Table of Contents Volume 18, Number 1 (2012)

Home , Adrian Willaert, Anne Boyd, Apo Hsu, A Different Journey, Dafina Zeqiri, Johannes Martini

Articles Gayathri Khemadasa and the Phoolan Devi Opera Project...... Jeff Hush...... 1 Images of Landscape in the Music of Anne Boyd ...... Sally Macarthur...... 7 Changing Women: Performers, Patrons and Composers in Renaissance Europe...... Nancy Hadden...... 14 In Search of the White Raven: Ruth Shaw Wylie and Her Music...... Deborah Hayes...... 20 Envisioning Life Beyond the Academy: Building Community...... Madeline Williamson...... 25 Meet Five New IAWM Members A Woman on the Bench...... Gail Archer...... 29 Sound as a Generative Force...... Somna M. Bulist...... 30 Music in Migration...... Tonia Ko...... 31 A Soprano on the Move...... Jessica McCormack...... 31 The Patch-Work Musical Life...... Melissa E. Wertheimer...... 32 Book Reviews Sally Macarthur: Towards a Twenty-first Century Feminist Politics of Music...... Kimberly Greene...... 34 Jill M. Sullivan: Bands of Sisters: U.S. Women’s Military Bands during World War II ...... Deborah Rohr ...... 35 Compact Disc Reviews Patricia Morehead: Good News Falls Gently...... Jennifer Griffith...... 36 Songs and Cycles: Contemporary American Women Composers ...... Julie Cross...... 37 Meira Warshauer: Living Breathing Earth ...... Anna Rubin ...... 39 Kiku Collins: Here With Me...... Ronald Horner...... 40 Odyssey: 11 American Premieres for Flute and Piano...... Pamela Murchison...... 41 Clare Maclean: Osanna ...... Jamie Reimer...... 41 Recommended New CDs...... 42 Festival, Opera, and Concert Reports The 2012 Women Composers Festival of Hartford: Concert Report...... Jessica Rudman...... 43 Slaying the Dragon: World Premiere of the Opera...... Ellen Frankel...... 44 Women’s Work 2012 Concert ...... Sally Scott...... 45 Reports Reports from Europe...... 45 The Kapralova Society: Annual Report 2011...... Karla Hartl...... 46 IAWM News IAWM Membership Report...... Deborah Hayes...... 47 Announcements...... 48 Awards and Honors...... 49 Members’ News...... Anita Hanawalt...... 50 IAWM MEMBERSHIP INFORMATION BACK ISSUES Members’ News IAWM membership includes a subscription For information on purchasing back issues, Please send your news items to the Mem- to the Journal of the IAWM (issued twice a contact Deborah Hayes at membership@ bers’ News Editor, Anita Hanawalt, at anita@ year), participation in the optional IAWM e- iawm.org. hanawalthaus.net, or 514 Americas Way mail list, eligibility to participate in IAWM PMB 3734; Box Elder, SD; 57719-7600. competitions, and eligibility to apply for par- IAWM ADMINISTRATIVE OFFICE Submissions are always welcome concerning ticipation in the IAWM congress and annual International Alliance for Women in Music honors and awards, appointments, commis- concert. Membership is paid on an annual Department of Music, FA 509 sions, premieres, performances, publications, basis, January through December, and mem- University of Maryland/Baltimore County recordings, and other news items. 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Journal of the IAWM Staff

EDITOR IN CHIEF MEMBERS’ NEWS EDITOR EDITORIAL BOARD Eve R. Meyer Anita Hanawalt Ellen Grolman 8355 Sunmeadow Lane [email protected] Lynn Gumert Boca Raton, FL 33496 Anita Hanawalt [email protected] REVIEW EDITOR Deborah Hayes Ellen Grolman Eve R. Meyer PRODUCTION MANAGER [email protected] Lynn Gumert Articles Gayathri Khemadasa and the Phoolan Devi Opera Project JEFF HUSH

I am not a musicologist but a Prague, Czech Republic. “When I was sev- Gayathri left Prague when she won a writer and Shakespeare scholar, enteen,” Gayathri said, “I felt frustrated Fulbright scholarship and came to Wesley- formerly at the University of at home in Colombo [the capital of Sri an University in Middletown, Connecticut California Berkeley and the Uni- Lanka]; I had a stable, even utopian, child- in September 2011 to work on her opera, versity of Chicago. Analyzing the hood, but all I wanted was freedom. My fa- Phoolan Devi. She has a one-year appoint- music of the young Sri Lankan ther’s beautiful music filled our home, and ment as a visiting faculty member in mu- composer, Gayathri Khemadasa, there were always parties with artists and sic. Neely Bruce, a professor at Wesleyan will be a task for future music actors and intellectuals. They treated me and a fine pianist and composer, became scholars. My aim in this article with respect because my father, Premasiri her advisor on the opera. Bruce recently is to get inside her head and help Khemadasa, was the leading composer in spoke about her piano playing and com- readers understand what drives a the country. But I couldn’t go anywhere in posing: “Gayathri has the potential to be a dynamic, potentially revolution- Sri Lanka without a chaperone. I couldn’t ary composer to create a new type take buses alone or even go for a short walk of music: “untouchable” opera. in my own neighborhood. A nanny or rela- I first met Gayathri in 1997 in tive always had to be with me. My older Prague, and I have seen her devel- sister, Anupa, was already living alone in op from a competent pianist who Prague on a scholarship to study cybernet- worshipped her father’s music ics. She had gone in early 1989, before the into a fiery pianist who has taken Velvet Revolution overthrew communism. her father’s tradition and remade I wanted to follow her there. it into something with far more “I went to Prague in 1994 to study narrative drive and far less Sri with the best piano teacher I could find, Lankan. Since 2005, when Gay- Jaromir Kriz, a very old man at the time, athri and I founded “Artists for Sri who was descended in a line of teachers Lanka” in Prague (to raise money from Liszt. He was a very strict teacher for tsunami victims), I have pro- and wouldn’t even let me open the cover duced her concerts in Prague, of the piano to touch the keys for several the US, and Canada. I have also months. I had to play on the wooden cover, Figure 1. Gayathri Khemadasa traveled extensively with (and hammering down each finger separately to without) her across Sri Lanka in strengthen all fingers to an equal power. very significant international artist. I know 2003 and 2005, have filmed and Through Kriz’s help and influence, I was she has been influenced by Philip Glass’s interviewed her father and mother hoping to get into the Prague Conservatory music; both their musics have clarity, and at length, and have produced two if I studied hard enough for a few years. clarity is a great gift; too much new music CDs of her playing solo piano. I Eventually, he let me touch the keys. And I nowadays is overblown. Gayathri’s music am currently writing the libretto did get into the conservatory; his strictness is much more attractive to me than Glass’s, for her opera, Phoolan Devi, as paid off for me, and I have a lot of respect however, because her music has a strong well as producing it. for his technique. sense of direction, of melodic line. Her “Within days of my arrival in Prague, sense of movement, while it can be cease- Gayathri Khemadasa, probably the first 1 female composer of classical music in her I knew that something was horribly wrong. less, is not obsessive.” country’s history, spent half of her life in Anupa had never warned me about life I first heard Gayathri play the Solo there. In Colombo, I had been surrounded Piano pieces of Philip Glass2 in about by love and respect in my parents’ home; 2000. It was at one of her recitals as a pi- in Prague, everywhere I went I was met ano student at the Prague Conservatory.3 with hostility and suspicion. I became an The other students—Czech, American and ‘untouchable,’ and people moved away Japanese—were dutifully playing Mozart, from me on buses and trams; they followed Chopin, Beethoven, and Rachmaninoff, me hawk-eyed in stores. Czech people saw fingers flying, all sense of musicality lost in me and immediately thought ‘gypsy’—in a rush of ego and fear. Then Gayathri came my experience, there is nothing lower in out and played her pieces, Satie and Glass. Czech mentality. I don’t think the shock The notes stood out, distinct; silences were of daily facing such overt racism will ever felt; the listeners could breathe and inhabit leave me. And I lived there for seventeen the music. Playful at times but mostly mel- years.” ancholy, Gayathri’s way with this music

1 somehow accentuated the flow while keep- temple would go silent. And then, just as be here. What are you all doing? Are you ing up a dialogue of her two hands. Gay- suddenly, it would erupt in the deafening crazy? Go home.’ ‘Master, these Tamils athri’s right and left hands speak such dif- pealing of bells. Kataragama, a god that had are destroying our country. You don’t want ferent languages. equal powers to destroy or protect you, was to get hurt. Please step aside.’ ‘No, these As Neely Bruce put it, there is a “clar- arriving, and this was his sonic boom. people are my friends. You cannot touch ity” in her music that is rare and bracing. Gayathri recalls a frightening child- them. You will have to kill me first.’ The She acquired this during her three years at hood experience that has had a strong mob hesitated and then miraculously they the conservatory. “I was the first student impact on her. “I was sitting in school in turned around and went away. We took the ever to play Glass’s music at the conserva- Sri Lanka, having a normal day. I was six Tamil musician and all his family to our tory,” she said. “The teachers there pushed years old; it was July of 1983. Then people house for some days. When we returned to us all to play the same repertoire—all the started moving around; parents and teach- their home a day or two later, it had been big names from the nineteenth century!— ers and children were leaving the classroom burned down. Years later I realized I had but I couldn’t be bothered. Why do the in a hurry. But it was only the middle of been a witness to the ‘Black July’ day that same thing as everyone else? I played what the school day. Something was happening. started the Sri Lankan civil war.” I loved. I’ve always hated rules.” My father arrived to take me home, but we Gayathri was there when Sinhalese Gayathri’s birth and early years had a couldn’t go straight home, he said. We had mobs in Colombo (and around the coun- strong influence on her music and philoso- to visit the house of one of his musicians. try) destroyed Tamil homes and businesses phy. She was born a “blue baby.” Her moth- “When we started driving through and slaughtered innocents. Something like er, Latha, had already had several miscar- Colombo, the whole city was in an uproar. 70,000 people died in the civil war, which riages, so everyone feared for the baby’s People were being beaten in the streets, ended in 2009. When Gayathri is asked life. Gayathri’s grandmother reacted to her fires were burning on all sides, dead peo- what ethnic group she comes from, she al- dangerous birth by immediately consulting ple were ly- ways says “Sri Lankan.” When Europeans a Buddhist healer who said Gayathri would ing around, or Americans push her in interviews, she die unless her mother made a “vow to chopped up. restates “Sri Lankan”; she refuses to have Kataragama,” a Hindu god. The vow was We reached her art and music become a tool for Sin- made, promising that Gayathri would go the musician’s halese nationalists. She feels the civil war every year to Kataragama’s Temple, in the home. We went was a huge mistake and has zero sympathy southern jungles of Sri Lanka, to appease inside. It was for those who claim it was necessary. the god. (Gayathri’s mother and grand- abandoned. My Phoolan Devi: The Libretto mother were both Sinhalese Buddhists at father called out When Gayathri first read Phoolan the time, but, in moments of crisis in Sri some names. Devi’s autobiography in Prague in 2008, Lanka, most Buddhists seek help from Nothing. He she knew she had found a kindred spirit.5 Tamil Hindu gods.) Every year Gayathri kept calling, At first glance, this is odd. Phoolan Devi goes back to the temple to thank Kataraga- Figure 2. Gayathri using his own Khemadasa at age six was a poor, illiterate Indian woman who ma for saving her life. She remembers one name. Finally, became a bandit and spent eleven years in year, at about age eight, when she didn’t people started to come to us, coming out prison. Gayathri was raised middle class, go “down south” at the appointed time; she of hiding, out of cupboards and wardrobes, played classical music from her childhood, swiftly became seriously ill. As soon as her out from under beds and couches. There went to Ladies College (Sri Lanka’s top family took her to the temple—a full day’s were a lot of people. How many? I’m not 4 private girls’ school), and had a strong, drive south of Colombo—she recovered. sure, but more than ten: men, women, chil- influential father who protected her from Gayathri’s inner world is filled with dren, grandmas, servants. We started to go the violence raging in Sri Lanka during the demons, gods, the predictions of magical outside to take as many of them away as we civil war with all its random bombings on healers and astrologers, the spirits of the could fit in our car. Then we saw the mob the street. dead who come to her both waking and coming down the little street towards us. A “I identified with her anger,” said dreaming, and, paradoxically, the Buddha. hundred people, maybe more, many carry- Gayathri, “Phoolan Devi refused to be si- As Gayathri, a Sinhalese Buddhist, knows, ing torches and machetes held high. Why lent, refused to be a victim. I grew up with the Buddha, an atheist, declared all the the torches during the day, I wondered? the same Hindu gods as she; I saw people gods of Hinduism illusions and demanded Was this a religious procession? And the at temples possessed by demons and god- that people take responsibility for their own machetes? Were they going to climb palm desses. I know that the world has a dark lives and make their own choices. Knowing trees to harvest coconuts? underside that Western rationalists can’t is one thing, living another. Watching Gay- “My father told me to wait there imagine. I feel this underside. Phoolan athri praying inside the Kataragama Temple in front of the house with the others. He Devi became a goddess, Durga; my life in August 2003, I was struck by the fear and walked up to the mob alone. At that time was dedicated to a god, Kataragama, who, awe on her face and by how she trembled he was already Sri Lanka’s most famous in fact, fought the same famous buffalo de- throughout the religious service that wel- composer, often on TV, so many in the mon as Durga; without Kataragama’s help comed the god to his temple. Moments of mob recognized him. ‘Master, why are I would have died.” great drama punctuated the ritual. But they you here? This is not for you.’ He spoke Phoolan Devi was born around 1962 were all auditory, not visual. Suddenly the back to them: ‘I’m embarrassed to have to to a low-caste family in a small village in

