In this issue: Sarah Baer Wanda Brister Eugenia Errázuriz Miriam Gerberg Juliana Hall Gyuli Kambarova Astrid Kuljanic Margaret Ruthven Lang Jeremy Orosz Hasu Patel Jeannie Gayle Pool Margaret Widdemer IAWM and FT&M15 Conference Reviews Reports IAWM News President’s Message New Board Members Search for New Music Winners Awards Members’ News

Beth Denisch, Director IAWM and FT&M15 Conference

9ROXPH1R‡ Table of Contents Volume 25, Number 2 (2019)

Articles Resurrecting a Pulitzer Poet after a Century of Silence: Through the Guarded Gate, A Song Cycle by Juliana Hall...... Juliana Hall...... 1 Margaret Ruthven Lang’s Dramatic Overture: A Case Study in How to Value Lost Works ...... Sarah Baer...... 6 Preserving the Women-in-Music Legacy...... Jeannie Gayle Pool...... 10 Social Justice Innovators: Women Connected Through Film and Space...... Gyuli Kambarova...... 12 Eugenia Errázuriz and Stravinsky’s Neoclassicism...... Jeremy Orosz...... 13 Hasu Patel: Teacher and Award Winner ...... Amanda Etchison...... 15 Meet Three New Members of the IAWM Wanda Brister, Singer, Scholar, and Teacher...... 16 Miriam Gerberg: The Influence of World Music on Her Work as a Composer, Performer, and Teacher...... 17 Astrid Kuljanic: Keeping the Traditional Music of Cres, Croatia Alive...... 18 IAWM and FT&M15 Conference Unlocking the Secrets to an IAWM Conference...... Carrie Leigh Page...... 19 From the Conference Director’s Perspective...... Beth Denisch...... 20 Interview with Eileen M. Hayes...... Judy Tsou...... 23 Comments from the Audience...... Lainie Fefferman...... 24 Reviews: Book, Compact Disc, Opera Matthew Hoch and Linda Lister, So You Want to Sing Music by Women: A Guide for Performers ...... Stephanie Tingler...... 24 Laurel Parsons and Brenda Ravenscroft, eds., Analytical Essays on Music by Women Composers, Volume I: Sacred and Secular Music to 1900 ...... Deborah Hayes...... 26 Ҫiǧdem Borucu: Silver Moon: Music for Piano, Film, and Theater...... Robert Black...... 27 Tsippi Fleischer: Adapa...... Robert Black...... 27 Julia Mortyakova and Valentin Bogdan: Journey For Two...... Mary Kathleen Ernst....28 Nicholas Phillips: Shift...... Olivia Kieffer...... 29 Aboriginal Inspirations ...... Carol Ann Weaver...... 30 Meira Warshauer: Elijah’s Violin...... Deon Nielsen Price...... 31 Recent Releases and Publications: Video, Compact Disc, and Book...... 32 Reports Association of Canadian Women Composers...... Diane Berry...... 34 BBC Proms Survey 2019...... Jenny Fowler...... 34 Report from Japan: Four Concerts of Women’s Music...... Taeko Nishizaka...... 34 IAWM News President’s Message...... Carrie Leigh Page...... 35 New IAWM Board Members...... 35 Winners of the 2019 IAWM Search for New Music Competition...... 36 Awards...... 40

Members’ News...... Anita Hanawalt...... 39 The International Alliance for Women in Music (IAWM) is a global network of women and men working to increase and enhance musical activities and opportuni- ties and to promote all aspects of the music of women. The IAWM builds awareness of Journal of the IAWM Staff women’s contributions to musical life through publications, website, free listserv, in- ternational competitions for researchers and composers, conferences, and congresses, EDITOR IN CHIEF concerts, the entrepreneurial efforts of its members, and advocacy work. IAWM activi- Eve R. Meyer ties ensure that the progress women have made in every aspect of musical life will con- 8355 Sunmeadow Lane tinue to flourish and multiply. Boca Raton, FL 33496 [email protected] IAWM MEMBERSHIP INFORMATION Members’ News PRODUCTION MANAGER IAWM membership includes a subscription Please send your news items to the Members’ Lynn Gumert to the Journal of the IAWM (issued twice a News Editor, Anita Hanawalt, at anita@ MEMBERS’ NEWS EDITOR year), participation in the optional IAWM e- hanawalthaus.net. Submissions are always mail list, eligibility to participate in IAWM welcome concerning honors and awards, Anita Hanawalt competitions, and eligibility to apply for par- appointments, commissions, premieres, [email protected] ticipation in the IAWM congress and annual performances, publications, recordings, and REVIEW EDITOR concert. For information on joining, please other news items, except for radio broad- Kimberly Greene see the IAWM website at iawm.org or con- casts. We recommend that you begin with [email protected] tact the membership chair at membership@ the most significant news first—an award, iawm.org a major commission or publication, a new EDITORIAL BOARD Samantha Ege JOURNAL: BACK ISSUES position—and follow that with an orga- nized presentation of the other information. Kimberly Green For information on purchasing back issues, Please note that Anita does not monitor the Lynn Gumert contact Deborah Hayes at membership@ listserv for members’ activities. Anita Hanawalt iawm.org. Deborah Hayes Reports and Announcements GUIDELINES FOR CONTRIBUTORS Eve R. Meyer Reports on women-in-music activities from Articles our sister organizations and IAWM commit- Before submitting an article, please send an tees as well as reports on music festivals and IAWM Board of Directors abstract (two or three paragraphs), the ap- other special events should be sent to the PRESIDENT proximate number of words in the article, editor in chief, Dr. Eve R. Meyer, by e-mail: and a brief biography to the editor in chief, [email protected]. Announcements Carrie Leigh Page Dr. Eve R. Meyer, by e-mail at evemeyer45@ of future events and of recently released CDs Composer, USA gmail.com. Most articles range between 1,500 and publications should also be sent to the TREASURER and 5,000 words. The subject matter should editor in chief. Christina Rusnak relate to women in all fields of music, either Deadlines Composer, USA contemporary or historical. If the proposal is approved, the editor will send detailed infor- Reviews: March 1 and September 1 SECRETARY mation concerning the format, illustrations, Articles: March 15 and September 15 Kelly Vaneman and musical examples. Musical examples and Members’ news, reports, advertisements: Oboist/Musicologist, USA photos should be in high resolution (300 dpi March 30 and September 30. minimum) and must be sent in separate at- SUPPORTING MEMBERS tachments. For questions of style, refer to the IAWM WEBSITE Kerensa Briggs (UK) Chicago Manual of Style. Authors are respon- Please visit the IAWM Website at www. Wanda Brister (USA) sible for obtaining and providing copyright iawm.org. Monica Buckland (UK, Australia) permission, if necessary. Michele Cheng (USA) PUBLICATION Samantha Ege (UK) Reviews Copyright © 2019 by the International Lee Hartman (USA) Compact discs and books for review should Alliance for Women in Music. All rights Matthew Hoch (USA) be submitted to Kimberly Greene, Review reserved. ISSN 1082-1872 Natalia Kazaryan (USA) Editor. Scores will be considered for review Lil Lacy (Denmark) if accompanied by a recording. No part of this publication may be repro- AJ Layague (USA) Kimberly Greene duced or transmitted in any form or by any Dana Reason (USA) 6237 Peach Ave. means without permission. Any author has Natalia Rojcovscaia (Moldova) Eastvale, CA 92880-8909 the right to republish his or her article in Deborah J. Saidel (USA) whole or in part with permission from the Angela Slater (UK) Please contact Dr. Greene if you wish to be IAWM. Please contact the editor. Sarah Westwood (UK) included on her list of reviewers, and indicate Kathryn Woodward (USA) your areas of specialization. The Journal of the IAWM is printed by E-mail: [email protected] Cheetah Graphics, Sevierville, TN. articles Resurrecting a Pulitzer Poet after a Century of Silence: Through the Guarded Gate, A Song Cycle by Juliana Hall JULIANA HALL I am an art song composer. I write songs, But here is where my sense of jus- Our 18-19 season is called “One monodramas, vocal chamber music— tice rises within me. In 1919, Widdemer Voice.” This season means so “small” music (the largest ensemble I’ve shared her Pulitzer with another poet, Carl much to so many of us. The idea composed for has three singers and three Sandburg, and although both were recog- started when I looked around at instrumentalists). I don’t compose sym- nized at the time with this important pub- all my fellow artists and saw this phonies, or chamber music, or concer- lic acknowledgment of their skills, talents, heavy weight that we are carry- tos, or even choral music. There are times and excellence, which of these two poets ing during a dark time. We have when I wish I could write them, but that’s is remembered? Which of these two po- a unique and powerful method of not the music that comes to me. In addition ets is taught in American schools? Which delivery of a much needed mes- to my somewhat humble work in this capi- one appears in nearly every anthology of sage in a time when the world talistic, market-driven world, I am a quiet American poetry ever published? Which seems turned on its head. I’m in- person, a shy person, an introspective per- one is a household name in America? spired by my queer community son. I am not an activist, and I am not in I’ll give you a hint: it’s not Widdemer. to make our voices heard; I weep any way militant. And that does not sit well with me. Two at death from wars and cries for But I don’t like injustice. I don’t like Pulitzers, but only peace in a time when we seem to seeing a world where the problems of a cen- one poetic icon. I constantly be fighting with one tury ago are allowed to persist. I don’t like love the poetry of another, I pray for it all to end; seeing our society’s care for children fall so Carl Sandburg, and I watch with disgust and great far short of what it should be, and I don’t like I have set his won- sorrow as racist voices are given seeing relationships in which a woman be- derful poems in my time on the news, as our black comes a marginalized individual in her own songs more than brothers and sisters are threat- home, the very place she should feel safest once, but I have to ened daily by injustice and loss; and freest to express herself. I don’t believe ask: Why is a man’s I glow with a pride as the wom- that women are second-class citizens. All work remembered xn of this nation stand up and say human beings have inherent worth, and all and celebrated for “NO!” to inequality, and can say Margaret Widdemer have inherent rights, among them the right a century, while his #MeToo and be heard; I get up to be heard and taken seriously, the right to female counterpart goes unknown, unno- every single day and walk into an contribute to this world. Society’s tendency ticed, and forgotten? office where we serve communi- to discount, discourage, disparage, and dis- A Great Commission ty members that are looked down card the work of women when women rep- To answer this question, let’s go back upon for mental illness and help resent half of all humanity is unacceptable. to how this recent project began, how them fight to reach recovery de- So, the question arises. Who gets no- Margaret Widdemer came to my attention, spite what others say. To each of ticed in this world, and who is remem- and how, through this project, “we” hope you, we dedicate this season. We bered? When there is an example of excel- to bring awareness to the important work will lift your voices and they will lence—be it scientific, political, artistic, of Widdemer. “We” refers to the man be- be heard in glorious song. entrepreneurial, or anything else—why is hind this wonderful He added: “Each recital is being presented it that men’s contributions are lauded and project. The story be- and created by the artists involved. SASS held up as positive examples for genera- gan a few years ago is NOT telling people how to make their tions, while equal contributions of women when Brian Arm- voices heard, we are giving them a space are largely ignored and, in the long run, are brust, Founder and to make the sounds they need to make. We conveniently forgotten? Artistic Director of want to honor members of our community A Story of Two Pulitzers the Seattle Art Song by making music with them.” One of my recent composition projects Society (SASS) in I was floored by the breadth and gen- brought me face to face with these ques- Brian Armbrust Seattle, Washington, erous nature of Brian’s vision and that he tions. It brought me to a poet who was new contacted me about a planned using art song for this project. The to me, a poet whom I had never heard of commission for a social justice piece. His work that I composed was a song cycle for before: an American woman named Mar- 2018-2019 concert season was going to be mezzo soprano and piano called Through garet Widdemer (1884-1978). Widdemer devoted entirely to various communities the Guarded Gate. wrote beautiful, powerful poetry in which whose voices have typically been silenced The Poems she tackled the difficult social issues of her or pushed aside by much of society. Of his Most of my song output had been time, and for her efforts she won one of the vision, Brian wrote: “regular” poetry, letters, fables, etc., the earliest Pulitzer Prizes in Poetry, in 1919.

Hall, Resurrecting a Pulitzer Poet after a Century of Silence 1 kind of composing most composers do, nation use them under the guise of na- as an equal, the man may feel “belittled” but I pondered where I could find a “social tional defense, a pretense for male lead- by having to share with his mate, hence justice” text geared toward Brian’s “Wom- ers to become wealthy, acquire power, and the question at the end: “Will you love me xn’s Voices” concert. With the help of my exert national domination over other na- still?” She is both fearful and hopeful. husband, David, we found Factories: Po- tions. The children are expendable if they In the final poem, “The Women’s Lit- ems by Margaret Widdemer, published in are “second class” in societal status, off- any,” the community of women and like- 1917. Although it’s a century old, this po- springs of the less affluent, less educated, minded men demand equal rights and re- etry is modern. It speaks of difficult human or members of less “acceptable” ethnic or sponsibilities for both genders for the issues: human trafficking, children sent to racial groups. betterment of mankind. They raise their war, the fight for women to vote, equality Poem no. 3, “The Old Suffragist,” is voices against the holders of society’s in relationships, and the need for women about a woman standing up for equal per- power and claim their right to be admit- to be included in representation, decision sonhood and equal rights, but at the ex- ted “through the guarded gate” that stops making, and positions of responsibility. It pense of having a personal life rich with women from exerting their abilities, their could have been written yesterday. love and attachment. The woman no lon- insights, and their communal “will” to- Poem no. 1, “The Net,” is about the ger accepts a second-class role in a world wards fixing the problems described in the ill treatment of children, most often girls, ruled by those men who do not acknowl- first four poems. They identify the path who are used for whatever nefarious pur- edge the natural equality of human beings. through which they must travel to effect poses adults may have for them. We turn The woman placed herself in danger to permanent change, a more equal repre- our heads away from the injustices that create a path to a better life for others who sentation, and a more equal responsibility hurt them, especially when they are not will follow. for fixing the injustices and the fears de- “ours” personally. Children are expend- In the fourth poem, “The Modern scribed in the previous poems. They hope able if they are “second class” in gender. Woman To Her Lover,” she takes on the for a better future made possible by the in- The second poem, “A Mother To The responsibility of equal personhood and clusion of women as equals. War-Makers,” also concerns the ill treat- equal rights without permission of the “The Women’s Litany” features a ment of children, most often boys, when man. The woman will no longer accept driving rhythmic motif that functions as they are sent abroad. The leaders of our second-class love. If the woman is treated a march towards (and eventually through)

Through the Guarded Gate III. “The Old Suffragist” by Margaret Widdemer She could have loved—her woman-passions beat I. “The Net” Deeper than theirs, or else she had not known The strangers’ children laugh along the street: How to have dropped her heart beneath their feet They know not, or forget the sweeping of the Net A living stepping-stone: Swift to ensnare such little careless feet. The little hands—did they not clutch her heart? And we—we smile and watch them pass along, The guarding arms—was she not very tired? And those who walk beside, soft-smiling, cruel-eyed— Was it an easy thing to walk apart, We guard our own—not ours to right the wrong! Unresting, undesired? We do not care—we shall not heed or mark, She gave away her crown of woman-praise, Till we shall hear one day, too late to strive or pray, Her gentleness and silent girlhood grace, Our daughters’ voices crying from the dark! To be a merriment for idle days, Scorn for the market-place: II. “A Mother To The War-Makers” She strove for an unvisioned, far-off good, This is my son that you have taken, For one far hope she knew she should not see: Guard lest your gold-vault walls be shaken, These—not her daughters—crowned with motherhood Never again to speak or waken. And love and beauty—free. This, that I gave my life to make, This you have bidden the vultures break— IV. “The Modern Woman To Her Lover” Dead for your selfish quarrel’s sake! I shall not lie to you any more, This that I built of all my years, Flatter or fawn to attain my end— Made with my strength and love and tears, I am what never has been before, Dead for pride of your shining spears! Woman—and Friend. Just for your playthings bought and sold I shall be strong as a man is strong, You have crushed to a heap of mold I shall be fair as a man is fair, Youth and life worth a whole world’s gold— Hand in locked hand we shall pass along This was my son that you have taken, To a purer air: Guard lest your gold-vault walls be shaken— I shall not drag at your bridle-rein, This—that shall never speak or waken! Knee pressed to knee shall we ride the hill; I shall not lie to you ever again— Will you love me still?

2 IAWM Journal Volume 25, No. 2 2019 society’s many “guarded gates”—a mu- this poetry and these songs to audiences have equal access to opportunities and re- sical march that mirrors the nationwide around the country, and is representative sponsibilities Beyond the Guarded Gate. “virtual march” of performers bringing of the need for all women in all places to (See Example 1.) The Performances I was thrilled to have the chance to write this song cycle for an incredible mezzo soprano, Clara Osowski, who had recently become a prizewinner at sever- al international voice competitions. Her beautiful voice was exceptional: rich in tone, polished, nuanced, clear, direct, hon- est. Fortunately, she responded to the pro- posed project by writing: “I spent some time reading the texts and I am so deeply moved by the poetry. It is such a wonder- ful focus, almost a neglected topic, and with such a beautiful variety of ways to celebrate women.” Brian was gracious enough to wel- come Clara to Seattle as a guest artist, giv- ing me the sing- er of my dreams for this special piece. Clara trav- eled from Min- neapolis to Con- necticut three times to rehearse with me, a deep- ly generous com- mitment for any Juliana Hall and artist. Together, Clara Osowski Clara and I per- formed the premiere of Through the Guarded Gate on March 8, 2019 in Seattle. Brian wasn’t content to have just the one performance in Seattle. It occurred to him that, in this time of #MeToo and women’s rights being front and center in our culture, Ex. 1. “The Women’s Litany,” pp. 44-45 (continued on next page). this poetry and this song cycle might be able to bring an important message to many V. “The Women’s Litany” Let us in Through the Guarded Gate, more people. Brian wanted to go beyond Let us in Through the Guarded Gate, Let us in for your own sake! the Guarded Gate. Let us in for our pain’s sake! We have held you within our hand, His idea developed into a “wom- Lips set smiling and face made fair Marred or made as we broke or planned, en’s march” across the country. He pro- Still for you through the pain we bare, We have given you life or killed posed having at least one performance of We have hid till our hearts were sore King or brute as we taught or willed— Through the Guarded Gate in each of the Blacker things than you ever bore: Let us in Through the Guarded Gate, 50 states. With suggestions from partici- Let us in Through the Guarded Gate, Let us in for your own sake! pants, the project was dubbed Beyond the Let us in for our pain’s sake! Let us in Through the Guarded Gate, Guarded Gate Project. We put our heads Let us in Through the Guarded Gate, Let us in for the world’s sake! together to make a list of other singers, and Let us in for our strength’s sake! We are blind who must guide your eyes, over the next several months Brian con- Light held high in a strife ne’er through We are weak who must help you rise, tacted nearly 200 singers who wanted to We have fought for our sons and you, All untaught who must teach and mold see the score to determine whether it was We have conquered a million years’ Souls of men till the world is old— possible for them to include the piece in re- Pain and evil and doubt and tears— Let us in Through the Guarded Gate, citals they had planned. Let us in Through the Guarded Gate, Let us in for the world’s sake! My publisher, E. C. Schirmer, sup- Let us in for our strength’s sake! ported the project in a serious and won-

Hall, Resurrecting a Pulitzer Poet after a Century of Silence 3 quite gotten 50 states, but this is a really remarkable start. Having many performances of a piece, especially when it is brand new, is thrilling for a composer. But what most touches me is the extraordinary reaction from perform- ers and audiences alike.2 Reports of the au- dience response to Widdemer’s poems and the song cycle have also been meaningful to me.3 Perhaps the most moving response reported to me was the following: [T]he reaction to your work was overwhelming; it truly moved and affected those who attend- ed…but perhaps the most spe- cial feedback came from four fe- males….freshmen [who] waited patiently to speak with me after the performance. They were so excited about the message of the poetry…and that a female had composed the cycle….I think one of the girls literally purchased the cycle on the spot from the pub- lisher’s website!...[T]hey so bad- ly want representation (don’t we all?!?!), and they were so pas- sionate about committing to per- forming music by female com- posers….[Y]our cycle made a major impact on those four girls; they felt so seen hearing music about the female experience writ- ten by an actual female!4 Womxn’s voices have been around for Ex. 1. “The Women’s Litany,” pp. 44-45 (continued from previous page). as long as humanity, but they have seldom derful way I never could have imagined. Music, and at universities in Alabama, Ar- carried the authority of our male coun- Schirmer provided scores for all the poten- izona, Florida, Georgia, Iowa, Montana, terparts. It’s time for that to change. For tial performers and gave participating sing- Nebraska, Nevada, North Carolina, Ten- women, and women’s work, to take their ers and pianists permission to use them for nessee, Texas, and West Virginia. The piece rightful places in our world, we must use performances of the cycle (a retail value of is even being included as one of two song every tool at our disposal. I’m just a com- up to $8,000 in support!). cycles a DMA candidate is covering in her poser who writes art songs within a tiny As I write this, there have been 23 per- dissertation, designed as a style guide for niche area within a tiny niche genre of mu- formances of Through the Guarded Gate in performance of new art songs. sic, but I’m glad I’m learning how to use the past six months, with 12 more concerts One art song organization, Calliope’s my own tools for a greater purpose and to to be presented through early 2020. The Call in Boston, has made Through the expand my goals to include working to songs will have been heard in 24 states by Guarded Gate the centerpiece work for make a better world. Maybe I can do just that time, as well as in England and Swe- their November 2019 concerts. They had a little more to help get us through those 5 den. There have been concerts at universi- a call for scores for pieces that are based guarded gates we all face. ties and music conservatories, professional on themes of social justice and equal- NOTES conferences, art song festivals, chamber ity for women, persons of color, and the 1 Organizations, series, and venues present- music series, music stores, senior living LBGTQ community, using texts/music ing Through the Guarded Gate include the Bay facilities, and churches. Several concerts by artists from minority or marginalized View Music Festival in Michigan, Boston Op- era Collaborative (raising funds for an organi- raised money for worthy causes.1 communities, to accompany my songs to zation assisting in the healing of victims of sex- By the time you read this article, the form an entire program promoting justice. ual assault, domestic violence, and child abuse), song cycle will have been performed in More performances are being considered the Buxton International Festival in England, the academic world at the Hartt School of for next year’s concert season. We haven’t the Kulturfyren Classical Chamber Music Se-

4 IAWM Journal Volume 25, No. 2 2019 ries in Stockholm, the Middlebury Song Fest extremely important to me. As a result of cur- pacting women today, and to engage new audi- in Vermont, the NEXTET New Music Series rent politics, I have become more active and the ences to classical music by performing music in Las Vegas, the Southeastern Regional NATS entire project is something that I completely be- that makes a statement.” Scholar and Artist Series in Tallahassee, the To- lieve in, both musically and politically.” “The “I hope to speak to the question: Why is ledo Museum of Art, the Women’s Theatre Fes- piece feels absolutely FANTASTIC in my voice, it so extraordinary that we have to call it out to tival of Raleigh, NC, and a Mother’s Day con- so thank you for your gorgeous writing.” have a program of entirely women composers? cert in Kansas (raising funds for an organization The performers also explained what they It’s not extraordinary to have one of all male assisting victims of domestic abuse). hoped to accomplish: “I hope through the local composers. As attributed to RBG: Why would a 2 Here are some comments by the singers performance of this piece that listeners become court of majority female justices be so extraor- and pianists: “Your song cycle is deeply moving, more aware of contemporary music and com- dinary? A court of majority male justices is the and the project as a whole makes an important posers, as well as taking a deeper look at their norm.” “This project drew my interest because statement.” “I think that your music finds an ap- own understanding of the role of women in their I’ve felt very unsatisfied with the traditional re- propriate discord that reflects the indignation of lives.” “To introduce them to words and music cital programming model. When I heard about Widdemer’s poetry. The relevance of her poems by brilliant women, to let these big topics fall on this piece, I instantly had a concept of how to still today warrants music that challenges audi- their ears through the medium of lyric song— create a special program with these songs as ences and generates discomfort.” “These songs hoping that such beauty might open their ears the centerpiece. I found the idea of these songs have come to mean so much to me!” “I was de- and hearts in a different way. To advocate open- traveling across the country incredibly power- lighted by the idea of a cooperative tour....I like ly for sisters.” “Our hope for this program and ful, particularly in our current culture. Addition- how this idea speaks to the art of collaboration, performance of ‘Through the Guarded Gate’ is ally, I found that these songs speak in a way that how it acknowledges the contributions and im- to incite dialogue amongst members of our au- could engage audiences by their content, and pulses of many performers. The way in which dience community and our organization about aid in drawing new audiences to classical mu- this piece is entering into the world is also gen- how we can contribute to creating equality for sic.” “I hope to achieve an awareness of new erous and inclusive. I want to be a part of that.” women, children, and marginalized persons. music to an audience who traditionally do not “This is such a magnificent work and I’m so These texts, written in the early 1900s, illustrate get exposed to newer works….I hope to spark a excited to be a part of it!” “I find Widdemer’s how far we still have to go as a society to truly desire to other singers to want to include works poems to be incredibly thought-provoking. Her create a feeling of inclusion; to offer compas- like this one on future recitals.” “I think your words create a palpable image for me and feel sion, support, and acceptance for women, chil- music and this cycle is so relevant right now. deeply personal....I felt like I could see my own dren, people of color, and LGBTQ persons.” “I I’m genuinely passionate about trying to bring mother and grandmother in her depictions.” hope that through performing these there will this cycle to as many people as possible!” “The music and poetry of those songs are LUS- be an opportunity to highlight forgotten poems, 3 “The audience loved the Widdemer CIOUS! Truly, thank you for this addition to the to draw attention to the fact that these themes songs!!” “I’ll send an email with all the details, musical canon!!!!” “The rights of women are (addressed in poetry 100 years old) are still im- but for now, please know that your cycle was

Hall, Resurrecting a Pulitzer Poet after a Century of Silence 5 overwhelmingly well received!!!” “I think some went well out of her way to solidly prepare the Renae Harman, Emily Harmon, Bridget Hille, people were a little shell-shocked because they piece, come to my home across the country to Kimberly James, Kathleen Kelly, Dana Keph- are so unrelenting, you know, but it seems to me work with me, and to share a most meaning- art, Hope Koehler, Bethan Langford, Anna Lau- that that’s the point. Women unrelentingly fight- ful and beautiful world premiere performance renzo, Cheryl Lindquist, Eva Mengelkoch, Mi- ing for a place at the table, a part in the conversa- of the song cycle I have dedicated to her. A stu- chelle Monroe, Claudia Santana Nunez, Casey tion, while still being able to retain femininity.” dio recording of Clara Osowski and Juliana Robards, Luis Rodriguez-Morales, Kathleen “It was a hit!! Thank you so much for making Hall performing the song cycle can be heard at Roland-Silverstein, Megan Roth, Stephen Scar- it!!” “What a moving piece!!!” “I just wanted to https://soundcloud.com/composerjulianahall/ lato, Keval Shah, Jonathan Shin, Andrew Stew- let you know how much we loved your piece! sets/through-the-guarded-gate. art, Katarina Ström-Harg, Sable Strout, Monica We talked about it a lot on the way home, and I am also in debt to American poet Mar- Szabo-Nyeste, Hope Fairchild Thacker, Rachel my mom said that it sounded like an opera.” garet Widdemer for her poetic gift, her sense Velarde, Jordan Voth, Ivy Walz, Jennifer Wei- 4 The performance took place at Florida of justice, and her courage to tackle difficult is- man, Chelsea Whitaker, and Gretchen Windt. State University in Tallahassee on March 29, sues. If a Pulitzer Prize cannot keep her name American art song specialist Juliana Hall has 2019. The comments by the female freshmen alive, then I may not be able to with art song, composed song cycles described as “brilliant” students were sent to me by the mezzo sopra- but I will try to repay her for the great gift of (Washington Post) and “beguiling” (Times of no who performed these songs, Gretchen Windt poetry she has given the world. London) for numerous singers, including Brian (Assistant Professor in Music at the University Without the following wonderful musi- Asawa, Stephanie Blythe, Molly Fillmore, Da- of North Alabama). cians to bring my songs alive all around the vid Malis, and Dawn Upshaw. Performed in 30 5 Thanks are due to many people, so my country and abroad, my songs would have no countries on six continents, Hall’s art songs are apologies in advance to anybody I may inadver- impact whatsoever, so I would like to thank published by E. C. Schirmer, Boosey & Hawkes, tently have missed. I am in debt to Brian Arm- (in alphabetical order) the following singers and NewMusicShelf. Through the Guarded Gate brust of Seattle Art Song Society for the gift of and pianists: James Barnett, Diane Birr, Sha- is available from E. C. Schirmer at https://ec- a most meaningful commission for Through the ron O’Connell Campbell, Karen Cantrell, Dar- spublishing.com/composers/h/juliana-hall/ Guarded Gate and for his vision of the Beyond ryl Cooper, Jennifer Cresswell, James Dou- through-the-guarded-gate.html. For more in- the Guarded Gate Project. My grateful thanks glass, Annie Gill, GeDeane Graham, Robin formation, please visit www.julianahall.com. goes out to mezzo soprano Clara Osowski, who Guy, Christopher Hahn, Stacie Haneline, Risa Margaret Ruthven Lang’s Dramatic Overture: A Case Study in How to Value Lost Works SARAH BAER On April 7, 1893, the Boston Symphony these works. This leads scholars to a dilem- out the score itself to examine, we are often Orchestra opened its evening subscription ma when faced with the fate of many works left without a basis by which to assess the performance with the premiere of a new by women composers. Scholars have evi- value of the work in the musical canon. work simply titled Dramatic Overture. The dence that these works existed, that they Research into Lang’s life and compo- composer, Margaret Ruthven Lang (1867- sitional career provides a unique opportuni- 1973), reportedly hid during the perfor- ty to consider new ways to determine merit mance out of nervousness over the pre- and value, to place a composer in context miere. Although it was not acknowledged of time and place, and to appreciate her anywhere on the program or in the numer- achievements even without traditional for- ous reviews that followed, Lang was sure- mal analysis. As we continue to bring the ly well aware that it was the first perfor- work of women to light, we need to find mance of a work by a woman composer on new ways to study and evaluate their con- the Boston Symphony stage. In fact, it was tributions to culture and music. I offer one the first performance of a work by a wom- case study as a way this might be achieved. an by any orchestra in the United States. By considering the work of Margaret Ruth- Lang would continue to write for orches- ven Lang in terms of the social constructs tra, completing a Mass and a total of three she was expected to conform to regard- overtures, one of which was performed on ing her gender, class, and social status, as the primary stage (not the “Women’s Au- well as the interpersonal relationships in ditorium”) at the 1893 World Columbian her own family, we can better understand Exposition under the direction of Theo- Lang’s choices and appreciate her achieve- dore Thomas. But while the programs, let- ments even though the music itself is gone. ters of congratulations, and even reviews Lang was born in Boston, Massachu- of these performances are preserved, the setts, the eldest child of Benjamin Johnson music has been lost—most likely de- (B.J.) and Frances Lang. B.J. Lang is re- stroyed by the composer herself. Margaret Ruthven Lang membered in historical texts on American Much of the foundation of musicology music as Boston’s foremost organist and is drawn from a critical appraisal of musi- were even performed, and in Lang’s case, piano pedagogue. During his career, B.J. cal works based on listening to or studying received a warm reception. However, with- was organist at the historic King’s Cha-

