Rose has held teaching positions at the University of Alaska, Fairbanks, the Baylor University School of Music, the University of Wisconsin-Oshkosh, and the University of Iowa School of Music. She has been a faculty accompanist and coach at the Chautauqua Institution in western New York, and the Meadowmount School of Music in Lewis, New York. She was most recently a faculty member at Plattsburgh State University of New York, and currently runs a private studio in her home in Wadhams. Rose holds a bachelor's degree in piano performance from the University of Texas at Austin, and master's and doctoral degrees in piano performance and literature from the Eastman School in Rochester, N.Y.

Eastman School of Music March 26, 2010

7:00 pm – Ciminelli Formal Lounge Born in the UK, Jane completed Bachelors and Masters degrees in Music at the University of York, before relocating to the USA. She studied with renowned percussionist William Moersch at the University of Illinois, earning a Doctorate in Percussion Performance. Jane has performed and toured in the US, UK, Italy, Belgium, France and Ireland. Currently living in Vermont (USA), Jane is an enthusiastic music educator, working with students from pre- school to University level. Jane plays and endorses Coe Percussion marimbas and Vic Firth sticks and mallets.

Program: Chen Yi – „China West Suite‟ (2007)

Originally commissioned and dedicated to the Klavier-Festival Ruhr, Germany (Director Franz Xaver Ohnesorg) for Dennis Russell Davies and Maki Namekawa to Eleonor Sandresky – Duo for Marimba and Piano (1988) premiere on June 4, 2007, my work China West Suite was originally written in four movements for two pianos. The authentic folk music from China West has amazed and Eloise [Matthies] Niwa – „Miniatures‟ (1945-9) inspired me to write this piece, which has the folk music elements drawn from the folk songs Gadameilin and Pastoral of the Meng People (Mongolian); Ashima (of the Yi  Prelude People); Du Mu and Amaliehuo (of the Dou Duo and Jusheng ensemble music of the Miao People). I have adapted the piece for marimba and piano after the premiere, under  Sarabande the request from Prof. Jeffery Meyer of Ithaca College, who is the pianist of the piano-  Scherzo percussion duo "Strike" (with percussionist Paul Vaillancourt) for a recording project on Luminescence Records in Chicago, and their performances in 2008. (C.Y.) Emma Lou Diemer – Toccata (1979) for solo piano

Faye-Ellen Silverman* – Pas de Deux (1991)

Rain Worthington* – On Curious Reflection (2009)

Emma Lou Diemer – Toccata (1955) for solo marimba

Keiko Abe – Voice of Matsuri Drums (1992) for marimba

Joelle Wallach* – Sticky Grimaces, Toothy Grins (1991)

 movement III only

www.ricochetduo.com Chen Yi* – „China West Suite‟ (2007) This performance is made possible by a Seed Money grant from New York Women  III: Zang Songs Composers. www.newyorkwomencomposers.org  IV: Miao Dances

(* New York Women Composers members)

Keiko Abe – Voice of Matsuri Drums (1992) Eleonor Sandresky – Duo for Marimba and Piano (1988)

A unique, energetic piece in which the marimba is struck with Eleonor Sandresky writes music that The New York Times decribes as “lovely, but "slap-mallets" in order to evoke the sound of drums. Keiko Abe is a Japanese enigmatic,” and that TimeOut NY reports as having “ever-varying qualities of touch, composer and marimba player. She has been a primary figure in the development of the register and intensity.” Her work encompasses music for virtuoso soloists and large marimba, in terms of expanding both technique and repertoire, and through her ensembles to evening-length collaborations, has been featured in films, and has been collaboration with the Yamaha musical instrument company, developed the modern recorded on Koch International, One Soul Records, Masterworks of the New Era, and five-octave concert marimba. Albany Records. Eleonor has been a composer-in-residence at STEIM in Amsterdam, The MacDowell Colony, and the festival in Hvar, Croatia. that year at the North Joelle Wallach – Sticky Grimaces, Toothy Grins (1991) Carolina Composers' Symposium in Winston-Salem, North Carolina. A very early piece in Ms Sandresky's oeuvre, the piece has a distinctly minimalist feel that has become a technique that she has frequently used as a part of her compositional process. Joelle Wallach‟s „Sticky Grimaces, Toothy Grins‟ was written in 1991 for the virtuoso percussionist Chris Lamb and his wife Virginia on the The piece was revised in 1992 to include an optional video component so that half of occasion of the birth of their first child, Casey. A celebratory piece, its three the duo was pre-recorded and presented virtually on a TV in front of the piano. This version was premiered at the Southeastern Center for Contemporary Art on a concert of movements joyously explore the virtuosity of both instruments and their glorious Ms. Sandresky's compositions. It has since had the life it was originally intended, as a collaborative possibilities. Wallach grew up in Morocco, but makes her home in New bravura concert piece for marimba and piano. York City, where she was born. Her early training in piano, voice, theory, bassoon and violin included study at the Juilliard Preparatory Division, and she earned bachelors and masters degrees at Sarah Lawrence College and respectively. Eloise [Matthies] Niwa – „Miniatures‟ (1945-9) In 1984 the Manhattan School of Music, where she studied with , granted her its first doctorate in composition. A pre-concert lecturer for the New York Eloise Matthies was born on 27 April 1928, in Chicago, Illinois. She studied at the Philharmonic for several subscription series, Ms Wallach speaks on a broad range of American Conservatory in Chicago, and although primarily a pianist she majored in musical subjects, bringing fresh insights to familiar works and opening doors to modern composition at the invitation of Leo Sowerby. She graduated with a B.M. in ones and to those less frequently heard. [from the composer] 1953. Miniatures began life as a student composition assignment. Matthies wrote the three movements of Miniatures - Prelude, Sarabande, and Scherzo – for piano, and later adapted them for marimba and piano. „Prelude‟ opens with looping chromatic 2-part chords in the marimba, over an angular octave melody on piano. Repeated 3-and-6-note pitch cells set up cross-rhythms against the 4/4 metric rhythm, and the harmonic language is relatively chromatic. „Sarabande‟ is in 3/2 time, and consists mainly of soft chords and overlapping melodic cells. The „Scherzo‟ is a light, fast waltz featuring different rhythmic motifs layered between piano hands and the marimba part. [Jane Boxall]

