Adler, completing his Ph.D. in 1994. As a composer Lefkowitz has won international acclaim, having works performed in Switzerland, Japan, China, Hong Kong, the Netherlands, Great Britain, Canada, and Israel. He has won National and International Competitions, including the Fukui Harp Music Awards Competition (twice), and the American Society of Composers, Authors, & Publishers (ASCAP) Grants to Young Composers Competition. In addition, he has won prizes and recognition from the National Association of Composers, USA, the Guild of Temple Musicians, Pacific Composers' Forum, Chicago Civic Orchestra, Washington International Competition, Society for New Music's Brian M. Israel Prize, the ALEA I11 International Competition, and the Gaudeamus Music Week. He has also been a Meet- The-Composer Composer in Residence. He is currently writing the music for a ninety-minute dance-drama, commissioned by the Chma National Opera and Dance-Drama Theatre of Beijing, China. He is an Associate Professor of music theory and composition at University of California-Los Angeles (UCLA). [Sur-)Real (Cine-)Music I, written for and commissioned by the Cygnus Ensemble, is a musical' analogue to a combination of two different cinematographic-or at least visual-images. The first image was that of a frenetic movie "chasew-notof one person chasing another, though, but rather one person frantically chasing time, and losing in the process. The second group of images was M.C. Escher's Metamorphosis I, II, and III in particular (and much of ~scher'sart, in general), in which checkerboards turn into reptiles, which turn into birds, and so on, and in which vertical surfaces quite suddenly and unexpectedly turn into horizontal surfaces, up turns into down, and in which people can climb up stairs indefinitely while continuing to descend. Similarly, in the music twelve-tone lines suddenly and unexpectedly turn into tonal lines and vice-versa. In sum, the listener is invited to imagine any surreal chase scene, in which the chaser becomes the chased, the faster they move the slower the motion, and opposites are impossibly similar. (Sur-)Real (Cine- )~usicI was written in less than two weeks, from through ,2000, originally with oboe. This is the premiere of the version with flute. A I . Duane Tatro, a native of Van Nuys, California, has composed extensively for television and film as well as writing live concert media works for orchestra, wind ensemble, chamber ensembles, and electronic instruments. In his early career, he worked professionally as an instrumentalist, playing clarinet, saxophone and bassoon. Mr. Tatro studied with composers' Arthurs Honegger, Darius Mihaud, Halsey Stevens, and George Tremblay. He received his Bachelors degree from the University of Southern California, with additional studies in Paris France. He is listed in the lnternational Who's Who in Music (1975), the (1955), and the Dictionary of International Biography (1976). His film and television credits include: Hotel, Dynasty, Loveboat, Matt Houston, Glitter, Hawaii Five-0, Bamaby Jones, Tales of the Unexpected, Most Wanted, Super Star, Manhunter, Cannon, Streets of San Francisco, Cades County, M.A.S.H., Mission Impossible, Mannix, Australia, A Timeless Land, and many Movies of the Week. Mr. Tatro has participated in Meet the Composer programs at both San Diego and New Mexico State Universities, where he lectured on 20th century music and composing for films. A selection of his most recent concert works includes "Fantasia", for concert band, premiered at the Society of Composers, Inc. Conference, University of Hawaii (1999), "Untitled Lament" for Mixed Chorus and Chamber Orchestra (1999), and "Capriccio"for flute, viola, and harp (2000). 1 The "Fantasy Variations" are dedicated to my wife Franqoise.

I

PERFORMERS

I

Belinda Broughton began performing concertos is a child with the New Zealand Symphony Orchestra. At the age of 12, she performed the Mendelssohn Concerto for Queen Elizabeth I1 at a Royal Command performance in New Zealand. At 18, having moved to London two years earlier to study with Alfredo Campoli, she joined the London Philharmonic Orchestra and was later assistant concertmaster with the London Symphony Orchestra. She has performed as concertmaster with the Royal Opera House Covent Garden, English National Opera and BBC Symphony Orchestra. She eventually left the orchestra to work freelance in London, recording music for films, television and records. She toured England, Europe and the Middle East as a member of the Lake Piano Trio. In 1997, she married composer and moved to Los Angeles with her two sons, where she has continued her recording and performing career. In addition to her studio work, she has played with various chamber ensembles, including the Maestro Foundation and Pacific Serenades, and has been guest concertmaster with the Los Angeles Chamber Orchestra and the New West Symphony.

I I Bruce Broughton has composed numerous scores for film and television, receiving an Oscar nomination for Silverado and seven Ernmys for his work in television. His concert works include Fanfares, Marches, Hymns 6 Finale for brass and percussion, English Music for horn and strings, a piccolo concerto, a tuba concerto and many pieces for solo and chamber ensembles. I

Daphne Chen is a freelance musician in Los Angeles. She has played in the orchestras of Spoleto Festival (Italy) and Pacific Music Festival (Japan), performed new music for the Green Umbrella series of the L.A. Philharmonic and Microfest 2002, and served as string contractor/leader with such popular artists as Mariah Carey, 'N Sync and Destiny's Child for shows such as the ~rarnm~sand American Music Awards. In addition to classical and recording work, she performs regularly with rock string quartet, The Section, as well as a new band, Tango Nuevo. Most recently, she performed on the American Music Awards with Christina Aguilera, as the newest member of MASS Ensemble for the opening of the new Mondavi Performing Arts Center in Davis, California, with the New Century Players in a world premiere Green Umbrella concert, for an event benefiting Aids Project Los Angeles, and with multi-media theatrical production By the Hand of the Father on PBS' Austin City Limits.

I Buzz Gravelle is a music educator, scholar, and performer. As a member of the Modem Arts Guitar Quartet (1990-1995) he performed regularly in Southern California,as well as Germany, Austria, Italy, Mexico, and the Pacific Northwest. He currently performs frequently in the Los Angeles area in both classical and jazz settings. Buzz and his wife are the founders and directors of the Santa Monica Academy of Music. Buzz teaches approximately forty guitar and piano students each week, in addition to managing the Academy's fourteen instructors and staff. He holds both a Master in Fine Arts and Doctor of Musical Arts degree from University of California, Los Angeles, with classical guitar as his primary instrument. He enjoys performing and composing modem music for the guitar. Walter Marsh studied classical guitar and composition with Theodore Norman at UCLA where he received his MFA in Classical Guitar Performance in 1995. From 1991 through 1995 he was a member of the Modem Arts Guitar Quartet, performing new works written for and by the quartet. Since 1994, Mr. Marsh has been at the Pasadena Conservatory - where he has worked as a ptar instructor and administrator. He is currently the Associate Director of the school.

Wojciech Kocyan was born in Poland. He studied piano with Krystyna Moszynska in Gliwice and with the renowned Professor Andrzej Jasinski at the Karol Szymanowski Academy of Music in Katowice, from which he graduated with the highest honors. He received the Doctor of Musical Arts degree from the University of Southern California where he studied with Master Teacher John Perry. Currently, Dr. Kocyan serves on the faculty of Loyola Marymount University in Los Angeles. Mr. Kocyan is the First and Special Prizes winner of the Paderewski Piano Competition in Bydgoszcz and a laureate of several international piano competitions, including the Busoni in Bolzano, Viotti in Vercelli, and Bellini in Sicily as well as of the Wideman Piano Competition in United States. He has received special prizes at the M Chopin International Piano Competition in Warsaw and awards from the Minister of Culture of the Republic of Poland and from the Barbara Piasecka-Johnson Cultural Foundation. His concerts have taken him to all continents. He has performed in recital and with orchestras; participating in music festivals such as Musica Antiqua Europae Orientalis, Bydgoszcz International Music Festival, Festival Noord Holland, Capri Summer Music Festival, FestivAlps and the Paderewski Festival. He was honored to be the final gala concert soloist of the Polish Piano Festival and performed at the opening concerts of the Fourth International Paderewski Piano Competition (with Maestro Jerzy Maksyrniuk) as well as the H.M. Gorecki Festival. Mr. Kocyan has recorded for the Hungarian Radio and Polish Radio, Television and film. His performances have been broadcast in America and Australia. His recordings of music by Schumann can be found on the Studio Classics label. His chamber music CD Hommage a Carlos Guastavino with clarinetist Jan Jakub Bokun was released in 2001 on the DUX label. A solo CD with works by Radunaninoff, Scriabin and Prokofieff, released on the same label in October 2002, was recently nominated for the "Fryderyk" Awards in the Best Solo Album of the Year category. (The Fryderyk Awards are a prestigious Polish Recording Academy Award, similar to the Grammys.)