6 IAWM Journal Volume 25, No. 2 2019 pel, performed regularly with the Handel sue a course of self-study in refining her November 4. Recorded in Frances Lang’s and Haydn Society, was the founder of compositional skills. diary on that date was this entry: “Maid- The Cecilia Society and Apollo Club, and Lang must have recognized how very ie has finished her second overture which conducted the world premiere of Tchai- much she stood apart from the “typical” papa [Margaret’s father] calls tragic—we kovsky’s First Piano Concerto in Octo- composer of the time. Indeed, Lang was had a hearing tonight and three times Mai- ber 1875. B.J. was also a student of Liszt granted access to men-only music clubs die played it through—papa and I looking and, as a result, had a lifelong friendship because of her father’s influence, a privi- over the orchestral score and Maidie play- with Richard Wagner. The Lang home, lege that none of the other women com- ing from sketch.”3 at 8 Brimmer St. on Beacon Hill, hosted posers in Boston (including Amy Beach, Maidie sent the score to Nikisch that some of the most acclaimed musicians of Helen Hopekirk, Mabel Daniels, and Clara autumn for his review but did not hear the time as they passed through Boston Rogers, among others) experienced. back until the spring of 1893. The wait on concert tours. Lang’s mother, Frances, Lang made use of the opportunities was unsettling but the result was positive: maintained a careful record of family ac- that came to her—sending an aria for voice Nikisch offered to have the orchestra per- tivities through her daily diaries, where she and orchestra with Edward MacDowell on form the piece in rehearsal so that Lang recounted visits from Ignacy Paderewski, his international tour to have the work per- would be able to hear the full scale of her Antonín Dvořák, and Ethel Smyth, as well formed in Paris, entering the competition work. After the rehearsal, he asked Marga- as violin virtuoso and advocate for wom- for new music for the 1893 World’s Colum- ret’s permission to perform the work in a en’s involvement in music, Camilla Urso. bian Exposition, and taking a lesson with formal concert.4 The Langs were family friends with Ed- Dvořák when he traveled through Bos- In Lang’s letter to George Chadwick, ward and Marion MacDowell, as well as ton. Lang’s mother noted in her diary that her primary orchestration teacher, just un- Isabella Stewart Gardner, who had sub- the lesson took place at the family home: der two weeks before the actual perfor- scription seats directly behind the Lang’s “Dvořák asked to see Maidie’s overture mance date, she expressed both her joy at Boston’s Symphony Hall. [the first one] and gave her a long and most and concern over the premiere of the work. We cannot underestimate the impact interesting lesson in it. Later, her songs.”1 It appears as if Lang had never shown, or of social class on Lang’s opportunities as a Dvořák’s knowledge of the existence even mentioned, the work to her teacher. young musician. Lang was most likely the of the work almost certainly came from She wrote: “[Nikisch] did not acknowl- best-trained woman composer in the Unit- someone other than Margaret (known in edge it for so long that I dared not tell you ed States in the early twentieth century, a the family as Maidie), who was modest of it lest you should jeer at my temerity but status she could not have achieved with- about her achievements. It is likely that now that it has won its way this far I want out the support, financial and otherwise, of B.J. mentioned the work to their guest, your good wishes and I want above all to her family. Lang penned her first composi- perhaps even with direct intentions for thank you.”5 Her modest nature is quite tion at age twelve, a quintet for violins and Dvořák to offer his insight into the compo- evident throughout the letter; above all piano that she composed to perform with sition. The contents of the lesson have been she sought Chadwick’s critical opinion of her friends. Immediately after these first lost, as Frances did not record any details the work and indicated how important this attempts, Lang’s father began giving her of the conversation, thus we have no way concert was for her, personally and profes- harmony lessons. At age nineteen, Lang of knowing what, if any, alterations Lang sionally: “It is a very little thing for me to traveled abroad to Munich, Germany, ac- made to the overture, or her songs, after her make so much of and I suppose you will companied by her mother, to study violin, conversation with Dvořák. laugh at me, but a symphony concert has counterpoint, and fugue privately, as wom- Margaret’s father also created oppor- been a mile-stone I have longed to reach. en were not yet permitted to attend classes tunities for her through a tie to Boston I am afraid that when Saturday comes you at the Royal Conservatory of Music. Upon Symphony Orchestra conductor Arthur Ni- will say that I do not deserve it. Will you her return to America, Lang continued her kisch. In an article profiling Lang on the please tell me frankly after the concert[?] studies with George Chadwick. celebration of her 100th birthday, she re- I shall be very downcast and humble and Lang’s education was extensive and called the tremendous opportunities she this effusion is joy not pride.”6 comparable to the type of education avail- had as a young student: “They told me to As no trace of the music for the Dra- able to men at the time. To fully understand take some Grieg to the orchestra and hear matic Overture is extant, the best source of the depth and breadth of Lang’s education, how it sounded, so I could learn about or- information regarding the style, form, and as well as the importance of considering her chestration. So I went to one of Nikisch’s harmonic structure of the piece is found gender as a factor, let me place her briefly rehearsals and they played it for me. in the program notes written by William in comparison to Amy Beach (1867-1944), Things were so easy in those days.”2 This F. Apthorp, program essayist for the Bos- a contemporary of Lang’s who was also enormous privilege, as well as the relation- ton Symphony. The notes liken the work to a family friend. Though she is one of the ship of Nikisch with the Lang family, led to the symphonic forms of Robert Schumann, best known and most respected figures in a historic premiere. especially in regard to the relaxed use of the history of women in American music, Lang completed her first overture, sonata form. Apthorp contrasted the two both as a composer and a piano virtuoso, Witichis, in August 1892 and immediate- themes as such: Beach never received formal composition ly began work on her second in Septem- The first one, given out by the training of any kind. Her husband encour- ber. She worked quickly, finishing what brass, has something of the vague aged her to compose but urged her to pur- would become the Dramatic Overture on tonality of the old modal writ-

Baer, Margaret Ruthven Lang’s Dramatic Overture: A Case Study in How to Value Lost Works 7 ing of the fifteenth and sixteenth to her due to her social class and family rectly questions the role of the conductor in centuries,─a character which is connections rather than the potential ge- the choice of program, revealing a deeper made all the more prominent by nius within the work itself. conflict between Hale and Nikisch. the grim cadences on the strings The Dramatic Overture was first per- The review continues in a similar that come after it. The second formed at the open rehearsal on Friday fashion, being deeply critical of the piece phrase belongs wholly to our April 7, 1893, and it opened the concert the itself, but even more critical of the deci- modern tonality, and has that ex- following night. The work was reviewed sion to program the work for the sympho- pression of personal, individu- in numerous newspapers and journals ny concert. It is clear that Hale was careful al emotion that came into music throughout the Boston area. Lang preserved to distance himself from the over-general- with the discovery of our modern many, if not most or even all, of the reviews izations of the time that permeated musical tonal system.7 in her scrapbook. Frances’ account of the thought regarding the inability of women Regarding orchestration, Apthorp wrote symphony performance, however, has been as creators. A patronizing attitude, howev- that it is scored for the classical grand or- lost; the diary from 1893, which almost cer- er, can still be perceived in his comments: tainly existed at one time, is not included in “It is the duty of a conductor to put gal- chestra with trombone, big drum, and 11 cymbals. He continued: “It is especially the collection at the Boston Public library. lantry in his pocket and examine carefully noticeable, too, that the stronger brass in- The general sentiments regarding the the score, even if the work is presented by struments (trumpets and trombones) have composition were positive, though sever- a blushing maiden, a matron of reserve or been reserved for special effects, and often al mentioned the immaturity of the work, a toothless crone. These observations of a do not figure at all in fortissimo passages. which is not surprising considering that general nature may be applied in part to the In this the composer has followed both it was not only the second large work she case of Miss Lang, who has in the past giv- had ever produced, but one she had never en undeniable proofs of her possession of Beethoven and Wagner in one of the most 13 characteristic veins in instrumentation.”8 shown to her primary instructor prior to the musical nature.” He made additional comments on the performance. The tone in her letter to Chad- Though Hale does credit Lang with work in a more informal manner in a let- wick suggests that Lang had not expected “undeniable proof” of musical ability, he ter to Lang dated April 2, 1893. They pro- Nikisch to comment on the work at all, let also refers to her as a “blushing maiden,” vide excellent insights into the work, par- alone to have it performed in concert. The and not as a serious, though student, com- ticularly regarding the highly descriptive reviews suggest that the greatest concern poser. The three stereotypical images of language he used when discussing various about the performance was not the early women Hale evokes project an image of musical figures in the score. For example: development of the composer or the poten- helplessness and passivity, clashing with tial for possible future works, which almost the notion of the energy and vitality that Where did you get that idea of re- all of the reviewers felt were promising, but is usually associated with the notion of inforcing the effect of those jumps the decision to have the work performed at the creative genius (who, of course, is un- from C major to E minor, and F all by the symphony. derstood to be male). The greater implica- major to A minor, by that Schar- The influence of gender on the com- tions of the review, however, are in regard 9 frichter’s rhythm? I don’t know positional process was overtly mentioned to Hale’s general attitude and grievances when I have heard that “Meyer- in very few of the numerous reviews that with Nikisch. beer” snap of two short notes and were preserved; yet considering the radi- Yet another point to consider, how- a long one sound so new, and so cal act of having a woman’s work on the ever, is the influence of B.J. Lang, whose little as if Meyerbeer had written concert stage at the time, it can be expected reputation and influence may have nega- it. I have also great hopes of the that the composer’s gender was never far tively impacted the reviews of the piece. place where the third horn comes from the critics’ minds. A review by Philip In her work on Lang, Judith Cline has sug- in against the twiddle-twiddle in Hale, a noted music scholar and critic, that gested outright that Hale and B.J. Lang of- the violins. And how stunning of appeared April 10th in the Boston Home ten conflicted within the social framework you to have kept your trombones Journal is quite clear in stating the way of Boston’s music community.14 More- and trumpets for the preaching, in which Hale himself reportedly factored over, we must consider the influence of the and made your big crashes with- gender into his consideration of a new relationship between Nikisch and the Lang out them! I hope Nikisch will fol- work: “The phrase Place aux dames should family, which led to suspicions of nepo- low his native bent, and give the be without meaning on the concert stage. tism. I believe it is possible that Hale used final “pa-pa-pum------PUM!” as it The conductor of an orchestra should judge his review not only to give commentary on 10 looks in the score. of the fitness of a composition proposed for the work but also to publicly, though not Although I believe these documents performance without consideration of the overtly, express frustration about Nikisch. are able to provide modern researchers sex of the composer. Sex is here an acci- Hale clearly felt that the Boston Sympho- with a basic idea of the structure, tone dent.”12 Hale begins the commentary by ny Orchestra had no business wasting its color, and orchestration of the piece, I am first stating that his views are not directly time, or the time of the audience, with mu- wary of using Apthorp’s writing to ascribe connected to the gender of the composer— sic that could not be labeled “high-art.” value to the work. Indeed, the professional in so doing he acknowledges the topic that The connection between the “lesser” work performance of the work most likely had many chose not even to mention in dis- and the orchestra was the privilege that more to do with the opportunities granted cussing the work. However, Hale also di- Margaret Lang possessed thanks largely to

8 IAWM Journal Volume 25, No. 2 2019 her father’s position in the music commu- possible to perfectly reconstruct the past, er against all societal expectations, they nity of Boston. we are able to better appreciate contexts also speak to the enormous opportunities Even within this brief examination of in which art was created and appreciated, that she was allowed. A careful investiga- the life and lost music of Margaret Ruthven acknowledging the ways in which various tion of Lang’s history suggests that the Lang, the complexities of her privileges, so- factors intersect and impact the environ- very societal structures that afforded her cial status, and expectations related to gen- ment. As a result, the histories, and occa- tremendous opportunities also eventual- dered norms reveal the ways in which Lang sionally works, of women artists from past ly constricted her artistic output. She was was limited in her compositional career, at centuries have been restored to the greater able to transcend the financial difficulties least in terms of orchestral writing. Though knowledge of women’s achievements. Yet that prevented many from pursuing the she composed over 100 art songs, an “ap- much is still tragically lost. By exploring education required for a career in compo- propriate” genre for women composers, the contexts in which now-lost cultural ar- sition; nevertheless, she was still expected she was never able to achieve those great tifacts were created, we may be able to un- to adhere to the domestic and social obli- things she dreamed of for herself in terms derstand the process far beyond the ways gations that were associated with her gen- of orchestral writing. She lived to be 104, in which we might have been able to ap- der and class. but she stopped composing at age 54. When preciate the work itself. We will clearly never know the reasons Lang was questioned during her centennial Margaret Lang’s overtures have not behind Lang’s career choices. This rather birthday interview as to whether she could survived as tangible pieces of America’s cursory examination of her life and orches- list the number of pieces she had composed history. But their absence from the can- tral output clearly suggests that her story, during her career, she responded, “Oh, my on of American music, or the performing and the stories surrounding her works, is soul, no. Of course not. I can’t tell you. It’s repertoire of symphony orchestras, does more complicated than has been present- my whole life’s work.”15 When asked in the not mean that the works do not deserve ed in historical texts, where she is largely same interview why she had stopped com- attention and value for their role in the remembered as the “lady composer.” The posing, her answer was simple: “Why did I development of American music, as well detailed and often contradictory issues sur- stop? I had nothing to say.”16 as in the history of women in American rounding the creation and destruction of her New appreciation for what were, until music. Although Lang’s songs continue to works cannot be easily conveyed, yet it is recently, considered “unorthodox” meth- be remembered as a part of Boston’s rich important to communicate just how com- ods of scholarship has allowed scholars to history of art songs composed by women, plex Lang’s life and career were. Indeed, embrace new possibilities for recovering her orchestral compositions are not only the history surrounding Lang’s life indi- what has been lost to time. Though it is im- testaments to her ambition as a compos- cates that there may not be a simple answer,

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Baer, Margaret Ruthven Lang’s Dramatic Overture: A Case Study in How to Value Lost Works 9 if any answer at all, to any question we may 8 Boston Symphony Orchestra Concert er’s accounts of the performances from the ask—however, that does not diminish the Program, p. 732. family record. 12 importance of the question. 9 The reference to “Scharfrichter’s rhythm” Philip Hale, Boston Home Journal (April in Apthorp’s letter is quite telling of the force he 10, 1893). NOTES ascribed to the musical figure, as Scharfrichter 13 Ibid. 1 Frances Lang Diary, 1892. is the German word for “executioner.” 14 Judith Cline, “Margaret Ruthven Lang: 2 Boston Globe (February 1967). 10 Lang Family Papers, Rare Books De- Her Life and Songs” (Ph.D. diss., Washington 3 Lang Diary. partment, Boston Public Library. University, 1999), 15. 4 The letter was dated only “Monday,” but 11 Twenty-four of Frances’ diaries are held 15 John J. Mullins, “Composer Margaret referred to the concert as next Saturday, so I in- in the Lang Family Papers, spanning from Lang, 101, just ‘wants to live forever,’” The ferred the date of the letter to be March 27. Let- 1876 until 1920, with consecutive years from Boston Globe (February 19, 1967). ter from Lang to Chadwick, undated, George 1901-1920. The missing years are 1909 (the 16 Mullins. Chadwick Scrapbook, Special Collections, year of B.J.’s death), 1893 (the year of Lang’s Sarah Baer (M.A., Brandeis University) is the New England Conservatory. first performances), and 1896 (the year of 5 Ibid. Blogger-In-Chief and Grants Administrator Lang’s second Boston Symphony Orchestra for Women’s Philharmonic Advocacy, where 6 Ibid. performance). Though the loss of information 7 Boston Symphony Orchestra Concert she is committed to levelling the playing field through time is certainly a reasonable expla- for women composers. Sarah also serves as Program, 1892-1893 Season, 21st Rehearsal nation, there is suspicion that Margaret Lang and Concert, April 7 and 8, 1893, p. 731. Artist Lecturer in Oboe at Moravian College might have purposefully excluded her moth- in Bethlehem, Pennsylvania. Preserving the Women-in-Music Legacy JEANNIE GAYLE POOL

More than 40 years ago, in Special Col- braries, and sound recording collections, Collection and, once we are done with the lections at the New York Public Library at because there were no instructions about archival work, the originals will be deliv- Lincoln Center, I discovered the newslet- what to do with these items when mom or ered there. We are digitizing the recordings, ters on Women in Music (1935–1940) pub- dad dies. Often, under pressure to clear out so that she will have instant access to them lished by Frédérique Petrides (1903–1983). a home or apartment and with few financial on a hard drive. The most difficult part has Those newsletters documented her efforts resources, inheritors toss out these materi- been sorting, organizing, and labeling the to promote women composers and her als unceremoniously. In many cases, unla- tapes, which are minimally identified with all-women’s orchestra in New York City. beled (or inadequately labeled) cassettes, dates, locations, or performers. It is a time- Those newsletters inspired me to form the video tapes, and papers are demolished be- consuming endeavor, but Price has the sat- International Congress on Women in Mu- cause the necessary resources to discover isfaction of knowing that her legacy will be sic and to publish a newsletter to publicize the contents and determine what is worth preserved. She’s enjoying the process of lis- the ICWM news and events. Librarian Jean saving are not available. tening to the old recordings (some dating to Bowen told me that Maestra Petrides was To address this problem, I established the 1950s), identifying their contents, and still alive, living in Manhattan, and encour- a consulting firm in Southern California, being reminded of some extraordinary mo- aged me to call her, which I did. Music Legacy Services, that specifical- ments in her six-decade-long career. For- Petrides insisted that I document ev- ly works with composers and their fami- tunately, we have been able both to match erything we discover about women in mu- lies to preserve film and television music; concert programs with recordings and to sic, so that future generations would not I have worked with dozens of estates over provide full details on the contents of the have to reinvent the movement but could the years. Occasionally, I work with concert recordings. It documents not only Price’s build on the past. I incorporated this mes- music composers and their families, as well. legacy, but also the work of all those with sage into my standard talk on the history of Let this article be a reminder: Make whom she played, as well as other compos- women in music called Up From the Foot- plans for your legacy! Your work matters! ers whose works she performed. notes, which I presented more than 100 It is of historical importance! Organize and Beverly Simmons and I have just pub- times in the late 1970s and ’80s through- label clearly those items of greatest signifi- lished The Sourcebook on the Interna- out the United States and in Europe. In re- cance to you and write instructions about tional Congress in Music (Jaygayle Music cent decades, dozens of books and articles what should be done with these items, in Books, 2019), which includes the program have been published on the subject, includ- case you die or become incapacitated. booklets, flyers, brochures, and newslet- ing encyclopedias, biographies, bibliogra- Don’t burden your children or partners with ters related to the ICWM, between 1980 phies, and histories, and much has been ac- this task. [If you need advice about how to and 1990. The 500-page book is a who’s complished when it comes to documenting get this done, do not hesitate to contact me.] who of women in music of that period, the history of women in music. This past year, I’ve been working with and it is fully indexed. The Sourcebook is As a musicologist, I am always sur- composer and pianist Deon Nielsen Price a companion volume to my book The Pas- prised to discover which primary sources to archive her reel-to-reel tapes, cassette sions of Musical Women: The Story of the are not available, having never been col- tapes, and compact discs (including mas- International Congress on Women in Mu- lected and archived. I hear all the time ters of recording sessions, live concerts, sic, published in 2011. When I prepared about heirs of composers and scholars who and radio broadcasts). Brigham Young Uni- the Necrology for The Sourcebook, I was have thrown out music, personal papers, li- versity is establishing a Deon Nielsen Price stunned to realize how many people who

10 IAWM Journal Volume 25, No. 2 2019 had worked on the ICWM during those were nearly forgotten. It could happen to we are now and how tenuous the gains may early days have already passed away. We our wave of feminism, as well. be. We know that there is more to do in the are hoping that individuals, organizations, Recently, some young women who struggle for equality. By preserving our leg- and libraries will purchase the book, and asked me what I had to do with the women- acy and making it accessible, we can pro- thereby preserve the legacy of the Con- in-music movement were surprised to hear vide tools for future advocates. gress. Yes, a second or third volume should about the Congresses and the formation of Jeannie Gayle Pool, Ph.D., is a musicol- be prepared, including the subsequent the IAWM in the 1990s. Some have told me ogist, composer, and music producer who Congresses. And similar volumes should recently that they don’t need a women-in- lives in Los Angeles. She is the founder of be prepared documenting the International music movement because they have parity the International Congress on Women in League of Women Composers and Ameri- with men composers already. They have no Music, which was one of three organiza- can Women Composers, Inc., respectively. idea what an effort went into getting where tions that merged to create the IAWM. Now that The Sourcebook is published, I have been organizing all of the Congress documents, correspondence, scores, finan- cial reports, organizational minutes, and legal papers for deposit in the ICWM col- lection at New York Public Library at Lin- coln Center, an archive established by li- brarian Jean Bowen, who worked on the original 1980 Congress in New York City. Everything is being inventoried and put into acid-free folders. I am creating a find- ing guide for immediate use by the library, to spare the library staff from this tedious task. The correspondence is remarkable, including many handwritten letters from women composers from around the world. With modern correspondence on email, a trove of handwritten letters becomes even more rare and valuable. Why, you may ask? The ICWM in- volved hundreds of women and men from around the globe, all seeking to improve the situation for women in music. The Source- book, the memoir (I call it an advocacy memoir), and the materials being deposited at Lincoln Center represent our efforts. I encourage others who have orga- nized festivals, concerts, conferences, and other women-in-music events to make sure the documents and recordings of those events are deposited in some archive for future generations. Write a detailed letter to accompany the materials, describing what you are donating and its importance. And guess what? You may be able to take a tax deduction for your donation (consult your accountant). Where to donate it? Uni- versity and public libraries are best. If we don’t make the effort to preserve our legacy, who will? Who cares about it more than we do? What if political and/ or economic circumstances in the future turn back the clock on women’s equality, and future generations need to reactivate a women-in-music movement? We know there have been waves of the movement for equality in the past that have fizzled and

Pool, Preserving the Women-in-Music Legacy 11 Social Justice Innovators: Women Connected Through Film and Space GYULI KAMBAROVA The amazing technology of the internet The more we worked together, however, missing puzzle piece. I was so fond of the has allowed my colleague, Anna Barsuko- the more that vision changed. The music music that I included it on my Memories va, and me to raise public awareness about provided such a strong form of narration CD and titled it The Girl. social inequality and prejudice through that we decided it would be better to have The next story is about the Kuzmin music and film, although we live 5,000 an entire soundtrack, rather than one re- family, and it reflects Anna’s desire to miles apart. We collaborated on two proj- curring motif. contrast the fearful life of the child in an ects that were close to our hearts. The first I approached the twenty-nine scenes orphanage, or with an irresponsible par- was about two inspiring foster families in with the idea that each scene was an epi- ent, as contrasted with the safer and hap- the documentary film that we titled You sode in itself. The documentary was com- pier life with the foster family. The main Are Not Alone! In the second documentary, plex; the two families had multiple chil- focus in this scene is on a teenage girl Voice for the Voiceless, we presented sto- dren with very different life experiences, named Natalia. She is smiling, and she ries about the various problems faced by which required different types of music. To looks at her new siblings fondly as she people who struggle with HIV. By sharing illustrate, I have selected one child from explains how she came to live with her our interpretation of these problems with each family. In a scene about the Abramov foster parents. Her life is so different now people around the world, we felt that audi- family, the mother explains how she came that sometimes she cannot believe she ences could better understand these over- isn’t dreaming. For a long time, she hoped looked social injustices. her birth mother would change, but she Anna and I grew up in Russia and did not. The film then flashes back to an met each other at the Rachmaninov State image of a woman in a disheveled house. Conservatoire in Rostov-on-Don. Anna Cigarettes overflow in an ashtray, and al- trained as a violinist, and I trained as a cohol sits on a coffee table. Natalia under- pianist and a composer. After graduation, stands that her birth mother was a broken I moved to the United States, and Anna woman, but her understanding does not returned to the university to study film. make it hurt any less when her mother is When she began working on her first doc- stripped of her parental rights. The mu- umentary (You Are Not Alone!), she knew sic that accompanies the scene is differ- that the soundtrack would be essential to ent from the Abramov scene; the bells are the narrative, which is in Russian. The film present, but they now have a dark sound. follows two foster families: the Abramovs The music expresses Natalia’s feeling of and the Kuzmins. Each family adopted uncertainty and anxiety while living with several children over the last decade, but her mother and a sense of dread and fear what is unique about these families is the when they are separated. The music is ti- type of children they have adopted. The tled Fragments of the Soul, and I also in- Abramovs have adopted children with cluded it on my Memories CD. disabilities, and the Kuzmins have adopt- I composed different music for each ed several teenagers. The specific point Gyuli Kambarova of the children, and it helped the audience Anna wished to focus on was not simply to recognize and remember them. The dra- adoption but the adoption of children who to adopt little Viola. On the screen you see matic melodies were filled with pain— are often ignored and not likely to be ad- a vibrant young girl. She is around one they knocked at people’s hearts, and, we opted. year old, with a few teeth peeking through hope, opened them to the idea of adoption. Anna first reached out to me in Octo- her smile and a few tufts of hair lazing When we created the film, Anna and I ber of 2016. Her research for the film was atop her head. The mother is tearful as she dreamed of a new world where people will well underway, and she started to share her explains that the child has several medical not be afraid to become foster parents— ideas with friends. She mentioned that she conditions, which she does not wish to dis- a world where children will find parents would like to commission some music for close. The child, of course, does not know who will love them always. the project, and one friend suggested an of her medical conditions nor of the uncer- You Are Not Alone! was shown at experienced professional composer whom tainties she could have faced in life while a number of international and region- they knew: Gyuli Kambarova. Initially, waiting to be adopted. She is simply happy al movie festivals in Russia, the United when Anna contacted me, she wanted me to be with her family. The music that ac- States, Canada, Ukraine, and Armenia, to create the main theme that would serve companies the scene is hopeful. It is lilting and it has received more than 21 awards as a motif for the entire documentary. She and buoyant, somewhat reminiscent of the across the world since its release in 2017. sent me a few film clips and explained her traditional lullaby. The bells that chime are That would not have been possible with- ideas. Being a musician herself, Anna had infectious and seem to dance with the little out funding. We are very appreciative that a very specific vision in mind for the type girl’s springy steps. The scene invokes a the famous Russian actress, Olga Budina, of music that would accompany the film. powerful image, and the music fits like a provided financial support. In addition,