2 IAWM Journal Volume 18, No. 1 2012 Uttar Pradesh, India’s largest state, with Some months later Vickram, Phoolan be loved) and her connection to nature— a population of 200 million. By the late Devi and their bandit gang returned to her to snakes and neem trees and the Yamuna 1970s, she had become known throughout home village, where she punished some of River and torrents of rain and the dust that India as the “Bandit Queen.” Her journey the leaders and was greeted with a parade slides down the Chambal ravines, where from eleven-year-old bride to ruthless out- of a hundred villagers who garlanded her she hid out for years as a bandit—all this law illustrates the plight of India’s lower as a “goddess” and asked her to “bless our makes one hunger to meet her face to face. castes. As a girl, she started publicly to re- village.” This started a pattern that Devi The few photos available of her show two sist the land theft her uncle had committed took advantage of: she punished powerful opposed faces: the trusting shy girl and against her father. The root of the problem men who abused women in villages across the ferocious stone warrior goddess. How was in a family dispute. north India, and she came to be perceived one person could hold two such opposed As her uncle’s family grew richer as the reincarnation of two powerful war- beings in balance: that’s the mystery my through this land theft, they gained allies rior goddesses, Kali and Durga. After Vick- libretto tries to fathom. in the village’s unelected council of male ram was killed and Phoolan Devi became After watching more than a hundred elders, called the “panchayat.” When the sole leader of her bandit gang, her ability operas as research for this project, I found panchayat ordered, as punishment for her to lead violent men successfully for years six that have directly influenced my li- vocal resistance, that Phoolan Devi be largely came from this perception of her as bretto: Monteverdi’s Orfeo (1607), Verdi’s gang raped in her parents’ home, in front of a living goddess. Rigoletto (1851), Wagner’s Tannhäuser them, the local police refused even to lodge (1861), Bizet’s Carmen (1875), Tchai- the complaint. In fact, the police then ac- kovsky’s The Queen of Spades (1890), and cused Devi of being a “dacoit” (bandit), Glass’s Satyagraha (1980). All six have took her into custody, and gang raped her sunk their claws into Phoolan Devi. themselves in the Kalpi jail. Orfeo, my favorite opera, makes a leg- After she returned to her village, still end human and, brilliantly, lets pain slip voicing her resistance, the local leaders through a formality that flirts with aridity. refused to let her family use the free pub- Carmen, irrepressible, hovering intently lic well without paying an impossible fine. like a hawk, humorless, devours all the Also, upper-caste Thakurs from the sur- men and their masks. One wonders how rounding region (hearing of her vulnerable men imagine power is theirs alone with situation) started to appear in her village, such women about.7 Rigoletto’s story is so seeking her out as someone who could be extreme and perverse that its nightmare be- raped with impunity. What had started as comes believable; the whole story makes Figure 3. Phoolan Devi a family dispute over land escalated to in- emotional sense—or, rather, redefines clude village leaders, the police, and re- After years as a bandit leader, Devi emotion as obsession. The Duke’s hedo- gional caste hierarchies. A vision of law that surrendered, on her own terms, to the nism is refreshing, intensely musical and went beyond local power was nowhere to be Chief Minister of Madhya Pradesh on Feb- modern in the way it shows rape underpin- found; rape took its place. Rape is still the ruary 12, 1983, at a ceremony attended ning power. What seems entertainment is, socially sanctioned tool to silence resistance by thousands. She spent eleven years in in fact, a ferocious attack on the founda- by low-caste women and their families; this prison without a trial. Just as she was be- tions of the father’s/leader’s legitimacy. practice is widespread throughout India, Pak- ing released from a New Delhi prison in Satygraha’s instrumental music is so istan, and Afghanistan. A glance at the New 1994, members of low castes and Dalits understated and wave-like that the voices York Times (April 22 and June 5, 2011) or the (untouchables) across India were form- soar above it like glorious puffy clouds. BBC News (June 20, 2011) shows that Phool- ing their own political parties and winning The human voice there casts off centuries an Devi is far from alone in her suffering. election to parliament. Although illiterate, of ornamental encrustation and slips pure, But repeated rapes were not enough to Devi joined this rising wave, getting elect- like a reed quivering, into our psyches. silence Phoolan Devi. So her village’s lead- ed as an MP from Mirzapur, Uttar Pradesh, Tannhäuser’s struggle between Venusberg ers paid a bandit gang to kidnap her at night in 1996, and again in 1999. She was assas- and the Virgin Mary is Christianity’s old- from her home. The expectation was that sinated in New Delhi in 2001. est cliché—the flesh in thrall to pagan de- they would kill her. The strategy backfired, When Gayathri said, in 2008, that she lights!—but when Tannhäuser, in the sec- for the bandit gang had two leaders: Vick- wanted to compose an opera about Phoolan ond act’s song contest, shocks everyone ram and Baboo, and both of them desired Devi and that I should write the libretto, I by praising the delights of physical love, Devi. Vickram killed Baboo and claimed didn’t hesitate. The story is so Shakespear- you can still participate in that shock one Devi as his bandit “wife.” She grew to ean and modern and foreign at the same hundred and fifty years later. Wagner ac- “love” him and said in her autobiography time—and the challenge so immense—that complishes this because the libretto and that Vickram was the first person who ac- I knew it would occupy my heart for years. the music are so much at odds with one tually spoke with her normally and calmly The pain and anger in Devi’s life and story another, as the story line tries pallidly to about feelings; he “was the first man to are corrosive beyond belief and threaten defend Christian purity from the glori- treat me like a human being, not a slave, or all certainties of a Western-trained mind. ous swelling music emanating from Ve- a piece of flesh.”6 Yet the poetry of her voice (her need to nus and from Tannhäuser’s unbreakable

Hush: Gayathri Khemadasa and the Phoolan Devi Opera Project 3 attachment to the goddess and to his own “dacoit” (bandit) and “baghi” (rebel);8 the form something new. I can list for you the body. Wagner’s failure to conjoin flesh and outlaws’ enemies call them dacoits, while influences, but I can’t analyze my music spirit in this opera is precisely what makes their supporters, of whom there are many and identify where the melodic nuggets it so tense, overwhelming, and, ultimately, in small north Indian villages, call them ba- or timbres or tempi or syncopations come so satisfying. ghis. Our opera tells the story from inside from. In my list of influences I would start, Herman’s descent into madness and the culture of Phoolan Devi and her fellow of course, with listening to and playing my violence in The Queen of Spades unfolds in bandits, where she is seen as a leader of father’s music from the time of my birth the strongest narrative thrust of any opera I rebels against an unjust system. (This is, of until his death in 2008, with the Joan Baez have heard. Beginning the opera as a clas- course, a classic debate in Western circles: records my mother listened to for pleasure sic romantic lover—and singing like one— one man’s “terrorist” is another’s “freedom when my father was out of the house, with Herman shrieks and howls at the end, more fighter”; for example, George Washington the Czech composers I was introduced to wolf than man, having forgotten his love was a terrorist to the British in 1777.) in Prague (Kabelac, Doubrava, Pelikan, object in his rush to uncover a dark magical Lastly, like Vinaya Chaitanya, a superb Kapralova, Janacek), with my composition formula for gambling success. translator of Indian poetry, and like Phoolan teacher, Michal Macourek, in Prague, Like The Queen of Spades, Phoolan Devi, Gayathri and I see the caste system who encouraged me in my first pieces (he Devi is a narrative opera, each new scene in India as bankrupt and fit for destruction: pushed me to stretch out an idea rather than (there are 21: see www.phoolandeviopera. “The caste system was a bold theoretical add new ideas; with him I felt free to do com for descriptions) propelling the action attempt to classify psychological types that what I wanted without feeling restrained, as and protagonist forward. But Phoolan Devi failed miserably, at tremendous cost to the I did with my other teachers, who expected ends our opera in a moment of opportuni- culture, and we must decry its perversions me to act like a slave), with the Javanese ty and vision. The last scene of Phoolan as wholly inhuman and without any social gamelan I started playing in Prague and Devi (scene 21) shows her being released or spiritual basis.”9 Phoolan Devi should continued at Wesleyan, with the eight years from prison after eleven years. She has just not be defined by her death. This is why we I spent playing harpsichord, especially met Kiran Bedi, a remarkable woman who have decided to end Phoolan Devi with her Bach, in Brno, Czech Republic, and with is Inspector General of Prisons, and who release from prison in 1994. the music of Philip Glass, which helped me speaks with calm encouragement to Devi Phoolan Devi: The Music break the influence of my father’s music, about her future. I choose to end the opera In my introduction, I state that Gay- which so dominated my musical psyche here, rather than with Devi‘s political ca- athri aimed to create an “untouchable op- for so many years. I needed a new way of reer after prison and with her assassination era.” She explains: “I have social justice playing and thinking of music—clear and in 2001. Gayathri and I have discussed our goals for my music, goals shared with Jeff. direct—and that’s what Glass gave me. It chosen ending heatedly with various histo- We want to use our opera, Phoolan Devi, allowed me to escape from the drama and rians, musicians and friends over the past to change who the heroes are in the world. complexity of my father’s music. year. The argument against our ending falls The opera is ‘untouchable’ in two ways si- “I compose without analyzing other into two divisions: first, historical accura- multaneously: it smuggles into the world music or theories at the moment of com- cy and, second, the need for tragedy (the of the rich and ‘cultured’ the emotional position. What I do is quite simple. I sit phrases used are “Phoolan Devi got what heartscape of extremely ‘low’ illiterate down at a piano and close my eyes and she deserved,” “violence begets violence,” folk, and it insinuates into your nerves and envision a beautiful place in Sri Lanka. and “it was her karma to die”). brain waves a music that so microscopi- Musical feelings flood into me from this All these arguments make rational cally blends Eastern and Western traditions inspiration. There are two places I travel sense, but they are not the story we want that you can’t ‘touch’ the roots of the music to in this trance: Bundela and Jaffna. Bun- to tell. First, our opera is an artistic object, anymore. Your own feelings, as a listener dela, down south, close to Kataragama, is so it can end wherever we choose to end and viewer, become unmoored from your where they gather salt from the sea. I used it, thereby giving it a specific emphasis. tradition, your culture—you can no longer to go there every year with my sister and Second, our emphasis is on the way Devi touch ground, and this freeing, releasing, parents. Sometimes in my mind I go to the resisted the injustices of her society, not on floating away from your cultural back- small jungle lake where wild buffaloes, how, in the end, that society crushes all re- ground and your habits allows you to go elephants and even snakes come to drink. sistance. Third, her violence was radically beyond ‘touch’ into ‘untouchability.’ This Sometimes I go to the seashore and watch different from the violence she suffered; unmooring—and drifting away from your the waves crash. Jaffna is different, much she took up a rifle to defend herself from old anchors—is precisely what the world darker, filled with foreboding and melan- relatives, leaders, police, and a “legal” needs from the arts now if we are to survive choly—only visited once, briefly. When I system that raped and tortured and tried and found a new space on an earth crushed go back to Jaffna in my mind to compose to kill her simply for being a low-caste by our desires and close to exhaustion.” music, I go to a large lagoon west of the woman who had the nerve to speak up; “My music comes from so many city, where a silent fullness rushes over the there was nowhere for her to turn for “ju- places,” Gayathri said, “that I can’t pick lagoon—the kind of silence interrupted stice”—either she had to die or to defend the strands apart anymore. In America, in bursts by the hissing of wind moving herself. Fourth, in Hindi (the main langua- you talk about a ‘melting pot’—it’s like swiftly over calm water. Fishermen in the ge in Devi’s region) there are two opposed that—or think of how different metals distance thwack the water with long poles, words for the kind of outlaw she became: are blended together at intense heat to driving fish into hidden nets; the sound is

4 IAWM Journal Volume 18, No. 1 2012 unearthly, squeezing the heart. intact; it’s a complex story; it should make (Chinese ocarina). The May 12 perfor- “This may sound overly mystical but, people uncomfortable.” mance is partially funded by a grant from in some way, I think my music emerges “We had difficulty as musicians,” the Middletown Commission on the Arts. from this wide hissing silence. (And the said Joseph Getter, another member of the Wesleyan University has funded another absence of my father from it.) And when Phoolan Devi Opera ensemble and a spe- part of the Phoolan Devi Opera Project— Phoolan Devi speaks of her months of li- cialist in South Indian flute and percussion, an Indian film series running throughout ving alone in the impenetrable Chambal “difficulty finding an ending in Gayathri’s April called “Phoolan Devi and the Roots ravines—saying she was ‘a stone in the music without wrapping things up too of Indian Rage.” William Pinch, Chair of jungle’—just after her bandit lover Vick- neatly.”11 Getter continues: “In classical Wesleyan’s History Department, an expert ram was slaughtered beside her, I try to en- Western dissonance you have a combina- on north Indian outlaws and ascetics, has ter her feelings by merging them with the tion of tones that are unstable and want to helped launch this part of the project. Nili- living emptiness of that Jaffna lagoon.” resolve; Gayathri is different from this be- ta Vachani’s documentary, Eyes of Stone “Gayathri’s music is very hybridized cause she doesn’t feel the need to resolve. (1989), will close the series.12 and so finely blended that one can’t locate She shares this with Debussy. But even if After the Performance origins anymore,” said Banning Eyre, the a piece is unresolved, you still need to find After the May staging, Gayathri guitarist in her current Phoolan Devi Op- an ending.” 10 Khemadasa will return to Sri Lanka to era ensemble and a music critic for NPR. “I felt very much autonomous in her revive her deceased father’s music charity, “Her music has a real emotional core, even ensemble,” said Getter, “you don’t get the Khemadasa Foundation. Gayathri when it’s abstract, minimalist. I love her that kind of experience in Western or In- learned music first from her father, use of dynamics, the way her tempos are dian classical music. But I’ve had it also Premasiri Khemadasa (1937-2008), one of malleable. One of the interesting things in experimental music groups or with Af- the most amazing composers in the history about working with Gayathri is that it’s rican-American blues bands. Gayathri ex- of classical music. Born the thirteenth not about reading scores but about listen- pects each performer to contribute ideas, and final child of a poor village family ing to her and then trying something out. not just solos.” in Sri Lanka, he had no formal musical She uses improvisation as a compositional Phoolan Devi will have its first staged education, no financial support of any kind, technique with the musicians in her en- performance on May 12, 2012 at 8pm in and no history of music in his family. In semble. It’s often commented on that great South Church in Middletown, Connecticut. his early twenties Khemadasa started his composers like Bach and Beethoven were Not all the scenes will be performed, since own small music school in Maradana, a great improvisers. Yet the art of improvi- the opera is still a work in progress, but sets neighborhood in Colombo. He developed sation has been strangely drained out of and costumes designed by Desirée Alvarez, a number of choruses, and instead of Western classical music.” a New York painter and poet, will be fea- working with established talents from the Many musicians mention that it is tured. Jeff Hush will direct the staging and capital’s music schools, he went around hard for Gayathri to keep to a fixed tempo. choreograph with the assistance of Carolyn the island, looking in small villages, for “I’m used to playing solo piano,” she said, Kirsch, a New York dancer and actor from untrained, underprivileged youths whom “in which I play my pieces according to my the original Broadway cast of mood of the moment, improvising, add- A Chorus Line. Darren Large ing variations, slowing down or speeding is producing the opera with up certain passages, emphasizing certain Hush. The ensemble will notes by hitting them harder or by creating feature Anupa Khemadasa, longer silences around them.” Gayathri’s sister, a cellist “The intensity with which Gayathri from Toronto, who is also drives forward her music,” said Eyre, “is helping Joseph Getter, the what excites me most. As the Phoolan Devi Music Director, work with opera grows bigger and more successful, the ensemble and the singers. there will be a lot of pressure put on Gayath- Natalie Plaza, a Venezuelan ri to become more codified and predictable dancer and composer cur- with her music. But I’m sure she’ll stand rently on a Fulbright schol- her ground….If this opera goes all the way arship at Wesleyan, will sing in the world of opera, the more radical and one of the main roles. unconventional Gayathri is, the more it will Other key members of work to her advantage. Anyone who wants the ensemble—who per- to work with her on Phoolan Devi will just formed in Gayathri’s first have to surrender to her terms. This won’t US concert on October 13, be easy. She has an idea that is totally wor- 2011 (at Wesleyan’s Memo- thy of opera, but it isn’t going to fall in line rial Chapel)—are Pete Steele with any opera you’ve ever heard before.” on Balinese drums, Dirck Eyre finishes the thought: “It’s very impor- Westervelt on bass, and Lu- tant for this opera that ambiguity be kept cia de Leon Zamora on xun