Jennifer Roth is a graduate of Eastman School of Music andCalifornia Institute of the Arts. She is a soloist and chamber player, and an avid performer of new and improvised music for flutes. Jennifer performs regularly with the Los Angeles Flute Orchestra, the West Coast's only 12-member flute choir. They will be featured in concert at the 2003 National Flute. Association Convention in Las Vegas this year. Jennifer has appeared with Vinny Golia's Large Ensemble, MESTO (Multi-Ethnic Star Orchestra), and as a soloist at The Smell, Rocco's and Cantor's Kibbitz Room in Los Angeles. Jennifer is an accomplished instructor of flute and woodwinds, and teaches at Santa Monica Academy of Music, Plaza de la Raza (Los Angeles), and Canoga School of Music (Canoga Park). She also maintains a studio of private students in Los Angeles. LSU COLLEGE OF MUSIC LSU COLLEGE OF MUSIC & DWTICARTS & DRAMATIC ARTS School of Music School of Music

PRESENTS PRESENTS

Ghost Orchid (2004) Stephen Yip

Ethnic Mosaic (1978) Max Lifchitz

Two Absinthian Dances (2003) Anthony Wardzinski I - Submersion I1 - Undertow

Intermission

Four Characteristic Pieces (2002) William Toutant I - Eccentric I1 - Nostalgic III - Bureaucratic IV - Academic

Re:pair for Flute and Bassoon (2001) Alex Shapiro

Repercussions and Reflections (2002) Daniel Kessner

Please join us for a reception following the concert.

PROGRAM NOTES

Born in Los Angeles in 1946, Daniel Kessner received his, Ph.D. with Distinction at UCLA in 1971, studying with Henri Lazarof. He joined the faculty at California State University, Northridge in 1970, where he has taught composition and theory ever since. In 2001 he entered an early retirement program which has him teaching every other semester. He has written 90 compositions to date, which have received more than 450 performances worldwide, and of which 15 have been commercially recorded. Recipient of numerous prizes, including the Queen Marie-Jose Prize in Geneva, he was honored last year with an appointment as Fulbright Senior Scholar to lecture at the Musikhochschule in Trossingen, Germany.

A native Californian, Anthony Wardzinski was born in Northridge in 1973. He studied composition with Daniel Kessner, Mark Bobak and George Heussenstamm at California State University, Northridge receiving his Bachelor of Music, Cum Laude in 1997 and completed his Master of Music, with Distinc- tion in 2000. Mr. Wardzinski is an active performer on the bassoon, mostly playing contemporary chamber works in the Los Angeles and Conejo Valley area. His primary teacher was Michele Grego of the Los Angeles Philharmonic. Currently, he is Adjunct Professor of Music Theory at Moorpark Col- lege. ,I

Joe Lawrence, born in Long Beach and raised in a suburb of Seattle, has been performing and teaching in Los Angeles since 1985. He is on call as a solo pianist, rehearsal pianist for operas, musicals and voice classes, accompanist, arranger and teacher. Graduating &om California State University, Northridge, he studied piano under Dr. Charles Fierro and Ms. Francois Regnat. He studied composition under Dr. Daniel Kessner. Currently, he is on stlaff at Los Angeles Pierce College as dance class accompanist. Also, Mr. Lawrence is music director at Mt. Hollywood Congregational Church where he is the pianist and choir director. I

Stephen Yip was born in Hong Kong, '1971. He obtained his bachelor degree with first-class honors in music composition at the Hong Kong Academy for Performing Arts. In the summer of 1995, he at- tended Aspen Music festival with a fellowship. In 1997, he attend the Asian Composers' League in , as a representative of Hong Kong and the same year, he came to the United States to begin graduate studies at , Houston, Texas with Professors Ellsworth Milbum and Arthur Gottschalk. He received the Doctorate of Musical Arts in composition in 2000. Dr. Yip has served as Music Director at Notre Dame Church 1999-2003 and as one of the music panelists for the Cultural Arts Council of Houston 2001-2003. Now he serves Christ the Redeemer Church as Music Director. His Flute Concerto, "Shun" :won the "Haifa International Composition Prize" in the year of 2003 in Haifa, Israel.

Ghost Orchid was inspired by a Japanese floral design exhibition, "Origin on Ikenobo" in Houston. One of the floral designs in Ikenobo's style is "Shoka," which originates in the 18th century. It is simple and traditional. However, it has unlimited possibility to create natural beauty. It uses only one theme with three materials: flower, leaves, and branches to express life's perpetual change and renewal. The passage of leaves through branches, arid buds, to open blossoms suggests the flow of time from past, to present, to future. In this composition, flute, bassoon, and piano are my basic materials. And I tried to

There -are four sections linked together in this piece, without break. In the first section, it starts in a moderate and flowing tempo with different long and short melodic lines. The second section is more sustained, simple and siciliana dance style. The third section is fast and emotional. It has a contrasting idea, which emphasizes short notes. The final section is slow and calm.

Max Lifchib was awarded first prize' in the 1976 International Gaudeamus Competition for Perform- ers of Twentieth Century Music held in Holland. Trained at The Juilliard School and Harvard Univer- sity, Mr. Lifchitz has appeared in concert and recital throughout the US, Latin America and Europe. His latest CD, Diversions CNorth/South Recordings No. 1026). elicited the followine comments from Gramophone Magazine: "Lifchitzhas devised a charmingprogramme ofpreviously unrecordedpieces .. . His affectionate playing provides surprising emotional weight ... Beautifully recorded album ... Recom- mended "

Ethnic Mosaic was written in 1978 with the assistance of a Meet the Composer grant. It is in three movements performed without pause. The first movement features the bassoon; the second, bassoon and flute; and the third, flute, bassoon and piano. Its language is very eclectic, incorporating musical materials commonly perceived as contradictory and mutually exclusive. Elements culled from these contrasting sources appear and reappear at unexpected moments in the musical discourse. The music is demanding and affords the performers ample opportunity for technical display. The first movement opens with a mysterious timbre trill in the bassoon's high register. It gradually gives way to a boogie-like middle section before concluding by combining keystrokes with vocal sounds. The second movement opens with the flute imitating the key slaps of the bassoon. Eventually the music moves into dance-like sections, one built around the clave rhythm and the other in 7/8 meter built around a Greek scale with two augmented seconds. A few metrical modulations ensue. The liquidation of the dance like motives brings the movement to a close. The third movement opens with consecutive lyrical solo lines in the flute and bassoon. The first piano gesture calls for plucking directly on the strings of the instrument. The three instruments engage in an eclectic conversation that grows in inten- sity. The climactic moment for the piece is reached when the piano starts playing a blues-derived figure in 4/4 while the winds recapitulate previous materials in 3/4. The timbre trills in the bassoon that opened the piece make a reappearance to signal its conclusion.

Two Absinthian Dances is a piece, though not entirely programmatic nor biographical, of despair and ultimately selfdestruction. They are not true dances, but both begin with a very strong metric ground- ing and constant subdivision of the beat, which gave me a feeling of a waltz in the case of the first movement and images of a dervish for the second. The relation to absinth is one of distant association; the music is inspired by bitterness like that of wormwood, once a primary ingredient of the liqueur. Both movements are composed fiom a four note motive that is developed throughout the entire work.

William Toutant was born in 1948 in Worcester, Massachusetts. Educated at The George Washington University and Michigan State University, he received training in composition, musicology, and con- ducting. Robert Parris, George Steiner, H. Owen Reed, and Jere Hutcheson were his principal teachers. His music has been performed in the United States, Latin America, and Europe. He was an annual participant in the "Romanian-American Music Days" festival in Constants, Romania fiom 1995 through 1998. In 1997 and 1998 he served as the American Executive Director of the festival. He joined the faculty of California State University, Northridge in 1975, and is Professor of Music and Dean of the College of Arts, Media, and Communication. He hosts the weekly radio show "The KCSN Opera House" on the Los Angeles station KCSN, broadcasting at 88.5 FM, and over the internet at www.kcsn.org.

The Four CharacterMc Pieces were originally composed in 1993 for the Trio Neos, who premiered it that year in Mexico City. The original instrumentation is clarinet, bassoon and piano, but the composer arranged the clarinet part for flute in 2002 for the present performers. The first movement is "Eccentric" in that the main musical motif is "eccentrica11y~'notated, sometimes on the beat, and sometimes off the beat. The "Nostalgic" movement has several quotations fiom pieces I composed in the 1980s. The third movement is a musical exercise in motion without movement, and the fourth is a fugue, sometimes considered a rather "academic" musical process.

Alex Shapiro (Born in NYC, 1962) was educated at The Juilliard School and Manhattan School of Music, with additional studies at Mannes College of Music and the Aspen Music School. She studied composition with Ursula Mamlok and John Corigliano and later moved to Los Angeles, where she composed scores for feature films, television shows and documentary projects for many years before returning her focus to concert music. Published by Activist Music, her chamber works are heard weekly in concerts and broadcasts across the U.S. and internationally, and can be found on the Cambria Master Recordings, and Millennia Arts labels. Ms. Shapiro is an active participant in the Southern California music community, and is President of the Board of the The American Composers Forum of Los Angeles, as well as the moderator of ACF5A's popular Composer's Salon series in Hollywood; she has also senred as an officer of national music organizations including NACUSA, The College Music Society, and The Society of Composers & Lyricists. Among Ms. Shapiro's honors and grants are those from The American Music Center, ASCAP, the American Composers Forum and Mu Phi Epsilon, and she has been awarded artist fellowships from The California Arts Council and The MacDowell Colony. Alex resides in Malibu and Santa Barbara, California, and when she's not explor- ing the tide pools, she fiequently updates her website, http://www.alexshapiro.orgwith concert infor- mation and audio clips of each of her pieces.