12 IAWM Journal Volume 25, No. 2 2019 we received many donations from the (Italy) and the Kinoduel International society. The music powerfully mirrors her United States, Russia, Ukraine, Belorus- Film Festival (Belarus). The film was a emotional distress now that she has lost sia, and elsewhere. The documentary has competition finalist in several major inter- her job and her friends due to discrimina- served as a very successful and important national festivals: “Whistleblower Sum- tion against people with HIV, and it also commercial for the foster parent system in mit & Film Festival” (Washington, DC), portrays her current quiet lifestyle. Russia. “Short to the Point” (Bucharest, Roma- Marina is a fighter who never gives After the success of our first collabo- nia), and “Changing Face” International up on her hope to make the future less ration, in 2018, Anna and I set our sights Film Festival (Sydney, New South Wales, stressful for those who are ill. She wants on a second project, about people with Australia). to prove to the world that it is safe to be HIV, Voice for the Voiceless, for which This documentary had less music with people who have HIV. The misunder- we both were the producers. The message than You Are Not Alone! But that did not standing and fear of HIV is a serious prob- that we wanted to get across through this make the film any less interesting for the lem faced by all societies, which leads to movie is that anyone can be at risk regard- audience. Two basic themes support the depression, discrimination, and suicide by less of sex, nationality, occupation, or so- monologue of the main heroine, Marina those who have it. cial status. After the premiere in March Dryagina. Through her soliloquy, recited Anna and I strongly believe in the 2019 in Yekaterinburg, Russia, the film throughout the film, the audience is able power of music and the cinematic art, and received numerous good reviews from to feel Marina’s pain and fears, her de- we have no doubt that documentaries such viewers and the press. On World HIV Day spair and agitation, as well as her hope as the two we have produced can change in May 2019, the documentary was suc- and trust for a better world. The music re- the world to a happier, friendlier, kinder, cessfully shown in many regions of Rus- lays Marina’s thoughts through electron- and more accepting place! sia, and it was recently nominated for the ic music, which creates an unreal world Gyuli Kambarova is an award-winning com- very prestigious award, “For the Good of where some people are struggling with poser as well as a pianist who performs across the Peace,” in Moscow. It was also shown HIV, and some are just hiding from their the country and a teacher whose students have at the “Social Machinery” Film Festival own dark thoughts and the judgment of won major competitions. Eugenia Errázuriz and Stravinsky’s Neoclassicism JEREMY OROSZ Eugenia Errázuriz (1860-1949)1 was a tion for this remarkable patronage, he dedi- first encounter, and which later developed Chilean tastemaker and patron of the cated both his Five Easy Pieces for Piano into an unfailing friendship, touched [him] arts who lived most of her life in Western 4-Hands (1917) and Ragtime for Eleven deeply, and [he] enjoyed her subtle and un- Europe. The details of her involvement Instruments (1919) to her.6 rivaled understanding of art which was not in the visual arts have been the subject Given the generosity Errázuriz showed that of her generation.”7 of much recent scholarship, yet her in- Stravinsky, it is not surprising that the Years later, in 1949, Chilean journal- fluence upon concert music of the early composer waxed poetic when praising his ist and playwright Santiago del Campo 20th century remains woefully underex- interviewed Stravinsky at his Hollywood plored.2 Errázuriz used her monetary re- home, closing the write-up of the encoun- sources and political clout to boost the ter by recounting that “throughout our final careers of a great many artists, though handshake, he talks about Madame Errá- her influence upon Stravinsky’s creative zuriz, ‘our best friend,’ ‘our unforgettable output is of particular interest. This es- Chilean friend.’ I promise to give her his say explores the role Errázuriz played in regards when I return to Chile.”8 Although persuading Stravinsky to embrace new Stravinsky may have exaggerated his aesthetic principles in the early 1920s. praise for his some-time Chilean patroness Errázuriz is frequently mentioned for the benefit of one of her countrymen, in scholarly writings on Igor Stravinsky, the insistence that del Campo pass along a if only briefly, to note the financial sup- greeting to the now nearly-ninety-year-old port she provided him during the 1910s.3 Errázuriz (who had since returned perma- Shortly after they made one another’s ac- nently to Chile) attests to the deep grati- quaintance in May of 1916, she began to tude he felt.9 provide him with a 1,000-franc monthly Portrait of Eugenia Huici Arguedas de From Stravinsky’s own remarks, it is stipend, and soon thereafter commissioned Errázuriz by Jacques-Emile Blanche, 1890. widely known within music studies that his 1917 Etude for Pianola; these gifts Pastel on fine-wove linen. Errázuriz was a valued friend and patron helped to ensure his financial solvency Collection of Dixon Gallery and Gardens. of the composer. Fewer among us, how- during the lean, wartime years.4 She also Chilean friend. Referring to her in his 1936 ever, are familiar with her reputation as a offered a last-minute grant to support the autobiography as a “lady who had pre- tastemaker and shaper of the arts. A gener- production of The Soldier’s Tale in 1918, served almost intact marks of great beauty ous benefactress she was, but her patron- and allowed Stravinsky to keep a room in and perfect distinction,” he recalled fondly age was not merely a blank check. This is her Paris apartment.5 To show his apprecia- that “[t]he sympathy she showed at [their] not to suggest that her support was baldly

Orosz, Eugenia Errázuriz and Stravinsky’s Neoclassicism 13 transactional; although it is unlikely that It is well known that after achieving Errázuriz [Memphis: Dixon Gallery and Gar- the artists under her mentorship were “re- celebrity status from his now-canonical dens, 2018], 115). See also Solène Bergot, quired” to follow certain aesthetic guide- Russian works (The Rite, Firebird, etc.), “Entre ‘Pouvior’ et ‘Devoir.’ Dynamiques in- lines in exchange for her generosity, it is Stravinsky began to compose music in an ternes et construction sociale d’une famille de l’elite chilienne: le cas des Errázuriz Urmeneta, certain that she took creative professionals unabashedly Neoclassical style. Much has 1856-1930.” Tesis para optar al grado de doc- under her wing seeking to shape their out- been written about this remarkable change tor en historia, Univerisité Paris—Pantheon La put to match her own aesthetic worldview. in Stravinsky’s output, yet to my knowl- Sorbonne et Pontifica Universidad Católica de Errázuriz’s influence upon three of edge, no one has provided a satisfying ex- Chile (Santiago, 2013). Stravinsky’s counterparts in other artis- planation for his ostensibly bizarre choice 2 No scholarly source (to my knowledge) is tic realms serve as instructive examples. to seek inspiration from obscure musi- devoted wholly to Errázuriz’s contributions to Gabrielle “Coco” Chanel took inspira- cal sources composed in the distant past. early 20th century musical culture, though iso- tion from Errázuriz’s taste in both fashion When we consider that Errázuriz was in- lated accounts of the support Errázuriz provid- and interior design, even opening a bou- strumental in persuading seminal figures ed some prominent musicians, including pia- nist Arthur Rubinstein, are found in Mo Amelia tique near her Chilean friend in Biarritz in in painting, fashion, and interior design 10 Teitelbaum, The Stylemakers: Minimalism and 1915. Errázuriz seems likewise to have to adopt nearly the same aesthetic—an el- Classic Modernism, 1915-1945 (New York: convinced Picasso—a life she influenced egant, minimalist style, hearkening back Palgrave MacMillan, 2011), 26-28. so profoundly that the artist called her his to the 18th century and eschewing the 3 See Paul Griffiths, Stravinsky (New “other mother”11—to begin painting in excesses of Romanticism—Stravinsky’s York: Schirmer Books, 1993), 78; Heinrich a Neoclassical style.12 Interior designer decision to repackage (or perhaps “re- Lindlar, Igor Stravinsky: Lebenswege/Bühnen- Jean-Michel Frank told Harper’s Bazaar mix”) the music of Pergolesi and his less- werke (Zürich and St. Gallen: M&T Verlag that he learned the following lessons from er-known contemporaries seems far less AG, 1994), 38, 94, 156, 242, 245; and Stephen Errázuriz: To “remember the purity of line peculiar. Indeed, as Teitelbaum suggests, Walsh, Stravinsky: A Creative Spring, Russia and France, 1882-1934 (New York: Alfred A. and proportion of late 18th century furni- Stravinsky’s sudden embrace of Neoclas- Knopf, 1999), 285-317. ture” and that “elegance means elimina- sicism is ideologically consistent with Er- 4 Leonora Saavedra and Tamara Levitz, 13 tion.” Given her remarkable sway over rázuriz’s “conviction that the best of the “Stravinsky Speaks to the Spanish-Speaking Stravinsky’s contemporaries, Walsh is cor- past should inform the most modernist of World,” in Stravinsky and His World, ed. Ta- rect to aver that Errázuriz “began to culti- the contemporary.”15 mara Levitz (Princeton: Princeton University vate Stravinsky” as well, “evidently see- It is likely no coincidence that the Press, 2013), 214, note 6. ing in him some artistic resemblance to composer’s creative about-face imme- 5 Walsh, A Creative Spring, 295 and 317. [Picasso].”14 diately followed the years during which 6 See Richard Taruskin, Stravinsky and Errázuriz provided Stravinsky with the the Russian Traditions, Vol. 2: A Biography of the Works through Mavra (Berkeley and most financial support. Even after her SPLICE Institute 2020 Los Angeles: University of California Press, wartime patronage had ended, the pair re- 2016), 1445; and Eric Walter White, Stravin- SPLICE Institute is a weeklong, in- mained in close contact while Stravinsky sky: The Composer and his Works (Berkeley tensive summer program for per- composed many of his first Neoclassi- and Los Angeles: University of California formers, composers, and composer- cal works. Between 1921 and 1924, both Press, 1979), 244. performers interested in music that split their time between Paris and Biar- 7 Igor Stravinsky, An Autobiography (New combines live performance and elec- ritz, and Errázuriz surely continued to ap- York: Simon and Schuster, 1936), 98. 8 tronics. Applications are now being plaud his efforts and fill his ear with the Saavedra and Levitz, “Stravinsky Speaks accepted for SPLICE Institute 2020, details of her aesthetic views. to the Spanish Speaking World,” 214. Del Cam- po’s complete interview appears in English in which will take place June 21-27, Errázuriz, until recently, has been lit- this chapter (210-214). 2020 at Western Michigan Univer- tle more than a footnote within Stravinsky 9 Stravinsky also confided in his son Sou- sity in Kalamazoo, MI. This year, studies, presented as a mysterious Chilean lima the grief he experienced when he learned SPLICE Institute will explore coding heiress with an open pocketbook. Few mu- of Errázuriz’s passing in 1951. See Stephen extensions in technology-mediated sic scholars have shown curiosity about her Walsh, Stravinsky: The Second Exile, France composition and performance. Com- remarkable achievements, which is, alas, and America, 1934-1971 (New York: Alfred A. posers involved in a concert collabo- perhaps unsurprising, given her gender and Knopf, 2006), 266. Errázuriz died in late 1949, ration will be paired with participant country of origin. Nevertheless, it is my but this news did not reach Stravinsky until performers, the guest ensemble, or hope that her contributions to 20th century 1951. 10 Pierotti, The Real Beauty, 90. Chanel the SPLICE Ensemble to write and music will receive the scholarly attention 16 may likewise have designed a simple black robe premiere a new work at the Institute. they deserve in the near future. for Errázuriz when the latter become a lay nun The guest composer will be IAWM NOTES (see Jean Hugo. Le Regard de la Memoire [Ar- member Nina C. Young, whose mu- 1 According to Pierotti, “the date of Euge- les: Actes Sud, 1983], 300). sic is characterized by an acute sen- nia’s death has been listed differently by sev- 11 Errázuriz allowed Picasso and his bride sitivity to tone color, manifested in eral authors, as late as 1952….November 26, Olga to stay at her Biarritz estate during their aural images of vibrant, arresting im- 1949 is confirmed by [multiple] sources, in- honeymoon in July 1918. (See Peter Read, Pi- mediacy. cluding family members” (Julie Pierotti, The casso & Apollinaire: The Persistence of Mem- Real Beauty: The Artistic World of Eugenia ory [Berkeley and Los Angeles: University of California Press, 2008], 131.)

14 IAWM Journal Volume 25, No. 2 2019 12 Of note, not all Picasso scholars agree 13 Jean-Michel Frank, “Madame Errázuriz February 4, 2018, can be found here: https:// that Errázuriz is responsible for this change to at Home,” Harper’s Bazaar (February 1938): www.dixon.org/default.aspx?p=120688&evt Picasso’s style. Daix goes so far to say (em- 52/53, 139. id=668027:2/4/2018 (Accessed 6/2019). phasis mine) that “one would have to know 14 Walsh, A Creative Spring, 266. Jeremy Orosz currently serves as Assistant nothing of Picasso to imagine that either Eu- 15 Teitelbaum, The Stylemakers, 29. Professor and Coordinator of Music Theory genia or [his new wife] Olga was responsible 16 Thanks are due to the Dixon Gallery and Ear Training at the University of Mem- for his turn toward a new classicism” (Pierre and Gardens curatorial team for designing an phis. He earned M.A. and Ph.D. degrees in Daix, trans. Olivia Emmet, Picasso: Life and enlightening exhibition devoted wholly to Er- Music Theory and an M.A. in Linguistics at the Art [New York: HarperCollins, 1993], 165). rázuriz, held January 28-April 8, 2018. I first University of Minnesota. Orosz has published Such a statement epitomizes the now unfash- became aware of Errázuriz when I was invit- several articles and reviews on music from ionable belief in the solitary (male) artistic ge- ed to provide a lecture in support of the exhibi- concert, popular, and filmic traditions. nius, and unfairly dismisses of the contribu- tion. Information about the author’s lecture on tions of women in his creative life. Hasu Patel: Teacher and Award Winner AMANDA ETCHISON Hasu Patel was the recipient of the Ohio when they seemed eccentric in the Western that she really has influenced my abilities Arts Council’s (OAC) Ohio Heritage Fel- sense. To Patel, abiding by these rules is overall as a musician. Through the sitar, lowship Award for Performing Arts in rec- as essential to mastering the instrument as I was able to learn to improvise, and that ognition of the significant impact she has learning how to fret and pluck the strings. has been really big for me. Now, I play had on the people and communities of the Her class rules for dress codes and man- jazz and I sing and I do all these other mu- state through her work in the folk or tradi- ners parallel the respect for music, which sical forms that are unrelated to the classi- tional arts. Patel was also presented with many students carry into their lives. cal viola,” Rega said. “My guruji has had the Lifetime Achievement Award for Ex- Patel’s stringent devotion to respect- a lot of practical roadblocks. I think she traordinary Service to Humanity by the ing the long-held methods of studying feels that, as a woman, she received a lot International Institute of Integral Human of criticism or just sort of backlash with Sciences, “a non-governmental organiza- regard to her ability.” tion that promotes global inter-religious Reflecting on her life’s work, Patel and intercultural understanding [through] agreed that at times, pursuing her passion the convergence of science, spirituality, for sitar has been a lonely journey. But she and universal human values.” Through added that she thinks young artists, espe- her work as a teacher, Patel said she takes cially women, can learn from her story and on the important duty of passing the tradi- experiences. “The female musicians should tion of playing sitar to her students. “My know that if they are born for the music, whole idea is to teach discipline and hum- then they should continue their musical bleness to the children,” she said. journey. I hear so much negativity some- Roderic Knight, emeritus professor of times, but I just focus. I block out all my ethnomusicology at Oberlin College Con- feelings and just focus on the music. Noth- servatory of Music, said Patel’s approach ing bothers me,” she said. “I went through to teaching reinforces this goal. He recalls every negativity. I just kept going.” Hasu Patel watching many of Patel’s sitar classes at Now, Rega said she is doing her part Oberlin, where she taught for several de- classical sitar makes her a perfect choice to ensure that the music Patel loves so cades as a visiting teacher through the Ex- to receive the Ohio Heritage Fellowship, much can be passed on to a new genera- perimental College (ExCo) program, a Knight said. “It’s so great that Hasu is tion. As a teacher in the El Sistema pro- student-run initiative that invites instruc- working to preserve a tradition that is be- gram, Rega has performed concerts on the tors to teach for-credit courses in a variety ing eclipsed by whatever else is happen- sitar and introduced her students to new of subjects each semester. “I observed her ing in the world of music today….It’s her instruments and musical styles. “I do try in class on a few occasions.…One thing clear devotion to perpetuating Indian mu- to pass on her traditions to my students,” that was immediately clear was that she sic and her obvious vision of how to do it she said.…“I feel that guruj is one of the was very firm. She wouldn’t put up with and teach it. That’s what does it for me.” greatest teachers I have ever had. Among any nonsense.…She told her students: Elisa Rega, a former student of Patel’s the world’s best.” ‘You are here to study sitar with me. You who is now a professional musician and The above is excerpted from an article by have to sit in a certain position to play this music teacher, echoed Knight’s praise. A Amanda Etchison, “Ohio Heritage Fellow instrument, or if you’re just singing, this classically trained violist, Rega enrolled Hasu Patel Proves There’s Power in Per- is how we sit in India.’ She was very strict in Patel’s ExCo sitar class while at Ober- severance,” Ohio Arts Council Newsletter, and demanding, and yet very loving.” lin and came to see her as a mentor and February 26, 2019 (reprinted with permis- Students in Patel’s classes quickly inspiration. “She taught me Indian music, sion). More information about Patel can be learned to embrace her directives even but there were a lot of other benefits. I feel found on her website, hasupatel.com.

Etchison, Hasu Patel: Teacher and Award Winner 15 Meet Three New Members of the IAWM Wanda Brister, Singer, Scholar, Pavarotti on television and with Krzysztof each writing I went deeper into Dring’s and Teacher Penderecki conducting his Credo. life. I was invited to speak about her at After several years as a professional the International Congress of Voice Teach- I am delighted to be part of the Internation- singer, I decided to change my focus to ers in 2013 in Brisbane, Australia. I cor- al Alliance for Women in Music. Until re- teaching. And that is where I felt I had real- responded with her husband, Roger Lord, cently I never really thought of myself as a ly found my niche. I began teaching voice until his death in 2014. “woman in music” or a “woman musician.” in my home in Rye, New York, and was a I next contacted the British singer I am fortunate that my particular path has teaching intern for National Association of and entertainer Courtney Kenny, who had been a bit smoother than that of many of my Teachers of Singing (NATS). I received a been a friend of Dring and had performed colleagues because I did not face the same lot of encouragement at that program and her cabaret and musical revue songs. We obstacles. As a singer, I sing the roles writ- applied for a teaching position. I have been planned and collaborated on a CD in the ten for mezzo-soprano. Where there is still teaching voice in university positions since summer of 2015. I also visited Dring’s prejudice in my profession is in the percep- 1999—first at Baylor University and Uni- granddaughter who held the “keys to the tion of what “body type” is appropriate for versity of Arizona, and since 2003, at The kingdom.” She had shopping bags full of the stage, especially “pants roles,” a phe- Florida State University, where I am cur- manuscripts that Kenny and I scanned. We nomenon known mostly to mezzo-sopra- rently Associate Professor of Voice. I have immediately began to work on organizing nos. We have also been usurped by counter- also presented and engraving the scores plus a few other tenors as of late, sometimes in roles never many master songs that Roger Lord had sent to me over conceived for them. classes at uni- the years. Kenny and I collaborated again I was born in Houma, Louisiana, deep versities and for in 2016 and recorded yet another CD and in Cajun country, and studied piano, clari- musical orga- got even more manuscripts: a total of 85 net and oboe when I was young. My older nizations in the of Dring’s vocal works that remained un- sisters sang in concerts, which I regularly United States, published. A series from Classical Vocal attended, and I still remember the first time Europe, and Reprints has remedied that situation with I heard Emma Lou Diemer’s Three Mad- Brazil. My for- the new series of Dring song volumes. All rigals. They whirled through my head for Wanda Brister mer students but three (Cole Porter arrangements) have weeks, and I would beg my sister to sing have won awards from the George London been published. We await word from Hal them with me. I was ten years old, and it Foundation, the Gerda Lissner Founda- Leonard who holds the rights to Porter’s never dawned on me that the composer tion, Barry Alexander International Vocal catalogue. I was active in having Dring’s whose music I liked so much was a woman! Competition, the Belevedere International one-act opera, Cupboard Love, published I accompanied singers, which I en- Competition, and the Metropolitan Opera in 2017. It has since been performed in joyed, and when I was invited to sing a solo, Auditions, among others, and they have Florida and by the Byre Opera of Scotland. I realized how much pleasure it gave me. I performed as soloists throughout the Unit- My strangest adventure regarding Dring majored in vocal performance in college, ed States, Europe, Asia, and Africa; many involved uncovering the composer’s grave and it was a wise decision because while are now teaching in public schools as well in London in the summer of 2015 after the a freshman at Loyola University I was se- as universities. maintenance man dug through two feet of lected to sing backup for Perry Como’s As I guided more and more graduate weeds and about ten inches of sod. television shows on NBC. In my second students, I realized the need to return to My work on Dring continues to this year of graduate school, I won the Metro- school, and I did my doctoral work with day. I have lectured on her at the Music by politan Opera auditions in my district, and vocal literature scholar Carol Kimball at Women Festivals 2 and 3, a NATS conven- over the years I have won numerous other University of Nevada, Las Vegas, where tion (2019), and the Women Composers competitions. After performing and touring I focused on the British composer Made- Festival of Hartford (2019). After spending throughout the U.S. and internationally with leine Dring (1923-77). I had become ac- many years on the project, I recently fin- the New York Vocal Arts Ensemble (a quar- quainted with her work in 2000 when I ished a book on Dring, which is in the edit- tet with piano), I decided to venture on a ca- heard a CD of her music. As I listened to ing phase. reer as a soloist, and I traveled extensively the songs of Dring, I experienced the same Although my research has centered on performing in operas and oratorios and pre- excitement I felt as a child when hearing Dring, my performances and recordings senting recitals from Vancouver to Moscow the music of Emma Lou Diemer. Dring’s have included music by other women such to Rio de Janeiro to New York, which in- songs offered a perfect wedding of words, as Lori Laitman and Beverly McLarry. My cluded a solo recital at Carnegie Hall and vocal line, and pianistic color—how could students and I have performed Bonds, the a concert at Weill Recital Hall. Among the I not love this music? Boulangers, Chaminade, Clarke, Edwards, highlights of my varied career were singing My interest in Dring did not end with Hairston, Hensel, Lang, Larsen, Lehmann, for dignitaries such as Patriarch Dimitrios the dissertation (2004). I later wrote an ar- Mahler, Price, Schumann, Strickland, and I at a Joint Session of Congress in Wash- ticle for the Journal of Singing and the liner Tailleferre, to name a few. I regularly as- ington, DC, for Pope Benedict XVI in Mu- notes when I recorded her entire published sign music of women composers to my nich, and for John Cardinal Egan of New vocal works in 2013 with colleagues Stan- students. I do not assign the songs because York, as well as performing as soloist with ford Olsen and Timothy Hoekman. With they are by women. I assign them because

16 IAWM Journal Volume 25, No. 2 2019 they are good music. To quote Gregory sic of Japan, Indonesia and other cultures organization, Minnesota Global Arts Insti- Berg, “They are an essential part of our mu- to my study and practice. tute, as a vehicle for producing global mu- sical fabric, and one cannot imagine it any I studied their musical systems both sic residencies and concerts featuring di- other way” (Journal of Singing 70, no. 5). in graduate school and, more importantly, verse global guest artists. Recordings: outside of academia with master musicians, The classic Japanese, Indonesian, and Wanda Brister is featured on Cabaret Songs allowing me to ultimately achieve a level Middle Eastern art music traditions I work of Madeleine Dring (2018), The Songs of of fluency in the Turko-Arabic maqam (me- with have influenced my own composi- Madeleine Dring (2013), and a French CD lodic modes) as well as performance skills tions. I have looked for ways to expand the entitled Le premier matin du monde (the on the Japanese koto (stringed instrument) envelope from within these traditions (as music of Chausson, Debussy, Fauré, Pou- and Javanese gamelan. My study of world opposed to imposing from outside), often lenc, and Satie; 2006) for Cambria Music. music has been a very intensive, long, and constructing improvisational structures to An upcoming disc entitled More Cabaret challenging pursuit, taking me around this explore the traditions and sometimes find- and Theatre Songs of Madeleine Dring, country and to the Middle East. I began ing new ways to bring the global elements also with Cambria, is anticipated later this performing these musics while in gradu- into my original work. I received commis- year. Works with bassoonist Scott Pool, ate school at Wesleyan University but have sions from musicians of differing musical which include the music of Daniel Bald- continued since then in a number of ensem- cultures, such as Fasl Taiseer (1994), for win, Emmanuel Chabrier, Lori Laitman, bles, some of which I have founded. My oud and string orchestra for Taiseer Elias and Beverly McLarry, are on a CD entitled most current group is Ensemble Mezze, of the Arab village El F’waar in Israel; Ko- Vocalise (2013). Other CDs that include which performs cross-Mediterranean mu- toledon (1990), a koto duet for Michiyo performances by Brister are Landscapes: sic. I also sometimes perform with Safra, a Yagi of Tokyo; and Tala Benison (1991), The Double Reed Music of Daniel Baldwin Middle Eastern Jewish music ensemble in a percussion ensemble work for Ben Pas- (2010), and Clarikinetics featuring a piece Berkeley, California. I especially like this aribu of Sumatra. by Gregory Wanamaker (2006) with clar- group be- In 2000, I started writing a series of inetist Deborah Bish. These CDs are re- cause of chamber works closely rooted in actual tra- leased by Mark Records. Brister is also on the unique ditional Turko-Arabic musical forms (such Johann Strauss II: Waltzes for Singing with and less- as Samai, Longa, and Fasl instrumen- New York Vocal Arts Ensemble (1988) on er-known tal suites) and systems (primarily in the Arabesque Recordings. All of these discs repertoire maqam modal system). A few examples of are available for purchase or streaming. we per- my works in this vein are Sama’i Husey- form. In ni (2000), Longa Nahawand (2003), and Miriam Gerberg: The Influence all cases, Zankulah Saz Semaisi (2004). I decided of World Music on Her Work there is a to compose these pieces as a way to care- strong el- fully show my comprehension of how the as a Composer, Performer, and ement of specific maqamat in these pieces work and Teacher impro- modulate, while also exploring creative For four decades now I have pursued a visation, melodic writing of my own. somewhat broad life in music with my as is tra- Miriam Gerberg Musicians are expected be familiar compositional work sitting at the core. Ear- ditional, which I also consider part of my with the traditional ways of performing this ly in my career, I focused on music in the- composing life. My work with traditional music. Each musician ornaments the main atrical, operatic, and dance settings, often Japanese music is more focused on small unharmonized musical line as fitting the in collaboration with other artists in a vari- solo, duo, and trio performances and the particular instrument and the performer’s ety of cross-discipline projects. I was espe- new works I perform on those instruments individual artistry along with a strong sense cially attracted to the story-telling aspects in the context of dance-dramas staged by of ensemble listening/playing. The music is and the inter-modality inherent in these au- my collaborator, director-choreographer based on heterophony rather than polyph- ral, kinesthetic, and visual expressions. It Kathy Welch (whose PhD specialty is Ka- ony or homophony. This is accomplished was the same drive that also took me into buki and Noh theater for her theater com- through common playing practices of add- the world of global music traditions. pany, Green T Productions). ing las’m, which are musical answers to Although I studied European classical Partly because so much of the mu- melodic phrases, stretching the time within music from childhood, I was fortunate to sic I work with, whether traditional world the rhythmic cycle and sometimes playing have parents who exposed me to a broad musics or my original works, need a cer- the rhythmic cycle through melodic ostina- array of global music and dance traditions, tain amount of self-producing to achieve tos compatible with the maqam in addition though mostly as an observer. Even while performances, I have used my producing to percussion instruments. a teenager I began exploring my own cul- skills for numerous world music concert In 2013, I turned to broader explora- tural/musical background (Jewish), and series at different venues around the Twin tions and even fusions when I created an I included Turkish and Arabic music as I Cities and in Los Angeles. (I do, however, evening of music interfacing Javanese tripped over the deep involvement of Jew- view these events as larger efforts at com- gamelan with Arabic musical forms for a ish musicians and composers within those munity education.) In 2003, I even found- Cedar Cultural Center/Jerome commis- traditions. I later added the traditional mu- ed a small, ongoing, non-profit producing sioned concert in Minneapolis. A review-