Hush: Gayathri Khemadasa and the Phoolan Devi Opera Project 5 he could mold into great singers. And then chorus is an artistic intervention to get peo- Devi, The Bandit Queen (London: George Allen he brought them back to Colombo, taught ple working and thinking together, a means & Unwin, 1984). Published just after Devi en- them and fed them for years, free of charge, toward a shared and open society. Now that tered prison, this book is useful mainly because and watched them grow into Sri Lanka’s the civil war is over, it should be possible it voices the point of view of the Indian police who were chasing her (and some of whom gang top singers. He also started writing film to create a new Sri Lanka, unlimited by po- raped her) and of her upper-caste enemies in the music, and that’s what supported him and litical ideology, unbound by a single ethnic villages. The authors refuse to name their sourc- his family for the next fifty years. Before identity. As Gayathri stresses to interview- es, saying “we have…kept them anonymous for Khemadasa, almost all Sri Lankan film ers, it is important to be “Sri Lankan” and one of two reasons: they fear reprisals from music had been written and performed by not just Tamil or Sinhalese. dacoits [bandits] or, in the case of officials, a rap Indian composers and musicians. NOTES on the knuckles from their superiors.” Phoolan He invented Sri Lankan classical music, 1. Interview with Neely Bruce, February Devi was not interviewed for this book. The on his own, a one-man revolution, blending 28, 2012, Middletown, CT. only book that adds new insights and events to together Western classical forms and har- 2. Philip Glass, Solo Piano (sheet mu- Devi’s life as a bandit is by a woman, Mala Sen, who received materials from Devi “over four monies with Indian ragas, Sri Lankan folk sic) (New York: Dunvagen Music Publishers, years,” her “prison diaries” (xiv, xxiii): Mala melodies and rhythms, and instruments and 1991). 3. She was at the Prague Conservatory Sen, India’s Bandit Queen: The True Story of styles from both Buddhist and Hindu temples. Phoolan Devi (New Delhi: HarperCollins Pub- He fought his whole life against the music from 1999 to 2001. 4. Kataragama Temple is the most sacred lishers, 1993; “revised and updated” version professors who kept telling him that it was Hindu spot in Sri Lanka. It is a pilgrimage cen- of 1991 original). The strangest book about ridiculous and incompetent to blend such ter for Hindus from around the world, especial- Devi—and the only one that informs us about different syles of music. “There are rules,” ly for Tamils. In India the god is known not as her post-prison life as an MP in India’s Parlia- they said, “you can’t make music if you don’t Kataragama but as Murukan or Skanda; he’s a ment—is by an archive restorer at Canterbury follow the rules.” Gayathri recalls that her warrior god, the son of Shiva, brother of Ga- Cathedral. He struck up a correspondence with her while she was in prison; he later visited her father argued with these men all the time in nesh, the elephant-headed god. Murukan rides and stayed a few times in her home in New the newspapers, on radio, on TV: “He made a peacock, has a blood-red complexion, and is often depicted with six heads. He’s especially Delhi: Roy Moxham, Outlaw: India’s Bandit them look ridiculous in public and so they Queen and Me (London: Rider Books, 2010). hated him even more.” As a result, he is not linked to childhood diseases and to controlling demons who either “harass the new-born infant 6. Devi, 270, 259. mentioned in history books, including a book and its mother or…protect them if properly pro- 7. Carmen is a tragic heroine, worthy of about the music of South Asia, published by pitiated.” Fred W. Clothey, The Many Faces of great respect, swollen with dignity, because she Garland in 2000; it includes an entire chapter Murukan: The History and Meaning of a South refuses to play the “love” game, refuses to be on Sri Lankan music and includes not a word Indian God (The Hague: Mouton Publishers, bullied by men. She spits at monogamy and about Premasiri Khemadasa.13 Gayathri plans 1978), 171-183; quote: 172. laughs at death. Carmen is the closest opera heroine to Phoolan Devi, but Carmen made her to ensure that his work is not forgotten. 5. In the English-speaking world, there mark resisting sentimental “love,” while Devi The next phase of the Phoolan Devi are four important books about Phoolan Devi. By far the most beautiful and informative is resisted physical violence and rape. They are Opera Project will be to build a chorus of both women warriors, but for different ages and young, underprivileged singers from all her autobiography: Phoolan Devi (with Marie- Thérèse Cuny and Paul Rambali), The Bandit cultures. over the island to perform the opera nation- Queen of India: An Indian Woman’s Amazing 8. Sen, 25. ally and globally. The chorus will join to- Journey from Peasant to International Legend 9. Vinaya Chaitanya, trans., Songs for Shiva: gether Tamil, Sinhalese and Muslim youths (Guilford, CT: The Lyons Press, 2006). The Vacanas of Akka Mahadevi (California: Altami- in a multi-ethnic community (with English original edition of this book was in French, ra Press, 2005), 5. as the shared language to avoid the current titled Moi, Phoolan Devi, reine des bandits 10. Interview with Banning Eyre, March 6, 2012, Middletown, CT. language polarization of the country). This (Paris: Robert Laffont, 1996). Because Phoolan Devi was illiterate, she told her story in the 11. Interview with Joseph Getter (Ph.D. summer of 1994, just after being released from candidate in Music at Wesleyan University), The Rebecca Clarke eleven years in prison, to Susanna Lea, an edi- March 1, 2012, Middletown, CT. Society News tor for Robert Laffont. Devi spoke through an 12. At Dartmouth she presented her opera interpreter who translated her Bundelkhandi and her ensemble at two of Theodore Levin’s The January issue of the Newsletter of (a Hindi dialect) into English. The recordings “Global Music” classes. Professor Levin, who The Rebecca Clarke Society features were then transcribed, and “the typescript ran to produced the Silk Road Project with Yo-Yo Ma, an interview with Michael Beckerman two thousand pages” (xii). These materials were wrote of these events in a letter dated Feb. 8, 2012: “Student feedback on the presentation discussing Clarke’s Violin Sonata in D then shaped and edited by two French writers, Cuny and Rambali, who eventually returned to was overwhelmingly positive….For students major (ca. 1908-09). (See http://rebec- interested in cultural globalization, Gayathri’s caclarke.org/pdf/jan2012newsletter. India and read them back to Phoolan Devi, who corrected errors and, to signify her approval, own life story illustrates the evolution of a new pdf) You will find audio clips for the “signed her name at the bottom of each page” kind of global composer….Phoolan Devi mer- Clarke examples on this page. The So- (xiii). An autobiography was thus constructed its broad creative, technical, and financial sup- ciety is pleased to announce that the using this unwieldy process. Amazingly, the port, and I offer my strongest endorsement of West Coast premiere of Clarke’s So- poetry of Phoolan Devi’s voice and the force Gayathri and Jeff’s brilliant work.” nata for Viola and Orchestra (orches- of her storytelling remain. The earliest English 13. Alison Arnold, editor, The Garland En- trated by Ruth Lomon) was presented book published about her—and the least use- cyclopedia of World Music: South Asia, vol. 5 (New York: Garland Publishing, 2000). on February 18-19. ful—is by Richard Shears and Isobelle Gidley,

6 IAWM Journal Volume 18, No. 1 2012 Images of Landscape in the Music of Anne Boyd SALLY MACARTHUR

Anne Boyd (b. 1946 in Sydney) is recog- lowing her mother’s death, she attended Beach, north of Sydney (1977-81). Since nized in the public domain as one of Aus- Hornsby High School before enrolling in then, she has held two other prominent tralia’s most distinguished composers. Her the Bachelor of Music degree at Sydney academic positions: founding Head and work belongs in the Western art music tra- University. From 1963 to 1969, she stud- Reader of the Department of Music at the dition and emerges out of the composer’s ied at the University with Peter Sculthorpe, University of Hong Kong (1981-1990); and relationship with the Australian landscape, who introduced her to the music of South- Professor of Music at the University of Syd- the indigenous culture, and the traditional ern and South East Asia. The encounter ney (1990-current), a position to which she music of Southern and South East Asia. Ac- with this music re-enlivened her childhood is the first Australian and the first woman cording to Boyd, she grafts her sense of the landscape-experience, and soon she began to have been appointed. She has achieved physical geography of the region onto that to craft works that broke new ground in what very few women composers managed of her mentor and teacher, Peter Sculthorpe their “sounding of Australian landscape” to achieve in the twentieth century, namely, (b. 1929), who understands that it does not through their embrace of “ancient Japanese the appointment as professor and chair of include China (other than as an influence traditional music.”4 a music department. Following the merg- on Japan) or India. The countries that have er between the Sydney Conservatorium been most influential for Boyd are Japan and the University of Sydney (2005), she – which is significant – Bali and Java, and was appointed Pro Dean (Academic). Her to a much lesser extent but also in the mix, unique and passionate approach to teaching Korea. While Boyd has carved out a niche is vividly captured in the award-winning in the world of music composition for her Connolly/Anderson documentary, Facing distinctive Southern and South East Asian the Music, which also highlights the com- aesthetic, which, in turn, is linked to her poser’s struggle to ensure the survival of interest in Buddhism during the decades of the Sydney University Music Department.7 the 1960s and 70s. Since the early 1990s She is the recipient of three presti- her language has begun to absorb elements gious awards: a Member of the Order of from the Western diatonic tradition. This Australia (AM) for her contribution to mu- shift, as the composer writes, has been a sic as a composer and educator (1996); an gradual process and has “a lot to do with Honorary Doctorate from the University my being embraced by Hildegard along of York (2003); and an award for Distin- with Western modality and Christian influ- guished Services to Australian Music by ences (including hymnody).”1 the Australian Performing Rights Associa- Boyd’s life as a composer began in Anne Boyd tion in conjunction with the Australian Mu- very early childhood. From the age of four, sic Centre (2005). Her music is performed she learned to play the recorder and soon As a student at the University of York to wide critical acclaim and is published composed for it, using a form of graphic no- in England, where she earned a Ph.D. in by Faber Music and the University of York tation. At the time, she was living with rela- composition in 1972, Boyd recalls she had Music Press. Her works appear on a num- tives on a remote sheep station not far from an epiphany involving the Australian land- ber of commercial CD recordings and are Longreach in central, outback Queensland. scape: the score of a “hit tune” of the Japa- regularly broadcast worldwide. From this early childhood experience, the nese court repertory, Etenraku, which was From the above outline of her career, composer’s relationship with the world was hanging on the wall of her study-bedroom, it seems as if Boyd has had an “easy road” forever changed. In subsequent reflections was transformed magically (with Boyd in leading to a highly successful career; what on her childhood, Boyd envisions the land- a self-induced hallucinatory state) into im- it omits are the struggles she has endured, scape as having intimate connections with ages of “country” that she recognized im- including the information that in the early her being: it is bound up with her identity; mediately from her days as a small, lonely days her teacher, Peter Sculthorpe, and col- it becomes a substitute for her mother who child in remote, rural Australia.5 She stated league, Ross Edwards (b. 1943), seemed committed suicide when she was twelve that: “Suddenly the connection between not to have taken her seriously as a com- years of age, leaving her an orphan; and the ‘sacred’ other of Japanese ritual music poser. In an interview, she explained that it gives her a sense of belonging. In 2006, and these vast, flat and often forbidding Sculthorpe and Edwards did not believe Boyd writes that “the landscape of my early spaces that had provided the backdrop for that women could write music. She says childhood…became etched with a kind of my childish imagination, was clear.”6 that they have since changed their views sorrow, but also great beauty.”2 After graduation, she obtained a posi- and are now very supportive of her work.8 Despite the trauma of her childhood, tion as a Lecturer in Music at the Univer- Boyd thinks of her musical evolu- or perhaps because of it, Boyd’s intuitive sity of Sussex in the England (1972-77), tion as having three major periods – early creativity flourished. Music kept her en- followed by a return to Australia for a brief (1964-72), middle (1972-81) and late years tertained through years of loneliness.3 Fol- period as a freelance composer at Pearl (1981 to the present) – with her work cat-

7 egorized into various large-scale (such as this idea are $VLW/HDYHVWKH%HOO(1973), LQVWUXPHQWVDUHXVHGWRVHWXS¿HOGVIRUFHU- orchestral) and small-scale genres (such $QJNOXQJ for solo piano (1974) and $V , tain timbres and techniques, which are then as vocal, chamber and solo instrumental &URVVHG D %ULGJH RI 'UHDPV for twelve transferred to Western instruments. These music). The works that she composed dur- unaccompanied voices (1975). For Boyd, timbres and techniques imbue Boyd’s mu- ing her early and middle periods launched $VLW/HDYHVWKH%HOOLVDVRQLFUHÀHFWLRQ sic with a unique expressive quality. Even her career as a composer. While a doctoral of a gong. She says that its compositional as she moves towards her late years (as she student at the University of York, she was process was imagined as a “whole series of calls them) commencing in 1981, her music noticed by composers of the stature of Har- vibrations [that] seemed to come out of the continues to nod towards Asia and to land- rison Birtwistle (b. 1934) and Morton Feld- gong sound onto paper.”10 See Example 1. scape, but now it also begins to become PDQ ERWKRIZKRPDI¿UPHGKHU The work is scored for piano, two harps, mingled with Medieval music, inspired by distinctive, original voice. In Boyd’s recol- DQG¿YHSHUFXVVLRQLVWVDQGDV%R\GFRQ- the abbess, visionary mystic, poet and mu- OHFWLRQ )HOGPDQ ³ZDV WKH ¿UVW FRPSRVHU tinues: “...it came out as a graphic score, sician, Hildegard of Bingen (1098-1179). to take me seriously….He looked at 7KH mostly blank paper. It was not really a The guiding idea of “Christian Love united 9RLFHRI 3KRHQL[ (1971) and I remember chord but a resonance and I approached it with Buddhist Silence”12 is associated with him saying to me, ‘Hey kid, you’re better and retreated from it using different sonori- this interest in Medieval music, and she than Stockhausen!’ And as a young woman ties from the instruments available. I knew produces compositions such as 5HYHODWLRQV that exaggerated compliment was amazing. this was new music. And it felt to me like RI'LYLQH/RYH(1994), $9LVLRQ-HVXV5H- Because ‘my men’ as I called them, Peter I was almost inventing music again, from DVVXUHV +LV 0RWKHU (1995; 1999), which [Sculthorpe] and Ross [Edwards], hadn’t scratch, from essence.”11 focuses on the intimate spiritual connection thought like that at all.”9 When Boyd returned to Australia in between mother and child; $)HDWKHURQWKH The works from these years are char- 1977 to live at Pearl Beach, she continued %UHDWKRI*RG(2002); /DPHQWRIWKH3LRXV acterized by a meditative quality, which to associate landscape with Asian music, :RPHQRI-HUXVDOHP (2008), commissioned might be attributed to Boyd’s desire to con- which was the impetus for works such as for the “Stations of the Cross” during the nect her music with landscape and to her *ROG¿VK7KURXJK6XPPHU5DLQ (1978) and Pope’s visit to Sydney for World Youth Day Buddhist way of thinking at the time. This 5HG6XQ&KLOO:LQG(1980). Like those of and broadcast worldwide to an audience early music might be described as a weave the earlier period, these works are caught up estimated to exceed 500 million; and &XP of slow moving, sparsely-conceived South with mysticism and Buddhism. Almost all 5H[*ORULDH for the Sydney Chamber Choir East Asian modal melodies and harmonies. of her output has a tendency to resist goal- (2009).13 The sonorities of these works – some of oriented structures by making strong uses A number of Boyd’s works have been which are based on a single note or a single of cyclical forms and heterophonic textures. inspired by three female muses. In addition chord – are thrown dramatically against Boyd responds to the Asian sound-world to Hildegard of Bingen, the writings of a an imagined stark backdrop of silence. in ways that are transformative. The per- Japanese noblewoman, Lady Sarashina (b. Noteworthy among the works captured by formance traditions associated with Asian 1008 CE), stimulated Boyd’s interest in Buddhism and Eastern philosophies during the 1970s, and her most recent music takes its inspiration from the Irish ethnologist, Daisy Bates (1859-1951), known as .DEEDUOL (wise woman) to the Australian indigenous people. Sarashina’s impact on Boyd is apparent in several works from her early and middle years, culminating in 0HGLWDWLRQV RQ D &KLQHVH &KDUDFWHU (1996), and the three