I Re:pair was originally written for two baroque flutes, and much of the piece was inspired by the meters and modality of early music. I had fbn breaking some moldy rules against parallel motion in the recur- ring theme of bouncy intervals of fifths. The duo begins tranquil and paired and gradually journeys toward moments of isolation and bitonal conflict before once again pairing up and ending sweetly. triple entendre: fixing something that,in some cases is... baroque (ouch), having to do with a duo, and then having that duo musically deconstruct and pair up again.

Repercussions and Reflections was written for tonight's performers. The first section is extremely opening, eventually moving smoothly into an extended allegro and a closing return which exceeds the aggressiveness of the beginning. Tonight S Trio will performing on Sunday aflernoon at 4pm on the In Praise of Music Concert Series at Church of thr Lighted mndow in La Canada, California. They will be joined by violinist Claire Mar- tin, clarinet Gary Robertz andpianist Joseph Klice. The concert includes music by C. Saint-Saens, Michael Pepa, William Toutant, Alex Shapiro, Anthony Wardzinski and Daniel Kessnel: There will be apanel discussion of the composers at 3pm fiefore the concert). The church is locatedat 1200 Foothill Blvd. in La Canada, near the intersection of the 2 and 21 0 Freeways. A donation is requested at the door. There is convenient fiee parking at the church.

This concert is funded in part by a grant from the City of Culver City Art in Public Places, NACUSA-Los Angeles and private donors.

In granting the Civic Center Permit to use West Los Angeles College Fine Arts Theatre, the Board of Trustees does not sponsor or endorse NACUSA's use of the District facility.

The National Association of Composers

Oficers' Council - President: Deon Nielsen Price Vice Presidents: David Lefkowitz, Barbara Bennett, Daniel Kessner Treasurer: Anthony Wardzinski Secretary: Jeannie Pool President Emeritus: Marshall Bialosky Board of Directors, Chair: Jeannie Pool Webmaster: John Winsor ComposerNSA Editor: A1 Benner Los Angeles Chapter President: Daniel Kessner

Upcoming -

On May 22,2004, NACUSA-Los Angeles will present the final event in its 2004 series of Concerts of Living Composers. A Choral Concert of Music for Worship by Deon Nielsen Price in Celebration of her 70th Birthday will be presented at 7:00 pm at the historical Los Angeles Stake Center, 1209 South Manhattan Place, Los Angeles (near Western and Pico). Voce Angelicus (El Camino College women's choir) and the Southern California Mormon Choir will be featured. Free admission, parking and refreshments! For more information call: 8 18-249-5676

Deon Nielsen Price The El Camino College Women's Chorus, Voce Angelcus, smgs many styles of choral literature on campus and community concerts. Dr. Joanna Nachef is Director of Choral Activities at El Camino College, hstic Director of Los Cancionem Mmier Chorah and Choir Director at Peninsula Community Church.

The Southern Calibm'a Mormon Choir, organized under the auspices of the Church of Jesus Christ of Latter-day Saints, is a founding member of the Los Angeles Music Center and has been performing concerts of classical, sacred, folk, patriotic and popular choral music throughout the Southern California area since 1953.' Recordings include. We Sing Amerito and Songs $ Chndma~. Frank Turner, Professor of Music at Santa Monica College, has directed more than fifty musical thea~eand opera productions.

Deon Nielsen Pn'ce, Doctor of Musical Arts, is a commissioned composer, prize-winning pianist, published author, and veteran music educator. Studying composition with Samuel Adler, Leslie Bassett and Halsey Stevens, and piano solo and collaboration with Carl Fuerstner, Benning Dexter, Aube Tzerko, Daniel Pollack, Brooks Smith and Gwendolyn Koldofsky, she earned degrees with honors at Brigham Young University and the Universities of Michlgan and Southern California. President of the National Association of Composers, U.S.A., she also is a foriner president of the International Alliance for Women in Music. A recipient of grants and commissions from Arts International, Barlow Foundation, ASCAP, American Composers Forum, Mu Phi Epsilon, Alaska and Midwest Arts Councils and Meet the Composer, she performs and lectures throughout the United

, States, Europe, and Asia. Her insmental chamber music is recorded on Cambria Master Recordings: SwnRqs, SwnRqs II:City Views, Chrphonia, and Amerito Themes. Audio' excerpts and a catalog of her published compositions and texts for pianists are o&e at www.CulverCrest.com

Dr. Price has served on the adjunct music faculties of California State University at Northridge, the University of Southern Califoinia, University of California at Santa Barbara, and El Camino College. In her role as church organist and choir director, she has arranged Eamiliar hymns and composed many new chorales, hymns, anthems and cantatas for ensembles ranging from quartets to large festival choirs of 250 - 1000 at the Sports Arena, Rose Bowl, and SheAudtorium. From 1982 through 1996, she directed the annual Santa Monica Community Messiah Sing-Ins, which featured a Baroque orchestra, soloists, and singers of many faiths. Deon is married to KenahIlr 0. Price, PPD. They are parents of five children and grandparents of sixteen many of whom are performing musicians. Deon and son, Dr. Berkehy Pke, tour internationally as the PRICE DUO.

Jeannie Pool, Ph.D., Chaqerson of the Board of the National Association of Composers (NACUSA), is the producer of this fourth and final concert in the Spring 2004 series of Murit 5~Living Composers presented in Los Angeles by NACUSA. The support of the Los Angeles, Santa Monica and surrounding Stakes of the Church of Jesus Christ of Latter-day Saints, the help of many family and friends, and the rehearsal time and performance by all the singers is greatly appreciated.

For CD recordings of this program ($lo), write Culver Crest Publications, PO Box 4484, Culver City, CA 90231-4484; OR telephone 310/838/4465; OR visit www.culvercrest.com

NACUSA HOUSE CONCERT December 5, 2004 Culver City, CA Program

Mary Lou Newmark: from "Street Angel Diaries" for violin, percussion and boombox. Performed by the composer.

Mary Lou Newmark, violinist, composer, and poet holds Masters Degrees in Violin Performance and Composition. Currently, she is on the performing arts faculty at the Windward School and will be performing her latest multimedia work about the homeless, "Street Angel Diaries" on February 27,2005 on the Leo Baeck Temple Concert Series.

Margaret S. Meier: "Morning in the Garden" for piano solo. Performed by the composer.

This piece was commissioned for Estelle Broussard Schlueter, and the themes are based on the letters of her name.

A 15-year ASCAP award winner, Meier teaches at Mt. San Antonio Community College and maintains a private studio. Two of her orchestral works and her a cappella Mass for the Third Millennium are recorded on the Vienna Modern Masters label. Her piano concerto, For Joy that a Woman Child is Born, will be premiered by the Claremont Symphony Orchestra with pianist Barbara Rogers on March 13, 2005.

Carol Worthey: "Cadence for Olivia" for Flute & Piano - premiere. Performed by Dan Kessner, flute and Michael Williams, piano.

Carol Worthey has had works at Carnegie Hall, Dorothy Chandler Pavilion, St. Martin-in-The-Fields and Aspen Music Festival. A student of Darius Milhaud, Vincent Persichetti and Walter Piston, her works have been performed in nine countries to date. She is proud to be a member of Mu Phi Epsilon LA Chapter, NACUSA and IAWM. "Cadence for Olivia" is a joyous work written for the birth of a baby, Olivia Cade, hence is in the spirit of Christmas. Carol uses the baby's name for inspiration, C-A-D-E, circular I

' melodies to reflect the ."0"in "Olivia" and falling rnotifs,.after one of the meanings of."cadence" from the Latin "cadere", to fall. ,-

David Rubenstein: frorri Curious Assortment The Ping Pong Prelude; Short Piece with Tango Inside

http:l/shadowhillsmusic.com/AboutDavidRin.html i 1 The pieces in this collection are ... meant to represent the peculiarity of the subconscious world rather than reality. What does a volley of ping pong sound like on thepiano. .. the results of my research are heard in The Ping Pong Prelude. ..: short ' Piece. with Tango Inside: begins with .short, conversational motifs against an ostinato accompaniment. A tango inexplicably appears on the scene and promptly departs as the opening ostinato reappears. It is up to the listener to decide the raison d'etre of this

tango." - I I ' Daniel Kessner: Tous les matins ... (1997) for solo bass flute I - Tous les matins ...; II - Dance; Performed by the composer. I Daniel Kessner is. ~rofe'ssorEmeritus at California State University, Northridge, where he has:taught composition and theory for the past 34 I years. He has been a member of NACUSA since the late sixties, currently serving as National Vice President and Los Angeles Chapter President. I I Marshall Bialosky: Four isketches on Jewish Folksongs. Performed by Delores Stevens, piano. I I Marshall Bialosky is President Emeritus of NAC USA and Professor Emeritus of California State University, Dominguem Hills. Delores Stevens is one of NACUSA's ohtstanding honorees, awarded for her many performances of new music.