Meet Three New Members of the IAWM 17 er in the Minnesota Monthly described the Dreams (a musical retelling of the bibli- a women’s rebellion, script by Wm. Fri- performance: “Turko-Arabic improvisa- cal tale of Ruth and Naomi with musicians ert and Robert Gardner); Painted Woods tion meets the metallic and otherworldly and musical structures from the South In- (a music theater work based on memoirs Javanese gamelan with an ensemble led by dian, Scandinavian, Japanese, Jewish, and of Minnesota Pioneer Jewish Women); local ethnomusicologist Miriam Gerberg Arabic traditions).The musicians not only Dressing the Moon (chamber opera for so- featuring her Ensemble Mezze and the Su- play and sing the music as they take on the prano, baritone and shadow puppets, based munar Indonesian Gamelan Orchestra.” characters in the story, but they also have on a tale by Rebbe Nachman); and most re- I not only created and melded the musics speaking parts and staged movement. cently, Last Night I Felt a Poem ─ Kh’hob in this concert but also played, at different My devotion to creating music stim- Haynt Bay Nacht (a concert setting of a moments, both with my Middle East En- ulated my attraction to teaching. I have poem by the female Yiddish poet Rohkl semble on the qanun table zither and the taught music at many levels such as artist Korn for soprano, violin, and piano). Sumunar Gamelan, where I played the sa- residencies in elementary schools, where ron peking metallaphone. I led both creative composition and glob- Astrid Kuljanic: Keeping the Although much of my work through al music workshops and composed music Traditional Music of Cres, the years has centered on global music, I for children to perform. In the last decade, Croatia Alive have continued to compose scores for the- I have focused my educational work more Collaboration is central to how I make mu- ater productions. One special project in- at the college level (Hamline University, sic. Throughout my life, from growing up volved the staged dance-drama recreation where I have taught world musics since in Rijeka, Croatia, to founding the Cre- of Arthur C. Clarke’s book 2001 Space Od- 2005; UCLA, where I taught applied eth- scendo Music Festival on the nearby island yssey (with some attention to details from nomusicology; Lesley College, where I of Cres, and eventually moving to New the famous film). I was both sound design- taught composition and world music teach- York in 2013, I have constantly sought out er and composer of this new through-com- ing methods to music educators; College like-and-unlike-minded artists from a wide posed soundtrack featuring Japanese tra- of St. Catherine, where I taught Javanese range of traditions and disciplines to work ditional instruments as well as electronics gamelan; and at the UMN, where I have with. My musical upbringing may have and percussion. provided sabbatical replacement teaching foreshadowed this eclectic approach. When I also composed continuous piano mu- in world musics and the composing of im- I was growing up, the radio was always sic for the play To Mars With Tesla (pro- provisational structures). duced by English Scrimshaw Theatrical I am looking forward to being an Novelties); electronic underscores and active member of IAWM. When I was traditional style Japanese koto, shamisen, younger, I thought more often about what percussion, and vocal works for the dramas it meant to be a female composer. Putting Kaidan: Japanese Stories and Studies from aside the lack of support for women as the Strange, 1000 Cranes and Franken- composers and the constant objectification stein (which also used live taiko drums and and discounting by male music profession- scored instrumental and electronic sound als and teachers, I saw my own predilec- tapes). And for Illusion Theater’s produc- tion for subtler timbres and gentler emo- tion of the play Miranda (by Pulitzer Prize tional builds as a more positive result of winning author James Still), I created all- being female. The large crashing climax of recorded Yemenite-based musical under- so much European classical music, which I scores. don’t find intuitive, seems to mimic aspects PHOTO: Astrid Kuljanic I have long been interested in dance- of the male pursuit of power and force. My (Photo by F. Moretti) drama. I collaborated with choreographer comfort level with the introspective flow of tuned to American rock, pop hits from Yu- John Munger from 1992 to 2013 in a mu- my own work, my choice to listen to mu- goslavia, or Italian ballads. At every fam- sic-dance duo called “Footloose in Mot- sic by women and to explore the stories ily gathering, my relatives would inevita- ley.” Munger and I developed our works of women in many of my dramatic works bly break into song, with a broad repertoire through improvisation in rehearsal, but continues to be shaped by my thoughts of ranging from Verdi to the distinctive lo- ended up with repeatable set pieces, which the female experience in music. Some of cal folk music. Though none of them were we then performed live (sometimes in- the works where I have explored the fe- professional musicians, the depth of emo- cluding improvisational elements in per- male viewpoint are my operas: The Yellow tion with which they sang and their strong formance, too). I found myself playing Wallpaper (with playwright Judy McGuire identification with the music was remark- the koto, accordion, and flute while inte- based on the story by Frances Perkins Gill- able. (“This is ours!” was the emphatic grating movement simultaneously in our man); Lillith By The Sea (with Leslie Bro- reply when, at a later date, I asked about works. In my various collaborative and dy); Desert Dreams (my own text based the origins of some of the harder to place individually created music-dance-drama on the biblical Book of Ruth); Waltzing songs.) They impressed upon me from an projects, I have been searching for ways to In The Park (a musical based on the life early age that music is for everyone, irre- integrate them with my special interests in of artist Wanda Gag, script by David Bru- spective of training or cultural background. global music and electro-acoustical music. net); Lysistrata: On To The Summit (a mu- Despite studying chemical engineer- One example is my music drama Desert sical adaptation of Arisophanes’ play about ing in college, I resolved after graduation

18 IAWM Journal Volume 25, No. 2 2019 to focus solely on music. Living in the cap- latable, with strange, diminished-sounding as the talented Italian photographer Frances- itol city of Zagreb, I sang in various jazz, melodies (with racy lyrics, if you can un- co Moretti and the local artist and designer pop, and rock bands, eventually forming derstand the dialect) set atop reggae and Vesna Jakic, who, in rediscovering tradition- the quintet titled Mildreds with some of the dancehall rhythms, spurred on by the en- al methods of wool felting with her own aes- region’s jazz elite. That band’s approach— ergy of frenetic improvisation. I have had thetic vision, has become the center of a new informed by a deep study of jazz and im- the honor of bringing this band to both artistic movement on Cres. provised music yet with the ultimate goal Carnegie Hall and the Kennedy Center, The component of my career that is of presenting beautiful songs directly, sim- and I’m excited for its continued develop- becoming increasing important is teaching. ply, and playfully—continues to be a huge ment. Since the war in Yugoslavia in the My personal philosophy is that whoever influence on my musical thought. 1990s and the resulting upsurge of divisive can speak can sing, and everyone can enjoy After earning an undergraduate mu- nationalism, one of my goals has been to creating music. Apart from teaching private sic degree from the Tartini Conservatory in showcase how music transcends borders lessons, I have recently incorporated music Trieste, Italy, I moved to New York to pur- and conflicts. To that end I invited both education into my concerts to enthusias- sue a master’s degree in jazz voice at Man- Croatian folklore and Serbian vocal en- tic reception. My goal is to have audience hattan School of Music. I spent a whirlwind sembles to be guests at my concerts. members leave the concert with a height- two years studying everything from ad- The process of integrating my roots into ened understanding and a uniquely joyful vanced chromatic harmony to big band or- my music has been a natural one, and it has experience of participating in the music. chestration to Brazilian and Indian music. I brought me closer to Cres, where the cultur- My musical life thus far has been one decided to begin a project that somehow re- al traditions are being kept alive by people of collaboration, inspiration, and integra- flected my strange musical journey. Under like Dario. My contribution to maintaining tion. I intend to continue to expand my cre- the name Astrid Kuljanic Transatlantic Ex- the cultural traditions is the Crescendo Mu- ative landscape through the exploration of ploration Company, I formed a quartet with sic Festival, which I have organized and pro- music and the arts in general. To that intent, percussionist Rogerio Boccato, accordion- duced since 2007. In addition to my desire I invite you to check my webpage and reach out with ideas drawing principally on jazz, Brazilian mu- I wanted to create unique performance op- for creative collaboration or just introduce sic, and the folk music of Cres, the Croatian portunities for a wide range of projects. In yourself. In addition to the already men- island where my family lived. its eleven iterations, the festival has featured tioned programs, my future projects include With the help of my cousin, traditional concerts in historic towers and monasteries, electronic music performed live using ma- musician Dario Kučić, I learned some of a traditional music workshop in the woods, chine learning, as well as exploring free the old folk songs, which sound utterly bi- a solo tabla recital in an outdoor cinema, improvisation combining tempered and zarre to equal-temperament-accustomed and many more. The festival has also led non-tempered instruments. I am looking ears, and I arranged them for the quartet. to unexpected collaborations that have be- forward to learning more about this won- The resulting synthesis is striking yet re- come central to my work with people such derful community of women composers! IAWM and FT&M15 Conference “Women, Feminists, and that invite us to defend, refine, and expand these kinds of events are hardly simple for- our research. What, perhaps, we are unpre- tuitous meetings of like-minded people. Music: Transforming pared for is an unleash of emotions. Gathering hundreds of participants for a Tomorrow Today” Someone hidden in the middle of the conference takes years of planning. Joint IAWM and FT&M15 (Feminist small crowd raised her hand and poured For those of you who have organized Theory & Music15) Conference. Beth out a river of how deeply the musical events and conferences before: You know Denisch, Conference Director. Berklee had touched her. She began to cry. How a the stress, the sleepless nights, the end- College of Music in association with “Ring of Keys” summed up how she had less emails, and the string of fires to be Berklee’s Institute of Jazz and Gender felt for so much of her life. How the sense put out. You know the budget balancing, Justice and the Office of Academic Af- fairs. Boston, June 6-9, 2019. of “I know you” and being known and, the revising of programs, and the inevi- more importantly, accepted was what she table announcements of presenters unable Unlocking the Secrets to an had felt throughout her time at the confer- to come, the technical delays, and the cru- IAWM Conference ence. That it seemed like she could finally cible of balancing administrators of insti- be herself. That her whole time at the con- tutional and organizational goals in dupli- CARRIE LEIGH PAGE, President ference was freeing. cate and triplicate. It was the last day of the conference, in the Across the several days of the confer- For those of you who were there at next-to-last paper session. A critical look ence, this moment remains the most promi- Berklee in June: You know how much was at the Kron/Tesori musical Fun Home was nent to me, because it sums up the entire- packed into every single day. You saw how wrapping up in a small lecture hall that ty of the IAWM experience: acceptance the sessions were organized with thought- had already seen three days of intense aca- and understanding at a fundamental level ful moderators and linked topics of inter- demic exchange. In these conferences, we by people living the calling of music. The est. You saw the IT crew in every session become accustomed to the polite applause camaraderie felt at these events is rejuve- ready to help troubleshoot equipment. You and the round of questions and comments nating and deeply empowering. However, appreciated the truly excellent catering be-

IAWM and FT&M15 Conference 19 fore and after concerts. The problem, as al- From the Conference University) inspired us at the opening ple- ways, was trying to split yourself into three Director’s Perspective nary session, hosted by the Berklee Insti- or more places at once. Being there was tute for Jazz and Gender Justice (IJGJ). simply the easy part. BETH DENISCH Dr. Kernodle talked about the importance Beth Denisch is truly the woman who “The energy is amazing!” Many par- of demographic and curricular inclusiv- made it all possible. Yes, this was a con- ticipants relayed comments such as this ity in educating musicians and celebrat- ference, but it was also a time apart, in throughout the June joint conference, ing their music. Her exhilarating kick-off which the sessions on feminist theory were which provided an international, trans- was followed by an insightful IJGJ plenary not relegated to a single session or a back disciplinary forum for scholarly thought roundtable with Kernodle, Sherrie Tuck- room, but front and center and the focus of about music in relation to gender and sex- er (Professor, Univ. of Kansas), Nichol all the papers, panels, and concerts. In the uality. Scholars, performers, and compos- Rustin-Paschal (jazz scholar and journal wake of #MeToo and Berklee’s own strug- ers from Brazil, Canada, Germany, Hong editor), and jazz drummer extraordinaire gles to come to terms with a problematic Kong, France, Puerto Rico, Spain, South Terri Lynne Carrington (Berklee Profes- history, it required ingenuity, sensitivity, Africa, the U.S. and U.K. participated. The sor and IJGJ founder). Ethnomusicologist and passion. It required Dr. Beth Denisch. excitement, enjoyment, and inspiration Aja Burrell Wood (IJGJ director) moder- To give everyone a sense of the time- expressed during the conference exceed- ated the panel. Personal stories were inter- line, Beth first floated the idea that Berk- ed our expectations, as we passionately spersed with professional insights about lee should host the next IAWM Congress shared music, scholarship, and life experi- music in the schools and the commercial in 2014. Proposals became more serious ences across nations and generations. music industry and the ongoing work for in 2015 and initially approved in 2016. In Berklee College of Music in Boston gender justice in jazz and music. 2017, it was decided to wait and combine hosted the conference and welcomed us And then Carrington played for us! IAWM with FT&M for a joint conference Thursday night with opening remarks from From the very second that her sticks in 2019. Plans were made, discarded, re- Larry Simpson, Provost; Melissa Howe, touched the drums we were transported made, and revised. Weddings were held, Chief of Staff; and Rob Lagueux, VP for to a higher realm. It was one of those rare babies were born, households were moved, Academic Affairs and Graduate Studies. moments in life when you know that you and for five years, Beth remained the un- Rob and his staff worked closely with me, are truly in the presence of THE best. Un- shakeable factor in all of the events leading putting in the hundreds of hours necessary der her mentorship, the Berklee Institute up to the conference itself. for conference preparations and adminis- of Jazz and Gender Justice Student En- During the conference, Beth seemed tration. We are deeply grateful for the time semble played an inspiring and virtuosic to be capable of bilocation. She was pres- and support Berklee provided. performance of standards and originals. It ent, even if only briefly, at every session I As Conference Director I tried to vis- was electrifying and uplifting to see these attended, peeking in the door to make sure it as many sessions, panels, concerts, and emerging jazzers play and improvise at everything was going smoothly or drop- lecture/recitals as possible. With my roll- such a high level of musicianship. ping by with a quick update. I’m sure she ing backpack packed with, hopefully, Friday would have loved to stay and enjoy more everything I might need in keeping the On Friday morning concurrent paper of the concerts, panels, and papers, but she “who should be where, when, with what” sessions featured themes of Gender and was too busy being the consummate host, straight, I was in what felt like a perpetual Ethnography; Gender, Race, and Sound; ensuring that everyone was accommodated loop in the Back Bay area of Boston: up and Black Feminist Studies. The after- to the best of her abilities. Her spreadsheets and down Boylston Street between the Da- noon sessions included a panel discus- were a fearsome wonder to behold. vid Friend Recital Hall, the Red Room at sion, “Incursions and In-Betweenness: IAWM is truly fortunate to have had Café 939, and the lecture halls down by the The Strategic Artistry of Marion Ander- Beth Denisch as our most recent confer- Fenway baseball stadium. son and Florence Price,” as well as com- ence organizer. Her own “ring of keys” in- Thursday bined paper sessions on themes of Gen- cludes talents of vision, organization, and On Thursday night, Tammy Kerno- der and Modernism; Gender, Sound and dedication that opened the way for all of dle (President of the Society for American Object; Trans; Jazz and Gender; and He- us to enjoy a very successful conference. Music, Professor of Musicology at Miami gemony and Iconicity. The Berklee Stan Many, many thanks to you, Beth. Getz Library hosted panel sessions from the Westminster Choir College by Olivia REMIX Coackley and the Archive of Women in Berklee Research Media and Information Exchange (REMIX) is an open access insti- Music, Frankfurt, by Mary Ellen Kitch- tutional repository that serves as a permanent digital archive for research and scholarly ens. At the mid-day performance-recitals, works developed by members of the Berklee community or presented at academic Daria Binkowski performed music from events sponsored by the institution, including conferences. REMIX will include a col- the toy piano repertoire by female-iden- lection of scholarly and creative works performed and presented at the IAWM and tified composers, and Maria Abad Gonza- FT&M15 2019 Joint Conference. These works will be disseminated and made avail- lez presented Claudia Montero’s and Col- able freely to the global community. We invite you to submit your work; please follow leen Bernstein’s multi-media program, the link to this submission form: https://docs.google.com/forms/d/e/1FAIpQLSfdIRBi “Strength and Sensitivity: Percussion, Po- LbJfRUmN60eAkvXovLKVqe1TXYZ1gYGTxjiQ75AZPQ/viewform etry, Empowerment.”

20 IAWM Journal Volume 25, No. 2 2019 The evening started with a lovely re- er’s Of Spheres was written for the Semio- parade route that day. The sun was out, the ception (great food!) followed by a plena- sis Quartet and received its world premiere street was closed, and conference perform- ry session and concluded with a concert; on this concert. The hall was in complete ers and attendees waded through thousands this schedule was followed on subsequent darkness save for the music stand lights, of paraders to get to the hall. Both groups evenings. Composer Lainie Fefferman and the quartet drew ethereal intertwining were filled with a joyfulness that was mu- made us “woke” by naming our insecuri- lines and glissandos all around us. tually contagious and abundant. ties, doubts, and the many complexities of After the intermission, The Every- Just after lunch two concurrent per- our inner thoughts that occupy us as we day Lullaby: Unfurlings and Solidarities, formance-lecture recitals included Patricia daily navigate today’s contemporary clas- a work for four women vocalists by Eliz- Zarate Perez’s “Performing LatinX Mem- sical scene while being an active female- abeth Ditmanson, opened with the singers ory” and Merche Blasco’s “Fauna.” Satur- identified composer. She shared her own walking from the back of the hall speak- day’s afternoon concurrent sessions were thoughts and drew us in to share ours by ing phrases such as “take it easy,” “it was combined theme sessions on “The Music talking about those insecurities, writing only a joke,” “just being friendly,” “calm of Taaffe Zwilich, Saunders, and Saariaho, them down, and putting them in a collec- down dear.” Inspired by the Everyday Sex- and the Kingma System Flute”; a panel tivist box to be freely shared. Lainie in- ism Project, The Everyday Lullaby exam- “From Pittsburgh to the World: Geri Al- spired us to resist the paralyzing hesitation ined individual and group responses to mi- len’s Visions and Contributions”; and an- that some of those thoughts can bring and cro-aggressions of sexism in everyday life. other theme session on “#Me Too Stories” to take the risk. After the conference Lainie Composer Deborah Yardley Beers present- (musicians’ stories). made a Facebook album called “What We ed an outstanding performance of her Vari- After an early dinner on our own we Are Thinking 2019.”1 ations on a Laundry Song. On a superficial met for another lovely reception and then Lainie later shared with me, “I was so level, the piece is about carrying, scrub- attended the FT&M15 plenary session: honored to have the chance to share my bing, kneading, washing machines, and “From Margins to Center: Three Presidents thoughts and anxieties and confusions with other laundry images. At its deepest level, Talk Back” with Eileen Hayes, President, a smart, empathetic crowd of colleagues. according to Yardley Beers, the piece “ex- College Music Society; Suzanne Cusick, In having quick, but earnest conversa- presses and embraces conflicted feelings President, American Musicological Soci- tions with folks at the conference, I left towards famous white men who played im- ety; and Tammy Kernodle, President, Soci- feeling even more convinced that we can portant roles in shaping the culture in which ety for American Music, facilitated by Judy and should, as a community, strive for the we live today.” The concert ended with the Tsou (former President of SAM). The en- idea of a plurality of need and preference, chance that time takes for string quartet by suing discussion was riveting as the presi- prizing individual thoughts and potential Kristina Warren. The work comprises eight dents discussed how to change the inequity above a unified theory of advocacy.” phrases, each repeated a few times and in the infrastructures of our institutions that The Friday night concert began with aligned individually with the performers’ are prejudiced against women, non-binary Kittie Cooper’s Earth Mother. Cooper cus- breath. Fingerboard notation, rather than individuals, and people of color. How can tom-built an electronic instrument that is staff notation, encouraged the players to we make that change? With three outstand- also a sculpture shaped like a female man- think gesturally about pitch space. ing feminists in presidential roles: What nequin’s foam head. It includes a Crackle- Saturday can be done and how can we do it! box circuit, effects pedals, and other con- Saturday’s three concurrent themed The first question was what it would ductive materials. By making physical sessions started with Alsop, Greatorix, and it take to institutionalize feminism in their contact with the instrument, the perform- Circe; Jazz, Institutions, and Method; and organizations. Pres. Cusick stated that er becomes a part of the circuit, thus the Transnationalism, Feminism, and the Com- change is harder from the inside and that Earth Mother produces life from within poser Diversity Database. Mid-day ses- it is important to identify the people who herself—all things come from her, are nur- sions continued with Virtual Identities and are further from the so-called center who tured by her, and eventually return to her. Sounding Bodies in Digital Media; Natural can actually make the difference happen. If The next piece, Unraveling for sax- Environment in Female Composers’ Music we just keep giving out awards and talking ophone quintet by Sam Spear (a recent and Just Intonation; and the panel “Sexu- about the budget then the actual changes, Berklee graduate), began with joyful, hu- al Harassment: Case Study of a College in the structural changes that are needed, nev- morous, and playful jazz references that Distress.” er get talked about by the people who have were skillfully arranged and moved us for- Just before lunch three performance- the power to change the rules of the game. ward to an amazing solo played by Sam. lecture recitals were held at separate ven- She concluded: “So I encourage all of you The performers, Spears’ colleagues, played ues across the campus: Samantha Ege’s The to volunteer to tell us what to do, and I’ll splendidly and filled the hall with their en- Chicago Black Renaissance Women fea- tell you how to get it in the board room.” thusiasm and energy. Foundations, a con- tured the composer at the piano. Tara Rod- President Hayes talked about the an- certo for tuba (arranged for tuba and pia- gers’ interactive electronics in her Analog nuls of behavior that perpetuate domi- no) by Amparo Edo Biol, was the winner Tara: Synthetic Fields rocked the house in nance and entitlement at our professional of the Tenth International Women’s Brass Berklee’s Red Room Café. Melissa Wei- societies and the marginalization, second- Composition Commission Project (May kart’s Wouldn’t It Be Nice: Pet Sounds Rei- guessing, isolation, and diminishment that 2019). The work was inspired by three-di- magined was presented in the David Friend minority scholars face as they negotiate mensional geometric figures. Angela Slat- Recital Hall, which was on the gay pride their way through white male academic

IAWM and FT&M15 Conference 21 spaces. As president, she is now the recip- When You Cross the Road! Her woodwind conference we witnessed their names, their ient of communications about our respect- quintet, Red Light/Green Light, portrayed accomplishments, their music and con- ful, or not so respectful, behaviors from a group of children playing the game. The tributions to the many traditions of mu- both inside and outside the board room, performers reported having a lot of fun sic that we celebrate today. And with our and she continues her ongoing work as an playing this piece, and the audience en- own living composers and performers we organizational activist in our journey to- joyed their virtuosic playing. Next on the gave witness to the music of today, music wards equity. program was The Passion of Joan of Arc created and performed by women. May President Kernodle addressed the for string quartet, voice, and kanklės (Lith- our voices not be forgotten in the years to prejudices that accomplished women uanian zither) featuring composer Simona come. scholars of color often face from young Minns on the kanklės. Elena Ruehr’s Lucy This was an amazing four days, and I white scholars. She said that it’s not about for flute, clarinet, violin, viola, cello, and cannot even begin to express my gratitude her changing those perceptions but it’s piano masterfully concluded the evening. for the many people who came together to about understanding the dynamics that The piece describes Lucy (bone fossils rep- make this happen. Both the IAWM and the come with the presidency, and that as our resenting 40 percent of a female skeleton) FT&M15 conference program committees societies grow and evolve, we have multi- walking with a child in her arms through a worked many hours reviewing and select- ple generations to engage. She remarked: vast and mysterious landscape. ing the concerts, performer-lecture recit- “Some people will find that SAM will not Many thanks to all of the fantastic per- als, and panel sessions. A big thank you be the society for them because it will be formers who joined us in these two eve- to Hedy Law, who chaired the FT&M15 an open and inclusive place. It will be a nings of wildly contrasting music. It was an program committee with members Alisha place where there will be no little voices invigorating experience to be with so many Jones, Yun Emily Wang, Christi Jay Wells, and big voices. It will be a choir of voic- talented musicians while listening to such a and Aja Burrell Wood; and to Jeanine Cow- es…we will try to mentor young scholars, broad spectrum of what defines contempo- en, who chaired the IAWM program com- old scholars, and in between scholars so rary classical music. For a complete listing mittee with members Elizabeth Hinkle- that…whatever your work is, if it aligns of compositions and performers, includ- Turner, Ayn Inserto, Kimcherie Lloyd, and itself with the principles of our organiza- ing program notes and biographies, go to: Judith Shatin. And special thanks to Sarah tion you will have a place here.” https://iawm.org/news-events/iawmftm15- Brady and Marti Epstein, who helped me We were deeply moved by the hon- 2019-conference-concert-program-booklet. find the finest performers for our combined esty and wisdom with which these presi- Sunday concerts on Friday and Saturday evenings. dents shared their thoughts with us. The There were just two combined theme Many leaders, including Carrie Leigh atmosphere dramatically shifted when the sessions in the first group on Sunday morn- Page, President, and Christina Rusnack, evening concert began with two extreme- ing: Suffrage and Stewardship, and Musical Treasurer, of the IAWM, and collectiv- ly diverse compositions. Rachael Cole- and Opera. The second group had three con- ist non-leaders Suzanne Cusick and Judy man’s big electronic composition Lakapati current sessions: Trauma, Intersectionality, Tsou, from FT&M, provided advice and opened the program, and it was followed and Queer Aesthetics. The last conference guidance throughout the planning process. by Tao Yu’s Grappes, an intricate, medi- events were concurrent performer-lecture I especially want to thank Suzanne, Judy, tative solo piece for temple bell and tam- recitals: “The Music of Rosy Wertheim, and Tes Slominski for always replying tam. We also noted the representation of Flute Music” by Latin American Compos- with kindness and insight to my frequent the international part of our name. Yu came ers, “Trio ROCO Performance and Infor- emails. And many thanks to so many more from Paris, France and Coleman traveled mance,” and “ELISION: Solo and Chamber of you who helped as volunteers in myriad from Hong Kong—the “opposite ends of Works for Percussion and Euphonium.” The ways: making logos, forwarding social me- the earth.” The next piece, Dayton Kin- dia postings, and letting others know how conference concluded with separate lunch/ 2 ney’s Long Distance, for clarinet, violin board meetings for each organization. fantastic this conference was. and piano, was inspired by WWII letters As conference director this was one of NOTES from her grandfather to her grandmother in the most challenging undertakings of my 1 You can access it here: https://www.face- which they expressed their love and desire professional life and also one of the most book.com/lainie.fefferman/media_set?set=a.10 for their next reunion. important. Bringing together so many ac- 102358998175544&type=3 2 I also cannot thank enough of the many After intermission Linda Chase’s ex- complished composers and performers, cerpts from A City is Burning began with a people at Berklee who have made this confer- the vast majority of us female identified, is ence happen for us. Never have I seen such mournfully lyrical solo piece for voice and important. It was important 20 years ago, piano followed by a chorus both in front of masterful juggling of the seemingly infinite de- and it will be important 20 years from now. tails that we’ve had here. Those of you out there and behind the audience. This blended into And having the musicologists with us, who have been conference directors or concert a solo by Berklee faculty member Nedel- most of them joining through the FT&M15 producers know what I’m talking about. Mary ka Prescod singing “Lift Me Up.” She was group, brought even more depth and mean- McClory, Anjelica Montemayor, Keira Har- joined by the chorus to conclude the piece ing. Through their research we learned of man, from Vice President Lagueux’s office, and with the uplifting words, “Don’t Be Afraid the many accomplished women compos- Berklee’s Meeting Planner, Christina Quarles. of Your Light.” Thousands of emails, hundreds of issues: every ers who came before us, so many whose person handled the problems like just another Rita Yung was inspired by the game voices have been forgotten, whose accom- One Two Three Traffic Light, Watch Out day at work. Thank you for all the time and ef- plishments have become invisible. At our fort you gave to make this conference happen.