8 IAWM Journal Volume 18, No. 1 2012 9 ing as “mother earth.”14 Despite this, and ters, marked periodically by crushing ma- from the Seraphim Canticles that illustrates Boyd’s recognition that the land provides jor and minor seconds.20 See Example 2. Boyd’s aesthetic shift to diatonicism. Of a form of mother-comfort to the image of From the 1990s onwards, Boyd’s lan- this work she comments: “This is [very] herself as a lonely child,15 she has tended to guage begins to absorb Western modality tonal (the chorale is almost ‘Beethovian’). resist the associations that this might have and diatonicism: modality in works such It is in my mystical vein and at writing I for her gender. She tends not to engage ex- as Revelations of Divine Love (1994) and A felt I was glimpsing Heavenly Seraphims plicitly with the feminist implications of Vision: Jesus Reassures His Mother (1995; whose ‘conversations’ are in the glissandi, her work, yet she readily represents some 1999); and diatonicism in works such as the humming and high harmonics of the strings of the key ideas of ecofeminism in her own oratorio, Dreams of the Earth (1998), which – while the chorale intends to give feeling writing about the landscape. In 2006, she re- is based on the hymn, “All Creatures of our of the warmth and all-embracing notion of marks that she has become “obsessed with God and King,” and the Seraphim Canti- God’s Love – and it is so tonal!”21 listening to the earth – rotate those letters cles for piano trio (2008), which is based on In 2010, Boyd continues with her pre- just once to produce the word ‘heart.’” 16 A “Holy Love.” Example 3 is a short extract occupation with the Western tonal tradi- year later, she expresses a similar idea: [I]t is possible to see something of the significance of music in con- structing an ‘inspirited’ relationship with landscape as part of a possible process of ‘aboriginaliza- tion’ which is slowly affecting all of Australia’s non-indigenous inhabitants. The evident ‘spirituality’ embedded in this music is surely a significant part of establishing a sense of belonging – not only to Australia, but to the earth itself.17 And in an interview in 2011, she states that: “Spirituality has a lot to offer the Australian psyche now…on my personal journey, this is for me the homecoming. This is the point where I reconnect with the mother earth which was the strongest, most bond- ing influence from when I started my journey as a four year old.”18 For the composer, these conceptions of landscape are represented in different ways in her music. In As I Crossed a Bridge of Dreams, the idea of the flat, arid landscape is transformed into a sonic depiction, producing a musical score that for Boyd embodies “the ‘aboriginalisation’ of the Australian unconscious.”19 I suggest that landscape is given expression through the silence which infuses the music. It is the cease- less backdrop into and out of which the three (SATB) choir groups make strategic entrances and exits as they sing musical material built on heterophonic textures and interlocking chords formed from three (Asian) pentatonic modes. Beginning and ending on A-flat, the music behaves like an ever-expanding and contract- ing breathing apparatus, projecting long, slow-moving, static tonal clus- Ex. 2. Anne Boyd, As I Crossed a Bridge of Dreams, mm 1-12 (Faber Music)

10 IAWM Journal Volume 18, No. 1 2012 tion, shifting into territory that grafts West- being are inextricably entwined.23 In Haw- based on the life of Daisy Bates, who lived ern/European diatonic scales and extended thorne’s view – as in Boyd’s – “there is a among the indigenous people on the Nul- instrumental techniques onto her precon- notion of reciprocity which involves re- larbor Plain in a tent at Ooldea, a siding figured landscape metaphor. She says that sponsibilities on both parts.”24 Boyd read- on the Trans-Australian Railway line, from Ganba for baritone saxophone and piano ily acknowledges the “lack of social justice 1919 to 1936. Although a controversial fig- (2010), “as is all my music, is intimately afforded indigenous Australians in our ure – indeed, as Morley suggests, she was bound up with the Australian landscape.”22 colonial and postcolonial history, as well a “a life-long fantasist,” who “created sto- She draws for the inspiration of this work as…an appreciation of the significance of ries about her childhood and adult life that from an Aboriginal legend as told by Daisy Aboriginal worldviews.”25 But, like many were multiple and various… a fabulist, a Bates. It inhabits the same diatonic aesthet- of her “white” Australian counterparts, she trickster and a storyteller”27 – Boyd focus- ic sensibilities as those of her preceding feels strongly that by adopting an anti-as- es on the idea that Bates was a conflicted works that are preoccupied with Christian similationist stance, and when placed side human being and was a “friend” to those influences. by side on an equal footing, indigenous amongst whom she lived and worked. Boyd’s envisioning of the landscape and non-indigenous cultural perspectives In the program note for Ganba, which could be said to resonate with that of in- are mutually enriching.26 This idea leads is conceived both as a stand-alone work digenous conceptions of land, and the idea to the composition of the chamber opera, and as an integral part of the opera, Boyd that, as Hawthorne has observed, land and Kabbarli at Ooldea (2012). The opera is takes up the question of landscape. In the note she re-tells the Aboriginal legend as told by Daisy Bates, explaining that the ganba refers to the “huge snake” (a mani- festation of the rainbow serpent) that lived in the caverns and blowholes that run under the Nullabor Plain, which the Aborigi- nes feared. Boyd writes: My music references this story, re-entering the problematic historical space occupied by Daisy Bates from the perspective of an Australian composer living in the 21st century. This current decade is characterised by a rapidly developing cultural sensitivity and respect for indigenous heritage and cultural property….As such some listeners may find my work controversial – or even offensive – reflecting the top down attitudes of neo-colonialism towards Aus- tralian indigenous communities. Others may find my appropriation of an Aboriginal legend as a way of animating Australian landscape, an unfortunate reflection of the assimilative approach of the Jindyworobaks. But such stories as these are a part of our history, both Black and White and need to be told both ways to effect true reconciliation, an imperative for healthy nation building.28 In my view, it is not the music itself that is controversial. Rather, it is the composer’s involvement with these extra-musical issues – which have been debated long and hard in Australia – that give rise to an underlying verbal program that could be construed as controversial. If we listen to the music itself, we cannot necessarily hear

Macarthur: Images of Landscape in the Music of Anne Boyd 11 composer’s intentions and is a useful starting point for those who wish to engage with Boyd’s music. In the note the composer offers a realistic interpretation of the work, viewing it as a sonic documentary of the narrative events of the legend. She explains how she translated these events into sonic material, stating that the mysterious opening captures the feeling of “the geographical and spiritual landscape”33 and that the opening section establishes “an atmosphere at once physical and spiritual, animating the features of the landscape.”34 While these images that connect the landscape with Boyd’s music are useful in their suggestion of particular modes of listening, they are also limiting. Boyd’s music offers so much more than a mode of listening that relies on a program- matic outline. For each listener, the music offers a different experience and emotional engagement with it. Boyd’s music potentially invites us to partake in new ways of listening. Such listening enables encounters with the music that are dynamic and constantly changing. While the Aus- tralian landscape as a metaphor for the music is important for Boyd, do listeners and analysts hear the landscape in Boyd’s music? Or, do they need to hear the landscape in her music? Does one metaphor aid another metaphor? When such metaphors be- Ex. 3. “Holy Love” from the Seraphim Canticles, mm. 137-148 (University of York Music Press) come established, they begin to lock the landscape being animated according to by music that now leans strongly towards the music into the idea that there is the specificities of the literal account of its Western heritage. And yet, even as the only one correct hearing of the music and the legend recounted in the program note music seems to veer away from Asia, the that hearing should ideally correspond (even though, for Boyd, as we gather from program note has it moving towards the with the hearing of the composer. her note, this idea stimulates her musical sound of Australian indigenous song. The In this article, I have suggested that imagination). For those who know Boyd’s composer explains that the sorrowing la- Boyd’s lifelong fascination with the land- music, this particular work seems to chart ment is constructed of a series of “repeti- scape has had a profound impact on all of new territory in its extensive use of Western tive tumbling phrases of the melodic line… her musical output. Regardless of wheth- tonality in which it sets up the home key placed over and within an F major triad,” er her music draws on South East Asian signature of D-flat major – which for Boyd here also referencing “traditional Aborigi- modes or on the Western tonal systems represents the key of the earth29 – that then nal singing.”31 See Example 4. of modality and diatonicism, landscape is modulates to the relative B-flat minor.30 For Boyd, the haunting melody of the a constant image in the composer’s mind. Although the composer references tonality Lament heard over the F-major triad is a For Boyd, music and image are inextrica- in a number of her earlier works – includ- kind of sorrowing, which, she says, “comes bly linked. She says that as a tertiary stu- ing others not previously mentioned with from deep within my soul and is bound up dent at the University of Sydney, she first reference to tonality such as Grathawai with the condition facing contemporary encountered the music image that satisfied (1993) and Angry Earth (2006) – the Asian non-indigenous Australia coming to terms and resonated with her “personal and cre- aesthetic in these works is clearly discern- with the anguish heaped upon the rightful ative needs for space, silence, yearning, ible. In this latest work, however, the Asian owners of the land.”32 The program note the effect of pain and sorrow conjoined to sonorities seem to have been subsumed is one representation, among many, of the create greater impersonal beauty, a sense

12 IAWM Journal Volume 18, No. 1 2012 of the absolute in the existence of an all- knowing and eternal God, a sense of the aloneness and of impersonality experienced in the vast outback landscape of Australia.”35 These were all qualities, says the composer, she recognized instantly in the traditional court music of Japan.36 Her engagement with the Australian landscape, to borrow Barad’s words, can be understood as “an enlivening and reconfiguring of past and future that is larger than any individual.”37 Boyd’s interactions with the landscape extend the possibilities that are triggered from her childhood memories. Her connections with the landscape are never finished: she never leaves the landscape and it never leaves her. On a final note, it is with an expression of respect and love for the composer’s music that I offer this fairly straightfor- ward reading of Boyd’s contribution to music. My aim has been to introduce her to musicians associated with the Interna- tional Alliance for Women in Music who would otherwise, perhaps, not be familiar with Boyd. I have abandoned my usual approach in this narration, which is to complicate the problem of my own mediating role, working out of Boyd’s music as a positioned, embodied subject, as Morley says, “actively involved in and affected by the…interpretative process.”38 Instead, I have attempted to convey something of the significance of this composer. Above all, I am interested in the transformative effects of her music. Boyd’s music has been transformative for me over many years, and I encourage members of the IAWM to seek it out if they have not done so already. NOTES 1. Anne Boyd, email correspondence with Ex. 4. Lament from Ganba (2010), mm. 67-79 (University of York Music Press, 2011) Sally Macarthur, Sunday 18 March 2012. Used of the Australian landscape and Japanese gaguku 14. See, for example, Mary Daly, Gyn/ with permission. being brought together in a piece she was work- Ecology: The Metaethics of Radical Feminism 2. Anne Boyd, “Dreaming Voices: Austra- ing on called The Voice of the Phoenix,” 80. (Boston: Beacon Press, 1978); Susan Griffin, lia and Japan,” in Sally Macarthur, Bruce Cross- 6. Boyd, “Dreaming Voices,” 10. Woman and Nature: The Roaring Inside Her man and Ronaldo Morelos (eds.), Intercultural 7. Bob Connolly and Robin Anderson, (New York: Harper and Row, 1978); Carolyn Music: Creation and Interpretation (Sydney: Facing the Music (Australia: Ronin Films, Merchant, The Death of Nature: Women, Nature Australian Music Centre, 2006), 10. 2001). and the Scientific Revolution (San Francisco: 3. Rosalind Appleby, “Anne Boyd: b. 8. Boyd, interview with Sally Macarthur, Harper and Row, 1980); Andrée Collard with 1946,” Women of Note: The Rise of Australian 22 January 2011. Used with permission. Joyce Contrucci, Rape of the Wild (London: The Women Composers (Freemantle, WA: Freeman- 9. See Appleby, “Anne Boyd,” 81. Woman’s Press, 1988); Vandana Shiva, Staying tle Press, 2012), 79. 10. Ibid., 82. Alive: Women, Ecology and Development (New 4. Ibid., 80-81. 11. Ibid. Delhi: Kali for Women; London: Zed Books, 5. See Boyd, “Dreaming Voices,” 10. Also 12. Boyd, “Writing the Wrongs? A Com- 1989); Irene Diamond, Fertile Ground: Women, see Rosalind Appleby, “Anne Boyd.” Appleby poser reflects,”Sounds Australian, 67 (2006): 22. Earth and the Limits of Control (Boston: Bea- writes that in 1971, while studying at the Uni- 13. Sally Macarthur, “Boyd, Anne,” in con Press, 1994); Val Plumwood, “Nature, Self, versity of York, “Boyd had a dramatic epiphany Grove Music Online. Oxford Music Online, and Gender: Feminism, Environmental Phi- sparked by a social afternoon tea involving mar- http://www.oxfordmusiconline.com/subscriber/ losophy, and the Critique of Rationalism,” in ijuana-spiked cookies” and that the ensuing hal- article/grove/music/03773 (accessed March 15, Ecological Feminist Philosophies, ed. Karen J. lucination had Boyd visualising “the two strands 2012). Warren (Bloomington and Indianapolis: Indiana