Desn Wielsen Price: "Rise Up!" from the film, The Light - premiere. Performed by PRICE DUO, Berkeley Price, clarinet; Deon Nielsen Price, . I . I " piano . . , . . . . , ...... I I "Rise Up" is comprised of hvo cues from the film trilogy, The Light, which have been freely adapted for clarinet and piano. Deon Nielsen Price, D. MA., is President of NACUSA and on the Board and former president of the International Alliance for Women in Music (IAWM). Her degrees in piano and composition are from Brigham Young University, University of Michigan and University of Southern California. She performs widely in the PRICE DUO with her son Berkeley Price (D.M.A. Eastman School of Music).

Jeannie Gayle Pool: "Otoiion from The Four Seasons - for clarinet and piano. Performed by PRICE DUO.

A celebration of autumn, the joys of the changing season, the cooler temperatures, the renewed vigor and commitment to life's work that sweeps us through the season in the winter holidays, this work was composed for the Price Duo in 2002

Jeannie Gayle Pool, Ph.D., currently teaches undergraduate harmony, solfege, and music history at Mount Saint Mary's College Chalon campus. She is a music consultant to the music department of Paramount Pictures, where she has archived its film scores.

Michael Williams: Two Airs from "Sad, Lovely and Melancholy Airs" for flute and piano . Daniel Kessner, flute; Michael Williams, piano; "Sprite" for solo piano - premiere. Performed by the composer

The airs were written for the Danish flutist Janne Thomsen and the Italian pianist Roberto Prosseda. I was hoping to give them some inspiration to grow their relationship around. Since I sent 'the piece they haven't seen each other due to schedules! "Sprite" was composed for this occasion. The title refers to something small and magical, not the computer kind. A of !multi-faceted Michael Williams,. Treasurer of NACUSA, appears in the current issue of ComposerIUSA. .

Adrienne Albert: "Windswept" for clarinet and piano. Performed by

PRICE DUO . , . . Besides keeping up with her many composition commissions and activities, Adrienne Albert is currently serving as President of Mu Phi Epsilon, Los

. Angeles-A1umn.iChapter. , ...... , .

The proclamation was signed by Deon Nielsen Price, President; Marshall Bialosky, President Emeritus; and Jeannie Pool, Secretary. Mu Phi Epsilon, represented by David Champion of California State University, Dominguez Hills, also presented Delores Stevens with a certificate of honor for her service to Mu Phi Epsilon and for advancing the cause of contemporary music.

A pianist whose professional career has shined with many facets, Delores Stevens achieved early success by winning the coveted Coleman Chamber Music Competition in Pasadena California. Later, as a member of the Montagnana Trio, she was to give over 500 concerts throughout Europe and IVorth America. She has received many accolades for her inispired performances of contemporary music. For example, Los Angeles Times music critic Daniel Cariaga described her collaboration with violinist Paul Zukovsky as "...the definitive performance." And Newsweek's Alan Rich wrote, 'She tamkd (this) energetic, unruly, immensely challenging music with splendid technique ... All of her program demonstrated her special mastery." At home on the international concert stage, Delores Stevens toured Japan twice in the 1990s; most recently under the auspices of the US State Department. She has recorded for 16 different record labels in all genres of music from Hindemith to Mozart, and her solo piano CD recording Pilgrimage is available on the Dominguez Digital label. Always a tireless champion of new music, she has commissioned and premiered works by' more than three dozen composers. In addition, in 1988 she was awarded a 6-year Touring Solo Artist Grant from the California Arts Council.

Co-founder and co-artistic director of the Martha's Vineyard Chamber Music Society, she has also served three terms as governor of the National Association of Recording Arts and Sciences (NARAS) in Los Angeles. Delores Stevens served as director of piano studies at California State University Dominguez Hills and of chamber music at Mount Saint Mary's College. She is Director of the Young Musicians' Foundation Chamber Music program and co-Director of Chamber Music Palisades.

The concert was introduced by Sister Teresita Espinosa, Chair of the Mount Saint Mary's College Music Department, where Delores Stevens has taught since 1960. I

Photo: Delores Stevens and sister: Teresita Espinosa, Chair of Mount Saint Mary's College Music Department. Photo by Jeannie Pool.

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Photo: Marshall Bialosky, Deon Nielsen Price and Delores Stevens. Photo by Jeannie Pool.

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Church of the Lighted Window In Praise of Music Concert Series Composers Ensemble Los Angeles Sunday 4 pm March 13,2005 Program

Character Matters (2004) Jeannie Pool (b. 195 1) I. Gentle Character 11. A Matter of Character 111. Honor IV. Strength of Character

String Quartet (1995) Frank Campo (b. 192.7) I. Moderato 11. Cadenza 111. Nocturne IV. Finale

Intermission

Prologue from ~unchmusie(2002) . . . David Zea.(b. 1931)

String Quartet No. 2 (2004) Daniel Kessner (b. 1946)

Darius Campo - violin I Mark Robertson - violin I1 Andrew Duckles - viola Larry Corbett - violoncello

Pfeaejoin usfor a reception in honor of the composers andper/omers in FeffowshipHaff immediate~foffotving the concd

This is the sixth concett in the Sixth Season of the In Praise of Music Series. Jeannie Pool is the Artistic Director for the Series. Elliott Barker is the Production Coordinator. For more information, call 818-790-1185.Upcoming Concerts: ,2005 with Composers of the Foothills performed by Michael Kibbe, oboe, Vanessa Kibbe, . violin, Peter Kibbe, cello, and Gregg Nestor, guitar; with new works by Michael Kibbe, Dell Hake, Jeannie Pool, Beverly Grigsby, and Rafi Esmaielian. June 26, 2005 CLW Chamber Orchestra, Joe Lish, conducting works by Ronald Royer, Philip McConnell, Mary Gardiner, Deon Price, Jeannie Pool, Adrienne Albert, and Catherine Urner. Special guest clarinetist Kaye Royer. Biographies and Program Notes

Jeannie Pool's music was heard this last year in California, Washington, D.C., Ohio, New Hampshire, Beijing, China, and Toronto, Canada. Her string orchestra piece, Cinematic Suite I, was premiered by the Toronto Sinfonietta in January at the Royal Ontario Museum. As a music historian and producer, she frequently lectures on film music history and preservation and serves as an independent music consultant to Paramount Pictures Features Music Department. She holds a Ph.D. in musicology from the Claremont Graduate University and is currently teaching at Mount Saint Mary's College in Los Angeles. She is on the Board of the American Society of Music Arrangers and Composers (ASMAC), Secretary ofthe Officers Council of the National Association of Composers, U.S.A. (NACUSA) and serves as an Advisor to the International Alliance for Women in Music (IAWM) which she helped to establish. Her web site address is: jeanniepool.org. Character ~~tters'wascomposed for the Kirby Quartet and premiered October 17,2004 in Toronto, Canada on the LesArnis Concert Series, under the direction of Michael Pepa, who asked her to write it. Most of fie piece was composed in June and July while she was participating in a Gregorian chant workshop with the monks of the Abbey des Solesmes, France. The work contemplates issues of char- acter and fie double entendre of the cliche "character matters." As with some of her other chamber works, it incorporate riffs from popular music, including ragtime, jazz, Cajun, and late 19th century Victorian parlor traditions. The work is unabashedly sentimental, expressing a yearning for a simpler, more innocent time, and is dedicated to the memory of dear friend, David Raksin, who died last surn- mer at the age of 92 Frank Campo, born in New York City in 1927, studied composition with Ingolf Dahl in Los Angeles, with in Paris and with Gofiedo Petrassi in Rome as a Fulbright scholar. His many works include an opera The Mirror, three secular cantatas, five concertos including one for violin and six players, one for bassoon and string orchestra, one for trumpet and orchestra, one for clarinet and orchestra and one for piano with wind orchestra. In addition, he has composed a large amount of or- chestral music, works for wind orchestra, several song cycles, much piano music and a wide variety of chamber music for diverse ensembles. Dr. Campo has taught Music Composition and Theory at various Universities including California State University Northridge from 1967-1992 and is now an Emeritus Professor at that school. Healso taught composition at the Claremont Graduate University from 1992-2000. He is, in addition, an ac- complished clarinetist and appeared as soloist with the Topanga Symphony in 1991 performing the Mozart Clarinet Concerto. He was also one of the soloists with the same orchestra in the late Robert L~M'sConcerto for Woodwind Quartet and String Orchestra and has performed a great amount of chamber music both new and old. "As a very young composer, it occurred to me to compose a String Quartet every year in order to follomy own musical development. That idea quickly evaporated with my growing interest in other color combinations and with the &val of requests from varied instrumentalists - mainly woodwind and brass - and my own life-long interest in the human voice. Despite all this, I have produced four quartets of which this is the latest. My style and approach have changed over the course of a lifetime and, briefly stated, this works reflects my musical thinking in the mid 90s."--F.C. David Zea is a composer, pianist, and music editor. He is a graduate of California Institute of the Ms and has performed extensively, often programming his own compositions on his piano recitals. He studied with Los Angeles composer and pianist Hugo Davise and composer Mario Castelnuovo-Tedesco. among others. Born in San Diego, he has taught several generations of piano studients and has worked for the F. Eugene Miller Foundation in editing the music of Catherine Urner. He is well-known as an advocate for 20th century music. He is currently completing a piano concerto.