22 IAWM Journal Volume 25, No. 2 2019 Special thanks to Heather Reid, Dean Judy Tsou: Talk about your journey to the JT: Did professional-society politics play of Learning Resources, who provided the presidency of your organization. What was a part in your elections, and, if so, what space for our poster session and provided your path to leadership? How has your might we make out of those politics? three librarians who were exceptionally FT&M experience and feminism helped EMH: Professional societies exhibit con- helpful. Zoe Rath, Manager of the Collec- you with your paths? testations over power and representation tion Development, created the conference Eileen M. Hayes: Serving as president on a daily basis, and so this is not limited to exhibit and composer/author LibGuides. of the College Music Society is a tremen- the election process. I would offer a couple Judy Pinnolis, Collection Assessment and dous honor. I think of it as an unpaid side of observations. The first is that research Relocation Projects Librarian, worked tire- hustle, but it is a high honor to hold the reveals that minority scholars experience lessly in proofing, advising, and acting as a responsibility. My role in our academic academic societies differently from white liaison between our conference work and societies has been to advocate for and ad- scholars. Minority scholars report experi- the library. In particular, Heather, Judy, and vance the status of varied and overlap- encing marginalization, second-guessing, Jenée Force, Manager of Metadata Servic- ping constituencies—LGBTQ, women, isolation, and diminishment as they ne- es, opened Berklee Research Media and people of color—and the scholarly inter- gotiate their way through predominantly Information Exchange (REMIX) academic ests they care about. My career in CMS, white academic spaces. The attrition rate archival service to us. SEM, and SMT has been comprised of of scholars of color within professional so- Thank you, Rachel Devorah Rome, elected positions as well as presidential cieties is high; therefore, in the very first for starting us with the Easy Chair plat- appointments. My path has been that of column I wrote for our Newsletter in Janu- form for submissions and review, I an organizational activist, with an eye ary, I encouraged CMS members to exam- couldn’t have done this without your en- open for inequity and a bag packed for ine their practice of “welcome.” We should thusiasm and expertise so early on and so the long haul. The skill set that I bring not assume that because CMS or any orga- needed in the planning process. And for- to organizational life includes the abili- nization or nation has a minority president, give me for not listing the names of the ties to organize and advocate for oth- modes of acceptance will emanate outward production/tech teams. ers while remaining diplomatic. Femi- to members of the constituency. Our orga- Finally, thank you, Berklee Presi- nism has provided me with the ability to nizations will need to be vigilant about in- dent Roger Brown, Chief of Staff Melis- identify structural inequalities. Feminist clusion long past the conclusion of our re- sa Howe, and Provost Larry Simpson, for writer bell hooks’ early work affirmed spective presidential terms. providing the institutional place and sup- that the humiliations of racism and sex- My advice to a newer generation of port for the conference, and especially to ism are daily; I have thought frequently scholars is to spend no amount of time ar- Associate Vice President of Academic Af- of her observation as I have experienced guing over the relative liberalness of one fairs Rob Lagueux for hosting us through racialized and gendered disparagement in society over the other. In another Newslet- Academic Affairs and the Graduate Stud- working within our societies. ter column, I focused on schools of music ies offices. Aja Burrell Wood, the Direc- tor of founder Terri Lyne Carrington’s In- stitute of Jazz and Gender Justice, joined Clara Schumann: Bicentennial Celebration in our conference efforts early on and her To celebrate the 200th anniversary of Clara Schumann’s birth, the city of Leipzig, where support, encouragement, and understand- she was born on September 13, 1819, initiated its CLARA19: a year-long festival with ing has been priceless. And I specifically concerts in different venues. The festival opened on January 26, but the events during the thank Jeanine Cowen, who encouraged me Schumann Festival Weeks (September 12-29) were the highlights, especially the perfor- to create this conference four years ago, mance of Clara’s Piano Concerto, op. 7 by pianist Lauma Shride and the Gewandhaus and Camille Colatosti, who initialized our orchestra, conducted by music director Andris Nelsons. In addition to concerts, attendees institution’s commitment two years ago. had the opportunity to visit the Schumann House, where she and Robert lived, and to take As Suzanne Cusick says, “Be the volun- organized tours such as “Clara in the Park” and “Clara in the City.” The festival also pre- teer, let your voice be heard, let us be the sented discussions about her life as a child prodigy, her personal emancipation, and the change we seek!” conflict she encountered between work and family. One of the celebratory publications this year is Breitkopf & Härtel’s facsimile edi- Interview with Eileen M. tion of Clara’s flower diary, Berliner Blumentagebuch der Clara Schumann (The Berlin Hayes by Judy Tsou Flower Diary of Clara Schumann). Clara created the first in a series of flower diaries in Center stage on Saturday evening a panel 1854, the year Robert was admitted into a mental institution. Her last was in 1857, al- of presidents of three music societies: Su- most a year and a half after his death, when she was performing an increasing number of zanne Cusick, President, American Musi- recitals throughout central Europe and England. The diary reflects her relationships with cological Society; Eileen M. Hayes, Pres- close friends, including the young Johannes Brahms. The diary pages are supplemented ident, College Music Society; Tammy by biographical and botanical comments. Kernodle, President, Society for Ameri- Edition Peters, in collaboration with Schumann-Haus Leipzig, has published a new can Music, was enthusiastically received. Anniversary Songbook, which contains practical editions of fourteen songs that Clara Judy Tsou, Past-President, SAM, served composed mainly after her marriage. The volume has new English translations of the as moderator. Excerpts from an interview songs’ lyrics as well as a CD containing recordings of the piano accompaniments. The with Eileen M. Hayes follows. songbook is available in both High (Original) Voice and Medium─Low Voice.

IAWM and FT&M15 Conference 23 and issues highlighted by the #TimesUp Lainie Fefferman: Comments from the as an outlet to educate people and share movement. The point is that as long as our Audience stories and offer support?” • “Why are my disciplines exhibit gender and racial dis- I offered my thoughts about trying to students still surprised to find out about parities in income, status, promotion rates depart from finding “right” and “wrong” women composers? We exist!” • “Ageism of faculty, etc., no one society can partici- ways of navigating music and career with and how it particularly affects and puts pate in self-congratulatory claims. regard to gender and about my inner, un- pressure on women’s careers. Women are JT: Has what you have learned from hushable monologue being perennially full not a minority and we shouldn’t be treated FT&M affected how you approached your of contradiction and conflict on most ev- as such.” presidency? How has the feminist ethos ery point of behavior and trajectory. I said “Dreams vs. connection/family/com- and practices of FT&M influenced your I thought it would be great if we can ac- munity (can’t have both).” • “I’m grate- ethos and actions as president? knowledge and support a disparate plural- ful for all the opportunities I’ve had as a ity of need and want in our music making ‘woman composer,’ but I’m happiest when EMH: I have cared about and supported community, rather than seek monolithic my music is programmed with no mention FT&M since my first conference, which “good things to do” for women in music. of gender.” • “I constantly grapple with is- was the one held with IAWM in London in During my talk I asked folks to think about sues of invisibility: women over 50, unat- 1999. From my perspective, FT&M is an issues/questions/anxieties they have sur- tractive, etc. are often not taken seriously idea striving toward an ideal, and there is rounding their music and careers and their as composers.” • “Feeling I’m not radical much in that perception to admire. For me, gender and to write them on bits of paper enough.” • “How can I express my anger FT&M as a conference, but not an organiza- and share them with me and those attend- without being labeled or misunderstood?” tion, was a semi-institutionalized hope that ing the conference. The results were gen- “Whether I am obligated to work on we could turn the tide within our schools and erous and vulnerable, and I feel so proud feminist topics, whether I want to.” • “As departments of music; that we could infuse and supported by sharing what they wrote a nonbinary performer, I think a lot about studies of music and gender, race, sexual- with as wide a community as possible. A how I dress on stage. In the 100s of perfor- ity, etc. into the curriculum and at the same sample of the comments are below; I have mances I’ve done, I have only once worn time, support scholars from marginalized removed the authors’ names. something I was happy with.” • “How communities to participate in the academ- “Getting the balance right between be- much of my career and activism is because ic labor market in ways that were equitable ing as intersectional as possible in my re- of my women composition teachers?” • “I and could make a difference. Twenty years search/writing and taking up space/speak- am worried that someday I am going to be past my first FT&M conference, I would ing about things about which I don’t have one of those women about whom it will be hold out that hope again. I would rather face lived expertise.” • “I’m not sure how open written: ‘We know she wrote some inter- the disappointment associated with having I could be about sexual assault issues that esting music, but we can’t find any of it.’ participated in a partially failed movement happened to me and some other peers. Is Will future family members throw it out than never to have held forth that vision. it wise/a good choice to use my music/arts without recognizing its meaning?” Reviews: Book, Compact Disc, Opera Book Reviews ers, or even record producers. Other vol- authors, is as “an advocacy book, encour- umes are specifically tailored to introduce aging singers and teachers of singing across Matthew Hoch and Linda the history and heritage of a singing style, all genres to program and perform music by Lister, So You Want to Sing considering the techniques and approaches women composers” (xxiii-xxiv). Music by Women: A Guide for for performing sacred music, country, gos- Predictably, the book begins with fore- Performers pel, a cappella, light opera, the blues, and words, but not like any that you have read New York: Rowman & Littlefield, photo- contemporary commercial music (CCM). before. Allen Henderson, Executive Editor graphs, diagrams, glossary, notes, appen- Still another of this series, So You Want to of the So You Want to Sing Series and Ex- dix, bibliographic references, index, 412 Sing for a Lifetime (2018), offers singers, ecutive Director of the National Associa- pages, $85 hardcover, $ 40 paperback, $38 teachers, and choral conductors the oppor- tion of Teachers of Singing, throws down e-book. ISBN 978-1538116067 (2019) tunity to examine preserving and extend- the gauntlet to performers, teachers, and STEPHANIE TINGLER ing their singing with exercises and reper- students alike: toire that address the aging voice. It is a fact that compositions by The So You Want to Sing series of books in- The newest in the series, So You Want vites singers into a hypothetical laboratory women, although plentiful and of to Sing Music by Women, approaches this the highest quality, remain woe- where they can experiment with a plethora topic in a manner similar to So You Want to of musical genres with which they may be fully underrepresented on every Sing for a Lifetime. It is in part a survey of type of ensemble program, solo unfamiliar. Many in the series are designed the literature of women composers, much for singing professionals; for example, So recital, contemporary commercial like Bowers and Tick’s Women Making Mu- music concert, and music theater You Want to Sing Rock ‘n’ Roll (2014) or sic: The Western Art Tradition, 1050-1950 So You Want to Sing Jazz (2015). Not only and opera season in the world. (1987); Karen Pendle’s Women and Music: Why is that? We can place fault does this series provide a guide to singing A History (2001); or Julie Dunbar’s Music, these genres, but it also serves as a refer- on the Western musical canon, Women, Culture: An Introduction (2015). male-dominated culture, well- ence for teachers, students, back-up sing- However, its basic purpose, as stated by the

24 IAWM Journal Volume 25, No. 2 2019 documented historical attitudes enhancement technology (Matthew Ed- zoli that includes lessons with an estab- within the composition world, the wards), which are included in the install- lished female composer, performances, and constraints of academic degree ments of the So You Want to Sing series. recording opportunities; the Lilly Awards programs, the content of text- These are inventive methods that ensure that acknowledge women in American the- books that blatantly omitted or accessibility, and readers who are only in- ater; MAESTRA, a networking community ignorantly diminished the contri- terested in one topic will receive the same for musical theater composers founded by butions of women composers, the basic information for studying singing and Georgia Stitt in 2016; and several compos- historic lack of readily available maintaining and reinforcing the voice as ers who are writing works that bring atten- editions of music by women and readers of the other volumes in the series. tion to sexual abuse, human trafficking, and a host of other factors. However, Additional chapters have been authored by homelessness. Finally, Hoch and Lister’s we must be realistic and honest Erin Guinup and Amanda Wansa Morgan; chapter, “Music by Women: The Future,” with ourselves that the real rea- their backgrounds provide credibility to focuses on women’s music festivals, femi- son lies within our own individual the substantive information presented. nist musicology, diversity and acceptance, lack of initiative (xiii). So You Want to Sing Music by Women men supporting women, and the various ap- Absolutely! Henderson is as correct begins each chapter with a brief history of proaches in which all of us could take part. as the audience he addresses is guilty as the women under discussion from the Mid- This publication contains previews of charged. We can offer excuses, but featured dle Ages to the twenty-first century. Nota- operatic, choral, and musical theater works works by women remain at disappoint- bly, the book does not include non-West- in progress; composers who are receiving ing levels. According to arts correspondent ern cultures during these time periods. The recognition in their early careers; “ghost Mark Brown, “New statistics have shown scarcity of historical non-Western women writers” in the CCM; unknown composers up the ‘inexcusable’ fact that only 76 clas- composer studies is in part due to the dregs and lyricists for the musical stage, which sical concerts among 1,445 performed across of colonialism and imperialism; these com- also includes a section entitled “Every- the world from this year [2018] to 2019 in- pelling topics do not receive even a glanc- body says don’t,” using a Sondheim song clude at least one piece by a woman” (“Fe- ing entry in the index. While the book is title for a segment on Mary Rodgers! The male Composers Largely Ignored by Concert not intended as a confrontational treatise, notes are very well done, the appendices Line-ups,” theguardian.com, June 13, 2018). the acknowledgment of these issues would are noteworthy for identifying digital and The second foreword is offered by Sha- have made the omission of historical non- print resources, festivals and workshops, ron Mabry, a respected teacher of voice Western contributions more palatable. grants and awards available in professional at Austin Peay State University and a re- Chapters on musical theater, CCM, organizations, and a glossary with descrip- nowned promoter of women composers. and the advocacy for women composers tions of unfamiliar terms in the text. Mabry agrees with Henderson’s inference, accompany sections on art songs, operas, If you believe that So You Think You but stresses that “women composers do not choral, and experimental and extended Want to Sing Music by Women is another want to be segregated or thought of as bet- techniques specifically for singers. Each version of Women Composers for Dum- ter or different than their counterparts. They one of these areas features a personal inter- mies, you must seriously reconsider. Its in- just want to be noted and judged equally” view with contemporary composers: Lori tention is earnest and passionate; its writ- (xviii). Festivals, concerts, workshops, and Laitman (art song); Leanna Kirchoff (op- ing is erudite and understandable; and its compact discs devoted to women compos- era); Rosephayne Powell (choral); Mer- potential effects could change the way we ers will not in themselves change the statis- edith Monk (experimental/extended tech- think of educating and preparing the next tics regarding performances worldwide. It niques); Georgia Stitt (music theater); and generation of feminists, musicians, and hu- must be a “career-style” choice, encompass- Martha Bassett (CCM). Clearly, including man beings. The copy read by this review- ing education, research, performance, lob- the interviews exhibits what is possible for er is marred by underlined, starred passag- bying, and advocacy for women composers. women and resonates with the statement: es, many question marks, and innumerable In the following introduction, Mat- “For girls, you have to see it to be it” (168). dog-eared pages. Exactly the way a book thew Hoch notes that from the beginning As an advocacy book, So You Want to should be read―devoured! of the work’s inception as an “advocacy Sing Music by Women delivers. The final Stephanie Tingler, soprano, has appeared in book,” it was critical for this project to chapters, “Advocacy for Women Compos- opera, concert, oratorio and recital through- be co-authored by a woman. Significant- ers,” authored by Erin Guinup, and “Mu- out the United States, Great Britain, Germany, ly, Linda Lister is not only a voice profes- sic by Women: The Future,” point readers Japan, South America and Africa. An eminent scholar of the art song repertoire, Tingler has sor at the University of Nevada, Las Ve- in directions for continuing the efforts to right the wrongs done to women compos- served on the faculty at the University of Geor- gas, but also a composer herself. As is the gia since 1992, where she is Associate Profes- case for other books in the series, So You ers. Guinup suggests that women sing their songs, attend performances of women’s sor of voice, teaching undergraduate and grad- Want to Sing Music by Women has an on- uate voice, vocal pedagogy and literature. She line supplement hosted by the NATS web- works, create opportunities for women, be- holds undergraduate degrees in English and site, featuring links to recordings that are come acquainted with women composers, American literature (East Carolina University) referenced in the work. In addition, there buy their music, commission new works, and in Vocal Performance (Northern Kentucky are “common chapters” on vocal produc- educate, and raise awareness. For example, University); a Master of Music degree (Cleve- tion (Scott McCoy); recommendations for she discusses the Luna Composition Lab, a land Institute of Music); and a Doctor of Musi- cal Arts (The Ohio State University). vocal health (Wendy LeBornge); and audio project overseen by composer Missy Maz-

Reviews 25 Laurel Parsons and Brenda von Bingen. Bain’s essay includes a photo ativity in surprising phrase extensions and Ravenscroft, eds., Analytical of the manuscript source, her transcription daring metric features. Essays on Music by Women of the twelfth-century German neumes into Stephen Rodgers (University of Or- Gregorian notation, and much comparative egon) is intrigued by Fanny Hensel’s har- Composers, Volume I: Sacred data concerning sequences. Her line-by- monies, particularly her “art of beginning” a and Secular Music to 1900 line analysis demonstrates how Hildegard Lied. Of her 96 Lieder in major keys, 43 be- New York: Oxford University Press, mu- chose to depart from the rigid musical and gin in the home key and immediately mod- sical examples, glossary, bibliography, in- parallel structure of the sequence form in ulate to the key of the second or sixth de- dex, 273 pages, $65.00 hardcover, $29.95 order to expand upon text phrases that were gree (ii or vi). This procedure may account paperback, $24.60 e-book. ISBN 978-0- significant to her spiritual vision. for references to “fantasy” in her music, he 19-023702-8 (2017) Peter Schubert (McGill University), a notes, but rather than “feminine” fantasies Deborah Hayes theorist and director of vocal ensembles, outside accepted techniques and structures, In this beautifully produced volume, lead- is drawn to the twenty-four madrigals of she constructs “schematic fantasies” with- ing scholars in music theory in Canada and Maddalena Casulana as examples of the in structural archetypes. Rodgers discusses the U.S. analyze selected compositions in madrigale arioso. After considering ex- her two songs that modulate to both ii and the Western classical tradition from the isting scholarship concerning this genre, vi in succession, “Von dir, mein Lieb, ich mid-twelfth through the nineteenth centu- he shows how Casulana’s brief four-voice scheiden muss” (From you, my love, I must ries by nine celebrated women compos- madrigal, “Per lei pos’ in oblio” (For her separate, 1841) and “Ich kann wohl man- ers: Hildegard von Bingen (1098-1179); I emptied my mind), from Cinta di fior chmal singen” (I can sometimes sing, 1846), Maddalena Casulana (ca. 1544-ca. 1590); (1570) is based upon fourteen repetitions of but convey different emotions and sensitive Barbara Strozzi (1619-1677); Elisabeth- an air: a three-note melodic fragment. moments according to their respective texts. Claude Jacquet de La Guerre (1665-1729); Richard Kolb (New York Continuo The chapter on Josephine Lang is by Marianna Martines (1744-1812); Fan- Collective) and Barbara Swanson (York Harald Krebs (University of Victoria, BC), ny Hensel (1805-1847); Josephine Lang University, Toronto) examine Barbara Stro- an authority on Lang and editor of a vol- (1815-1880); Clara Schumann (1819- zzi’s solo cantata, “Appresso ai molti ar- ume of her settings of poems by Christian 1896); and Amy Beach (1867-1944). The genti” (By the silver banks, 1659), and find Reinhold Köstlin, whom she met in 1840 essays, well-documented in the endnotes, a “sophisticated approach” to the genre due and married in 1842. Like other Lieder are illustrated with a wealth of musical ex- to her status as part of the cultural elite of composers, Lang composed multiple set- amples, tables, and figures. Notably, Ox- Venice. Their detailed analysis of the text tings of favorite poems. From her many ford University Press offers a companion and music exhibits how Strozzi uses the Köstlin settings, Krebs compares the three website that contains the examples and recitative/arioso and aria styles from the versions of “An einer Quelle” (At a Spring, supplemental files, while the bibliography operatic lament tradition in an ingenious 1840/1853) and the two of “Am Morgen” lists studies, scores, and recordings orga- approach to the cantata’s formal structure. (In the Morning, 1840), pointing out her nized by chapter. In addition, the editors, Susan McClary (Case Western Re- different musical interpretations of the Laurel Parsons (University of Alberta) serve University) examines the sarabande words and poetic ideas. Although no com- and Brenda Ravenscroft (McGill Univer- movements from Elisabeth-Claude Jacquet mercial recordings are available, the com- sity), provide introductions to their three de La Guerre’s Suites in A minor (1687) panion website includes audio recordings chronological groups of essays, where they and D minor (1707) for harpsichord, part- by the author as pianist with soprano Sha- summarize and compare the contributors’ ly for their harmonic structure, but mainly ron Krebs, who co-authored Josephine various analytical approaches. They also in relation to the French court dance. She Lang: Her Life and Songs (New York: Ox- supply a brief composer biography for quotes a 1671 description of a gentleman ford University Press, 2007). each analysis chapter. dancing a sarabande who expressed “the Most of the essays on tonal music In their introductory chapter, the edi- emotions of his soul.” Miniscule discrepan- concentrate on harmonic structure, leav- tors trace the various situations of women cies of timing in the music, she writes, indi- ing it up to the reader to consider such fac- composers in European and American so- cated the desired qualities of the motion of tors as tempo, register, timbre, ornamenta- ciety during the 750 years that this volume feet, arms, hands, and face. In this respect, tion, and genre. Michael Baker (University covers, including issues of social class, mu- readers can view a video of the sarabande of Kentucky) begins his analysis of Clara sical genre, and cultural context. Concern- on the companion website. Schumann’s Lied “Liebst du um Schön- ing the music these women composed, rath- L. Poundie Burstein (Hunter College heit” (If you love for beauty, 1841) with er than establish “a new canon” or separate and the Graduate Center, CUNY) analyz- a technical discussion of Heinrich Schen- female repertoire, the editors aim to bring es the first movement of Marianna Mar- ker’s concept of interruption, that is, when more compositions by women into the tines’ Sonata in A Major (1765) for harp- cadential motion from V to I is interrupted mainstream of contemporary analytic dis- sichord as an example of the two-part by other material. Each of the four stanzas cussion. structure (sonata form) described in eigh- of the poem proposes a reason for love; In the first essay, Jennifer Bain (Dal­ teenth-century compositional methods as the first three reasons are denied, but the housie University) analyzes the sequence harmonically I – V :||: V (vi, ii, iii) – I. fourth, love for the sake of love, is accept- “O Ierusalem aurea civitas” (O Jerusalem, He shows how she follows compositional ed exuberantly. Baker shows how the com- golden city, ca. 1150-ca. 1170) of Hildegard norms, while demonstrating her own cre- poser makes appropriate use of interrup-

26 IAWM Journal Volume 25, No. 2 2019 tion at the endings in all of the three denial signer Ҫiǧdem Borucu. Borucu studied three minutes each and provide splashes of stanzas. In keeping with the resolution in piano at Istanbul University State Con- sound. For me, the most promising track the final stanza, Schumann takes the har- servatory, as well as chamber music at the on the CD is the final one entitled Margins mony to its goal, the final tonic. Hochschule für Musik und Darstellende of Istanbul. It is described by the composer In analyzing Amy Beach’s Phantoms, Kunst in Graz, Austria. In 1991, she en- as a “sound installation.” The track begins Op. 15, No. 2, for piano (1892), Edward D. rolled in the Brooklyn College Conserva- with an aggressive hip-hop rhythm played Latham (Temple University) uses Schen- tory, where she earned B.A. and M.A. de- by a drum machine. It is gradually layered kerian theory along with consideration of grees in music. Following her academic with synthesizer lines and field record- extra-musical references. The piece, in A- coursework, Borucu moved to Istanbul, ings from public spaces in Istanbul, but the A’-B-C-A form, is in A Major with signifi- where she is a university lecturer and com- composition is very brief at one minute and cant moments of C-sharp minor, while the poser. Much of her work is collaborative twenty-five seconds; I would have enjoyed C section is in D-flat Major (enharmonic and involves composing for plays, films, hearing more. C-sharp Major). On the score, Beach has and art installations. Robert Black is an independent scholar and written, “Such fragile flowers, dead as soon The opening seven compositions on songwriter. He holds BFA and MA degrees from as they are born” (quoting Victor Hugo), the CD are for solo piano and are grouped Kent State University and a PhD from the Uni- and the piece has a correspondingly “frag- together as a suite. The pieces were origi- versity of Washington (Seattle). Additionally, ile, ethereal quality,” Latham notes. The nally composed to accompany selections Dr. Black has studied music composition at the melody is fragile, with its “kaleidoscopic” of silent film from the late Ottoman Em- Oberlin Conservatory of Music. His portfolio chromatic harmonies and disjunct motives. pire of the 1890s, and all evoke a melan- includes original music for plays by Aristo- Perhaps the fragile flowers are the passages choly mood that no doubt mirrors the at- phanes, Brecht, Picasso (yes, Pablo Picasso!), Sartre, and Shakespeare. He has recently com- of C-sharp minor; phantoms from the other mosphere in the films. The pieces rely pleted a two-act opera based on James Joyce’s world of D-flat Major that die in A Major. upon a predominantly lean harmonic tex- Ulysses and is currently working to arrange its These brief summaries only hint at ture—typically two to three voices pri- premiere. the depth, detail, and clarity of the essays marily in the minor-mode. The melodic included in this collection. Here readers lines are in a folk song style, the dynamic Tsippi Fleischer: Adapa familiar with the music will gain new in- range is modest, the tempos are slow, and A Grand Opera (sung in Akkadian) in sights, while those who are less certain of the formal structures are typically rondo or Three Acts, Eleven Scenes. Shlomo Yizr’el, libretto; Stefan Goerg­ the legacy of the music of women compos- some variant of song form. There are some ner, countertenor; Ammon Seelig, bari- ers will learn much. Significantly, this vol- faint thematic connections among the sev- tone; Eyal Edelmann, basso profundo; ume offers college and university instruc- en compositions; for example, a melodic The Moravian Philharmonic Orchestra tors an engaging body of music analysis, fragment from the initial “Balkan Women” and Czech Ensemble Baroque Choir, Petr scholarly writing, and writings in music piece reappears briefly over the course of Vronsky, conductor. Vienna Modern Mas- theory to share with their students. the suite. It’s worth noting that the seventh ters no. 4009 (2016) This volume is one of four volumes in piece, “Migration,” is a dirge that referenc- Robert Black the series Analytical Essays on Music by es Frédéric Chopin’s Piano Sonata No. 2 in Women. Volume 3, Concert Music, 1960– B-flat Minor (Marche funèbre, 1837) in its Tsippi Fleischer is an Israeli composer with 2000, was published in 2016. To come are B-section. It would be interesting to hear it a deep interest in language and ancient my- volume 2, Concert Music, 1900–1960, and in connection with the silent film. thology. Her recent opera Adapa is a strik- volume 4, Electroacoustic, Multimedia, Silver Moon highlights a critical prob- ing work, based on the ancient Mesopota- and Experimental Music, 1950–2015. lem in the field of music composition. The mian myth of the mortal figure Adapa, who visits the heavens, refuses the gods’ gift of Deborah Hayes is professor emerita of musi- compositions clearly belong to what is cology and former associate dean for graduate commonly called “incidental music.” That immortality, then returns to earth to mate studies in the College of Music at the University is stated forthright on the CD cover itself: with the South Wind. The opera is sung of Colorado Boulder. Silver Moon: Music for Piano, Film, and in the long-dead language of Akkadian, a Theater. Composer Borucu created this Semitic language last spoken in the fourth Compact Disc Reviews music to accompany works by anonymous century BC in what is now southern Iraq Ҫiǧdem Borucu: Silver Moon: filmmakers from the late nineteenth-centu- and Syria. The opera conjures a world both ancient and modern, strange and familiar, Music for Piano, Film, and ry. It is difficult to discuss the music with- out seeing the primary visual material. calling to mind Stravinsky’s Le Sacre du Theater The second half of the disc is com- Printemps (1913), while remaining fresh Ҫiǧdem Borucu, piano, prepared piano, prised of ten compositions that expand the and exciting to the ear. and synthesizer; Pb Müzik Yapim Ltd. sonic palette to include prepared piano, Fleischer’s opera runs just over an (Uncatalogued, 2018) synthesizer, kalimba, flute, violin, clari- hour, is divided into eleven episodes, and robert black net, and electronic tape. Some of the piec- features three soloists: Adapa, sung by counter-tenor Stefan Goergner; Ea (God of Silver Moon is a collection of 17 short es accompanied plays by Gotthold Lessing the Sea), sung by baritone Ammon Seelig; compositions for piano, chamber ensem- (1729-1781) and Caryl Churchill (b.1938) and Anu (God of the Heavens), sung by ble, and electronic soundscape, created by and films by Nezih Erdoğan (b. 1959). The basso profundo Eyal Edelmann. Addition- Turkish composer, pianist, and sound de- pieces are short; they average less than