Macarthur: Images of Landscape in the Music of Anne Boyd 13 University Press, 1996), 155-180; Ariel Salleh, 25. Boyd, “To Didj or not to Didj,” 93 ney heavenwards.” Boyd, email correspondence Ecofeminism as Politics: Nature, Marx and 26. Ibid., 110. with Macarthur, 13 March 2012. the Postmodern (London: Zed Books, 1997); 27. Rachel Morley, “Remembering Michael 31. Boyd, “Programme Note: Ganba.” Diane Bell, Ngarrindjeri Wurruwarrin: The Field: Scenes from a Biographical Praxis,” PhD 32. Ibid. World That Is, Was, and Will Be (Melbourne, Thesis, Department of English, Macquarie Uni- 33. Ibid. Australia: Spinifex Press, 1998); and Susan versity, April 2009, 44. 34. Ibid. Hawthorne, Wild Politics (Melbourne, Austra- 28. Boyd, “Programme Note: Ganba.” 35. Boyd, “Writing the Wrongs?” 20. lia: Spinifex Press, 2002). 29. Ibid. 36. Ibid. 15. See, for example, Boyd, “Dreaming 30. It is interesting to note that Boyd’s mu- 37. Karen Barad, Meeting the Universe Voices,” in which she states that: “the landscape sical thinking entails making associations be- Halfway: Quantum physics and the entangle- of my early childhood came to stand in the tween particular keys and their symbolic mean- ment of matter and meaning (Durham and Lon- place of my mother,” 10. ings. In her programme note for the orchestral don: Duke University Press, 2007), ix. 16. Boyd, “Dreaming Voices,” 12. work, Angry Earth (2006), she writes that “as 38. Morley, “Remembering Michael Field,” 3. 17. Boyd, “Landscape, Spirit and Land- I wrote the final passage, which appeared in a Sally Macarthur is a musicologist and keyboard scape: An Australian Story,” in Fiona Richards celebratory D major, I realised with intense joy performer, and holds the position of Senior Lec- (ed.), The Soundscapes of Australia: Music, that in its relationship with the earth, humanity is turer in Musicology at the University of Western Place and Spirituality I (Aldershot, England perhaps to be given another chance.” See Boyd, Sydney. An important strand of her work exem- and Burlington, USA: Ashgate, 2007), 33. “Programme Note: Angry Earth,” 5 February, plified in her recent book, Towards a Twenty- 18. Boyd, interview with Sally Macarthur, 2006. And, in a very recent email communica- First-Century Feminist Politics of Music (Ash- 22 January 2011. tion, she states that “D Major (being a sharp gate, 2010) (reviewed elsewhere in this issue), 19. Boyd, “Dreaming Voices,” 9. For the key) is in my interpretation always associated draws on the work of Deleuze and Guattari to idea of the “aboriginalisation” of the Australian with human Praise (usually of the Almighty). D open up new ways of thinking about the absence unconscious, Boyd draws on David Tacey, The minor is of course different as related to pastoral of women’s music. Other books include Femi- Edge of the Sacred (Sydney: Harper Collins, F Major (therefore of nature, soulful and sor- nist Aesthetics in Music (Greenwood Press, 1998), 138. rowing). D as pure pitch means (to me) DEATH 2002), with co-editors Bruce Crossman and 20. See Sally Macarthur, “A Becoming- (close enough to Earth I suppose – traditionally Ronaldo Morelos; Intercultural Music: Cre- Infinite Cycle in the Music of Anne Boyd,” we become dust, buried in the earth and becom- ation and Interpretation (AMC, 2006); and with Radical Musicology, vol. 3 (2008) http://www. ing therefore at one with our surrounds – flat- co-editor Cate Poynton, Musics and Feminisms radical-musicology.org.uk/2008.htm, par. 33. tening D could represent a final/eternal Being (AMC, 1999). She is published in a number of 21. Ibid. Earthed). But this is just one interpretation. scholarly journals such as Radical Musicology, 22. Anne Boyd, “Programme Note: Ganba Maybe our release through fire could lead in a Cultural Studies Review, Australian Feminist for Baritone Saxophone and Piano,” unpub- more skywards direction (#s) C# Major being Studies and Musicology Australia. Further de- lished, 2011. Used with permission. the extreme (must think more about this) – De- tails about Sally Macarthur are available on 23. Hawthorne, Wild Politics, 184-87. bussy’s final chords in Pelleas as Melisande is her website: www.sallymacarthur.com 24. Ibid., 185. absorbed into the spiritual ether trace this jour- Changing Women: Performers, Patrons and Composers in Renaissance Europe NANCY HADDEN The year 1566 was a momentous one in singer. An anonymous painting portrays three of her own collections of madrigals the history of music, since it marks the her also as a lutenist (figure 1). in 1568, 1570 and 1583, also in Venice; first publication of music by a woman In addition to the madrigals published sixty-six madrigals by her survive. Morir composer. Four madrigals by Maddalena in Scotto’s anthologies, she published non può il mio cuore (published in 1566 Casulana appeared in an anthology, Il De- and again in 1568) offers a good example siderio, published by Scotto in Venice.1 of her style (example 1). The music height- Casulana was born around 1540, settling ens the pathos of the poetry through mild in Venice on and off from about 1560 to chromaticism, imitative entries between 1583. She traveled extensively to Vi- the voices, and repetition of both text and cenza, Perugia, Verona, and other north music. Translation: Italian cities, and she was appointed at My heart cannot die; I would like the royal court in Paris in the 1570s, as 2 to kill it, lady-in-waiting to the Empress. Prior to since that would please you, that, Casulana was in Munich. She took but it cannot be pulled out of your part in wedding celebrations at the court breast, of Albrecht of Bavaria in 1568, where the where it has been dwelling for a music director, Orlando Lassus, conducted long time, a performance of her Nil mage jucundrum and if I killed it, as I wish, during the festivities (the music does not I know that you would die, and I survive but the text, by Nicholas Stopius, Figure 1. Maddalena Casulana, would die too. does).3 She was known to have been a fine anonymous painting, ca. 1580

14 IAWM Journal Volume 18, No. 1 2012 To have composed such fine and accomplished music as Morir, she must have had some training in composition. It is likely that she studied for a time with Philippe de Monte (1521-1603). He was in Munich at the time of her visit there, and he dedicated his Primo libro de madrigali a tre (Gardano, Venice, 1582) to her: “alla virtuosissima Signora, la Si- gnora Madalena Casulana.” She dedicated her madrigal à 3, Stavasi il mio bel sol (Scotto, 1586), to de Monte.4 She also worked with the composer Adrian Willaert in Venice, but nothing more concrete is known about her musical education. Casulana is significant because she is the first-known woman to have openly composed and published her own music. But there is evidence in literature, pictures and historical documents that women were active as poets, singers and writers of monophonic songs in the Middle Ages. Nuns performed within convent walls, and would have had access to musical training there. Most musicians today have heard the music of the most famous musical nun, Hildegard of Bingen. Hildegard, abbess, mystic, herbalist and musician, died in 1179, aged about 80, having lived nearly all her Example 1. Casulana, Morir non può il mio cuore long life as a cloistered nun. often acknowledged; therefore, it is “diffi- song-writer and performer were one and That she wrote down her monophonic plain- cult to weigh the documents attesting to the the same. It is important to remember that chant is a happy accident, and has preserved creativity of a circle of medieval women poetry was intended to be declaimed aloud some remarkable music for us. Other nuns against the powerful silence of contempo- to a musical accompaniment, and also that may have composed monophonic chant rary authors and the paucity of attributions in the oral culture of the Middle Ages the or polyphonic motets, but we have little that seem to deny their very existence.”6 line between composition and performance knowledge of their music. Their authorship Higgins also makes the point that the lack is hard to draw. The performer created her may be hidden—for example, some of the of music by women may be “more appar- songs for immediate hearing; most of the anonymous motets that were written for ent than real” because probably much of it songs were not written down—Tristan’s the Cistercian convent of Las Huelgas, ca. lurks under the name “anonymous.” lover Yseult, for example, when she heard 1300, may be by nuns.5 During the twelfth and thirteenth the [false] news of Tristan’s death, asks During the Middle Ages, secular centuries, at least fourteen women trou- for Brangien to bring Tristan’s harp to her: women also composed and performed their vères are known by name (as against 256 “the queen took the harp, tuning it as best own songs. As Paula Higgins points out, named males). A number of these women’s she could, and began composing a melody the creativity of medieval women was not songs have survived.7 In most cases, poet, for her ‘lai.’ She composed the lyrics in

Hadden: Changing Women: Performers, Patrons and Composers in Renaissance Europe 15 Reason replies: ‘Be- cause, my daughter, the public does not require them to get involved in the affairs which men are commissioned to execute. It is enough for women to perform the usual duties to which they are ordained.’10 The “duties” for which women were ordained were housekeeping, child rear- ing, weaving, spinning, and sewing. During the early Renais- sance, paintings and written documents show that court women were encouraged to sing and play musical instruments. A number of women were venerated as outstanding poets, patrons and performers. But no women were known as composers until Casulana’s music was published. This seemingly paradoxical situation raises some questions, and some answers are suggested in the discussion that follows: *How were women’s musical activities—symbolic and real—portrayed in art, literature and music? *Why were women musicians esteemed and encouraged to perform but not compose? *Which sixteenth-century women were known for their Example 1. Casulana, Morir non può il mio cuore, cont’d outstanding talent, influence a short time, but the melody is harder to had some musical training, courtly women and ability to foster music as compose than the words. She then went were excluded from such education. Lack- performers, poets, patrons? out to the garden to sing it.”8 Yseult was ing training in these subjects, they fell be- *Is it possible to postulate that at least the poet-singer-harpist-song-writer in one, hind in composition. By about 1400 wom- some of these women might have portrayed as having composed her song en appear to have ceased composing. No been trained enough to compose their under inspiration on the spot.9 music by women is preserved again until own music (though unacknowledged The growth of polyphony in the thir- Casulana published her madrigals. at the time), thus paving the way for teenth century changed women’s relation- Instead, women were conditioned later women to be trained and named ship to music. Polyphonic motets were first and trained to accept traditional and lim- as composers in their own right? written and sung by the monks at the Ca- ited roles in the household, as Christine de *What changes occurred which en- thedral of Notre Dame in Paris, and within Pisan somewhat despairingly writes in her abled Maddalena Casulana and oth- a few years, also in England, Ireland, Italy City of Ladies, 1405: ers after her openly to acknowledge and Spain. The composition of polyphony ‘My lady, since women have themselves as composers, and to pub- required a knowledge of music theory, no- minds skilled in conceptualizing lish their music? tation and counterpoint, subjects that were and learning, just like men, why Kimberly Marshall’s study of female taught only in ecclesiastical establishments don’t women learn more?’ musical symbols in the Middle Ages, Musica, and at universities. While nuns may have

16 IAWM Journal Volume 18, No. 1 2012 the Muses, Sappho, St. Cecilia,11 inspired such sung poetry, often improvised to the and children, and all those capacities that me to look for similar portrayals of feminine lute or lira, was to become the main artis- are requisite in a good housewife.”13 musical icons in later sources. I discovered tic medium of the musical humanists in the Women were held to be incessant chat- that there is no shortage of images. Space late fifteenth century. terers. Jean Bouchet (1530, Paris) claimed allows only two here (Figures 2 and 3). Musical skill was an attribute of the that “a woman’s fornication is shown by ideal Renaissance courtier, both male and her gaze held high and her mouth speak- female. The notion of music as an accept- ing incessantly.”14 So it is hardly surprising able pastime for women was encouraged that writers of conduct books advised that a in courtly literature and civility books. But good woman should speak as little as pos- the operative word is “pastime”; at no time sible. Castiglione states that the ideal court were courtly women engaged in profession- lady must entertain with her appearance al music-making. Those who did perform at and her speech, but she must control her- court held titles as “ladies-in-waiting.” For self, only speak when spoken to and never women, “music was entangled in the nexus too much. of ideas about their status and the nature of It occurs to me that the Renaissance their sex.”12 To illustrate this statement by solution to men’s notion that women talked Jeanice Brooks, I have chosen a seeming- too much and should be controlled was in ly innocent painting of female musicians allowing women to speak through music (Figure 4), the symbols of which may of- and song. They could then be flirtatious, fer some further food for thought about this sexy, ornamental, inspirational and beau- entanglement, and which may shed light on the reasons women were not allowed to be Figure 2. Frau Musica, Lucas Cranach, 1529 seen to compose music. Three young courtly women perform Cranach’s picture depicts Frau Mu- together with voice, flute and lute. The sica singing to her lute, in the same guise flute (itself a phallic symbol in early art) as the medieval poet-singer-improviser and the lute are beautifully and accurately Yseult. An important feature here is that painted, as are the words and music in the she is surrounded by instruments used to song-book lying on the table, Claudin de play polyphonic music, among them the Sermisy’s chanson Jouyssance vous don- viol and a case of flutes or recorders. These neray. The text means “I will give you are consort instruments that are associated joy: jouyssance,” which conveyed a sexual with secular music making and with read- meaning not lost on Renaissance viewers ing music from part books. and still current in French slang today: Sappho was a Greek classical writer jouir. The portrayal of these young women of love poetry. Here she is portrayed along as demure musicians gives away none of with a pair of lovers in the doorway, sur- the passion or sexual symbolism that the rounded by her books of poetry on the table music and instruments suggest. But I sug- and lectern. She is singing and accompany- gest that this portrays the paradox to which ing herself on the lute, reminding us that Brooks alluded, that women were desir- poetry was not declaimed by speech alone, able and revered as sexual beings, but that Figure 4. Jouyssance vous donneray, but with song. This important concept was they were required to maintain behavior Master of the Half-Lengths, ca. 1520 believed to originate with the Greeks, and which kept them aloof, modest and unat- tiful, but their speech was limited by and tainable. And I further suggest that music enclosed in song, and music and poetry performance was the perfect medium for served to keep them remote from their male court women to display this paradoxical listeners and admirers. Castiglione remarks situation safely. To illustrate, let me turn to that women should perform their music some sixteenth-century writers on conduct. with modesty and simplicity: As we have already learned from [S]he should not sing and dance Christine de Pisan, women were held to more elegantly than necessary, be intellectually weak, and in no need of and take care that she sings and education. Baldassare Castiglione, in his plays with a soft delicacy which manual of civility and courtly behavior, becomes her. When she sings or The Book of the Courtier (1507), writes in plays, I do not wish to hear fast a similar vein about a woman’s place, with repeated notes and elaborate dim- genuine approbation: “a woman should inutions, that show more art than Figure 3. Sappho, Boccaccio, have tenderness, discretion, and the ability grace, and likewise the instru- Famous Women, 1497 to manage her husband’s property, house ments she plays ought to be ap-