~mchmus&com~risesmusical delineations of three famous paintings by Edvard Munch--The Scream, Melancholy, and The Dance of Life--as well as a movement entitled Prologue (From Northern Lands), which preceds the other three and sets the scene for the entire work.--David Zea.

Stnhg QuartetNo. 2was performed this past summer by the Amar Corde Quartet (of Krakow, Poland), first at the XXXIII Festival de Musica de CadaquCs, Spain, then the following evening at the n! Festival International de Musique en Catalogne in CCret, France. An extremely aggressive and challenpg work, its single movement is clearly divided into five sections, fast-slow-fast-slow-fast.The beginning of the piece features fairly discontinuous motion, becoming increasingly continuous as the piece progresses, and also accumulating material fiom all of the previous sections.--DK

Daniel Kessner received his Ph.D. with Distinction at UCLA in 1971, studying with Henri Lazarof. He joined the faculty at California State University, Northridge in 1970, where he has taught composition and theory ever since. In 2001 he entered an early retirement program which has him teaching every other semester. He has written 90 compositions to date, which have received more than 450 performances worldwide, and of which 15 have been commercially recorded. Recipient of numerous prizes, including the Queen Marie-JosC Prize in Geneva, he was honored last year with an appointment as Fulbright Senior Scholar to lecture at the Musikhochschule in Trossingen, Germany. Darius Campo is one of the most recorded violinists in the world. He has recorded on over 1,000 motion pictures and records. The list of artists include Frank Sinatra, , Natalie Cole, Tony Bennett, , , The Eagles, Barry Manilow, Luis Miguel, , Ricky Martin, Gloria Estefan, Harry Conick Jr., Rosemary Clooney, , , , A1 Jarreau, Merv Griffin, Celine Dion. Born in New York City and raised in Los Angeles. He began playing the violin at age nine destined to be a third generation family musician. He received his BM and MM from the University of Southern California where he was awarded "most outstanding graduate" at both ceremonies. While still in school he was invited to audition with the Los Angeles Chamber Orchestra where he spent the next eight years as armbeTaiiil frequently appearing as principal and soloist as-wellas touring throughout the U.S ,A., Europe, South America and Japan. He has appeared as Concertmaster with the Los Angeles Chamber Orchestra, and the Symphonies of USC, Santa Barbara, Riverside, Indian Wells, Conejo, and Los Ange- les Philharmonic Institute. Mark Robertson hails from Fort Wayne, Indiana, where he started violin and piano at age five. He received his Bachelor's Degree from Boston University, where he studied with Roman Totenberg; and his Master's Degree from the Juilliard School, where he studied with Dorothy DeLay and Piotr Milewski. Since coming to Los Angeles in 1995, Mark has been a member of the Long Beach and Pacific Sym- phony Orchestras and also served on the faculty at California State University at Long Beach. Andrew Duckles was born in Vancouver, Canada, and began his viola studies at the age of six. At sixteen, he made his solo debut with the Oregon Symphony. Andrew holds degrees fiom the Eastman School of Music and New England Conservatory where he studied viola with James Dunham, violist of the Cleveland Quartet. In 1996, Andrew was the top prizewinner in the Petri Competition, and has since been performing extensively throughout North America and Europe. While in Boston, he worked b 1 A closely with composer John Harbison on his viola concerto and gave a critically acclaimed perfor- mance of this new work in 1998. In February of 1998, Andrew was featured as soloist on a recording of ' Don Quixote with the NEC Symphony Orchestra. In the summer of 1998, he was selected to perform in a master class for Mstislav Rostropovich at the Tanglewood Music Center. In addition to this honor, Andrew was chosen by Maestro Seiji Ozawa as the recipient of the Cabot Out- standing Achievement Award and was featured in the New York Times and the Berkshire Eagle. Andrew's diverse musical life has led to recordings on the Telarc label with the Los Angeles Philhar- monic and recordings for numerous television and motion picture studios. In March of 2002, Andrew was appointed Principal Viola of the Houston Grand Opera and the Houston Ballet. In addition to his duties in Houston, Andrew teaches viola and coaches chamber music at the University of Nevada, Las Vegas. Andrew comes from a family of musicians and frequently performs chamber music concerts throughout the United States with his brother Jason, cellist of the celebrated Amelia Piano Trio. While in Oregon Andrew studied with Pierre d'Archambeau. He played in the Corvallis and Salem Youth Symphonies, was principal viola of the All-State and All-Northwest Orchestras, and took first in the state solo contest on viola. In 1990 he won the Oregon Symphony's concerto competition (open to all instruments) and performed the Handel viola concerto with the Symphony. Cellist Larry Corbett is heard on hundreds of movie and television soundtracks, and ~omtnercial recordings, playing in all styles and genres, ranging from the Manhattan Transfer Christmas Album to biateEvents. and Constantine.

This concert is presented in cooperation with the Los Angeles Chapter of the National Association of Composers, U.S.A.. NACUSA is a 501(c)(3) non-profit organization. Founded by Henry Hadley in 1933, it is one of the oldest organizations devoted to the promotion and performance of American concert hall music. Many of America's most distinguished composers have been among its members. NACUSA presents several chamber concerts each year that feature music by its members. for more information write, The National Association of Composers/USA, P.O. Box 49256, Barrington Station, RAZZMATAZZ g*.b : 6 -a . .; Ambient jazz and bouncy popu lar A- A- Sws@ dance music from the 1940s to the 7517 Foothill Boulevard 1980s are the specialties of this r Tujunga, CA 91042 Jason Abbott 818-353-8027 Owner/Technician versatile and talented combo of West Los Angeles musicians. Call Stephen Fry: 310 397-0032. sm [email protected] Virko Baley President "Perfect soft jazz for our afternoon 'Tea and AM ThLt t Jazz' proyram." (702) 457-3623 voice Church of the Lighted Window, La Canada (702) 457-0199 fax " Razzma tazz brings ec/ectic Jazz fo the [email protected] Culver Ho fel." LA Weekly . .: RoadSuite jo8 A DGua, d 1- M ~uu~shing.h. "TeMyour emb/e the)i were d terrfic!" Las Vegas, Nevada 89119 U.S.A. UCL A Class of 52 Reunlbn

Culver Crest Publications P.0. Box 4484 culvercity, 9023 14484 Best Wishes for a S ixth TeVFax 3 10 838 4465 e www.culvercrest.com Season of the Flashl CCllver Crest Publications announces the release of "America Themes" and thirty more In Praise of Music hymns and anthems in the ChorallWusic for Worship series, all composed and arranged by Concert Series! Deon Nielsen Price, Doctor of Musical Arts. See catalog and excerpts of scores Alf Clawen online at http:llwww.culvercrest.com.

E/$/Q( ' Cmgratu~'atimsto C~UE~of Tri-City the L~ghtedWindow on jfs Each on~celnde~endenllv bed end Operaled Bert Eaton Sixth Season of the Multl-Million $ Producer Senlor Sales Associate 1433 Foothlll Blvd INPRA~EOFMUSIC La Canada Fl~ntr~dge.Calltornla 9101 1 Off~ce(818) 790-9700 Direct (818) 949-4995 CONCERT SEplES! Fax (818) 949-0297 E-M~IIaceaton@pacbell net Dr. Beverly Grigsby I Subj: Program for April 26 I Date: Wednesday, April 20, 2005 12:48:28 PM

To: debbie.cahillQculvercity.org

Here is the program for Tuesday:

Windswept ("------; Adrienne Albert

Music Composed for the Film, "The Light" : Deon Nielsen Price

March to the Clariphones; Dance on A; Basset Horn Romance;

Eb Soprano Scherzo; Eb ContrabassI Finale

'CD recordings of Clariphonia and ~mericaThemes are available.