Reviews 27 ally, there are three choral groups—wom- ing. Even in passages with the aforemen- Julia Mortyakova and Valentin en’s choir, men’s choir, and mixed choir— tioned dry leaves as percussion, the sound Bogdan: Journey For Two who portray various gods, nymphs, and is balanced and engineered so that the var- Julia Mortyakova, piano; Valentin Bogdan, the role of the Earth. ious frequency ranges of the instruments piano. CD Baby, B07HGGQ373 (2018) The vocal demands made by Fleisch- and voices do not compete with each oth- MARY KATHLEEN ERNST er are significant, though far from those er, but find their own aural space. consolidated by the coloratura and bel A real bonus, however, is the record- The respected piano duo’s debut CD, Jour- canto traditions of most Western opera. ing’s accompanying booklet. More than ney For Two, showcases an international ar- Fleischer calls upon the voice to exhaust just a libretto and guide to the tracks, the ray of composers and musical genres from its formal sonic range rather than melod- booklet is abundant with production pho- the nineteenth century to the present. Fea- ic capabilities. Barks, growls, slurs, war- tos, score excerpts, and composer com- turing mostly short works for two pianos bles, and other vocal effects share equal mentary that provide added dimension and piano four hands, the album includes time with scalar melody. Likewise, the or- to the musical experience. Fleischer in- music by the following composers: Franz chestral instruments are frequently used cludes her thoughts on the composition- Schubert (1797-1828); Basque composer outside their traditional ranges and are al process, sharing both concrete and ab- Sebastian Iradier (1809-1865); Parisian played with non-traditional techniques to stract inspiration—the percussive sound Cécile Chaminade (1857-1944); famed Ar- achieve unusual sounds (think here of Le of the Akkadian language and the various gentine tango composer Eduardo Arolas Sacre du printemps’ opening bassoon part shades of blue that she aligns to the op- (1892-1924); Russian-American Olga Har- in an ultra-high register). And, in cases era’s scenes, for instance. She also pro- ris (b. 1953); and Romanian-born compos- where traditional orchestral instruments vides a brief essay into what she considers er Valentin Bogdan (n. a.). Throughout the cannot provide the appropriate sonic the musical essence of the work, drawing CD, the duo’s tight ensemble, deft musical color, Fleischer employs non-traditional from both Classical and Romantic mu- balance, and the range of timbre render a means to achieve her required sounds; for sical traditions with an emphasis on the pleasant listening experience. example, the opening of Act Two (“Hymn interval of the fourth. She cites, too, her Julia Mortyakova is Chair of the De- of the Painful Earth”), which is set in the influences, which include the Polish com- partment of Music at Mississippi Univer- desolate, sun-burnt desert and uses the poser Krzysztof Penderecki, the composer sity for Women and the Artistic Director crackling of amplified dry leaves as per- and filmmaker Mauricio Kagel, the chore- of the Music by Women Festival. Her col- cussion to provide a sonority of barren ographer Merce Cunningham, and the an- league, Valentin Bogdan, is a prolific pia- desiccation. thropologist Claude Levi-Strauss. Finally, nist and composer whose works have been Harmonically, Fleischer’s opera does Fleischer includes excerpts from her dia- widely performed. Both award-winning not adhere to traditional Western rules of ry, which documents the “vivid memories artists perform extensively as soloists and tonality. Quartal harmony, clusters, and of the cathartic process” of writing the op- duo pianists internationally. compound chords are more pervasive than era. None of this written material is neces- The major portion of this recording is tertiary, tonic-dominant formulations. sary to appreciate the opera, but it should devoted to music by Olga Harris, Mortya- Fleischer achieves harmonic ambigu- be appealing to those interested in the cre- kova’s mother and a member of the compo- ity, but without that Debussy vagueness. ative process. sition faculty at Tennessee State University, Instead, ambiguity here is bold, and the Adapa is a powerful musical experi- and Cécile Chaminade. The opening Harris seeming atonality asserts a kind of conso- ence. The score is colorful and unpredict- work, Nostalgia, is a theme and variations nance whereby whole-tone harp passages able and sustains one’s attention through- on the most famous nineteenth-century Rus- in Act-Two, recognizable modal passages out its narrative. Fleischer’s choice of sian song of romance, “Dark Eyes” (1897). in Scene Eight, and major triads near the using the extinct language of Akkadian Originally a Russian romantic folk song opera’s close actually sound dissonant in summons a level of wonder that amplifies with gypsy and cabaret roots, it was popu- the overall musical context. The compo- the mysterious, primeval quality of the larized in Russia around 1910 and grew sition is complex, but not complicated: music and fantastical action of the story. in popularity internationally, appearing in Fleischer creates a coherent musical uni- Adapa is an impressive achievement and films and performances by artists such as verse that is extraordinarily rich and sur- one that stands as a welcome addition to Tommy Dorsey during the Big Band Era. prising, while sounding primordial and our contemporary operatic repertoire. In this performance, it aptly retains a dark, sultry, and somewhat contempla- unpretentious. Robert Black is an independent scholar and The vocal performances are strong. songwriter. He holds BFA and MA degrees tive character, with doleful melodies above Stefan Goergner’s portrayal of the op- from Kent State University and a PhD from winding contrapuntal exchanges between era’s title character tackles difficult inter- the University of Washington (Seattle). Addi- the pianos. The duo’s warm, round tone vals in disjunct melodic lines, subtle and tionally, Dr. Black has studied music compo- and clarity elegantly balance dynamic re- powerful by turns, in a range rarely heard sition at the Oberlin Conservatory of Music. straint with texture and nuance. The instru- in male vocalists. He handles the part His portfolio includes original music for plays ments are well matched and the ensemble’s comfortably and convincingly. The or- by Aristophanes, Brecht, Picasso (yes, Pablo execution in the performance is flawless. Picasso!), Sartre, and Shakespeare. He has Three very brief and entertaining waltzes chestra and choirs are balanced, recorded recently completed a two-act opera based on by Harris have a decidedly Russian flavor and mixed with precision, and the overall James Joyce’s Ulysses and is currently work- sound quality of the recording is outstand- ing to arrange its premiere. within a tonal setting. Waltz for Caroline features unique harmonic progressions

28 IAWM Journal Volume 25, No. 2 2019 over a repeated bass line, Waltz in a Rus- Pianist Mary Kathleen Ernst continues to emulate the “emotionally nauseated” feel- sian Style evokes the spirit of Russian folk achieve acclamation for her performances in ing, which derives from her heavy intro- music, and Intermezzo Jane is thickly tex- major venues and festivals internationally. A spection and the quasi-religious experiences tured with powerful, pulsating downbeats. graduate of the Juilliard School, Ernst has been she associates with Chopin’s ballades (Liner a champion of music by American women com- Some of the most delightful and refined Notes, 2019). Notably, the strongest compo- posers in education, on the concert stage inter- playing on the CD is in the Chaminade, op. nationally, and in recordings. She served on the sition on the album is its second track, In the 55, Pièces Romantiques (1890), a youthful faculties of Shepherd University in West Virgin- Midst (premiere, 2014) by Ingrid Stölzel, as- collection of six brief, romantic sketches ia and the University of Virginia, and she is ac- sistant professor of composition, University for piano four hands. Here, the duo exhib- tive in bringing music to all levels of education. of Kansas. The composer wrote the piece in its their penchant for delicate, subtle tone memory of Van Cliburn. The composition colors in the opening “Primavera,” and a Nicholas Phillips: Shift commences with the powerful chords of Works for solo piano by eight contempo- sparkling leggiero in “La Chaise a Porteurs. Tchaikovsky’s Piano Concerto No. 1 in B- rary women composers. Nicholas Phillips, Idylle,” which features lovely melodic ex- piano. Panoramic Recordings, PAN 901 flat minor (revised, 1888), which remained changes between the musicians. While this (2019) Van Cliburn’s most famous signature piece. is not among Chaminade’s more substantial It concludes with a six-minute magical re- chamber works, Mortyakova and Bogdan Olivia Kieffer flection, in which Phillips captures the spirit share an engaging, meaningful, and person- Shift is the fifth solo release by Nicholas of the music and the interpretative style of al interpretation with the listener. Phillips, an international soloist and col- the legendary pianist. The well-known and loved Schubert laborative artist, who is an active and en- Libby Larsen’s five White Pieces are Fantasy in F Minor, op. 103, for Piano Four ergetic performer of the music by living constructed on a 32nd-note turning mo- Hands (1828) is played with great sensitiv- composers. Currently, he serves as Associ- tive on B-C-D-C-B. “White Piece 1” is the ity and nuance in concert. The duo clearly ate Professor of Piano at University of Wis- composer’s response and musical inter- brings forth the poetic over the dramatic, consin-Eau Claire, where he teaches piano, pretation of T.S. Eliot’s The Hollow Men” carefully crafting tone and voicing. piano ensemble, piano literature, and piano (1925): “This is the way the world ends,... The most modern, interesting, and pedagogy. He holds a DMA degree from Not with a bang but a whimper” (Liner difficult of the works on this recording be- the University of Missouri Conservatory Notes). “White Piece 2” is described by long to Valentin Bogdan. Opus One pro- of Music, a Master of Music from Indiana Larsen as a musical rapture inspired by pels the listener on a wild ride through University, and a Bachelor of Music from Hilda Doolittle’s poem, The Whole White moments of reverie, intense argumenta- the University of Nebraska. Recent notable World (1921); the melody soars over an tive interchanges, pensive lento, thematic performances include a solo recital, which oscillating sextuplet, which never resolves reprise with contrasting scherzando pas- was sponsored by the U.S. Embassy, with and remains in suspension. According to sages, calm resolve, and a jazzy synco- additional solo recitals in Argentina and the composer, “White Piece 3” is a “flat- pated finish. Metamorphosis opens with Lithuania. As a champion of contemporary out, white-key boogie with the energy of a thematic section of rhythmic intensity music, Phillips states: “This album is my the Big Bop per J.P. Richardson’s 1959 followed by a rhapsodic interlude, a the- small personal contribution to what I hope rockabilly song “White Lightning” (Lin- matic return, followed again by another is a continued shift towards embracing er Notes). In contrast, “White Piece 4” rhapsodic interlude and building and thick- and celebrating diversity and equity in the resembles an ostinato study, which alter- ening textures. It concludes with a driving study, performance, and promotion of art nates the melody and ostinato in the tre- coda. In this context, the music is reminis- music. I present here premiere recordings ble and the bass, while “White Piece 5” cent of the intensity and excitement of the of eight works by composers whose mu- resembles a perpetual wind and concludes Brahms Rhapsodies. Bogdan also offers sic I have come to know and love.” (Liner in a final tonic resolution. Larsen spends two thoughtful four-hand arrangements of Notes, 2019) a total of 14 minutes exploring the white the tango by the Argentinian master Arolas Phillips’ playing has been acclaimed keys of the piano; however, the contrast and a Spanish habanera by Basque com- for its “bejeweled accuracy” (Fanfare) and between each movement decidedly engag- poser Sebastián Iradier, which wrapped up its “razor-sharp” spirit (American Records es the listener throughout. the fine performances with a festive group Guide). It is clear from the first moment In La Intervención (2008), Puerto Ri- of short encores. that Phillips has brought his unique vision can composer Angélica Negrón contem- Sound engineers James Bevelle and and presence to each of these highly pro- plates the emotional fortitude and strate- Andy Coburn produced a quality sound re- grammatic pieces. While many solo piano gies required to confront a dear friend who cording. The instruments were sympathetic albums seem to showcase the performer, is in trouble and needs to make life chang- and well in tune. However, there remains a Phillips instead refreshingly showcases the es. In this respect, the composer addresses lack of information in the program booklet music. talking to a person in a different state of about dates, track timings, and notes on the Shift opens with the gifted American mind and the strategies necessary in this compositions, as well as any information composer Sarah Kirkland Snider’s Ballade difficult situation. Accordingly, the com- on Valentin Bogdan or his significant con- (2001). The music sounds like a hot and poser infuses the music with a sense of de- tribution to the recording. These are gener- muggy Sunday afternoon improvisation spair, coupled with a resolution in relief. ally accepted practices in the industry and reminiscent of Chopin. This is appropriate Rang De Basant (2013) by American certainly would have been appreciated. given the composer’s desire for the music to composer Reena Esmail takes its inspi-

Reviews 29 ration from the Hindustani Raag Basant the concert curators, the admirers of piano ed, New-Age-esque, or euphoric; for ex- (Spring) and the iconic film Rang De Bas- music, and the performers. ample, descriptions of the cunning fox, anti (2006). The piece begins with power- Olivia Kieffer is a composer, percussionist, and wily snake, courtship rituals, or spirits of ful chords and is “followed by a short Hin- educator. Currently, Olivia is pursuing a DMA the night. CBC’s radio shows, Unreserved, dustani composition (called a bandish),” in Music Composition at the Frost School of dedicated to Indigenous community con- which is distinguished by a vigorous chro- Music at University of Miami, studying with versations, and Reclaimed, featuring in- maticism that eventually “vanishes back Lansing McLoskey. A native of Wisconsin, her vigorating Indigenous Canadian music, into the dense chords” (Liner Notes). For music has been described as “immediately at- bring us in touch with this world. Is this the listener, the music may seem neo-ro- tractive,” “like a knife of light,” and “honest, album able to do the same? mantic, while veiling the recognizable to the point, and joyful!” Virtually all of the music on the album characteristics of a raag. Aboriginal Inspirations includes the so-called “native drum” used Whitney George’s Réunion Ibis The album, produced by violinist Ralitsa by North American Indigenous peoples, (2014) is a piano miniature from her Ex- Tcholakova and recorded at Kuhl Muzik a frame drum which has no pitch or tonal tinction Series, which amounts to a musi- in Toronto, Ontario, contains neither al- variations and which differs from the Afri- cal obituary to an ever-developing list of bum number nor label, but is available via can djembe or talking drum, both of which extinct animals. According to the com- Canadian Music Centre (https://www.mu- have many pitch variations. However, the poser: “The sheer volume of the series is siccentre.ca/node/148322) as well as Spo- frame drum scoring throughout the album tify, Amazon, Apple Music, and YouTube. a commentary on mankind’s carelessly de- often seems token, like an after-thought, ASIN: B074N4ZTMX (April 2017) structive tendencies and manifest destiny sounding extraneous to an otherwise West- attitude towards other living creatures on CAROL ANN WEAVER ern chamber music medium. this planet” (whitneygeorge.com). Histori- In the compact disc Aboriginal Inspira- It takes break-through compos- cally, The Reunion Ibis, endemic to the tions, Bulgarian-Canadian violinist Ralitsa ers to create a music that speaks clearly volcanic island of Réunion in the Indian Tcholakova brings together compositions and authentically regarding a culture be- Ocean, was most likely hunted to extinc- by eight Ottawa-based Canadian compos- yond their own. Three composers—Jen tion in the mid-1700s. George’s musical ers: Kevork Andonian, Christine Donkin, McLachlen, Daniel Mehdizadeh, and homage is both tender and thoughtful and Victor Herbiet, Frank Horvat, Ron Korb, Christine Donkin—find ways to do this stands in direct contrast to mankind’s de- Jen McLachlen, Daniel Mehdizadeh and most successfully here, suggesting ways structive tendencies. Evelyn Stroobach. Five performers from to listen beyond their own doorsteps. In keeping with the condemnation of various branches of chamber, film, and Most tellingly, flautist/composer Jen senseless violence, the penultimate work world music—Ralitsa Tcholakova (vio- McLachlen chooses an authentically cred- on the album is Mary Kouyoumdjian’s lin, viola, producer), Ron Korb (flute), Jen ible route towards understanding and ad- Aghavni (Doves, 2009), based on the poem McLachlen (flute), Dominique Moreau dressing Indigenous peoples in her Birds Carpet Weaver by Najimian Magarity. The (frame drum), and Benjamin Smith (pia- of Prince Albert. With heartfelt passion composer traces the lives of a group of no)—commendably bring alive the dance, she effectively addresses the situation of women before (1910) and during the Ar- dignity, and design of each composer’s “1,181Aboriginal women who were mur- menian genocide (1915), and it concludes compositions. As requested by IAWM ed- dered or went missing (from 1980-2012): with a retrospective of what they lost. This itors, this review focuses mainly on the a rate more than three times the Canadi- is an energetic and powerful piece of mu- music by the three women composers. an national average.” She dedicates her sic, imbued with Armenian melodic mate- While the music is said to be “inspired piece to Marlene Bird who was “sexu- rial that ends quietly and introspectively. by Canadian aboriginal myths, legends, ally assaulted, and set on fire in a park- The album closes with Karnavalito symbols or issues” (http://frankhorvat. ing lot in Prince Albert, Saskatchewan.” No. 1 (2013) by Gabriela Lena Frank. The com/discography/aboriginal-inspirations), McLachlen’s music—pungent and strong- piece is inspired by the Andean concept none of the composers acknowledges hav- ly scored to depict this ongoing tragedy of mestizaje, where cultures can co-exist ing Indigenous roots, and only one Indig- in our time—begins with disquieting pi- without subjugating one another. Frank set enous instrument is used: the frame drum. ano, percussion declamations, as the vi- the music in her own spirited vision of the Thus, the album serves as a kind of view ola creates an eerie, somber glue holding mountain music of Peru. A highly virtuo- into an Aboriginal ethos from the outside, listeners to this appropriately disturb- sic composition, the composer acknowl- rather than a statement from the inside, or ing soundscape. The “bird,” adroitly and edges the style of Béla Bartók throughout heart, of an Aboriginal people. As such, beautifully represented by McLachlen’s the bravura passagework. composers and performers on this CD at- own flute playing, allows Marlene Bird to Aside from the last work on the al- tempt to envision, describe, or speak about sing of her grief, hope, and humanity to us bum, the pieces share a similar style, with Indigenous people in credible ways both all. The music, tastefully understated, al- lush, vibrant, and poetic landscapes. These musically and socially—certainly a tall or- lows us to hear our own personal respons- premiere recordings are underscored and der in these days of identity politics and es to this bird whose song we need to hear. highlighted by Phillips’ sensitive, al- appropriation issues. Daniel Mehdizadeh’s Oohoo (vi- most romantic performances. Hopefully, Some of the music tends to fantasize sions of an owl) for piano, violin, flute, through the release of Shift, these compos- or mythologize Aboriginal people in ways and drum, reveals dark, somber, percus- ers will receive an increased interest from that seem at times soothing, nature-orient- sive colors, and a throbbing, compelling

30 IAWM Journal Volume 25, No. 2 2019 drum and piano pulse, along with evoca- one can only imagine the added strength any pitch over it, which created a reso- tive and interactive flute/violin melodies. were a Metis fiddler or an Inuit throat nance that vibrated through the chapel. At The music wends its way into a truly en- singer heard, or if a composer with Indig- the appropriate moment, when Zohara was gaging dance expressing strength and pal- enous roots could be part of the mix. The frustrated and produced awful screeches pable presence, as Mehdizadeh­ magically question remains as to whether this album on the violin, the able conductor, Jonathan incorporates a frame drum within this con- bridges Aboriginal/Western worlds. Khuner, cued the audience, and voilà, the text, evoking his own kind of mesmerizing Canadian/American composer Carol Ann Weav- beautiful violin sang through the chapel! ritual dance. er’s genre-bending music, often tinged with Af- We recognized the hauntingly romantic Quite poetically, Christine Donkin’s rican influences, is heard in North America and violin theme from “Bracha,” the overture Finding Arrowheads at Bear Lake relates beyond. She chairs Association of Canadian that had been played by the excellent to her own childhood when she and her Women Composers and is Professor Emerita of violinist Terrie Baune, with Warshauer at friends found arrowheads near Bear Lake University of Waterloo, Canada. Note: all un- the piano. in northwest Alberta where she grew up. marked quoted material is from the CD liner With her gleeful “Tee-hee-hee,” Donkin imaginatively brings us in touch notes. This review appeared in the spring 2019 mezzo-soprano Jacqueline Kerns as Shula issue of the Journal in an edited version. with physical reminders of a culture gone opened the opera by running to hide in each by, but still living. The music itself de- Opera Review corner and crevice of the performing area. scribes her own sense of “awe and curios- Remarkable throughout the production ity about the people who had left behind Meira Warshauer: Elijah’s were the clever innovations by stage so many clues about their lives and their Violin director Yefim Maizel that allowed the culture.” A soaring, expressive violin be- actors abundant lively activity in the limited DEON NIELSEN PRICE gins the musical essay, joined by a gently space. Running breathlessly north, south, complex, intriguing pianistic texture, cre- Elijah’s Violin, a family opera by Meira east and west while pursuing directions on ating a thoughtful, questioning, harmon- Warshauer, libretto by Susan Levi Wal- a map, tenor Sergio Gonzalez as Rafi and ically-rich dialogue. The frame drum ac- lach and Warshauer, was presented as an soprano Alize Roznyai as Zohara created centuates thickening textures with a steady opera-in-progress in a stunning, semi- an especially exciting scene. pulse, becoming a rhythm track for a virtu- staged performance at the historic Presidio The two male leads, Gonzalez and osic violin, reminiscent of Metis fiddling. Chapel in San Francisco on September 15, bass Chung-Wai Soong, who sang both A pianistic waterfall-effect of cascading, 2019. Adapted from the Jewish folktale, the mycologist and Elijah, were the most descending arpeggios ends in a sonorous “Elijah’s Violin” (Elijah’s Violin and oth- clearly understood in the acoustically echo of sound, of time, of memory. er Jewish Fairy Tales, retold by Howard live hall. Roznyai, the splendid soprano, Evelyn Stroobach’s concise, well- Schwartz, Harper and Rowe, 1983) adds was also well understood when not in too constructed Fire Dance for flute, viola, a lovely gem to Warshauer’s significant high a register. Mariya Kaganskaya was and drum contains excellent counterpoint, body of works that she says are inspired perfectly cast as Auntie Malka, with her which struggles to bring Aboriginal and by her love for the earth and her personal rich mezzo-soprano voice and portrayal Western worlds together. She attempts to spiritual journey. of mature wisdom. Kerns looked and “depict an [imagined] event where people The plot: Playing the game of hide and acted appropriately like a young teenager, gather around the warmth of the fire and a seek, Princess Shulamit, a teen in search although her beautiful, well-developed dance is performed after dark.” She wants of her identity, is hiding from her broth- mezzo-soprano voice belied the youthful listeners to envision both the “movement er, Prince Raphael, when she finds an en- role. As the jovial mushroom gatherer and purpose of the dance.” The viola’s chanted mirror. Believing that her reflec- who sang, danced, and reminded us of percussive, double-stop rhythm in fast 6/8, tion will reveal her true self, Shula falls Tevye, Soong was delightful. As Elijah, answered by the drum’s basic pulses, is prey to a mirror demon that captures her his extensive experience and command of followed by an imitative give-and-take di- soul and leaves her frozen in stone. With voice and stage gave power and authority, alogue between flute and viola, borrowing the help of a mysterious mushroom gath- and also compassion, to the role. The from a Baroque/Classical palette. As the erer in the forest, Auntie Malka (a healer), eight girls in the Cantabile Youth Singers, viola and drum continue a straight-ahead, and her niece, Zohara, Prince Rafi sets out under the direction of Elena Sharkova, steady-beat texture, the flute essays into to save his sister by finding Elijah’s violin, sang the various roles of Children of the a folk-like soliloquy, before returning to a magical instrument that can release the Forest, Singing Trees, and Demons. They imitative dialogue with the viola. Mean- imprisoned melodies of the heart and free provided levity and brightness in an oth- while, the drum plays mostly unvaried Shula. But Zohara must not only play the erwise fairly dark atmosphere. Even the downbeats. At this point, the two worlds violin, an instrument she has never even successful rescue of Shula seemed caught do not seem to interconnect; the powwow held, but do so with true intent and a pure in the web of the enchanted mirror and not drum does little to enhance the Western heart. Near the end of the opera, surpris- quite joyful. My two favorite lines were classical palette, as the music tries to break ingly, the audience helps Zohara overcome 1) when Elijah and Rafi encourage Zohara into a dance. this challenge and make the violin sing. to try to play the violin. Elijah: “It’s okay While this album contains several Before the opera began, the compos- to be afraid.” Rafi: “It’s not okay to quit!” compelling, well-performed composi- er asked the audience to listen to a funda- and 2) when Elijah sings: “Thank you for tions, and presents some powerful themes, mental tone deep in the cello and to hum this life!”

Reviews 31 Although care in casting and expert Deon Nielsen Price (composer. pianist, conduc- created by analog and digital synthesizers coaching contributed greatly to excellent tor, author, and veteran educator) was President can change our perception of reality. Truth- characterization by everyone in the cast, of IAWM (1996-99). She is currently a board Table TT006, UK (2019). member of the Interfaith Center at the Presidio I felt that the underlying impetus was the Adriana Isabel Figueroa Mañas: effective musical setting by Warshauer. of San Francisco. Her more than 250 composi- tions are registered with ASCAP, published by Tango Miniatures Her music was in turn dynamic, dramatic, Culver Crest Publications and Southern Music, The disc, The Other Half of Music, fea- romantic, and Jewish folksong in flavor. recorded on Cambria Master Recordings, and tures works for piano and winds by ten Tonally, it was both modal and contempo- catalogued along with her book, Accompany- contemporary women composers from rary, and it made colorful use of extended ing Skills for Pianists, 2nd edition, online at around the world (Argentina, Australia, instrumental techniques to mark dramatic http://culvercrest.com. Her entire output is be- Canada, China, France, Greece, Italy, Jor- ing archived at Brigham Young University Har- moments, such as squawking violin dou- dan, Latvia, and Nigeria). The CD illus- ble-stops, a shrieking flute, thumps in a old B. Lee Library in Special Collections. Soon to be added are hundreds of digitalized tracks of trates different trends and the wealth of prepared piano, and plucked strings inside ideas of contemporary women, includ- the piano. The transcendent violin theme her recorded piano performances, some going back to the mid-1950s. ing Figueroa from Argentina. Chaminade recurred at various enigmatic moments in Ensemble. Naxos-Dynamic CDS7837 the story. Recent Releases and (2019). The first-rate instrumental ensemble included violinist Baune; Stacey Pelinka, Publications Jennifer Fowler: Lines Spun flute; Natalie Raney, cello; Jason Sherbun- COMPACT DISCS Six chamber works, performed by soprano dy, piano; all led by Maestro Khuner. Ex- Raphaela Papadakis, mezzo-soprano Lau- Edith Alonso: Khôra cellent singers and instrumentalists, thor- ren Easton, and the UK ensemble Lontano, The Greek word Khôra, one of the inspi- ough preparation, and the strong creative directed by Odaline de la Martinez. Metier rations for this work, is a philosophical concept by composer, librettist, and music #MSV28588 (2019). Copies of the CD are term that refers to a receptacle, a space, or and stage directors were all apparent in this available from: www.tutti.co.uk/cds/lines- a place, such as “no man’s land.” Alonso’s highly successful performance. The general spun-fowler-chamber-FLRJY-28588-R1 work depicts travel to another world, to a audience reaction seemed to be one of ful- and www.divineartrecords.com/label/me- desolate land, but once there, the traveler fillment and satisfaction. During the finale, tier and other suppliers. Tracks are also can rise up, like Icarus, and try to touch they enjoyed singing Auntie Malka’s love- available to download. the sun. Khôra has a positive ending, and ly folk lullaby along with the cast and en- the traveler, unlike Icarus, does not fall. Juliana Hall: Emergence: Emily semble, and at the end, I heard enthusiastic Alonso explores sound in many innovative Dickinson comments such as: “It was marvelous!” “I ways, and she tries to show how sounds Settings of Emily Dickinson texts by loved it!” “Beautiful and exquisite!” composers Aaron Copland, Luigi Zani- nelli, Juliana Hall, Sylvia Glickman, and Compact Disc: Hommage to Women Composers Ella Jarman-Pinto. Twelve Poems of Em- The CD features music by eleven composers: Clara Wieck Schumann, Germaine ily Dickinson (Copland), Seven Epigrams Tailleferre, Louise Talma, Miriam Gideon, Barbara Pentland, Marga Richter, Thea of Emily Dickinson (Zaninelli), To Meet a Musgrave, Jacqueline Fontyn, Marta Ptaszyńska, Shulamit Ran, and Ruth Lomon. Pia- Flower (Hall), A Northeast Storm (Hall), nists Ruth Lomon and Iris Graffman Wenglin. Navona NV6254 (2019) In Reverence (Hall), Black Cake: A Recipe In the mid-1970s, Ruth Lomon (1930-2017) and Iris Graffman Wenglin performed by Emily Dickinson (Glickman), and This regularly as a duo-piano team. Ruth herself was a composer, and the pair became curi- Little Rose (Jarman-Pinto). Nadine Ben- ous about what other music there might be by women. When Ruth traveled to London jamin, soprano; Nicole Panizza, piano. and searched in the British Library for music composed by women, it was generally Stone Records, London, UK. Catalogue difficult to find, and what she did uncover was often in manuscript. So Ruth and Iris No. 5060192780864 (2019). began a decades-long quest of searching in archives, and contacting composers them- Lydia Kakabasde: Ithaka selves, to collect music for piano four-hands or two pianos composed by women, and The CD Ithaka includes the following bring those works to light through performance and broadcast. The best examples of works by Lydia Kakabasde: nine songs these live performances are heard on this CD that celebrates the pioneering activism for mezzo-soprano and piano, performed and brilliant musicianship of Lomon and Wenglin. by Clare McCaldin and Paul Turner, and From the grace and rhythmic definition of Schumann’s Five Caprices (1831) and two commissioned choral works: Odyssey Polonaise (1832), to the array of lyricism, rhythmic momentum, and moments of poin- (SATB and harp) and I Remember (chil- tillist texture in Pentland’s Three Piano Duets After Pictures by Paul Klee (1958), and dren’s choir with piano and violin). Od- the brief yet personality-packed movements of Ran’s Children’s Scenes (1970), the di- yssey, commissioned by Royal Holloway versity of styles, textures, and emotions all within the genre of piano duet offer an ex- University of London, symbolizes a mu- hilarating experience. The impact of female composers on the world of music is known sical journey through centuries of Greek by some, although there is a long way to go in unearthing the full treasure-trove of history, culture, and literature. The disc women’s compositions throughout history. With Hommage to Women Composers, the includes both sacred and secular compo- impact is unignorable. …Liane Curtis and Emily Garcia sitions, some of which are sung in Greek.