Hadden: Changing Women: Performers, Patrons and Composers in Renaissance Europe 17 propriate—imagine how unlovely it would be to see a woman play drums, fifes, or trumpets.15 The “fast repeated notes and elaborate divisions” which Castiglione mentions were musical skills in the domain of trained professionals—100% of whom were men. The instruments “appropriate” for women were lute, viol, and keyboard, in other words, soft instruments which could accompany sing- Figure 6. Anonymous setting of Isabella’s poem, Arboro son ing. Musical performance by women (Modena, Biblioteca Estense, Ms. a.F.9.9., fol. 54’-55) was restricted to private, small gather- prided herself as a singer and player of lute, a polished piece of polyphony out of her ings. They never performed in public or in keyboard and viol. She wrote poetry, which improvisation. Thus we might imagine that church, of course, and could not be seen to she sang to her own accompaniment, and Isabella’s sponsorship of court composers compose either, an activity that was solely fancied herself as a modern-day Sappho, an and musical evenings went beyond the role in the hands of professional men. In spite image she fostered by commissioning her of patron and performer, and that she col- of this, some women did become well- court painter, Lorenzo Costa, to produce laborated in the compositional process. known and highly regarded for their musi- his Garden of the Peaceful Arts (Allegory Isabella d’Este was not alone in her cal abilities. of the Court of Isabella d’Este, 1504-06).16 love and fostering of music. Dozens of Isabella d’Este (1474-1539), Duch- The painting represents the arts flourishing other creative and musical courtly women ess of Mantua and Ferrara, was one of the in a beautiful garden inhabited by Cupid in the sixteenth century are known to have most accomplished female musicians of and Apollo, and presided over by Isabella, fostered and participated in music, and to her time. She fostered music at the court as while Sappho herself, identifiable through have been taught the art and skills of mu- a patron and employer of many musicians, her antique Greek attire and ancient-look- sic by their court composers. Some of the among them Johannes Martini, Marchetto ing lyre, sings and plays beside her. most important include Mary of Hungary, Cara and Bartolomeo Tromboncino. She Music in Isabella’s studiolo includ- Anne of Brittany, Marguerite of Austria, was one of the honored guests portrayed in ed poetic recitations and also the newly Beatrice of Aragon, Henry VIII’s unfortu- Castiglione’s book. Titian, among others, emerging “frottole,” polyphonic songs for nate wife Anne Boleyn, and her daughter, painted her portrait (See Figure 5). three or four voices, many of which were Queen Elizabeth I. All of these women set in a quasi-improvisational style by court were accomplished singers, dancers, and composers Marchetto Cara and Bartolo- instrumentalists, and some were probably meo Tromboncino. One piece germane to composers, too. my discussion is an “anonymous” setting The musical activities of Marguerite of Isabella’s poem Arboro son, preserved of Austria (1480-1530) are particularly in a beautifully decorated manuscript com- well-documented. Marguerite was highly missioned for Isabella’s library (Figure 6). cultured and trained in music, poetry and The music is in four parts, presented in the arts. She presided over three different part-book layout, so that all four parts are courts: in Spain, as wife of Juan of Castile visible on the same opening. (1497-1500); in Savoy, as wife of Philibert The music is written in the quasi-im- II (1501-1504); and finally as Regent of the provisational style I mentioned above, in Netherlands from 1507 until her death in which each phrase is set homophonically 1530. Two sumptuous music manuscripts and ends with a fermata, so that the perfor- (B-Br Ms. 228 and B-Br 11239) were com- mance is somewhat free, and the soprano missioned by Marguerite at the court of line lends itself to embellishment. Isabella Burgundy; Ms. 228 contains two musical records having sung Arboro son to her own settings of her own poems: Pour ung ja- lute accompaniment, but it is also known mais, attributed to Pierre de la Rue, and Figure 5. Isabella d’Este, Titian that she requested Tromboncino to set it to an anonymous setting of her poem, Se je music. It is most likely Tromboncino’s set- souspire et plaingz, commemorating the Isabella ran her court at Mantua ex- ting that is preserved anonymously in the death of her brother Philip. Martin Picker, actly along the dictates required by courtly manuscript. Or is it? It could very well be the modern editor of both manuscripts, be- etiquette. She held musical gatherings each that in its written form it preserves the es- lieves that not only the poetry but also the evening in her private studiolo at the Man- sence of Isabella’s own song, but because music for these pieces may have originated tua palace, a small intimate room where her she was unable—or unwilling—to be seen from her pen.17 Like Isabella, Marguerite closest musical friends played and sang for to compose, she turned it over to Tromb- was highly trained and gifted enough to each other. She was highly trained in mu- oncino to construct inner parts and make have composed the music, perhaps with sic by the composer Johannes Martini, and

18 IAWM Journal Volume 18, No. 1 2012 the help of her favorite composer and be- who as a young singer was a frequent 4. Modern edition in Beatrice Pescerelli, loved teacher, Pierre de la Rue. guest at Polissena’s salon. Casulana’s ed., I madrigal di Maddalena Casulana (Flor- To end my discussion, I shall return to madrigal, Viv’ ardour, viva fiamma, extols ence, 1979), 100-102. Maddalena Casulana to try to answer the Polissena, ending with the words “PU- 5. See G. A. Anderson, ed., The Las Huel- gas Manuscript, CMM 79 (Rome, 1982). final question I posed earlier in this essay: LISENA gentil SALON cortese” (the kind 21 6. Paula Higgins, “The ‘Other Minervas,’” “What changes enabled women like Ca- and courteous Salon of Polissena). Wil- Rediscovering the Muses, ed. Kimberly Mar- sulana to become acknowledged as com- laert’s expressive and passionate madrigal shall (Boston, 1993), 175. posers?” I think that one place to look for to Polissena, Qual dolcezza giammai is an 7. A excellent full study of these songs, in- the answer is beyond the court setting, to a eloquent portrayal of the power of Polis- cluding modern editions of a selection of them, place where life was more freely lived— sena’s musicianship and conveys a sense is Eglal Doss-Quinby, Joan Tasker Grimbert, such a place was Venice, home of Casulana of how deeply she was admired.22 Wendy Pfeffer, Elizabeth Aubrey, eds., Songs of herself, and where Academies of Music I believe that the activities of the Vene- the Women Trouvères (New Haven and London, fostered performances by many “prima tian Academies and the participation there 2001). See also Maria Coldwell, “Jougleresses and Trobairitz: Secular Musicians in Medi- donna” singers and instrumentalists. of women such as Polissena and Casulana eval France,” Women Making Music, eds. Jane The musical life of Venice was highly went some way towards changing the sta- Bowers and Judith Tick (Urbana and Chicago, charged and exceptionally creative in the tus of female musicians, clearing the way 1986). sixteenth century. The church of San Marco for them to perform and compose openly 8. Quoted in Songs of the Women Trou- attracted the best composers and perform- and professionally by the early years of the vères, 15-16. ers. Precisely because Venice held no court seventeenth century. The text of Willaert’s 9. Yseult’s lai is preserved in Vienna, at its center, but was a free city-state, the cul- Qual dolcezza giammai is perhaps a fitting Nationalbibliothek, Cod. 2542, see Tatiana tural elite could run their private households way of ending this discussion, as it may Fotitch and Ruth Steiner, eds., “Les lais du with relative freedom. Martha Feldman also be read as a tribute to all the musical Roman de Tristan en prose d’après le manuscript de Vienne 2542,” Münchener romanistische brilliantly documents the musical life in women I have mentioned, and the many 23 Arbeiten, 38. the city-state of Venice, and particularly the more who remain “anonymous.” 10. Quoted in Kimberly Marshall, “Sym- 18 activities of the musical academies. These As much as the sweetness bols, Performers, and Sponsors: Female Musi- academies were sponsored by wealthy and Of the Siren’s song ever cal Creators in the Late Middle Ages,” Redis- cultivated merchants, where performers, Rapt the senses and the soul of the covering the Muses, ed. Kimberly Marshall (Boston, 1993), 141. scholars and composers met to discuss and listener, hear music, and where women held “star” 11. Marshall, “Symbols, Performers, and No less than that does the beauti- Sponsors.” status as singers. For some of these women, ful PECORINA their fame as gifted and expressive musi- 12. Brooks, Courtly Song, 191. Stir the heart with her 13. Baldassare Castiglione, The Book of cians went far beyond the city. Angelic and divine voice. the Courtier, trans. Leonard Opdycke (Ware, Of the numerous singers and acad- At the sweet harmony the air be- 2000), 167. emies that Feldman discusses, certainly comes 14. Quoted in Brooks, 192. one of the most sophisticated was the Serene, the sea calms, the wind 15. Castiglione, 169. academy established around 1540 by the turns quiet, 16. Costa’s painting is reproduced in Ali- 19 son Cole, Art of the Italian Renaissance Courts wealthy banker, Neri Capponi. It was led And the heavens rejoice from by the illustrious composer and maestro (London, 1995), 168-69. sphere to sphere 17. For a discussion of her court and these di cappella of San Marco, Adrian Willaert The holy angels, intent, (1490-1562). It was also graced by the per- manuscripts, see Martin Picker, “The Habsburg Bow their lovely faces earthward, Courts, 1477-1530,” Man and Music: The Re- formances of the acclaimed soprano, Polis- Forgetting every pleasure of Para- naissance, ed. Iain Fenlon (London, 1989), sena Pecorina, to whom Willaert dedicated dise. 225-31; and Picker, ed., The Chansons Albums his large collection of madrigals and mo- And she, so honored, of Marguerite of Austria (Berkeley, 1965). Fac- tets, Musica Nova, published in 1559 (but Says with a happy sound, “Here similes of B-Br 11239 and B-Br 228 are pub- likely composed earlier). reigns Love.” lished by Alamire (Peer, 1984 and 1986, respec- It was said of Polissena that she could tively). “sing to the lute and by the book equally NOTES 18. For an illuminating discussion of the 1. The madrigals are Vedesti amor giammai well.”20 This is a statement of some signifi- Venetian Academies, see Martha Feldman, City di si bele sole, Sculpio ne l’alm’amore, Morir cance, distinguishing as it does between Culture and the Madrigal at Venice (Berkeley, non puo il mio core, Se scor si ved’il lacci’a 1995). the performance of solo poetic recitations, cui dianz’io. Another madrigal was printed by 19. Feldman, City Culture, 24. which were improvised, and polyphonic Scotto in 1567: Amorosette fiore. For further 20. Feldman, City Culture, 34. music, which was read from part books— discussion of these collections, along with edi- 21. The madrigal is printed in Beatrice precisely such as those of Willaert’s Mu- tions of some of Casulana’s music, see Beatrice Pescerelli, ed., I madrigal di Maddalena Casu- sica Nova. It means that she was trained Pescerelli, ed., I madrigal di Maddalena Casu- lana (Florence, 1979), 79-81. not only to sing but also to read music. lana (Florence, 1979). 22. The music was published in 1538 and Madrigals and chansons were written 2. See Jeanice Brooks, Courtly Song (Chi- 1540; see RISM [ca. 1538]/20, no. 1, and RISM cago and London, 2000), 201-02. in Polissena’s honor by Arcadelt, Strozzi, 1540/18, no. 1. A modern edition is in Willaert: 3. Cited in “Casulana,” Grove Music On- Varchi, Willaert, and Casulana herself, Opera omnia, eds. H. Zenck and W. Gersten- line, ed. Deane Root. berg, CMM iii, vol. 14 (Rome, 1950), 65-70.

Hadden: Changing Women: Performers, Patrons and Composers in Renaissance Europe 19 23. Qual dolcezza giamai/ Di canto di Dr. Nancy Hadden performs across the USA, Guildhall School of Music for twenty years and Sirena/ Involò I sensi e l’alm’a chi l’udiro,/ Europe and the Far East as a specialist on Re- now teaches at Strasbourg Conservatoire. Her Che di quella non sia minor assai/ Che con la naissance and Baroque flutes. Born in Colum- articles on historical flute playing are published voce angelica e divina/ Desta nei cor la bella bus, Ohio, she has been based in London, UK, by Cambridge, Ashgate, STIMU and in many PECORINA./ A la dolce armonia si fa ser- since 1979. Reviving the repertoire and playing scholarly journals. She received an AHRC Fel- ena/ L’aria, s’acqueta il mar, taccion’I venti,/ techniques of the Renaissance flute has been lowship for research in the creative and per- E si rallegra il ciel di gir’in giro./ I santi an- a major achievement, and led to her ground- forming arts, and is an Honorary Fellow at geli intenti/ Chinand’in questa part’il vago breaking first recording in 1988, Flute Music Southampton University. Nancy Hadden also viso,/ S’oblian’ogni piacer del paradise./ Et of the 16th and 17th Centuries (Hyperion). She sings and conducts the women’s choir, Psallite, ella in tant’honore/ Dice con lieto suon’ qui has made over 30 recordings, several winning which performed for the 2011 IAWM Congress. regn’Amore. Translated in Feldman, City Cul- Gramophone “record of the year” nominations For more information, please visit her Website ture, 34-35. and “critic’s choice” awards. She taught at the at www.nancyhadden.co.uk. In Search of the White Raven: Ruth Shaw Wylie and Her Music DEBORAH HAYES Ten years ago, at the request of her devot- her undergraduate degree and a master’s de- shire. In the 1960s she founded the Wayne ed nephew, I set out to write a book about gree in music composition at Wayne State State University Improvisation Chamber the distinguished American composer and University. In 1939 she entered the PhD Ensemble; she devised performance charts music educator, Ruth Shaw Wylie (1916- program in music composition at the East- and played piano and flute in the group. She 1989). Her years as a university profes- man School of Music, where she studied continued to count her work with group im- sor of composition and music theory were with Howard Hanson and Bernard Rogers. provisation as among her most significant spent in Detroit, Michigan. I met her later, Graduating in 1943, she was probably the contributions to music and teaching. in the 1980s, after she had retired from first woman at Eastman to earn the compo- In 1969, at about the time she turned teaching and moved to Colorado. I knew sition PhD, perhaps the first women in the fifty-three, she retired from Wayne State as some of her music and published writings. US to do so. She took a position teaching professor emerita and moved west to the She had given me a copy of her résumé, at the University of Missouri, where she Rocky Mountains to compose full-time and including the list of her works. I had kept stayed for six years. In the summer of 1947 to enjoy nature and wilderness. She com- our correspondence. I could draw upon she was one of only sixteen young composed a number of memorable works; most the 1985 interview published in the AWC posers accepted into the summer session of her compositional prizes and commis- News/Forum, “Ruth Shaw Wylie: A Musi- sions in fact date from her post-retirement cal Consolidator,” which includes a brief years. She settled first in Salt Lake City, professional biography and list of works.1 Utah, and then moved in 1973 to the town My plan seemed simple. I would expand of Estes Park, Colorado, just outside Rocky upon the basic information by examining Mountain National Park. She loved hiking her professional development in the con- and skiing in the wild and serenely quiet text of historical events and institutions high country; she also enjoyed chess, bowl- that influenced her work. ing, golf, sledding, bicycling, and water- Carrying out the plan, however, was color painting. not so simple. Historical information was A Colorado Composer more readily available than further infor- I met Ruth Wylie in 1981, through mu- mation about Ruth Wylie. Five frustrating tual colleagues, and over the next few years years passed before I had access to such she graciously accepted my annual invita- indispensable materials as her concert pro- tions to make the half-hour drive from Es- grams and press clippings. But historical tes Park down to the University of Colo- context—events, institutions, time, and Ruth Shaw Wylie rado at Boulder to speak to my classes in place—determined much about her personal the history of women in music. She talked record of professional achievement. Wylie at the Berkshire (now Tanglewood) Music to us about her music, played recordings, knew music history and she contemplated Center in western Massachusetts, where and described how she planned and charted her place in history. She pondered how to she worked with Arthur Honegger, Samuel a piece. The students responded warmly to maintain her personal aesthetic while con- Barber, and Aaron Copland. Wylie’s obvious passion for her work and tributing to what she saw as music’s stylistic In 1949 she returned to Detroit to teach to her sense of wonder at the infinite pos- evolution. Through her music and her teach- composition and music theory at her alma sibilities of musical creation. Perhaps being she clearly contributed to the remark- mater; for the last eleven of her twenty years cause the school’s curriculum, except for able development of American music in the at Wayne State she was head of composi- my class, was exclusively about men com- middle decades of the twentieth century. tion. In the 1950s she held a residency at posers, the students were thrilled to meet a An American Composer the Huntington Hartford Foundation Artists’ woman composer—and professor of com- Born in Cincinnati, Ohio, Wylie grew Colony in California, and two fellowships position, of all things!—in person. up in Detroit, Michigan, where she earned at the MacDowell Colony in New Hamp-