4/20/05 i America Online : DeonPrice Page 1

NACUSA PRESENTS The interactive Musical Adventures designed by The Debussy Trio for children have been a favorite component of the its tours and was THE DEBUSSY TRIO a featured segment on the TV show "Life and Times" in November, 2003 over southern/central California' s PBS station KCET. FRIDAY, 28 OCTOBER, 2005,8:00 PM, The Trio's CD Three Friends was a recent "best pick" by Gramo- MURPHY RECITAL HALL, LMU CAMPUS phone Magazine of London (UK). This CD and others are available on the RCM, Koch, Harmonia Mundi and First Edition labels at SUNDAY, 30 OCTOBER, 2005,8:00 PM, r. www.fatrockink.com. Grants have come from such entities as the DANIEL RECITAL HALL, CSULB CAMPUS Aaron Copland Fund of New York, National Endowment for the Arts, United States Fund for Artists at International Festivals, California Arts Council and Cultural Affairs Department of Los Angeles . Individually, the Trio members perform with the Los Angeles Opera, Long Beach Symphony, Santa Barbara Chamber Orchestra and free- SPIRALSON LIGHT lance in film studios in hundreds of films such as Toy Story, The Royal Tennenbaums, Minority Report, Matrix Trilogy and Memoirs of a Geisha. DUANE TATRO (B. 1927)

-: -RAGE, DENIAL, HOPE DAVIDS. LEFKOWITZ ' (1995, 10') (B. 1964) Founded by Henry Hadley in 1933, NACUSA is one of the oldest organizations devoted to the promotion and performance of American concert hall music. Many of America's most distinguished composers have been among its members. NACUSA presents seve- ral chamber concerts each year that feature music by its members. It has seven chapters: East Coast, Mid-South, Tennessee, Virginia, REVERTIGO Texas, Los Angeles, and San Francisco. (2000, 5') For the past twenty-seven years, NACUSA has sponsored a Young Composers Competition, for composers between the ages of 18 and DOPPLER EFFECT ADRIENNE ALBERT 30. Many of today's best known American composers have won (1998, 5') this competition early in their careers, and their association with t NACUSA has often helped launch these careers. AN IRIDESCENT SPLASH CAROLWORTHEY NACUSA also publishes Composer/USA three times a year, in IN LIQUID TIME (2004, 5') (B.1943) which issues important to composing concert music are discussed.

A TWO FOR ONE TRIO DAVID WALTHER (2004, 17') (B. 1974)

RECEPTIONTO FOLLOW THE CONCERT ACDA Choral competition and "Search for New Music." She has PROGRAM NOTES/COMPOSER BIOS: just been elected to the Board of International Alliance for Women in Music and has completed a commission for a Florida concert pianist. Happily married to Ray Korns for 25 years, Carol teaches piano and SPTRALS ON LIGHT was inspired by a beautiful carved wooden composition from her home and welcomes you to visit statue of two lovers in mid embrace, created by an American student www .carolworthey.corn. of CCzame at the turn of the century. As I walked around the sculp- ture in the gallery, I was struck by the way the lights reflected off of * the dark wood - shaping it, giving it colors and hues beyond what the A TWO FOR ONE TRIO was written in 2004 celebrating the sculptor had intended, defining it in terms of its surroundings, births in 2003 of my son Logan and his two cousins Sam and Lucy providing it space in which to resonate. The piece was a tribute to the Rose. It is dedicated to these -three unique young people and is meant lovely work, and the deep feelings it provoked in me. -RE to express my love for them. The first movement consists of a theme REENA ESMAIL graduated from The Juilliard School this past followed by a set of variations and episodes. The second movement May with a BM in Composition, studying with Samuel Adler. As a is a Jazz and Rock inspired fmale. -DW pianist, Reena has performed at the Hollywood Bowl Museum, DAVID WALTHER. The doubly talented violist/composer of Zipper Hall at the Colburn School, and the Luckman Fine Arts The Debussy Trio received his early training in his home region of Complex in Los Angeles, CA. She was a winner in the Los Angeles New England and completed a Masters Degree at University of Philharmonic Chamber Music Competition, and performed with Southern California. violinist Mark Baranov and cellist Barry Gold from the LA Phil. Reena's recently premiered works include a large ten-song cycle on the poems of Dorothy Parker, called "Unfortunate Coincidence" for soprano and chamber ensemble, an oboe sonata for oboist Josiane Henry. She has also written music for NYU filmmaker Heather PERFORMER BIOGRAPHIES : McCalden's new film "Figures of Speech" and SVA filmmaker Ludwing Amadeus Montoya's film "Circumstances," which has premiered in New York and throughout South America. Reena was a Audiences love the relaxed flow of music and lively comments from recipient of a Morton Gould Young Composers Award from the stage as THE DEBUSSY TRIO, harpist Marcia Dick- ASCAP, and her works have been programmed at festivals in New stein, flutist Angela Wiegand and violist David Walther presents a York, California, Thunder Bay Canada and Budapest. Upcoming unique intimate concert experience of chamber music in the 21st projects include a new work for harp and organ, for organist Chelsea Century, Innovative repertoire includes styles from French Impres- Chen and harpist Arielle. sionism to American jazz-fusion and works of famed film compos- ers. The Trio has excited the international concert scene at appearances in DUANE L. TATRO, a native of Van Nuys, California, has Prague, Copenhagen and Geneva; at festivals, nationwide tours inclu- composed extensively for television and film, as well as writing live ding Louisville, San Francisco, Washington DC, Honolulu, and I concert media works for orchestra, wind ensemble, chamber numerous California venues; over 1,000 concerts and community ensembles, and electronic instruments. In his early career, he worked outreach programs for 250,000 children and families; and on NPR's . professionally as an instrumentalist: playing clarinet, saxophone and St. Paul Sunday, Performance Today and Voice of America. The bassoon. Trio has also been visiting Artist-in-Residence at such campuses as Mr. Tatro studied with composers Arthur Honegger, Darius Bard College (NY), Curtis Institute of Music (PA) and Universities Milhaud, Halsey Stevens, and George Tremblay. He received his in Oregon, Hawaii, Mississippi, North Carolina, Idaho, Iowa and Bachelor Degree from the University of Southern California, with Virginia. additional studies in Paris, France. He is listed in the International Who's Who in Music, the Encyclopedia of Jazz, and the Dictionary of International Biography. A selection of his most recent concert works includes ing the incessant sounds of car horns. The melodic lines allude to "Fantasia," for concert band, premiered at the Society of the vibrancy, joy and sensuality of the people in contrast to the crazi- Composers, Inc. Conference, University of Hawaii (1999), "Untitled ness around them. "Doppler Effect" was originally written for Lament" for Mixed Chorus and Chamber Orchestra (1999), and flute, viola and harp. Transcriptions are available for flute, bassoon Fantasy Variations for violin and piano. and harp, flute, bassoon and piano, and flute, viola and piano. For more information, please visit: www .adriennealbert.com. -AA Award-winning composer, ADRIENNE ALBERT has had her RAGE, DENIAL, HOPE. This work is meant to portray the range t of emotions one might feel if faced with conflicting re~ortsof the compositions performed throughout the United States, Europe, death if a close fadymember - of which Rage, D~G,and Hope Thailand, South Africa, and Australia. Long a collaborator with other are three of the many possible. In the face of such a situation, these . composers as a singeriperformer (Igor Stravinsky, Leonard emotions co-exist to varying degrees, the relative strength of each Bernstein, Gunther Schuller, and Phillip Glass to name a few), Ms. changing over time. One might think of the ensemble as having two Albert began composing her own music in 1992. Her catalog of parts: the harp and the flute represent the body and the more works includes orchestral, chamber, choral and vocal music. A "visceral" emotions, while the viola represents the heart and the recipient of numerous commissions and grants including a new more "sorrowful" or "loving" emotions. These roles interact and 2005-2006 grant from The American Composers Forum and the affect one another throughout the work. The feelings progress from NEA for Continental Harmony Projects, Albert is the current the "unfocused" rage at the beginning, overlaid with an emerging President of the Los Angeles Alumni Chapter of Mu Phi Epsilon sadness. to the sense of determination found at the end. Rage. Music Fraternity. She is on the Advisory Council of the Los Denial,'~bpewas commissioned by The Debussy Trio, and- was Angeles Chapter of The American Composers Forum and is a completed in October, 1995. -DSL member of SAG, AFTRA, The American Music Center, The International Alliance for Women In Music, Chamber Music "REVERTIGO"is meant as a playful mixture of the words America, The Dominant Club, NACUSA and ASCAP Her music is "Reverie" and "Vertigo"-as the principal material of the piece is published by Kenter Canyon Music (ASCAP). More information drawn from Debussy's Reverie, but is given a decidingly about Adrienne and her music, audio clips, and scores can be found "dizzying" spin. -DSL on her web site: www.adriennealbert.com or by emailing adriennea adriennealbert .corn. DAVID S . LEFKOWITZ'Sworks have won international ac- claim, having been performed in Israel, Japan, Germany, Hong Kong, the Netherlands and Canada, and winning National and International AN IRIDESCENT SPLASHIN LIQUID TIMEwas inspired by Competitions, including the Fukui Harp Music Awards Competition, Ihe rich. glowing sonorities inherent in the instrumental blend of the and the American Society of Composers, Authors, & Publishers ~ebussyk-io.fwanted splashes of color and free, flowing rhythm Grants to Young Composers Competition. He is currently writing to take the listener on a magical excursion. -CW the music for a dance-drama adaptation of Eugene O'Neill's Desire Under the Elms with the China National Opera and Dance Drama Inspired by family friend Leonard Bernstein, C A R 0 L L Theater Company, and is completing a harmony textbook. WORTHEY began composing at age three and a half. At ten a work she wrote was performed at Carnegie Hall. Carol won First Prize in Composition at Columbia. Notable mentors have been DOPPLER EFFECT is named after the Austrian mathematician Darius Milhaud, Vincent Persichetti, Otto Luening, Grant Beglarian, who observed the increase in the pitch of sound as the source and John Harbison, Dick Grove and Walter Piston. Her works have observer get closer, and the decrease in pitch when the source passes been perforrned at St. Martin-in-The-Fields, Aspen Music Festival, by. The notion of writing a work based on this effect came to me Dorothy Chandler Pavilion and seven countries to date. Her while visiting Rome, Italy and hearing the cacophony of sounds as children's musical played five years in LA; in 1990 she won Inner sirens passed by through the chaotic streets. The motif begins, then City Cultural Center's Competition. Carol was finalist in the 2004 descends by a minor second returning to the original pitch portray- NACUSA House Concert d Home of Deon Nielsen Price, Culver City, California ,2005 2:00 pm