Emma Lou Diemer – Toccata (1979) Faye-Ellen Silverman began her music studies before the age of four at the Dalcroze School of Music. She first achieved national recognition age of 13. She holds a BA In the 1970s, Diemer‟s compositional style switched direction by moving towards from Barnard, cum laude and honors in music, and an AM from Harvard and a DMA electronic music; that development categorized much of her middle period and is also a from Columbia, both in music composition. She spent her junior year of college at feature of her last piano sonata. Her most famous piece, the Toccata (1979) for solo Mannes College. Her teachers have included Otto Luening, William Sydeman, Leon piano, as well as being the most often performed, is based on this new medium. It Kirchner, Lukas Foss, Vladimir Ussachevsky, and Jack Beeson. Seesaw Music, a combines Minimalism from electronic music as well as experimental twentieth-century division of Subito Music, publishes about 75 of her compositions. Zigzags is available piano techniques. Harmonically, the Toccata is one of Diemer‟s few atonal works. She on Crystal Records, Taming the Furies is available on Capstone, and Passing Fancies, couples repetitive patterns and non-traditional piano techniques from the 20th century Restless Winds, and Speaking Alone are on New World Recordings. [from the in this piece, for example: placing hand on the strings,depressing the key with the arm, composer] patting the strings, and glissando on the strings with fingernails. [Chin-Ming Lin] Rain Worthington – On Curious Reflection (2009) Faye-Ellen Silverman – Pas de Deux (1991) Rain Worthington has a unique voice within contemporary music. As Kyle Gann noted In the world of dance, a pas de deux is a dance for two dancers. Here, it is a two in Chamber Music magazine, her music “…take(s) ideas of American musical style to a movement “dance” for two instrumentalists, with the form playfully originating in the new place – like a walk in a familiar, yet very different park... And isn't afraid to come human mating ritual. In the first movement, the marimba begins alone. Before the up with its own startling conclusions.” As a composer, she has transited through loft first phrase is finished, the piano notices the marimba, and finishes its phrase. There is concerts, performance spaces and dance clubs, to orchestra recordings. World music, then some friendly dialogue and flirtation. As the movement progresses, both romanticism and minimalism have influenced her compositional style. Rain‟s orchestra instrumental parts become more complex, as each tries to attract (and put a best foot compositions have been recorded for ERMMedia with Conductor, Robert Ian Winstin, forward for) the other. In this section, some of the piano figures are taken from and premiered by the SEM Orchestra with Petr Kotik conducting. Pianist, Max traditional virtuosic piano patterns, such as parallel double thirds, and one hand Lifchitz, recorded her piano music for North/South Recordings. A new orchestra work crossing over the other. At the very last minute, as both instruments join together is scheduled for 2010 release through PARMA Recordings. Rain‟s music has been the excitedly, the piano runs away, and the marimba rushes to catch up. The movement subject of feature articles by notable music journalists, Kyle Gann and Joseph Dalton. ends with the piano encircling the marimba. In the second movement, which remains Her music has been featured in new music festivals and radio broadcasts at a steady tempo, the piano and marimba support each other throughout - sometimes internationally. with similar musical material. When the marimba moves to establish its independence, the piano lets it do so (just as the marimba had done for the piano earlier), but stays Emma Lou Diemer – Toccata (1955) for solo marimba softly supportive in the background. When the marimba seems too far from the piano, the piano picks up the marimba material and moves to join it. The movement ends with One of the earliest marimba solos written, Diemer‟s „Toccata‟ was performed widely the piano and marimba merging into one - playing the same notes in the same range. during the two decades after its composition. Written for Albert Payson, the „Toccata‟ was written 5 years before Diemer received her doctorate from Eastman School of Music.