20 IAWM Journal Volume 18, No. 1 2012 One of the graduate students, a pianist, loveliness, in spite of “the seeming deter- some historian and writer friends to read was particularly inspired by Wylie’s presen- mination of mankind to seek and destroy” the latest draft and suggest improvements. tation and began performing her music in the world’s precious beauty. Like most of These readers pointed out that, because recitals; she also organized concerts of Wy- Wylie’s later music, the piece is in what she details of Wylie’s earlier career were lie’s music featuring other students and pro- termed “continuous form,” which results missing, my manuscript depicted a fessional musicians in the Denver-Boulder from “continuous development” or “devel- composer whose career was unremarkable area. She conducted several interviews with opment in loops.” She begins with a gen- until she retired and reached the wilds of Wylie and wrote two doctoral research pa- erating idea or “matrix”3 and explores its Colorado, where it blossomed! As unlikely pers, one of them a discussion of the influ- possibilities in a certain direction. Then she as that story seemed, it was all I had, and ence of gender issues upon Wylie’s career, refers back to the matrix in some way and it was time to find a publisher. I asked and the other an explanation of how to in- explores its possibilities in another direc- her nephew to send me a photo or two terpret the graphic score of Mandala (1978) tion. Here the principal matrix is the “white as a final touch, and he promised to look for solo piano. Mandala is presented on one raven” motive of two four-note chords; its through the Estes Park house (bequeathed large page almost two feet (60 centimeters) appearances in various guises suggest fleet- to him by his aunt) for something suitable. high and almost as wide; it is reproduced in ing glimpses of loveliness. Ominous bass- Imagine my surprise when, a few weeks reduced size on the cover of the 1985 AWC register rumblings depict “destructive forc- later, he reported finding “behind the News/Forum issue cited earlier. Mandala es,” and lyric sections represent the “thirst furnace” several boxes of programs, press features thirty-six short musical segments for glimpses of the white raven.” clippings, unpublished essays, photos, and framed in circles of varying sizes and placed In the 1985 interview in the AWC correspondence, collected since the 1930s! symmetrically within one large circle, the News/Forum, published during this produc- I drove to Estes Park, he piled the boxes “mandala” of the title. The pianist decides tive period when she enjoyed a revival of into my car, and I returned to Boulder. He in what order to play the segments. interest in her work, Wylie summarizes her also convinced the pianist who interviewed The university music librarian asked artistic aims during a long career: “I think Wylie in 1986 for her doctoral research Wylie to recommend her “best” works, of myself as a consolidator. That is, I try to loan me her transcripts. Along with playable by our students, and he purchased to study and evaluate all the new musical the transcripts came another unexpected about two dozen titles for the library. She trends as they arise—twelve-tone, electron- treasure trove: many pages of Wylie’s was pleased to have some of her music ic, aleatory, computer, tonal modifications, analytical notes about her stylistic “near the mountains in my adopted state” microtones, whatever. Then I may use, at development, which she had written and of Colorado. I reported on the library’s least to a limited extent, what in all of these assembled just for the student. Most of the Ruth Shaw Wylie collection in the fall 1983 trends I find to be aesthetically sound and contents of these notes had not surfaced in newsletter of the Sonneck Society (now So- creatively honest. I am rarely, if ever, inter- the DMA research papers. ciety for American Music). Wylie enjoyed ested in being enigmatic or esoteric.” Besides supplying missing informa- the results. “Several of my friends from Finishing the Story tion, the new materials revealed the sig- earlier times and from out of state have sent In 2002, when I set about writing a book nificance of information already at hand. I me copies of the article with complimen- about Wylie’s life and works, I realized I had to re-think everything. A new picture tary comments,” she wrote to me. “For a knew little about her years as an academic emerged of a beloved teacher and success- small and gratifying interval of time I felt a in Missouri and Michigan. I was able to ful composer who won the recognition and little more important than usual.” locate some of her former students and col- support of Detroit musicians and critics, In 1983 Wylie completed The White leagues at Wayne State, and I followed up performed widely with her improvisation Raven for solo piano, which won the Inter- on leads. Her sister had carefully preserved ensemble, and participated actively in a American Award of Sigma Alpha Iota Mu- the original manuscript scores, parts, and number of midwestern musical events. De- sic Fraternity for Women. The score was sketches from the 1940s on,4 but no other troit in Wylie’s day was a prosperous city published by C.F. Peters in 1983, and ex- documentation of Wylie’s earlier life could of about two million people, with a thriv- cerpts are reproduced on the cover of the be located. I knew her Psychogram (1968) ing automobile industry. Here, as through- winter 1984 issue of the SAI journal, Pan for piano, which she described (in the liner out the United States, the arts and educa- Pipes; ten years later a performance was tion benefited from continued post-war 2 notes for the CRI recording) as “a profile issued on compact disc. In The White Ra- in music of her psychological states” dur- prosperity. In the 1950s and 1960s, Wylie ven, as in many of Wylie’s Colorado works, ing her last year at Wayne State—“a year and other composers at colleges and uni- she expresses her conservationist ethic and of bitterness, frustration, sadness and in- versities in Michigan, Missouri, Kansas, concern for environmental preservation, tense angers, along with her desperate at- Illinois, Wisconsin, Ohio, and throughout along with aesthetic yearning. In her pro- tempts to maintain an outward semblance the heartland participated in the University gram note, she cites William James’ remark of equilibrium and composure.”5 Were all Composers Exchange; the organization’s that, though history has taught us that all of her years as a professor just as painful, annual festivals featured increasingly elab- crows are black, still we must assume that I wondered? Why did she not save concert orate programs of members’ work, along one crow might be white. For Wylie, the programs, reviews, correspondence, or with panel discussions and tours of music white raven symbolizes rare and unattain- anything but her scores? facilities. The history of the UCE remains able beauty and reminds us that we contin- By about 2007 my manuscript had to be written, along with biographies of its ue to look for such apparently nonexistent undergone several revisions, and I asked many extraordinary members.

Hayes: In Search of the White Raven: Ruth Shaw Wylie and Her Music 21 Sonata for Viola and Piano sonance-dissonance values of each large and issued on compact disc.8 (The piece Wylie’s 1985 self-description as a sonority, as well as each smaller sonority inspired the composer’s nephew, a phy- musical consolidator may be seen as rep- within the individual planes, can be clear- sician by training, to learn to play the resenting the third phase of the traditional ly discerned and controlled.”6 She also viola.) About twenty-three minutes long, three phases of an artist’s development: an sought ways to achieve rhythmic freedom the sonata has a deeply expressive, rhap- early phase of imitating models, a middle and invention. In a 1946 paper, she wrote sodic quality while maintaining a neoclas- phase of personal innovation and experi- that rhythmic concepts found principally sical orientation in its three-movement mentation (Mandala), and a mature phase in Gregorian chant, isorhythmic motets structure (fast-slow-fast), chromatically of consolidation (The White Raven). The of the fourteenth century, and the asym- inflected tonalities, and strong rhythmic Sonata for Viola and Piano is a particu- metrical prose rhythms of the sixteenth drive. While the structure is derived from larly compelling work from the early century “can have a most beneficial effect classical concepts—sonata-allegro in the phase. Like many of her contemporaries, in freeing music from the tyrannical nine- first movement, ABA in the second, and Wylie found her initial inspiration in the teenth-century bar line and in devoting a rondo in the third—Wylie’s impulse is to music of Bartók, Prokofiev, Hindemith, more tender care to the agogic accent in integrate sections, avoid exact repetition and Stravinsky. Through the 1940s and relation to the dynamic stress accent.”7 of material, substitute continuity for con- 1950s her works reflect the prevailing She wrote the three-movement So- trast, and transform an idea with its every American neoclassicism in their sectional nata for Viola and Piano while in resi- appearance. Development is not confined forms, linear procedures, and classical ti- dence at the Huntington Hartford Colony. to one section but is interwoven through- tles. Searching for her own compositional A major addition to the viola repertoire, out. In the 1980s she realized that “I was voice, she explored chromatic harmony the sonata was premiered in California all the while evolving what finally turned and expanded tonality, and devised what and had many performances in the De- out to be” the continuous form of the later she called “planal” writing, combining troit area and at UCE festivals and other works. planal (parallel) intervals to create dis- new-music events in Michigan, Kansas, The sonata’s first movement, Allegro tinctive harmony and counterpoint. “Con- and elsewhere; it was recently recorded moderato, is marked “Vigorously” and begins forte (example 1). Intervals of the fourth and fifth are predomi- nant melodically in the bass line and harmonically in the right-hand chords, in somewhat Hindemithian constructions. The viola’s melody ris- es gradually from the instrument’s lowest open string. In the slower middle section, “Very free,” the opening chords are transformed into soft piano arpeggios; viola and piano explore higher registers. Elements of the opening piano and viola motives return to introduce subsequent sections. The second movement, Ada- gio, is marked “Recitative” (for Example 1 Wylie: Sonata for Viola and Piano, I, mm. 1–12 viola) and “Very

22 IAWM Journal Volume 18, No. 1 2012 Wylie herself understood, her status was related to style, geography, and gender. As a university composer and teacher, she developed a progressive, modernist voice. Audiences at university concerts, festivals of new music, composers’ fo- rums, and the like ap- preciated her music, but the wider public was (is) more conser- vative in its taste. Geography is another factor. In 1962 Wylie wrote, “All good and worthy creative acts do not take place in New York City, although Example 2 Wylie: Sonata for Viola and Piano, II, mm. 1–9 most good and wor- freely” (example 2). In the middle sec- Excellence and Recognition thy rewards for cre- tion, agitato, the viola develops a small While the United States has been ative acts do emanate from there; and if we motive from the opening melody. home to a great number of composers of can’t all be on hand to reap these enticing The turbulent final movement, Alle- considerable influence, comparatively few rewards we can take solace in the fact that gro feroce, in 6/8 meter, is a rondo in a are universally recognized. Ruth Wylie at- we are performing good deeds elsewhere.” loose A1-B1-A2-B2-A3 form. The “fero- tracted regional attention in the midwest- Indeed, among her American contempo- cious” (feroce) main section (A), forte and ern US, principally in Michigan and later raries, the best known today are largely fortissimo (example 3), alternates with a in Colorado, but not much national recog- those who worked in New York City, at Ivy slower, quieter one (B), each undergoing nition, let alone international acclaim. As League schools, or elsewhere in the east- continuous development. Mixed meters, cross- rhythms, and beaming across beats and across bar lines—devices Wylie employs in her neoclassical works to heighten rhythmic freedom and complexity— are particularly evident in this example. Toward the end of the last section (tempo primo, fortississimo, agitato), the music increases in speed and volume to ar- rive at its rousing conclusion. Example 3 Wylie: Sonata for Viola and Piano, III, mm. 1–10

Hayes: In Search of the White Raven: Ruth Shaw Wylie and Her Music 23 ern United States—Vincent Persichetti, competitive by nature and won many 4. This material is held in the Ruth Shaw George Perle, Milton Babbitt, Ulysses awards and commissions, she was not es- Wylie Collection in the Oviatt Library, Califor- Kay, George Rochberg, David Diamond, pecially skilled at self-promotion and en- nia State University at Northridge, a gift to the Milton Babbitt. Her midwestern contem- listing good performers; too often she en- library from the composer’s sister. 5. Rosemary Catanese, piano, American poraries, considerably less celebrated, in- dured renditions by inexperienced players Contemporary Instrumental Music, 12-in. LP clude Joseph Wood, Scott Huston, James and students for whom twentieth-century disc, CRI SD 353 (1976); reissued on compact Ming, Gordon Binkerd, Robert Kelly, modernism was a challenge. Fortunately, disc CRI SD 353-P, and on Goldman/Persichet- Merrill Ellis, James Niblock, and Cecil Wylie’s music has also had performances ti/Wylie, compact disc and MP3 file, New World Effinger. by new-music specialists that reveal her Records NWCRL353 (2010), http://www.new- Finally, as a woman, Wylie was as- skill and sensitivity. Like other successful worldrecords.org/album.cgi?rm=view&album_ sumed to be of inferior ability in some artists, she persisted in spite of disappoint- id=87200. Also recorded by Barry David Sal- professional situations. She had to over- ment. Her story, like her music, is inspiring wen, piano, Frank Retzel / Ruth Shaw Wylie, come that psychological obstacle, as did and enlightening. It also reveals more of compact disc, Opus One CD 165. 1994. Psy- chogram score: King’s Crown Press (Columbia her public. In the 1970s and 1980s the the rich history of American music in the University Press), 1979. revival of interest in important women twentieth century. 6. Wylie, notes for Christine Armstrong, musicians and artists brought wider rec- NOTES 1986. ognition to her work; she is included in 1. Wylie, “Ruth Shaw Wylie: A Musical 7. Wylie, “Rhythm in Contemporary Mu- the many dictionaries and encyclope- Consolidator,” interview by the journal editor sic,” Volume of Proceedings of the MTNA, 70th dias of women composers and in general (probably Helen Dunn Bodman), AWC News/ Annual Meeting, 1946, 330–41. works such as the New Grove Diction- Forum 9, nos. 2–3 (May–September 1985): 5, 8. Recorded by Dov Scheindlin, viola, and ary of Music and Musicians, updated in http://www.iawm.org/articles_html/wylie.html. Melissa Marse, piano, on the compact disc Ruth Grove Music Online. By the 1980s Wylie The AWC (American Women Composers, Inc.) Shaw Wylie: Chamber Music (2010), available also in MP3 files. understood much of her own experience is one of the IAWM’s parent organizations. 2. The White Raven is performed by Barry as gender-related. Unlike women who are Deborah Hayes is a musicologist, former asso- David Salwen on the compact disc Frank Retzel ciate dean, and professor emerita at the Uni- writing music in the twenty-first century, / Ruth Shaw Wylie, Opus One CD 165 (1994). however, she did not seem to perceive versity of Colorado at Boulder. Her book Ruth 3. Although in twelve-tone theory the ma- Shaw Wylie: The Composer and Her Music has how being a woman affected her approach trix (Latin: matrix, womb, from mater, mother) just been published by Mill City Press in Min- in any positive way. is the total array of forty-eight possible permu- neapolis, Minnesota. Musical examples: copy- Wylie’s particular personality also tations of a twelve-note row, Wylie uses the right Ruth Shaw Wylie, used by permission of influenced reception of her work, if only term differently, to mean a single generating Victor Wylie, her heir and trustee. in subtle ways. Although she was highly idea.