Program National Association of Composer% USA Snow Flumes Carol Worthey Composer at the piano

Guitarando Marshall Bialosky Peter Y ates, guitar

Epitaphs Deon Nielsen Price Composer at the piano

Sequestration David Lefkowitz Miniature I1 for Flute Daniel Kessner, flute

I Collage Suite Michael Williams --' ------#5 Rcxancc-- -' ------#8 Nocturne Composer at the piano

Four Seasons Jeannie Pool Inviemo Price Duo: Berkeley, clarinet: Deon, piano

Morning at Bird Rock and Legend Charles Shatto David Zea, piano

Seven Studies in Melodic Expression Daniel Kessner Cantilena (bass flute) Outward Spirals (alto flute) Fantasia upon Four Tones (bass flute) Composer on flute

Huangxo Chinese ~an~uet Deon Nielsen Price Oyster Sauce Beef Soup - Exotic Pork and Japanese Cucumber Salad - Lemon Fried Fish - Beijing Lamb with Multicolored Peppers

MEET THE PERFORMERS

Composer-conductor-flutist Daniel Kessner received his Ph.D. with Distinction at The University of California, Los Angeles, in 1971, studying with Henri Lazarof. His more than 95 compositions have received over 500 performances worldwide, and 15 works are recorded commercially. Most of his scores are available from Theodore Front Musical Literature. Kessner's awards include the Queen Marie-Jose International Composition Prize in Geneva (1972) and a 2003 Fulbright Senior Scholar Award to lecture and perform at the Musikhochschule in Trossingen, Germany. He has taught at the California State University, Northridge, at the University of Hawaii and at the University of Southern California's Thornton School of Music. Kessner has given solo recitals in France, Italy, Germany, El Salvador, England, and the Czech Republic. He has appeared as Guest Conductor of the Los Angeles Philharmonic New Music Group, the Black Sea Philharmonic of Romania, and recently the Moorpark Symphony Orchestra, among others.

Susan Jolles, harpist, is a versatile musician well known as a gifted interpreter of the music by composers from our time. She has premiered and recorded works by, among others, Luciano Berio, Elliott Carter, George Crumb, Hans Werner Henze and Charles Wuorinen. A founding member of the Naumburg Award winning Jubal Trio, Ms. Jolles serves as principal harpist with the American Composers Orchestra, Musica Viva and the Queens Symphony Orchestra. She also performs regularly with the Metropolitan Opera Orchestra. She has toured throughout Europe and the US and has collaborated with Hubert Lucarelli, Dawn Upshaw and Giora Feidman, to name but a few. Ms. Jolles teaches at both the Manhattan School of Music and the Mannes College of Music. International Music Company and Lyra Music publish many of her harp transcriptions and arrangements.

William Anderson, guitar, has appeared on concert stages throughout the US, Latin America, Europe and Asia. He is the founder of the acclaimed Cygnus Ensemble and the director of the New Jersey Composers Guild. He may be heard on recordings issued by the Bridge, Koch. CRI, Soundspells, Furious Artisans and North/South labels. A graduate of SUNY Purchase he has taught at Sarah Lawrence College and will be one of the featured instructors and performers at the upcoming New York Guitar Seminar sponsored by the Mannes College of Music.

Max Lifchitz, conductor, was awarded first prize in the 1976 International Gaudeamus Competition for Performers of Twentieth Century Music held in Holland. Robert Commanday, writing for The San Francisco Chronicle described him as "a young composer of brilliant imagination and a stunning, . ultra-sensitive pianist." The New York Times music critic Allan Kozinn praised Mr. Lifchitz for his "clean, measured and sensitive perforrnances" while remarked that he "conducted a strong performance." Payton MacDonald writing for the American Record Guide remarked, "Mr. Lifchitz is as good on the podium as he is behind the piano."

Since 1980, NORTHISOUTH CONSONANCE, Inc. has brought to the attention of the New York public over 850 different works by composers from every comer of the world. The press has favorably acknowledged the many attractive CD albums issued by NORTHISOUTH RECORDINGS. "Enthusiastic performances ...enough to express the boiling power of the music" is how The Philadelphia Inquirer greeted North/South Recordings No. 1003. The Washington Post declared that N/S R No. 1004 contains "intriguing instrumental works, works that span the emotions from pain to ecstasy." Fanfare Magazine remarked as follows on the recently released Carnaval/Carnival (N/S R 1028): "Recorded within days of the September 11 attack, the performances all glow." Albums featuring performances by the North/South Consonance Ensemble are available through the internet at www.northsouthmusic.org or by calling 1 (800) 752-1951.

The public is kindly reminded that the use of recording equipment of any kind is strictly forbidden. Please turn-off your cell phone, watch alarm and any other noise-producing device before the program starts. Make sure to know where the auditorium exits are. PLEASE REFRAIN FROM SMOKING and/or EATING WHILE IN AUDITORIUM. , . .

,i PROGRAM NOTES - Compiled and edited by Max Lifchitz

Beth Anderson is a composer of neo-romantic, avant-garde music, text-sound works, and musical theater. Born in Kentucky, she studied primarily in California with John Cage, Terry Riley, Robert Ashley and Larry Austin at Mills College and University of California at Davis. She lives in New York City where she produces Women's Work, a concert series, for Greenwich House Arts each March. Her early work was considered post-Cagian, non-academic but her more recent music is more lyrical while retaining the cut-up quality of the minimalists.

Her all-Beth Anderson recordings are out on Albany (QUILT MUSIC, 2004), New World (SWALES & ANGELS, 2004), and Pogus (PEACHY KEEN-0, 2003). Other Minds (10+2=12 American Text-Sound Pieces, 2003) includes TORERO PIECE and AMERICAN WOMEN: Modem Voices In Piano Music recorded by Nancy Boston includes SEPTEMBER SWALE. Her publishers include Joshua Corporation.

In the preface to her score, Ms. Anderson writes:

"Comment for solo flute is a series of variations on a theme derived from setting the words to Dorothy Parker's four line poem, of the same name. The poem compares life to song and experiences that happen by chance, and makes fun of the idea that relationships are likely to succeed. The music begins cheerfully but very soon there is a little theme signifying that sadly, love has gone wrong (dotted half-notes a Major sixth up and then a minor second down). This is followed by a variation on the cheerful section, an older but wiser variant (with one note missing and a minor second down). Then the love has gone wrong theme with longer note values (in augmentation) is followed by a hyperactive variant of the lost love idea and an inverted variant because life is sometimes upside down. The love has gone wrong theme is now upside down, lost & depressed (Major sixth down followed by minor second up; inverted). The soloist trills and slides down to the lowest note on the flute, middle-C. There is a manic variant with lots of running around followed by an introspective variant with longer note values. The next one is a variant entitled tensely cheerful despite all odds. The last comment is appearing calm while getting ready to be hysterical within 6 bars of the end."

David S. Lefkowitz received his BA from Come11 University where he studied composition with Karel Husa. He then went on to University of Pennsylvania, studying with George Crumb and receiving his MA in 1990, and The Eastman School of Music, studying primarily with Joseph Schwantner and Samuel Adler, completing his Ph.D. in 1994.

Lefkowitz has won international acclaim, having works performed in China, Japan, Hong Kong, , Switzerland, the Netherlands, Canada, and Israel, and winning National and International Competitions, including the Fukui Harp Music Awards Competition (twice), and the American Society of Composers, Authors, & Publishers (ASCAP) Grants to Young Composers Competition. In addition, he has won prizes and recognition from the National Association of Composers, USA (NACUSA), the Guild of Temple Musicians, Pacific Composers, Forum, Chicago Civic Orchestra, Washington International Competition, Society for New Music's Brian M. Israel Prize, the ALEA 111 International Competition, and the Gaudeamus Musia Week. Upcoming and recent performances are in such diverse locations as Alaska, California, Colorado, Spain, and Israel.