32 IAWM Journal Volume 25, No. 2 2019 I Remember was commissioned by Forest Carol Ann Weaver: Songs for My Mother illustrations match the music and reflect Preparatory School (Greater Manchester, Vocalist Mary-Catherine Pazzano and pia- the suffering of the people of Kosovo dur- UK). The words are taken from the first nist Carol Ann Weaver. The text of the song ing the war (1998-99). The video is avail- three verses of Thomas Hood’s poem “I cycle is by the composer’s mother, Miriam able on YouTube: https://youtu.be/GSr- Remember, I Remember.” Both choral L. Weaver, derived from her journals, rang- vO8WXA8 works were recorded in London earlier ing from her early days in the 1940s in Ap- BOOK this year by The Choir of Royal Holloway. palachian Kentucky to moments before her Jeannie Gayle Pool and Beverly Divine Art Records (2019). untimely death. These are the first art songs Simmons, eds.: Source Readings Clare Shore: Day Tripping to reflect this part of Appalachian Ameri- from the International Congress on The work is for piano trio and is performed ca as well as the unique aspects of Carol’s Women in Music by Trio Casals. Each movement was in- mother’s work in these primitive physical Jaygayle Music Books. ISBN 978-1-798- spired by a day trip during which Shore settings. Her accounts of “Hard Shell Bap- 86289-6 (2019) experienced the beauty of one of Flori- tist” practices are vivid, while “Feedsack The ICWM (International Congress on da’s natural waterways via kayak. The first Curtains” and “Flat Iron” are descriptive Women in Music) was an important ef- movement, “Peace at Dawn,” conveys the of the quiet isolation of Lost Creek, KY. fort to promote, perform, and document feeling of a misty morning paddle at sun- The words of the songs “Crossing Over” the music of women composers, past and rise along a wild section of southwestern and “To the End” were spoken right be- present, as well as the roles women play Florida’s Peace River. The second move- fore she died, and they present a chillingly in broadcasting, teaching, and other mu- ment, “Juniper Run,” was inspired by Ju- honest look into a death about to occur, but sic-related areas. The volume covers the niper Springs in the Ocala National Forest. with a hue of hope. The music, premiered Congresses presented in New York, Los Juniper Run, one of the most pristine of at EMU in Harrisonburg, VA, has toured Angeles and Atlanta; and in Mexico City, Florida’s hundreds of spring-fed streams, Winnipeg, Manitoba, Ontario, and New Mexico; Paris, France; and Bremen and is a narrow, swift-moving, winding wa- York City. Available on Amazon and oth- Heidelberg, Germany. Stephen M. Fry’s terway set under a dense canopy of old- er sources. Canadian Music Centre, Lorac history of the ICWM serves as the Fore- growth forest. Parma Recordings’ Navona Productions LOR 027 (2018). word. The 498-page facsimile edition in- compilation CD NV6237, MOTO QUAR- Rain Worthington: Full Circle cludes the complete programs, brochures, TO (2019). Full Circle, for cello soloist and orchestra, flyers, and newsletters from 1980 through Jamie K. Sims: Terror-Bite Tango is on the CD PRISMA, Vol. 2: Contempo- 1990, as well as the journal, Working Pa- (Gettin’ Down for the Count) rary Concertos and Works for Orchestra pers on Women in Music (1985). The vol- The work is performed by Sims on vin- (multiple artists). Recorded by Moravi- ume presents a who’s who of the interna- tage analog synthesizers. It was composed an Philharmonic Orchestra, Petr Vronský, tional women-in-music movement of the for magician Michael Makman’s perfor- conductor; Petr Nouzovský, cello soloist. 1980s. It is fully indexed and contains a ne- mance at Samuel Beckett Theater, NYC, Navona Records NV6232 (2019). crology of birth and death dates for wom- en and men musicians who participated in 1983. Mooscular Phonic Tunes Record Rain Worthington: In Passages ICWM events. The volume is a compan- (2019). It is available on Amazon, iTunes, In Passages, for violin soloist and string ion book to Pool’s The Passions of Musi- CD Baby, Spotify, and other digital/retail- orchestra, is on the CD Beneath the Tide, cal Women: The Story of the International ers sources. a collection of concertos (multiple artists). Congress on Women in Music (2009). Both Recorded by the Croatian Chamber Or- Ethel Smyth: Fête Galante books are available through Amazon or chestra, Miran Vaupotić, conductor; Mojca Retrospect Opera announces the release through Jaygaylemusic.com ($40 plus $5 Ramušćak, violin soloist. Navona Records of its recording of another opera by Eth- shipping and handling. Inquire about inter- NV6216 (2019). el Smyth. Dame Ethel described the one- national shipping charges). act opera, Fête Galante, as “A Dance- Judith Lang Zaimont: A to Z: Dream.” It is a romantic evocation of the Amernet Plays Zaimont In Memoriam: Clora Bryant traditional commedia dell’arte, the world The five works on the disc are: A Strange (1927-2019) of Harlequin, Pierrot and Columbine. Oda- Magic (Quartet No. 2), Verse for Solo Vio- line de la Martinez conducts members of lin, The Figure (string quartet), Sestina for Clora Bryant, one of the greatest jazz the Lontano ensemble. The cast includes Solo Cello (from “Tanya” Poems), and So- trumpeters of the 20th century, faced Charmian Bedford, Carolyn Dobbin, Felix nata Rhapsody for Violin and Piano. MSR discrimination because the music com- Kemp, Simon Wallfisch, Mark Milhofer, Classics #MS1709 (2019). munity believed that the trumpet was a man’s instrument. She was shunned by and Alessandro Fisher. The 2019 record- VIDEO ing is coupled with the dramatic recitation the major club owners and by record Betty Beath: Lament for Kosovo (video) of The Happy Prince by Liza Lehman, af- companies. She played in local clubs in Camerata, Queensland’s Chamber Orches- ter the story by Oscar Wilde. The reciter is Texas and toured extensively, but had tra, under the direction of Brendan Joyce. Dame Felicity Lott, accompanied by Val- to stop after a heart attack in the 1990s, Betty Beath’s Lament for Kosovo, her erie Langfield. More details at www.retro- when her only income was her Social 1999 adagio for strings, is now available spectopera.org.uk. Security checks. on video, produced by David Cox, whose

Recent Releases and Publications 33 Reports Association of Canadian an Women Composers (ACWC/AFCC), or Analysis: follow on Twitter @ACWComposers 2. These figures maintain the substan- Women Composers tially better figures of last year. There are DIANE BERRY BBC Proms Survey 2019 rather fewer composers but more women conductors (reflecting the fact that there We did it! The ACWC recently received JENNY FOWLER are more women conductors making their the good news from the Canadian govern- For some years, Women in Music (UK) mark in the world generally). It seems that ment that the organization now has chari- has been doing a survey of the numbers the significant improvement of the figures table status. After much time and effort on of women represented in the BBC Proms last year is set to continue. The BBC Proms the part of our treasurer, Janet Danielson, season. The Proms is the largest classical season has always reflected, or been bet- it was wonderful to hear her make the an- music festival in the world. The audiences ter than, the proportion of women compos- nouncement at our meeting in September. in the Royal Albert Hall are of many thou- ers and conductors in other concert series This development means that, as an orga- sands, and all the concerts are broadcast, around the world. Now we need to look at nization, we will be able to issue tax re- with many also on television. The concert what is happening elsewhere. ceipts to donors. Until now, any activities dates this year were from July 19 to Sep- pursued by the ACWC have been funded tember14. There were 58 main evening or- NOTE: To maintain consistency with past years, I take my figures from the BBC booklet, rather than through membership fees. We now have an chestral concerts, as well as chamber mu- opportunity to increase our funding sources the website, which may be slightly different. Any- sic concerts, daytime events, and late-night one is welcome to quote these statistics, but please including more access to both government concerts. The figures for women in the mention the source. The figures for past Proms and foundation grants as well. The treasur- 2019 BBC Proms season are: seasons are also available on the Women in Mu- er and other members will be exploring all Composers: 29/160 (18%) [Last year: sic (UK) website: www.womeninmusic.org.uk these possibilities. 21/133] Over the past several years the ACWC Report from Japan: Four Living composers: 20/59 (33%) [Last has been managing the Roberta Stephen year: 17/43] Concerts of Women’s Award. This grant offers support to a Ca- BBC Commissions (or co-commis- nadian woman composer aged 36 or older Music sions): 5/15 (33%) [Last year: 12/19] for professional development such as fur- Conductors: 7/60 (11%) [Last year: TAEKO NISHIZAKA ther studies, conferences, workshops, and 4/58] composers’ festivals, or for a specific proj- It is a great pleasure to report that concerts ect. The prize was created by the gener- Last year I initiated a new category of women’s music seem to have increased ous provision of composer and publisher for the number of living composers whose recently. All the following were presented Roberta Stephen. While the finances have works are substantial (more than 15 min- in Tokyo and included music by women been handled by her family, the ACWC has utes) and are featured in main evening con- from the seventeenth to twentieth centuries. been responsible for advertising, vetting certs. This is because many of the new com- A concert titled “Welcome to the Sa- the candidates and the proposals, finding missions are for short pieces in chamber lon of Marianne Martinez” was given on the adjudicators and awarding the winners. concerts or “family” concerts. The number June 4th at the Luther Ichigaya Center by There are hopes to make the award self sus- of substantial works by living composers pianist Takako Miyazaki. She has written a taining and to enable the ACWC to take this year was only 2/9 (22%) compared to series of articles for a magazine for student over all aspects of the award. This is anoth- last year: 5/14 (36%). pianists over a two-year period under the er example of how the ACWC’s new status The women composers whose music heading “Let’s Listen, Let’s Play Music by as a charity will be beneficial. was performed in the 2019 concerts are: Women Composers” to introduce works by The board has seen some changes in Lera Auerbach, Grazyna Bacewicz, Sally women composers to the students. At this the past six months, with the Journal Edi- Beamish, Zosha Di Castri, Alissa Firsova, concert, she played a couple of Martinez’s tor and the Web Master both resigning due Sofia Gubaidulina, Fanny Hensel, Hilde- sonatas, one each by Haydn and Mozart, to heavy workloads outside of the organi- gard of Bingen, Dorothy Howell, Elisabeth and an aria for voice and orchestra. The lat- zation. Replacements have been found for Jacquet de la Guerre, Joanna Lee, Mica ter was a piano accompaniment version ar- both jobs, and with the help of those pre- Levi, Elizabeth Maconchy, Thea Musgrave, ranged by Miyazaki. A fortepiano modeled viously in the positions, the transition has Laura Mvula, Carly Paradis, Ailie Robert- on an 1800 instrument was used for this been very smooth. son, Iris ter Schiphorst, Clara Schumann, historical concert. One item on the agenda for future meet- Maddelena Laura Sirmen, Alexia Sloane, Clara Schumann’s 200th anniversary ings will be discussions about the upcom- Linda Catlin Smith, Barbara Strozzi, Do- concert series, consisting of five concerts, ing 40th anniversary of the ACWC in 2021. brinka Tabakova, Outi Tarkiainen, Anna was held between March and September at Members will be contributing their ideas of Thorvaldsdottir, Freya Waley-Cohen, Errol- the Yamaha Hall. The organizer was Hiroko how to celebrate. Stay tuned! For more in- lyn Wallen, Judith Weir, and Stevie Wishart. Kawashima, who has researched and per- formation about the ACWC, please visit our The conductors are: Karina Caneliakis, formed music by the composer for many website at: http://acwc.ca/, or the very ac- Elim Chan, Jessica Cottis, Mirga Grazinyte- years. The fourth concert of the series, July tive Facebook page: Association of Canadi- Tyla, Sofi Jeannin, Dalia Stasevska, and Na- 5th, included music with strings and the pi- thalie Stutzmann.

34 IAWM Journal Volume 25, No. 2 2019 ano concerto arranged for piano solo, with delssohn-Hensel, Montgeroult, Carreño, some of her madrigals and cantatas and an added cello in the second movement. and Szymanowska. Eight pianists took a motet as well as music by her contem- “Piano Selections by Women Com- part in the performance of those beautiful porary composers. A pre-concert lecture posers: Marathon Concert on Chaminade’s and valuable music pieces. In spite of be- by Midori Kobayashi and Naomi Sasaki Birthday” was held on August 8th, a mat- ing held in the early afternoon on a week- on August 29th revealed Strozzi’s mental inée and soirée at the Suginami Kokaido. day, all the tickets were sold out; that would strength and energy as well as her extraor- Motoiwa Yato and Midori Kobayashi pro- have been unlikely several years ago. dinary ability in music. grammed 52 works by Chaminade and Barbara Strozzi’s 400th Anniversary Taeko Nishizaka is a member of Women & Music

16 other composers: Beach, Jaêll, Mayer, Concert was presented on September 2nd Study Forum Japan. She has completed a Ph.D. Chaminade, Farrenc, Le Beau, Auernham- at Toyosu Civic Center. Discorsi Musica- degree in musicology at Ochanomizu Universi- mer, Boulanger, Badarzewska, Grendahl, li, a musical group aiming to propagate the ty. Her specialty is music and gender in modern Garcia-Viardot, Andrée, Mel Bonis, Men- beauty of Italian Baroque music, played Britain. She is currently a researcher on the Fac- ulty of Core Research at Ochanomizu University. IAWM News President’s Message New IAWM Board Members the social issues of the time and cultural identities. Her works have been performed Dear Fellow Members of IAWM: Kerensa Briggs (UK) in North America, Europe, and Asia. She It was a pleasure to be able to meet so Kerensa is an award-winning com- co-founded the interdisciplinary artist col- many of you at Berklee this summer. I hope poser with selected works published by lective fff and the experimental pop duet you found the conference to be invigorating Multitude of Voyces and Oxford Univer- Meoark, and she is a member of Stanford and a source of friendship as well as profes- sity Press. Her music has been performed New Ensemble. sional development and networking. If you internationally and broadcast on BBC Ra- were unable to come to this year’s confer- dio 3 and Radio Scotland. Her works are Samantha Ege (UK) ence, I hope you will consider joining us for also featured on recordings from the choirs Samantha is a British scholar, pianist, other events in the future. Our next annual of King’s College London, Pembroke Col- and educator. Her PhD (University of York) concert will be held in 2020. If you are in- lege Cambridge, and the University of St centers on the African American composer terested in hosting a concert or conference Andrews. She was a member of the Theo- Florence Price. As a concert pianist, Ege’s in the future, please contact us! Artistry Composers scheme with Sir James focus on women composers has led to per- With the change of seasons, we also MacMillan, and she holds an MMus in Mu- formances across North America, Europe, look for other changes. We will welcome sic from King’s College London. and Southeast Asia. Ege released her debut several new members to the Board in 2020, album in May 2018, called Four Women: Wanda Brister (USA) Music for solo piano by Florence Price, and we will continue to develop our strate- Wanda has enjoyed a career in opera, gic plan to grow membership, increase our Vítězslava Kaprálová, Ethel Bilsland, and oratorio, and recital. She has taught voice at Margaret Bonds. visibility, and provide more opportunities Baylor University, University of Arizona, for recognition of women in music. Some and Florida State. She has given lectures on Matthew Hoch (USA) parts of our strategy include increasing our British composer Madeleine Dring at the In- Matt is associate professor of voice at online presence and developing a robust on- ternational Congress of Voice Teachers, Mu- Auburn University as well as choirmaster line arm of the Journal; creating non-mon- sic by Women Festival, and Women Com- and minister of music at Holy Trinity Epis- etary awards to recognize organizations and posers Festival of Hartford. Her biography copal Church in Auburn, Alabama. He is the individuals that have shown an exceptional on Dring is expected in spring of 2020. single author, first author, or editor of seven dedication to promoting women in music; books, including the recently published So and renewing and formalizing partnerships Monica Buckland (UK, Australia) You Want to Sing Music by Women (see Book with organizations doing similar work. After four years in Northeast England Reviews). He holds a BM from Ithaca Col- People join our organization for many as Music Director of the New Tyneside Or- lege, an MM from the Hartt School, and a reasons: to take advantage of opportunities chestra and Tutor at Durham University, DMA from the New England Conservatory. like the Annual Concert or the Search for Monica is heading to Australia, where she Natalia Kazaryan (USA) New Music, to seek camaraderie in a some- has been appointed Adjunct Lecturer at the Natalia, from the Republic of Georgia, times-lonely field, to receive the Journal, University of New South Wales in Syd- began studying piano at the age of six and or to network with professionals. Whatever ney. In October 2019, she was nominated a performed as soloist with the Tbilisi State your reason for joining, know that you are a “Woman of the Year” at ITV’s (British tele- Chamber Orchestra just one year later. A welcome part of our community. If you have vision station) annual awards lunch. She winner of Astral’s 2016 National Audi- a moment to go on social media this month, continues to be an Associate of Newnham tions, she has captured top prizes in numer- please share your reason for joining IAWM College, Cambridge. ous international competitions, including and encourage others to join us in our mis- Michele Cheng (USA) Eastman Young Artists International Pia- sion to work for equality for performers, Michele is a 1.5 generation Taiwan- no Competition, the Kosciuszko Founda- composers, researchers, and educators. ese American interdisciplinary artist who tion Chopin Competition, the Second New Sincerely, uses music, experimental theater, and other York Piano Competition, and the Concours Carrie Leigh Page forms of media to establish a dialogue with FLAME in Paris (First Prize).

IAWM News 35 Lil Lacy (Denmark) worked in marketing and administration for Lauren is a graduate of the Universi- Lil, a composer and musician, has re- University of Oxford; is event coordinator ty of Louisville (M.M. Composition) and fined her curiosity for improvisation and for Estalagem’s Contemporary Music and Ohio Wesleyan University (B.M. Music composition through creative collabora- Electronic Residency (Madeira); and co- Education). She has studied composition tions and different artistic projects; ex- director for Illuminate Women’s Music. with Steve Rouse, Clint Needham, and Ja- perimental ensembles, chamber operas, son Bahr. She lives in Columbus, Ohio, installations, theater, film, and dance per- Winners of the 2019 where she operates her studio Musical Life, formances as well as within social projects IAWM Search for New teaches at Otterbein University, and com- and health care. Her music has been per- Music Competition poses. You can hear her laughing through formed in Europe, Asia, USA, and Mexico. the city while swing dancing, singing and She has received two Danish Music Awards Special thanks to Dr. Ingrid Stölzel, chair of fiddling, and making a joyful raucous with and been nominated for a dozen awards for the competition; to the adjudicators: Jen- her artistically-inclined circle. Learn more: her work and collaborations. nifer Bellor, Sara Graef, Migiwa Miyaji- www.LaurenSpavelko.com ma, Jane Rigler, Sakari Dixon Vanderveer, (USA) The Ruth Anderson Commission Prize AJ Layague and Nina Young; and to the sponsors of the AJ has music degrees from Stanford will support Black Box 2.0, a versatile, cus- prizes, without whom the SNM would not University (BA), CalArts (MFA), and UC tomizable vessel for sound that invites cu- be possible. San Diego (PhD), and studied gamelan in riosity and interactive play by introducing Surakarta, Java. Her works have been per- The competition recognizes the accomplish- novelty and peculiarity into an everyday formed in the U.S., Europe, and Asia, and ments of IAWM member composers and environment. It explores: 1) How do people she has received grants from the Center for fosters IAWM’s goal of increasing aware- respond to an unusual object in their nor- Cultural Innovation, American Composers ness of the musical contributions of wom- mal environment? 2) How can it continue Forum, Durfee Foundation, Centrum Arts, en. IAWM hopes that performers around the to solicit attention when its initial novelty and the Getty Foundation, and she has pub- world will see this music as a resource for is gone? Sounds are tailored to specific au- lished and presented research on women their own concert programming. There were diences and to work with/against the envi- composers, theater, and Asian-American 120 submissions from 11 countries. ronment in which it is placed. The puzzle is never the same twice! hip hop. Ruth Anderson Commission Prize Christine Clark/Theodore Front Prize Natalia Rojcovscaia (Moldova) ($1,000), sponsored by Ruth Anderson, for ($500), sponsored by Christine Clark of Natalia is a composer, pianist, conduc- a new sound installation with electro-acous- Theodore Front Musical Literature, Inc., tor, pedagogue, interpreter, linguist, writer, tic music. Winner: Lauren Spavelko for her for a large chamber work (for 9+ instru- librettist, actress, painter, and sound direc- Electronic Music Installation Black Box 2.0. Lauren Spavelko is a composer, ar- ments) and/or orchestral works; may in- tor. She is a laureate of international com- ranger, studio teacher, performer, and vi- clude works featuring a soloist (vocal or petitions and festivals. She is a member of sual artist. People are her favorite part of instrumental). Winner: Yi-Ning Lo for her the Union of Composers and Musicologists music. From the serious to the lightheart- composition Woven Veins. of Moldova, a member of the Composers ed, Lauren’s com- Composer and pianist Yi-Ning Lo Union of the Russian Federation, and pres- positions ask us to is from Taiwan. Over her career, she has ident of the Guild of Young Art Creators. better understand shown particular interests in harmony, struc- She is also a lecturer at the Academy of and explore our tures, and the joint evolution and combina- Music, Theatre and Fine Arts of Moldova. human experience. tion of sounds as well as the relationship between text and music. She is currently Deborah J. Saidel (USA) They invite em- pursuing a master’s degree in composition Deb freelances as a woodwind per- pathy, reflection, at the Eastman School of Music, studying former, maintains a private studio, and discussion, curios- ity, play, and con- with Professor Carlos Sanchez-Gutierrez teaches for both the Music and the Gender nection. Her works and Professor Robert Morris. She holds a Studies departments at Virginia Common- have been per- bachelor’s degree in fine arts from National wealth University. Her innovative inter- formed across the Lauren Spavelko Taiwan Normal University, where she stud- disciplinary work is focused on promoting United States and in Italy. Her most notable ied with Professor Gordon Chin. She was wellbeing in the world through music- works are Baby Book, a song cycle for so- awarded the 2019 Wayne Brewster Barlow making, mentorship, and feminist musico- prano on miscarriage, pregnancy, and moth- Prize for excellence in composition and the logical scholarship. erhood (winner of Festival dei Due Mon- diploma of the 10th annual International Sarah Westwood (UK) di’s 2017 Young Composers Competition Antonín Dvořák Composition Competition. Sarah’s music is focused on memory, in Spoleto, Italy; finalist for the 2019 NATS Her sinfonietta, Woven Veins, explores embodiment and somatics; she composes for Art Song Composition Award, and finalist a historical event that took place in Taiwan dance-theatre, installation, and concert. Her for the American Prize in Vocal Chamber in 1930. The aboriginal Seediq people rose music, performed on four continents, has Music); and Kéyah, a symphonic work in up and confronted the Japanese colonial received awards and commissions. She is a collaboration with National Parks Eminent government in response to their long-term doctoral candidate at Goldsmiths, University Photographer Frank Lee Ruggles and com- oppression. In order to control Taiwan’s in- of London. Alongside composing, Sarah has missioned by the Central Ohio Symphony. digenous people, the tribes were “tamed”

36 IAWM Journal Volume 25, No. 2 2019 through assimilation. Many of their ritu- nizations such as the American Guild of Composers Contest. She has received com- als and customs were banned because they Organists, the Fromm Music Foundation, missions from the International Contem- were perceived as barbaric and uncivilized. the IBLA European International Music porary Ensemble, Quince Contemporary Nowadays, aboriginal cultures are “slaugh- Foundation, the IAWM, the Jacob K. Javits Vocal Ensemble, Splinter Reeds, and the tered” in a dif- Foundations, and the Ohio Arts Council. PRISM Quartet, amongst other ensembles. ferent way. Her works have been widely performed Haxo earned her Ph.D. in Composition at Fusion be- both in the United States and abroad by a the University of Oregon in June 2019, tween differ- diverse range of performers such as Cincin- where she worked as a Graduate Teaching ent races and nati Camerata, the Cincinnati Symphony Fellow in Music Theory. She also holds de- the highly de- Chamber Players, concert:nova, Earplay, grees from Butler University and The Col- veloped tech- the Empyrean Ensemble, Left Coast Cham- lege of Wooster. She currently serves as an nology indus- ber Ensemble, the Lydian String Quar- Academic Dean and faculty member at The try accelerate tet, Octagon, Parnassus, the San Francisco Walden School Young Musicians Program the extinction Contemporary Music Players, and Voices in New Hampshire. of traditional of Change. The San Francisco Chronicle Pauline Oliveros New Genre Prize culture. With has called her music “stunning” and full of ($300), sponsored by Claire Chase, for different eth- “sophisticated ensemble writing,” and the Yi-Ning Lo works incorporating innovative form or nic groups liv- Boston Globe has described it as having “a style, such as improvisation, multimedia, ing in this young country, cultural identity deep sonic realm.” use of non-traditional notation, open instru- is sometimes confusing for most Taiwan- All One Can Imagine for soprano and mentation, or new performance practices. ese. What does it mean to be a Taiwanese? violin is a setting of six evocative poems by Winner: Lisa Mezzacappa for her compo- What is our culture? Jakob Stein that express the darkness of the sition Organelle. Woven Veins starts with heterophonic Holocaust and the anguish of loss. The mu- Lisa Mezzacappa has been an active texture, which presents the sacred and fear- sic reflects their magical, mysterious, and collaborator in the San Francisco Bay Area less chants of the Seediq warriors. The mu- melancholy quality as well as their striking music community for more than 15 years. sic then turns to a different state of mind imagery. Throughout the set, haunting im- Her activities as a composer, bassist, and en- as the warriors look for prey in the forests. ages of trees, ashes, scrolls, walls, death, semble leader encompass ethereal chamber This symbolizes the searching for their own bones, and stones link the poems together. music, electro-acoustic works, avant-garde identities. Melodic lines circle around and Related musical motives underscore these jazz, mu- somehow always go back to where they thematic connections. Although the music sic for started. When the melodic lines break down has a mournful quality to it, it is tinged with groups into small fragments, the sound of rain- longing as well. And with longing comes from duo drops, created by the vibraphone, harp, tri- hope for “all one can imagine.” to large angle, piano, string pizzicato, and harmon- Born in Streator, IL, Harrison earned ensem- ics, stir up distant memories. her doctorate in composition from the Uni- ble, and Miriam Gideon Prize ($500), sponsored versity of California, Berkeley. She spent collabo- by Lucille Field Goodman, to a composer two years studying in Paris supported by rations Lisa Mezzacappa at least 50 years of age for a work for solo U.C. Berkeley’s Prix de Paris, and also with film, (Photo by Heike Liss) voice and one to five instruments. Winner: earned an Artist’s Diploma from the Musik- dance, Ellen Ruth Harrison for her composition hochschule in Stuttgart and a Bachelor of and visual art. Mezzacappa has released her All One Can Imagine. Music from the University of Illinois, Ur- music on the New World, Clean Feed, No- Ellen Ruth Harrison, a composer of bana-Champaign. Her music is available on Business, Leo and NotTwo record labels, lyrical, vividly colored music, lives in Cin- Albany and Emeritus Records. and her work has been supported by the cinnati, Ohio, where she teaches at UC’s Libby Larsen Prize ($300), sponsored by MAP Fund, Foundation for Contemporary College-Conser- Libby Larsen, to a composer who is cur- Arts, and the Aaron Copland Fund. Current vatory of Music. rently enrolled in school for a work in any projects include the improvising orchestra, In addition to in- medium. Winner: Cara Haxo for her com- the duo B. Experimental Band; a suite for strumental cham- position Three Erasures. sextet inspired by Italo Calvino’s Cosmi- ber music, she Described as “movingly lyrical” (Avant comics; and a new podcast opera about re- writes frequently Music News) and “quirky but attractive” lationships at the dawn of the Internet. For for voice. Melo- (The Art Music Lounge), the music of Cara more information, see: www.lisamezzacap- dy figures prom- Haxo often incorporates stories, poetry, and pa.com inently in her artwork inspired by her childhood. Haxo Mezzacappa’s graphically-notated work, as does was awarded the 2013 National Federation work Organelle is a set of compositions her concern for of Music Clubs Young Composers Award, inspired by diverse scientific processes— Ellen Ruth Harrison color and gently the 2013 IAWM Ellen Taaffe Zwilich Prize, some enormous and unfathomable, oth- shifting harmonies. Her music has received and second prize in the 2012 Ohio Feder- ers impossibly microscopic—that form a numerous honors and awards from orga- ation of Music Clubs Student/Collegiate whole through the insights and explora-