Dr. Lefkowitz kindly provided the following program note for his piece:

"In the summer of 2000 I wrote ,a spate of three pieces for harp-my first efforts since the two works I wrote for harp in 1995, bringing the total number of chamber works I have written for harp to seven. In general, modem composers have taken one of two approaches to this sometimes-difficult instrument: either to think about the pedals, strings, and hands and to make the harp's limitations a positive feature of the music, or to imagine that there are no limitations to the instrument and to adjust the music after completion of the composition. My approach falls into the second of those two categories. It was in the middle of writing both Revertigo and ...who write on clouds ..., then, that I found myself thinking somewhat too much about pedals. So to ease my mind, I wrote apiece which from my perspective is completely about pedals. From the listener,^ perspective, however, Etude should be thought of as being about steady although sometimes surprising harmonic change." I Daniel Adams (b. 1956, Miami, FL) is a Professor of Music at Texas Southern University in Houston. He has previously held positions at the University of Miami and Miami-Dade Community College. Adams holds a Doctor of Musical Arts (1985) from the University of Illinois at Urbana- . Champaign, a Master of Music from the University of Miami (1981) and a Bachelor of Music from Louisiana State University (1978). Adams currently serves as a member of the Percussive Arts Society Composition Committee, the Board of Directors of the National Association of Composers, USA (NACUSA), and as treasurer of the Texas Chapter of NACUSA.

Adams is the composer of numerous published musical compositions and the author of several articles and reviews on various topics related to Twentieth Century percussion music, musical pedagogy, and the music of Texas. His music has been performed throughout the United States, and in Spain, Germany, Belgium, Sweden, Turkey, Argentina, and South Korea. In 1994 he appeared as an invited guest conductor for the premiere of a commissioned work at the Teatro Nan ional in San Jose, Costa Rica. HoneyRock Publishing released his book, The Solo Snare Drum: A Critical Analysis of Contempora y Compositional Techniques in March of 2000.

He has received grants and awards from ASCAP, the Percussive Arts Society, the American Symphony Orchestra League, Meet the Composer, the Greater Miami Youth Symphony, the Minnesota Composers Forum, the Maryland Clarinet Composition Contest, and the Music Teachers National Association. His music is recorded on Capstone Records and Summit Records.

Concerning his solo flute composition Ambivalence Recalled, Mr. Adams writes:

"The term ambivalence, coined in 1911 by psychologist Eugen Bleuler, is the coexistence of two opposing drives, desires, feelings, or emotions. It may manifest itself in either the conscious or unconscious parts of the mind. In Freudian psychoanalysis, ambivalence is described as "feelings of love and hate toward the same person". The concept of ambivalence is represented in this solo by the interplay of two distinct motives, each derived from separate matrices and varying in rhythmic character. In the beginning section, one motive is mostly legato and lyrical and the other is more strident and complex. Both are transformed through meter changes, shifting rhythmic subdivisions, and changes of tempo and register. As a result, they become nearly indistinguishable, neither one prevailing over the other. In several passages repeated notes are played with subtle variations of timbre through changes of fingering. The coda is a variant of the introductory passage, played as harmonics" .

A native of Moline, Illinois Marilyn J. Ziffrin (b. 1926) was educated at the University of Wisconsin in Madison and at Columbia University in New York City. Her composition mentors included Alexander Tcherepnin and Karl Ahrendt. She has received commissions from the New Hampshire Music Festival, the American Guild of Organists, the Hope College Concert Choir and the Concord Chorale, to name but a few.

Ms. Ziffrin has been honored with awards from ASCAP and the,New Hampshire Council on the Arts. Most notably, she received the 1972 Delius Composition Award for her song cycle Haiku. Her music may be heard on the Crystal, Capra, CRS, Opus One, and MMC record labels. North/South Recordings recently released an album devoted entirely to her vocal music featuring mezzo-soprano D'Anna Fortunato (N/S R 1041). Also active as a writer, Ziffrin is the author of a much-acclaimed biography of the distinguished American composer Carl Ruggles.

Rhapsody for Guitar was written in 1958 shortly after Ms. Ziffrin completed her composition studies with Alexander Tcherepnin. But is was not until February 12,1979 that it was given its premiere performance by David Leisner at New England College in Henniker, NH. Published by Editions Orphke, the work has been widely performed throughout the US and abroad. The single-movement composition employs a straight-forward language built around the timbric and harmonic possibilities inherent in ihe instrument.

Daniel Kessner kindly provided the following statement concerning his work Genera for bass flute and : 'b "In ancient Greek music, the genera were three tetrachords from which scales were built: the diatonic, the chromatic, and the enharmonic (which contains two quarter-tones). While the form of my c Genera moves continuously into new areas, hardly ever referring back to earlier material, there are two larger patterns which emerge. The piece moves from fairly equal use of the three genera at the beginning, gradually losing the enharmonic, then the chromatic, leaving only the diatonic genus at the end. The use of register is related, beginning with a very small, confined range, featuring the smaller melodic intervals, gradually moving to the broadest range at the end, incorporating larger melodic gestures. I premiered it with clarinetist Gareth Davis at the Interensemble series in Padua in 2003."

Angel Lam grew up in Hong Kong and Los Angeles. She attended festivals worldwide since her undergrad and her compositions have been performed in Japan, Hong Kong, Austria, France, Korea, Argentina and the United States. ~ecent'andupcoming performances include Carnegie Hall commission in the Osvaldo Golijov and Dawn Upshaw Professional Training Workshop, which premiered at Weill Recital Hall in April; theater and dance composition Midnight Run created under the mentorship of renowned theater artist Martha Clarke; Yo-Yo Ma and the Silk Road Ensemble's touring in U.S., Switzerland and China of her work Empty Mountain, Spirit Rain, which debuted at Carnegie's Zankel Hall last September; and a commissioned work for orchestra and Australia's Grainger Quartet at the 2007-08 season opening concert of Hong Kong Sinfonietta. She is now a doctoral candidate at the Peabody Conservatory of Music.

In the preface to her score Imagery of Water, Ms. Lam states:

"The Heart Sutra of Zen Buddhism says:

Form is no other than emptiness; emptiness no other than form; form is exactly emptiness; emptiness exactly form.

In Zen Buddhism all perceptions and things perceived are essentially empty. The form may be a thought or an emotion or an object. Drops is an imagery of a form-like dew drops falling upon still water, they create a graceful, subtle wave of ripples... it is a beautiful sight, that comes into being, and goes out of being ...

Rain is a process. The music is inspired by the myth of the forbidden sight of a fox wedding in the deep forest of Japan.

Icy is coming back to form again."

James Michael David (b. 1978) has been active as a composer, arranger, educator and performer for more than seventeen years. His works have been recognized in several competitions including an ASCAP Morton Gould Young Composer Award, national first-place winner in the MTNA Collegiate Composition Competition, first prize in the NACUSA Young Composers' Competition, and first prize in the Eppes String Quartet Cornposition Contest.

David has been commissioned by numerous individuals and organizations including Joseph Alessi (principal trombone, Nc\\ York Philharmonic), John Bruce' Yeh (associate principal clarinet, Chicago Symphony Orchestra), The Commission Project, the Columbus State University Wind Ensemble, the Fountain City Ensemble, Georgia Southern University, Exit 18 Contemporary Music Ensemble, and the Georgia Governor's Honors Program. Performances of his compositions have been heard at national and international conferences including the Society of Composers, Inc. National Conference, the ASCAP Concert Music Awards, the International Clarinet Fest in Tokyo, Japan, the World Saxophone Congress, the International Trombone Festival, and the Florida State University Festival of New Music. As a performer, he served as second trombone in the American Wind Symphony Orchestra's 40th season and has been a featured artist at the Eastern Trombone Workshop in Washington, DC. C Mr. David graduated with honors from the University of Georgia in 2000 and completed his doctorate at the Florida State University College of Music where he studied with Ladislav Kubik and . Ellen Taaffe Zwilich. He currently teaches music theory and composition in the Schwob School of Music 1 at Columbus State University. His music is available through Pebblehill Music Publishers and has been recorded on the Summit label.

In the preface to his score, Mr. David writes:

"Found Objects is a set of short works that complement each other while maintaining a strong sense of individual identity. The primary inspiration of the work is the similarly diverse genre known as the Baroque dance suite. The first movement, Funk, owes much to the great rhythm sections of Tower of Power and Earth, Wind, and Fire with a slight nod to . Sigh is a quasi-toccata for Peking Opera gong-like sounds with monophonic/heterophonic accompaniment in the winds. The brief scherzo Spin recalls Ellington's frenetic saxophone section and hyper-virtuosic drum corps rudiments played on a traditional Brazilian samba drum. The last movement draws from Stravinsky's L'histoire while revisiting techniques heard earlier."

Henry Hadley founded the National Association of Composers, USA in 1933.

Mr. Hadley served as an Associate Conductor for the New York Philharmonic during the 19301s,the first American-born conductor ever appointed to the staff of that institution.

To learn more about various the activities sponsored by the National Association of Composers, USA please visit its website at www.music-usa.org.

CREDITS

Concert made possible with funding and invaluable assistance provided by the NACUSA National Office, the NACUSA Los Angeles Chapter,. and the NACUSA East Coast Chapter.

The activities of North/South Consonance, Inc. are funded in part by The New York State Council on the Arts, a state agency and the New York City Department of Cultural Affairs. Contributions by many generous individuals and corporations are also gratefully acknowledged.