IAWM News 37 tions of master improvisers. The modular “Transformation” generates dissonant ten- is continuing her education in Jazz Perfor- work draws its musical ideas from the dif- sions between voices. The texture gradu- mance at New England Conservatory. Spear ferent ways that the human body, the natu- ally broadens and the movement concludes has studied ral world, and the cosmos mark and “ex- with an open space of harmonics. The fi- saxophone perience” the passing of time. The notes, nale, “Waves,” pictures the different waves with Shan- rhythms, musical relationships, melodies, created by sea, river, and rice fields. Taiwan non LeClaire, and structures in each movement are con- is a beautiful island full of amazing land- Jim Odgren, nected to theories of cell biology, astrophys- scapes—seashores, mountains, lakes, rift George Gar- ics, paleontology, zoology, or neuroscience, valley and skyscrapers. Most important- zone, and Jer- exploring these otherwise-imperceptible ly, Taiwan is my homeland, memories of ry Bergonzi. phenomena through sound. The notation which I greatly cherish. She has stud- draws connections between the poetic, Chiayu derives inspiration from sourc- ied composi- playful, futile ways that science and music es such as poems, myths, and images, but tion with Ayn attempt to convey the magic of nature and the hallmark of her music is the combina- Inserto, Greg sound through symbols and drawings on tion of Chinese elements and Western tech- Hopkins, and Sam Spear paper. Mezzacappa began composing Or- niques. Chiayu’s music has been recognized Ken Scha- ganelle at a residency at the Cité internatio- with awards from the American Academy phorst. nale des arts in Paris in 2016, and has since of Arts and Letters, Left Coast Chamber Spear has also been a rising voice for expanded the piece to include new move- Ensemble, the Copland House, IAWM, gender equality in the jazz community. She ments inspired by the migration of salmon Suzanne and Lee Ettelson Composer’s presented her lecture, “Mary Lou Williams in Vancouver, British Columbia; the tides Awards, KH Tan Competition, Lynn Uni- in the Age of #MeToo,” at the 2019 IAWM of the San Francisco Bay; and the glaciers versity, music+culture (2009 International and FT&M15 joint conference. Her advo- of the Canadian Rockies. Organelle pre- Competition), the Sorel Organization (2nd cacy work has been featured in Downbeat miered in Europe in 2016, with musicians International Medallion Choral Composi- Magazine’s February 2019 issue and in a in Köln, DE; Naples and Rome, IT; and lat- tion Competition and recording grant), the news story on Boston’s local NPR station er in the U.S. in Berkeley, CA. International Harp Society (7th USA Inter- WBUR. Spear co-founded Women in Jazz PatsyLu Prize ($500), sponsored by Patsy national Harp Composition Competition), Collective, a student-run organization at Rogers and Lucille Field Goodman, for clas- ASCAP (Morton Gould Young Composer Berklee College of Music with the mission sical art music in any form by black women Awards), the Maxfield Parrish Composition of empowering female and non-binary jazz and/or lesbians. Winner: Chiayu Hsu for Contest, and the Renée B. Fisher Founda- musicians. Survivor’s Suite was inspired her composition Taiwan Miniatures. tion, among others. Her orchestral works by the #MeToo movement and how it em- Commissioned by the Yale Taiwan En- have been performed by the London Sinfo- powered Spear in her personal journey. She semble and premiered in December 2017, nietta, the Detroit, San Francisco, Spokane, was influenced by Duke Ellington’s suites Taiwan Miniatures for string octet is in- Toledo, and Nashville Symphonies, the that reflected his travels, culture, and times. spired by the various images of Taiwan. American Composers Orchestra, the Ca- Spear is thankful for the IAWM and their The first movement, “Intrada,” depicts brillo Festival Orchestra, and the National work on recognizing women composers. a scene in the mountains at the start of a Symphony Orchestra in Taiwan. Chamber Alex Shapiro Prize ($500 plus mentor- day. “Crisis” incorporates different play- works have appeared on programs of the ship/consultation from Alex Shapiro), ing techniques to create various timbres Aspen Music Festival Contemporary En- sponsored by Alex Shapiro, for a work of in order to capture the pollution crisis that semble, Eighth Blackbird, Prism Quartet any duration for large ensemble wind band Taiwan is facing. The opening gesture in and Ciompi Quartet. She is currently an as- requiring a conductor, with or without a so- sociate professor at UW-Eau Claire. She loist, acoustic or electroacoustic, published earned a Bachelor of Music degree from or as yet unpublished. Winner: Ruby Ful- the Curtis Institute of Music, a master’s ton for her composition 1 in 10,000. degree and Artist Diploma from Yale Uni- Composer and musician Ruby Ful- versity, and a Ph.D. from Duke University. ton writes music that invites listeners to More information on her music is available explore non-musical ideas through sound. at http://www.chiayuhsu.com. Her musical portfolio includes explorations Portland Jazz Composers Ensemble of mental illness, Buddhism, philosophy, Prize ($300) for a jazz composition of any psychedelic research, addiction, and chess duration for small ensemble to big band (4- strategy as well as profiles of iconic popular 17 instruments). Winner: Sam Spear for figures like the artist Jean-Michel Basquiat her composition Survivor’s Suite. and musicians Syd Barrett and Whitney Sam Spear is a jazz woodwind instru- Houston. Her music has been performed mentalist and composer based in Boston, by the Boulder Philharmonic, the Cabrillo MA. She is a recent graduate of Berklee Festival Orchestra, the American Compos- College of Music, with a double major in ers Orchestra, the Holland Symfonia, Volti, Chiayu Hsu Performance and Jazz Composition. She and Newspeak; and has been programmed

38 IAWM Journal Volume 25, No. 2 2019 on the Bang on a Can Marathon, the Guade- the elusive six-ray star garnet. During the Asian roots, Korean-American compos- amus New Music Festival, and the SONiC spoken program notes just before the per- er Seunghee Chrissy Lee’s music has been Festival. In addition to composing, Fulton formance, Ful- described as “intriguing” and “enjoyable” works as co-artistic director of the experi- ton presented (NACWPI Journal), and “evoking mysteri- mental vocal collective Rhymes With Op- Gemberling ous lushness” (New York Concert Review, era, a five-piece vocal/composer ensemble with a custom- Inc.). She has received commissions from based in New York City. She teaches com- made baton McCormick Percussion Group, saxophon- position and music theory at the University with a six-ray ist Seung Dong Lee (Selmer Artist), pianist of Idaho Lionel Hampton School of Music. star garnet em- EunMi Ko (Ensemble Strings and Ham- She holds a doctorate from the Peabody bedded in the mers), and awards and grants from IAWM, Conservatory, with additional degrees from handle, which ASCAP Plus Award, ASCAP Fellowship for the San Francisco Conservatory of Music he then used the 70th Wellesley Composers Conference, and Boston University. to conduct the Virginia Center for the Creative Arts, and The award-winning work, 1 in 10,000, premiere. Ruby Fulton Atlantic Center for the Arts, to name a few. was written for the 2018 University of Ida- Judith Lang Zaimont Prize ($400), spon- She is a co-founder and a co-artistic direc- ho Wind Ensemble, and performed under sored by Judith Lang Zaimont, for an ex- tor of the Dot The Line Music Festival since conductor Al Gemberling, his last concert tended instrumental composition—large 2019. Lee earned her Ph.D. in Music Theory before retiring. The work is about the fa- solo or chamber works—by a composer and Composition from Brandeis University, mous Idaho star garnet, with pre-record- at least 30 years old whose music has not M.M. from the University of Illinois at Urba- ed electronics featuring audio interviews yet been recorded or published. Winner: na-Champaign, and B.M. from Ewha Wom- with geologists, lapidary artists, national Seunghee Chrissy Lee for her composi- an University. Lee serves as an Assistant Pro- forest service employees, and rock hobby- tion Bon II. fessor of Music at Ave Maria University. ists. The title refers to the odds of finding Inspired by her deep affection for her Members’ News York. The San Diego Clarinet Quintet com- The choral ensemble C4 premiered her sa- Compiled by Anita Hanawalt missioned November Swale, premiering the cred introits at Manhattan’s Church of the News items are listed alphabetically by mem- piece on October 4 at the University of Cali- Transfiguration, receiving a very favorable ber’s name and include recent and forthcom- fornia at San Diego Extension Complex in review in TheatreScene from noted review- ing activities. Submissions are always wel- La Jolla. er Jean Ballard-Terepka. The seven-part tone come concerning appointments, awards and Betty Beath has recently completed a work poem Takt der Nachstadt, incorporating el- honors, commissions, premieres, perfor- for the Gold Coast Chamber Orchestra, Aga- ements of musique concrete, was premiered mances, publications, recordings, and oth- po, named for the song of the doves above in abridged form by the electronic ensemble er items. NB: The column does not include their window. She has also written a song Anna’s Ghost at The Vermont College of radio broadcasts; see Linda Rimel’s weekly cycle with a similar theme, Agapo, Agapo Fine Arts in August 2019. The Muse’s Voice, “Broadcast Updates.” (doves speak Greek in their part of town), in residence at Barnard College/Columbia We recommend that you begin with the words by David Cox, published by Wirri- University, essayed her sacred and secular most significant news first and follow that pang Australia. Another commissioned work incidental choral works for the theater on with an organized presentation of the other recently completed is Song for Harp and October 30 at Barnard Hall. The New York information. Due to space limitations, infor- Cello, with the expectation that these works Composers Circle will premiere Trio of the mation such as lengthy descriptions, lists of will be performed later this year. Late in Troubled Earth (piano trio) and a new piece performers, long websites, and reviews may 2018, Beath wrote the song cycle Evie Danc- for organ in February 2020. Cashour has also sometimes be edited. es (words by Jena Woodhouse), published by been commissioned by organist Gail Archer Awards and honors and recent record- Wirripang Australia. to write a new piece for concert organ. ings and publications are listed in separate After four years in Northeast England as Mu- Kyong Mee Choi’s Train of Thoughts was columns; you may send this information to sic Director of the New Tyneside Orchestra chosen for the Ars Electronica Forum Wallis the editor in chief, Eve R. Meyer, at evemey- and Tutor at Durham University, Monica 2019. The work has been published on the [email protected]. Buckland is heading to Australia, where she Music from SEAMUS CD, vol. 28, which The deadline for the next issue is March has been appointed Adjunct Lecturer at the features works by SEAMUS member com- 30, 2020. Please send news about your ac- University of New South Wales in Sydney. posers, representing the newest trends and tivities to Members’ News Editor Anita She continues to be an Associate of Newn- ideas in electroacoustic music. To Unformed Hanawalt at [email protected]. Anita ham College, Cambridge. She has joined the for piano and electronics was performed by does not monitor announcements sent to the IAWM Board for the 2020-22 period. Ricardo Martín Descalzo at the Festival Si- IAWM listserv; be sure to send the informa- erra Musical at the Teatro Municipal Villa de tion directly to her. Tamara Cashour’s gospel arrangement of Collado in Madrid, Spain on August 2. The Ride On King Jesus! was premiered in May Organist Ellen Wright commissioned Beth piece was also performed by Marialena Fer- 2019 by The Bronx Concert Singers in the Anderson’s Prelude on St. Patrych’s Breast- nandes at the 10th anniversary of Con Brio Parkchester neighborhood of Bronx, New plate and premiered it June 16, 2019 at All at NCPA Experimental Theater in Mumbai, York City, at St. John’s Lutheran Church. Saints Episcopal Church in Brooklyn, New India on August 2. Vanished for harp and

Members’ News 39 electronics was premiered by Ben Melsky at zoo on June 23-29, where she taught various Jennifer Fowler has been celebrating her the Dal Niente’s Party at The Revival, Hyde workshops, gave a featured lecture on her 80th birthday this year. As part of the cele- Park, Chicago, on June 16. Pendulum for music and compositional process, and gave brations, a CD of some of her chamber mu- oboe, English horn, and electronics was per- private lessons. Three of her works were pro- sic has been released on the Metier label with formed by Oboe Duo Agosto (Ling-Fei Kang grammed. Vanished for harp and electronics performances from the long-established UK and Charles Huang) at the 2019 ICMC/ was performed by Ben Melsky (harp) from ensemble Lontano, directed by Odaline de NYCEMF Conference and Festival at He- Dal Niente, Sublimation for marimba and la Martinez. Copies of the CD are available brew Union College, New York, on June 18. electronics, and To Unformed for piano and from: www.tutti.co.uk/cds/lines-spun-fowl- Freed for bass flute and electronics was per- electronics were performed by the SPLICE er-chamber-FLRJY-28588-R1 and www. formed by Shanna Gutierrez at the Festival at Ensemble members: Adam Vidiksis (percus- divineartrecords.com/label/metier and all Centre for Present-Day Music at Hochschule sion) and Keith Kirchoff (piano). Choi and usual suppliers. Tracks are also available to für Musik und Theater “Felix Mendelssohn Stuart Folse taught a two-week dynamic pro- download. Bartholdy” in Leipzig, Germany on June 22. gram, including lectures, private lessons, Yvonne Freckmann’s work Nest was com- Choi was a featured guest artist at the seminars, and a student concert at the end missioned and premiered by SOLI Chamber SPLICE Institute 2019 at Western Michi- of the program for the July 15-26 Summer Ensemble in San Antonio, Texas on October gan University School of Music in Kalama- Composition Institute hosted by the Chica- 14 and 15, 2019. Field recordings of south- go College of Performing Arts at Roosevelt central Texas, ranging from an IH-10 under- Awards University. pass to cicadas to Bobwhite quail, combine The IAWM congratulates the following Linda Dusman’s Dancing Universe was with the sound of the tour de force ensem- award winners! premiered by Trio des Alpes in Italy and ble of violin, clarinet, cello, and piano: Ertan Switzerland in October 2018, and the same Torgul, Stephanie Key, David Mollenauer, Katy Abbott group performed the U.S. premiere in Balti- and Carolyn True. Katy was announced the winner of more in April 2019. Violinist Airi Yoshioka the 2019 Paul Lowin Prize (song-cycle premiered her solo Dream Prayer Lullaby New compositions of Juliana Hall include prize) in a ceremony at the Melbourne (for the children of Syria) in Italy in October the following: Blue Violin (3 songs for mezzo Recital Centre on October 22. Her large- 2018, and Duo della Luna (Airi Yoshioka, soprano and piano on poems by Amy Low- scale work is the first composition in her violin, and Susan Botti, soprano) performed ell). Godiva (monodrama for mezzo soprano series of festival pieces commissioned Triptych of Gossips in Italy last fall and at and piano on a text by Caitlin Vincent), pre- with funds provided by the Australia the Scotia Festival in June. What Remains for miered by mezzo-soprano Kitty Whately and Council for the Arts. Hidden Thoughts 1 symphony orchestra was commissioned by pianist Libby Burgess at the Beverley Cham- sets to music “secret thoughts” by anon- the Hopkins Symphony, Jed Gaylinn, con- ber Music Festival held in Beverley, York- ymous women. The jury said: “This ductor, and was premiered in October 2019 shire, UK, on September 27. Ruffians of the uniquely Australian work has an inno- in Baltimore. Inscape Chamber Orchestra, Sky (2 songs for high coloratura soprano and vative and beautifully nuanced score Richard Scerbo, conductor, premiered Moth- piano on poems by E. E. Cummings). Tor- with the compelling text always shin- er of Exiles at the Livewire 10 Festival in Oc- nado (song for soprano and piano on a poem ing through. The composer shows an tober 2019. by Kathleen Kelly), premiered by soprano excellent technical understanding for Caitlin Lynch and pianist Kathleen Kelly on Adriana Isabel Figueroa Mañas’ work for October 25 at Wayne State University in De- each voice type with voiceless inter- piano and orchestra, Los Colores del Alma, ludes focusing the narrative and estab- troit, Michigan. New Publications by E. C. received its world premiere by the Philhar- Schirmer include: And It Came To Pass, No. lishing a wonderful emotional connec- monic Orchestra of Mendoza (Argentina) tion for the listener….an inclusive and 8851 (canticle for countertenor and piano on under the direction of Cesar Lara on Novem- passages from the Gospel of Luke); Great interactive work for the audience.” Hid- ber 21, 2019. Elena Dabul was soloist. Ley- Camelot, No. 8850 (3 songs for tenor and pi- den Thoughts is available for listening endas de America, a symphonic poem for ano on texts by Sameer Dahar); Sentiment, online as an ABC New Waves podcast. full orchestra, received its world premiere on No. 8849 (monodrama for soprano solo un- Monica Buckland November 29 and 30 by the Symphonic Or- accompanied on texts by Caitlin Vincent); In October 2019, Monica was rec- chestra of National University of CUYO, in and The New Colossus, No. 8852 (for bari- ognized as a “Woman of the Year” at Mendoza. Rodolfo Saglimbeni was conduc- tone and piano, poem by Emma Lazarus). ITV’s (British national television) an- tor. New recording: A Certain Tune on Still Life, nual awards lunch. For the past sixty In Frankfurt, preparations have begun for a performed by Margaret Marco, English horn years, “Women of the Year” has pre- concert to celebrate Tsippi Fleischer’s 75th (independently produced). sented awards to celebrated and inspired birthday in May 2021. The Belcanto-Frank- Several complete song cycles were per- women of all backgrounds. furt Ensemble will issue new versions of formed in August, September and October. Like Two Branches and Daniel in the Den of Bells and Grass was performed by soprano Vivian Adelberg Rudow Lions. Six German female singers, conduct- Alicia Berneche and oboist Laura Perkett of Vivian received the 2018 Distin- ed by Dietburg Spohr, will sing an entire eve- the CHAI Collaborative Ensemble on Octo- guished Alumna Award from the Pea- ning in ancient and exotic Semitic languages ber 18, 19, and 20 in Chicago. Godiva was body Conservatory of Music, Johns (Arabic, Coptic). Immediately after the con- performed by mezzo soprano Kitty Whate- Hopkins University, in a presentation on cert in Frankfurt, the group will also perform ly and pianist Simon Lepper on September April 27, 2019. the same program in Israel. 28 at the Theatrebarn in Evesham, Worces-

40 IAWM Journal Volume 25, No. 2 2019 tershire, UK. On October 14, mezzo sopra- The third act from An Oratorio for our Time shop called “Techniques to Awaken the Mu- no Loralee Songer and pianist Perry Mears - Last Stop Cafe (libretto and music by Nan) sic Within” and performed a sitar concert as performed the work in Weill Recital Hall at was performed November 23, produced by a prelude to an evening session for the 44th Carnegie Hall in New York City. Mezzo so- the San Francisco based opera company, Annual SSF (Spiritual Science Fellowship) prano Kitty Whately and pianist Simon Lep- Goat Productions. She anticipates a com- IIIHS (International Institute of Integral Hu- per also performed the work on October 18 poser residency at the University of Puget man Sciences) International Conference at the Oxford Lieder Festival in Oxford, UK. Sound in Tacoma, Washington, March 3-6, (“The Next Step Forward: On Earth as it is in In Reverence was performed by soprano Na- where Bailando con mi Caballero for clari- Heaven”) held in Montreal, Canada. dine Benjamin and pianist Nicole Panizza on net, piano, and bass will be premiered with On March 17, 2019, the premier concert ver- May 10 at the University of London, on Au- the composer at the piano. Agree to Disagree sion of Deon Price’s two-act opera, Ammon gust 10 in Suffolk, and on September 25 at for bass clarinet and B-flat clarinet will also and the King: Immigrant Speaks Truth to the University of Coventry, UK. Music like be performed, along with The Clarient Quar- Power, was performed at the Presidio Chapel a Curve of Gold was performed by soprano tet for clarinets and Fandango Ardiente! with in San Francisco, and later reviewed in the Leigh Folta, mezzo soprano Margaret Izard the composer again at the piano. The Qua- IAWM Journal, Vol. 25, No. 1, 2019. Yellow and pianist Natalie Sherer Schamp on August druple Quest for bassoon quartet may also Jade Banquet was performed by Katsuya 23 at the Collaborative Arts Institute of Chi- be performed. During the residency, she will Yuasa, clarinet, and Mary Au, piano, on the cago, Vocal Chamber Music Fellows Show- lead a master class, coach the ensembles, and Piatigorsky Foundation concert tours: seven case, and on August 25 in Winnetka, Illinois. speak about being a female composer who concerts in New Mexico in April 2019, and Soprano Emily Truckenbrod performed Sen- has performed extensively in Latin Ameri- eight concerts throughout Wyoming in Sep- timent on October 18, 19 and 20 for the STL ca. Max Lifschitz has commissioned Nan to tember 2019. As a birthday tribute to Deon, Opera Collective in Saint Louis, Missouri. compose a Double Quintet (woodwinds and America Themes was performed on May Through the Guarded Gate received mul- strings) for the 40th anniversary of his North 18, by the Peninsula Symphonic Winds, Dr. tiple performances in May through October South Consonance group in New York City Berkeley Price, director, at El Camino Col- across the United States. To Meet A Flower on June 9. American Promise will be pre- lege in Torrance, CA. On May 19, Rising was performed by soprano Nadine Benjamin miered at that time. Stars Ensemble from the San Francisco Con- and pianist Nicole Panizza on May 10 at the Kristin Norderval released a new EP - Fu- servatory of Music played Deon’s La Cam- University of London and on August 10 in ture Retrospection - with Argentine pianist/ pana and Carefree on Concerts at Presidio Suffolk. Many individual songs from song composer Paula Shocron, and drummer Pab- Chapel, San Francisco, Chunzi Duan Yang, cycles were also performed by multiple art- lo Diaz. It received an enthusiastic review in conductor. The 100-member Los Angeles ists from May through October across the US The Free Jazz Collective (https://www.free- Symphonic Winds performed Price’s Amer- and UK. jazzblog.org/2019/09/kristin-norderval-pau- ica Themes on a gala concert at the Veterans’ Two of Lydia Kakabadse’s sacred choral la-shocron-pablo.html). She was one of the Memorial Auditorium in Culver City, Cali- works for male voices from her album Can- 2019 recipients of a Discovery Grant from fornia, supported by a grant from the Culver tica Sacra were included in the Three Choirs Opera America for The Sailmaker’s Wife, an City Arts Commission, and sponsored by the Festival Eucharist 2019 at Gloucester Cathe- opera she is developing with librettist and National Association of Composers-Los An- dral (UK) in July 2019. The Festival is the designer Julian Crouch. In October, she be- geles chapter on July 6. oldest non-competitive classical music festi- gan an Artistic Research PhD Fellowship at On July 28, Price’s arrangement for vio- val in the world, having recently celebrated the Opera School of the Oslo National Acad- lins, violas, celli, and piano of the “Arioso” its 300th anniversary. Her duet for double emy of the Arts in Oslo, Norway. She plans from Cantata BWV 156 by J. S. Bach was bass and cello, Concertato (from her cham- to develop techniques for improvisation and played at the memorial for violinist Alice ber album Concertato), was performed at the interactive audio processing technology for Schoenfeld at Pasadena Presbyterian Church Chatsworth Arts Festival (UK) on September opera singers. It will be used in The Sailmak- in Pasadena. Deon played the piano solo ver- 20. The well-known double bassist Chi-chi er’s Wife, and the Opera School will produce sion of her new opera, The Light of Man— Nwanoku OBE played the bass part. the work. and Woman on a Mu Phi Epsilon concert in In April 2019, Gyuli Kambarova was Hasu Patel appears in the January 3, 2019 San Rafael, September 21. She is looking awarded a commission by the Kentucky Mu- ThinkTV episode of “Traditions: Ohio Her- forward to the premier staged workshop per- sic Teachers Association, and on September itage Fellows” streaming at https://video. formance of the one-act opera on November 21, the work, Unchained (a quintet for alto thinktv.org/video/episode-1-39vi5c/. She 17, at Presidio Chapel. Inspired by an ancient saxophone, violin, cello, piano and percus- was also featured in the February 2019 Ohio story in the Hindu Upanishads, the opera ex- sion) was performed at the state conference. Arts Council E-Newsletter for her musical plores the quest for a light that will guide and The work is based on her thoughts about lib- services to schools, organizations, festivals, bolster a person’s life. This is the last in the erty and peace. The primary question that in- and orchestras for the State of Ohio and else- series of four operas representing different spired her was: “How can we make people where, including teaching classical music of traditions presented by the Interfaith Center feel unleashed or unchained?” India to young children at the ISSO Temple at the Presidio. Sheli Nan’s The Last Gesture for soprano, in Strongsville, Ohio. On August 17, she per- In 2018, Natalia Rojcovscaia won a teach- piano, and cello was performed November formed a sitar concert to celebrate the 50th ing grant from the International Grant Pro- 9 in Palo Alto, California and November 10 anniversary of the Woodstock Music Festi- gram “Erasmus +” awarded to her by the A. in San Francisco, produced by NACUSA SF. val at Yasgur’s Farm in Bethel, New York. Steffani Conservatoire, Castelfranco Veneto, On August 20 and 21, she offered a work- Italy, Department of Composition, Theory

Members’ News 41 and Analysis - Composizione e Dirizioni. In Guild anticipates an unusually brilliant and given at the Music Academy of the West in November 2018, she participated in the In- innovative concert with events filled with Santa Barbara, California, with a second per- ternational Teacher Forum held in Moscow, special meaning thanks to music intertwined formance given for a Percussion Masterclass Russia, where she presented her methods with choreography, cinema, and the fine arts. of Michael Werner on August 6. The Subito of teaching music and the English language Anna Rubin recently completed a residency Music Corporation published Green Ink Ser- (“ArtWay” method). At the same time, she at the Virginia Center for the Creative Arts, enade for two guitars and Musicians of the starred in a documentary film on education- where she worked on a new piece commis- Air for solo violin during Summer 2019. al reform, The School of Nobel Laureates sioned by the Piano on the Rocks Festival The Kaplan Duo, pianists Nanette Kaplan by Mikhail Kazinik. In February 2019, she for two pianos and narrator. For the Love of Solomon and her sister, Iris Kaplan Rosen- participated in the Scientific Conference of Bees was performed Nov. 8 and 9 in Phila- thal, received a 2019 Seed Money Grant Young Researchers and had a research paper delphia by pianist Sandrine Erdely-Sayo and from New York Women Composers, Inc. published in the Journal of the Institute of In- actress Pamela Fields. This suite along with They performed a series of recitals enti- ternational Relations of Moldova: “Contem- three other works are being recorded for re- tled “Fascinating Rhythms: Contemporary porary Art: Tendencies of Development and lease next summer. Her wind ensemble work Works for Piano Four Hands” at the Jericho Their Impact on Education in the European Chiaroscuro will be released by Albany Re- Public Library, Jericho, NY on November 3 Union.” An article about her creativity was cords in 2020. with future performances at Eckerd College published in the newspaper Russian Word, in St. Petersburg, FL on February 9, 2020; and an interview was filmed for the YouTube Vivian Adelberg Rudow’s Burnt Toast for French Horn and Audience participation was at the Hewlett-Woodmere Public Library on channel of the American-Moldavian journal- February 23; and at the Bayard-Cutting Ar- ist Ludmila Alexei. performed by Sam Bessen (horn), and John’s Song was performed by Bessen and J.T. Has- boretum in Islip, NY on March 29. The recit- This past summer, Natalia took part in als will include works by Joelle Wallach, Ju- the International Festival “Days of New Mu- sell (piano) at the Peabody Conservatory of Johns Hopkins University Reunion Dinner dith Lang Zaimont, Jane Leslie, Hilary Tann, sic,” in Moldova, Chisinau, including mu- Victoria Bond, and Beth Anderson Harold. sic of composers from Spain, Romania, and and Concert on April 27. Devy’s Song (in Estonia. Her composition Dies Irae for fe- memory of Devy Bendit) and John’s Song Excerpts from Evelyn Stroobach’s Aurora male choir and piano with two pianists (four (in memory of John J. Hill) were performed Borealis and Aboriginal Inspirations CDs hands) was performed by the academic choir by Bessen and Yesse Kim (piano) during the were played at the Department of Music, chapel Moldova under the direction of Ga- August 1, 2018 concert “In The Stacks” at University of Sheffield, UK, Music Faculty briela Tocari. This composition is part of a the George Peabody Library. Fanfare For “Welcome Back” event. larger work, the Sympho-Suite “Master and My Hero in the pin striped suit was per- Hilary Tann retired from Union College Margarita,” based on the novel of the same formed on May 18 and June 2, 2019 by the September 1 and is now working on a Chil- name by M. Bulgakov (for two solo vio- Susquehanna Symphony Orchestra in Bel dren’s Celebration of the Penrhys Pilgrim- lins, piano, youth choir, orchestra and three Air, Maryland with Sheldon Bair, conductor. age in South Wales, plus a concerto for vio- actors). It is being recorded in stages at the Cuban Lawyer, Juan Blanco was performed lin with the Robert McCormick Percussion recording studio of Teleradio Moldova and in an electroacoustic music concert assem- Group of the University of South Florida. will be released on CD by 2020. bled by Neil Leonard on June 27 at Radio Her Melangell Variations (soprano, baritone, In May 2019, Teleradio Moldova re- Cadena Habana for Havana, Cuba audiences. string quartet) have been recorded in Tucson leased the broadcast “Arpeggiando” about On October 27, 2019, Clare Shore’s Inten- for Lorelt, and her string quartet (And the Rojcovscaia’s creative life and activity. sity of Degrees for flute (picc/al fl) and piano Snow Did Lie) has been recorded by the Siri- Also in May, she was one of the organiz- was premiered by flutists Misty Theisen and us Quartet for Parma (April release). Two of ers of the V Children’s Film Festival: “The Cathie Apple, and pianist Jennifer Reason on her organ pieces (Pinnae Ventorum and Em- World Through the Eyes of Children,” and the Zimmermann’s Café Chamber Music se- bertides) are being recorded by Sarah Simko she joined the adult jury and chaired the chil- ries in Lake Worth Beach, FL, July 20. Trio this fall as part of a three-CD collection of dren’s jury. As part of this project, she held Casals premiered her piano trio Day Tripping organ music by women composers. an open masterclass, “Music and Cinema.” in Carnegie Hall’s Weill Recital Hall. Rain Worthington’s Night Stream was per- In July, she became a member of the Com- Faye-Ellen Silverman’s Edinboro Sonata formed by the Locrian Chamber Players: vio- posers Union of the Russian Federation. for tuba and piano was performed by Steven linists Calvin Wiersma and Conrad Harris, in This year she organized and served as Maxwell, tuba, on the “Overlooked Tuba So- New York City. The world premiere of Imag- president of the Guild of Young Art Cre- los” program at the 2019 International Wom- ined Tango, a miniature for flute and harp, ators (GYAC). The guild is engaged in the en’s Brass Conference (IWBC) held in Tem- was performed by Erëmira Çitaku, flute, and integration of the arts to enhance education- pe, Arizona on May 24. On July 16, Layered Cagatay Akyol, harp, in Prishtinë, Kosovë. al opportunities for the public. From the fall Lament for English horn and tape was per- Conductor Rodrigo Müller and the Orques- of this year through May of next year, she formed by Jacqueline Leclair, for a lecture/ tra Sinfônica de Limeira performed the world will hold a series of workshops and seminars recital at the 2019 International Double Reed premiere of Shredding Glass for orchestra. for young artists and teachers in the Guild Society (IDRS) Conference in Tampa, Flori- BaDaBaDaDa for contrabass was performed of Young Art Creators and in the Children’s da. Protected Sleep for French horn and ma- by Sergio de Oliveria in Limeira, Brazil. Movie Studio of auteur cinema, “Globe.” In rimba was performed on July 31 by Gabrielle Rain’s article, “The Communicative Mystery early 2020, the organization plans to hold a Pho, horn, and Christine Comer, marimba, of Instrumental Music,” was published in So- major concert with the participation of dis- for a Horn Masterclass of Julie Landsman nograma Magazine (Barcelona, Spain). tinguished art creators and young artists. The

42 IAWM Journal Volume 25, No. 2 2019