24 IAWM Journal Volume 18, No. 1 2012 Envisioning Life Beyond the Academy: Building Community MADELINE WILLIAMSON

Alice: Would you tell me, please, thirst-quencher ACMF would prove to be! ing triangulated between Taos and Santa which way I ought to go from here? Today, I serve as ACMF’s Artistic Director Fe, each an hour’s drive. Cheshire Cat: That depends—on and Birgitte Ginge as Financial Officer. This account of ACMF’s inception and where you want to get to. Now entering our Fifth Anniversary journey is not intended to be self-laudatory, —Lewis Carroll Season, ACMF is probably one of the rare but rather, meant to rouse, inspire, and chal- Perhaps one of the best-learned lessons non-profit arts organizations in the U.S. lenge others to envision such ventures in from a career of thirty years on the piano which sells out every single season; which music. We of ACMF have come to believe faculty of a highly-ranked school of music thrives in an economically poor rural en- that for classical music to survive, thrive, was that a significant number of faculty vironment previously devoid of any orga- and truly flourish, envisioning a wholly dif- members are practically unable to envision nized musical venture within its county’s ferent paradigm for creating and presenting themselves doing anything else beyond expansive borders; which is located in one music—be it rural or urban—is absolutely academic life. Naturally, the conundrum of the unlikeliest of locales: a 300-year- essential. By translating one’s musical art- of not being able to conjure a musical ex- old Pueblo Village of 900 inhabitants; istry, passion, and dedication into outwardly istence beyond the walls of the academy is and where no classical music has been expansive community opportunities, it be- that in failing to do so, senior faculty often performed since the time when a famous comes possible to fill not only abundant mu- deprive the very generation of young art- resident of its past—iconic artist Georgia sical voids, but to also live richly rewarding, ists they are training of taking their rightful O’Keeffe—would, on occasion, gather independent, and fulfilling lives—ones that place at colleges, universities, and conser- musicians to her hilltop hacienda and stu- are interdependent within our communi- vatories. Consequently, holding true to that dio for chamber music. In some real and ties and other artists. The all-too-familiar long-held personal conviction, I negotiated increasing trend of ever-narrowing opportu- an early exit from the university and relin- nities for younger generation music artists quished my full professor’s line. The unan- to be entering the halls of musical academia swered question was that posed by Alice may be dictating that those of boldness— in Wonderland and aptly answered by The equally endowed with a true sense of artistic Cat: “Where did I want to get to?” adventure—envision becoming explorers of entirely new trade routes for passing along Origins our musical treasures. At the time of envisioning my own second-half of life, I also headed the live- Distinguished Artists and Programming ly and unique new music/modern dance Six fundamental principles have always been the bedrock of ACMF: ensemble Krustá. We were successful in Figure 1. Madeline Williamson • securing grants for touring to universities All artists must be world-class cali- visceral way, ACMF carries on with Ms. ber, performing from the wealth of the for residencies and presenting at small ven- O’Keeffe’s musical passion as an inspira- ues always filled with enthusiastic audi- classical chamber music repertoire: No tion for the founding of the festival. We “dumbing down” on either program- ences. Therefore, when my partner Birgitte like to think that Georgia would be pleased. Ginge and I worked on the creation of ming or artists. Pueblo de Abiquiú, NM is nestled • The festival must present chamber mu- Abiquiú House with architects Mark among its majestic Red Hills (so fre- and Peter Anderson of Anderson and Ander- sic as it is meant to be experienced: in quently painted by Ms. O’Keeffe) and an intimate, personal setting not to ex- son Architecture (http://andersonanderson. resting along the meandering banks of com), essential to the design was an open ceed an audience of 100. the Rio Chama. This is a multi-cultural • ACMF will engage and interact close- interior space that would accommodate a community comprised of a rich mix of small ensemble and a trio of dancers. Re- ly with the community, diverse audi- approximately 60% traditional Hispanic ences, and its youth through outreach grettably, with the advent of the recession and Genízaro (detribalized Indians who, and the increasingly dry beds of funding in programs. usually as children, were traded or sold to • 2007, continuing on with Krustá from our The festival will work to enhance and Hispanic settlers as servants or laborers), stimulate the economic well-being of newly adopted state of New Mexico sim- five-generation-old families of ranchers, ply became untenable. That is essentially our surrounding community by attract- weavers, and other artisaños. The re- ing visitors from throughout the state how the focus of this article—Abiquiú maining population includes iconoclas- Chamber Music Festival (ACMF) http:// and country. tic, creatively plucky Anglos drawn here • ACMF will actively interact with art- abiquiumusic.com—came to be founded. throughout the years because of the natu- It was tempting to be self-indulgent and do ists in other mediums throughout our ral beauty, diversity, and tolerant recogni- community with both our collabora- new music exclusively, but, having lived in tion of individual expressiveness. ACMF the community for three years, we sensed tion and support. is fifty miles from the state’s capital and • that there was a real thirst for classical mu- ACMF is committed to providing ex- twenty miles from the largest city (popu- periences with new music through the sic from all eras. Little did we know what a lation 10,000) in the county, basically be-

25 standard programming of and commis- ACMF also commissioned two works fund-raising into supporting the performing sioning of new works. of art accompanying the 2010 music com- musicians, our commissions, outreach, and Abiquiú Chamber Music Festival pres- mission: Abiquiú Blanket (created entirely covering basic expenses; therefore, we car- ents six summer concerts within an eight- on location in Abiquiú from worsted, al- ry no administrative overhead nor costs for week span between mid-June and mid-Au- paca, and roving wool on net, with nearby the venue. All administrative services are gust, always on alternate Sundays at 2 p.m. plant materials) by multi-media artist Mary provided pro bono throughout the year by By the conclusion of this upcoming fifth Oestericher Hamill of Boston, with a com- the two co-founders. ACMF is our way of season, a brief outline of ACMF’s accom- panion piece by her son, Andrew Lefarge “giving back” to the Abiquiú community. plishments, demographics, and outreach Hamill of New York City: Abiquiú Carpet Concert Venue and Setting will be as follows: (an outdoor, site-specific sculpture in steel, ACMF is an outdoor festival, capital- • We will have presented thirty-two clas- rock, and mirrors). These two works con- izing on the architectural design by seating sical concerts with world-class artists in tributed to an enchanted, transformed space most guests on the steel decks which flank five summer seasons (2008–2012). for the festive ReWeaving(s) premiere. the north and south sides of Abiquiú House. • Chamber music will have reached ACMF works collaboratively with vi- The original intention of the house/venue nearly 2,900 listeners in total atten- sual artists of our community. We are regu- was to maximize the advantage of the large dance with an average of ninety at- lar sponsors for the two major art tours that riverfront location and natural surround- tendees per concert. All concerts have occur throughout the year: The Cerro Ped- ings. Therefore, the south, covered deck ac- sold out. ernal Tour in early June and the Abiquiú commodates twenty people, and the open, • Audiences are culturally diverse and Studio Tour in October. This has provided north deck (albeit festooned with vividly range in age from six to ninety-three us with a wonderful avenue of meeting and striped sun umbrellas) seats another fifty. years, with youths from age six through interacting with the many vibrant artists Inside seating of twenty is reserved for the high school admitted free. throughout the local area. elderly or those with special needs. The • 70% of audiences come from Abiquiú Our commitment has been to keep other category of audience who are always and surrounding rural areas. concerts reasonably priced. ACMF’s ticket indoors are youngsters: We make sure they • 22% of audiences come from through- prices are the lowest of any professional are seated right in front of the performers as out New Mexico. musical series in NM. There are two tiers we want them to experience the true magic • 8% of audiences come from out-of- of series tickets: $75 for five concerts and that comes with a live performance. state and foreign countries. $100 for all six. Eighty-five percent of Of course the most inherent risk in • ACMF has hosted seventy-five distin- series ticket holders purchase the full six hosting outdoor concerts is the volatility of guished artists with international repu- concerts. When not able to attend, ticket the weather in northern NM. In fact, weath- tations from throughout our own state holders share their tickets with other mem- er was a major consideration in setting the of New Mexico as well as Arizona, bers of the community who might other- concert time of 2 p.m. That is because, California, Colorado, Indiana, Florida, wise be unable to purchase them at even with frequent regularity at 4 p.m., summer Massachusetts, Minnesota, New York, at our affordable rates. Others generously in Abiquiú is likely to bring sudden high Texas, and the countries of Brazil, Is- contact us when they cannot use their tick- winds and thunderstorms. There have been rael, Italy, Mexico, and Ukraine. ets and donate them back for resale, gener- concerts where the audience got totally ating additional revenue and also allowing ACMF commissioned its first chamber drenched—some chose to stay outside in us to accommodate more individuals on the weather with dripping umbrellas, and work in 2010 by celebrated composer Ruth the substantial wait list. Lomon of Cambridge, MA. Premiered on Individual August 20, 2010, ReWeaving(s) was written ticket prices are for native flute soloist R. Carlos Nakai $20 per concert or and mixed quartet of cello, clarinet/bass $40 for the final clarinet, percussion, and piano. This work concert, which typ- was subsequently selected to be performed ically involves the at last year’s IAWM Congress held in largest ensemble Flagstaff, AZ, and was further distinguished with multiple solo- when selected to be performed at the ists and an increase Regional Conference of the John Donald in cost. Other than Robb Composers’ Symposium held in the artist fees, the March 2012, as part of New Mexico’s 400 only staff pay- Centennial Celebration at the University ments are to our of New Mexico. The final 2012 season’s piano technician program of August 19 will conclude with and our parking ACMF’s second commission: New Mexico attendant. We are composer Michael Mauldin’s Night River: committed to put- Three Episodes, written for the ACMF ting all of our reve- Figure 2. Abiquiú House (photo by Anderson and Anderson) Ensemble Players and R. Carlos Nakai. nue, donations, and

26 IAWM Journal Volume 18, No. 1 2012 others quite good-naturedly came inside santa fean (June/July 2011), and the Aus- memorable of those testimonials came and settled in on the two flights of stairs, on tralian architectural journal, Nikiomahe from an unexpected source: the unofficial the third floor landing, around the perimeter Architectural and Design News. In short, “village elder” of the Pueblo. Napoléon— of the performing space—and even under the concert venue couldn’t be more ideal an eighty-year-old Genízaro who, as a the piano. We gladly provide towels. for chamber music, intimately experienced poverty-stricken boy, had run errands and The concert venue itself is a totally and heard among the transformative back- worked for Ms. O’Keeffe—rose and spoke Green, post-modernist structure very unlike drop of birds, breezes, cottonwoods, and movingly that while the “old traditions” that typically associated with New Mexico the glittering surfaces of the Rio Chama. of the village should still be respected and architecture. The design is wonderfully Discovering the True Meaning observed, the music and performers that open throughout with fourteen-foot ceilings of Community the festival had brought were the “best of on the central floor, having large expanses When ACMF launched its inaugural the new,” suggesting that we needed to of Thermal-E glass (with the glass walls season in 2008, it was truly on the Field “embrace and unite both the past and the opening completely onto the river decks), of Dreams model of “build it and they will present, which will then become our true ash-concrete floors, SIPS (structural insu- come.” For the opening concert we had no future.” Napoléon and his wife have been lated panels) walls covered outside with idea if even thirty people would come, but series ticket holders since the first season. heavy-gauge steel, passive solar and radiant there were more than double that number The result of this community outpouring floor heat coupled with a highly efficient, (initially, tickets were available at the door, was the designation of ACMF as an official ecological Danish wood-burning stove. In- but we quickly changed to advance pur- arts entity of the county. Also significantly, stead of air conditioning, there are two cen- chase only so that the attendance limit can two years ago the festival became an af- trally located ceiling fans that take advan- be carefully monitored). filiate of our local area nonprofit, Luciente, tage of the specially-designed roof-intake Along the way ACMF went through Inc., opening expanded opportunities for system and casement windows, which al- substantial challenges, so the endeavor funding and donor support. low for total air circulation. A roof-top ter- should not be viewed only through pro- Continued activism and personal in- race completes the house, being designed verbial rose-colored lenses. At times, there volvement within the community also for solar and a photovoltaic system, but were obstacles that were Sisyphean in their sparked what has become our major fund- with the utility costs of the super-efficient, complexity. However, a truly pivotal event ing effort. Last year saw the creation of the all-electric venue being so very low that it instrumental in allowing ACMF to freely ACMF First Annual Art Invitational. The is doubtful that the systems will be added. flourish was concluding a process with the catalyst for this was the gift of the majority Despite its dual purpose of home and Rio Arriba County Commissioners, which of the artistic estate of the late Master Print- concert hall, Abiquiú House rests lightly on included multiple public hearings on hold- er Peter Igo, who not only created some of its four-and-a-half acreage with a footprint ing concerts within a residential area, the finest serigraphs in the Southwest but of only 30 x 68 feet. The Andersons are thereby gaining a “mixed-use” permit. Just was also the printer for such iconic figures internationally renowned for their innova- as we came to feel that we were adrift in a of the art world as R.C. Gorman and Woody tive, eco-modern designs, and the ACMF little rubber raft amidst a “perfect storm,” Gwyn. ACMF received this treasured estate venue is profiled in their book Prefab Pro- no help in sight, our community threw us after Peter’s parents (George and Nancy totypes: Site-Specific Design for Offsite the solid lifeline that kept ACMF from be- Igo of California) attended the concert Constructions, Princeton Architectural ing engulfed. The county hearings were of our first commissioned work. A few Press: New York, 2007. Additional articles packed with supportive members of the months later, we were invited to their Santa on the concert-home space have appeared community who had driven over an hour Fe home to select whatever we wanted for in Dwell Magazine (November 2008 and in mid-day to the county courthouse in the festival from their son’s studio. Birgitte May/June 2011); The Huffington Post order to speak affirmatively and passion- curated the 2011 exhibit: fifteen prints by (July 2, 2010 under “Green Posts”); the ately in support of the endeavor. The most Peter anchored the show, along with another thirty-five works donated by Abiquiú’s Abiquiú Chamber Music Festival visual artists that created the bulk of the exhibit. All of the matt work was donated 2012: Fifth Anniversary Season by a local framer; additional art work was * June 10: Trio Lux with Libby Larsen in Residency donated from private collections; opening * June 24: Christine Yoshikawa, Solo Piano and closing receptions for the Silent Auc- * July 8: Deborah Domanski, Mezzo-Soprano; Javier Gonzalez, Tenor; and Rubia tion were hosted by our Abiquiú Inn and Santos, Piano. Opera Arias, Duets, and Authentic Zarazuela minimum bids were kept intentionally low * July 22: John Graham, Viola, and Janet Guggenheim, Piano. Rebecca Clarke’s so that pieces of truly fine art could be ac- Sonata and premieres for Viola and Computer quired within a wide range of prices. * August 5: Hall Ensemble performing Ruth Lomon, Arvo Pärt, and Astor Piazzolla This close interaction between ACMF, * August 19: R. Carlos Nakai, Native Flute; Emanuele Arciuliu, Piano; and ACMF Abiquiú’s visual artists, villagers, and local Ensemble in Michael Mauldin’s commissioned Night Rivers: Three Episodes businesses transformed our budget from one of hoping that we had enough funding The Festival is held each year in beautiful Abiquiú, New Mexico. For more informa- to be able to pay the musicians of the final tion, please call 505 685-0076 or visit the website at www.abiquiumusic.com concert to one of having a budget that can

Williamson: Envisioning Life Beyond the Academy: Building Community 27 now more readily respond to sudden op- PianoWerkes is the proud sponsor of our recorded Libby Larsen’s Dancing Solo—I portunities that might arise, such as engag- solo piano artist each summer. invited Libby to come. Being the gracious, ing additional necessary musicians to pro- Most significantly, what enables us to engaging person that she is, she sponta- gram a desired piece, presenting our free present the caliber of musician and scope neously accepted. Her pending residency outreach programs for youth and seniors, of our programming is that ACMF’s Artist then provided the opportunity we had been or being able to invite a distinguished com- Housing is totally subsidized through the seeking to work with the O’Keeffe Foun- poser to fly in and participate in a concert local community. This season, The Abiquiú dation and the Georgia O’Keeffe Museum of her/his compositions. Inn, two bed-and-breakfasts, and two festi- in Santa Fe. This has sparked collaboration Presently, the Second ACMF Annual val patrons will be providing a total of for- between the festival and the O’Keeffe Mu- Art Invitational has been hung for a two- ty-seven nights of housing-and-hosting for seum, which allows us to have projections month period in the lovely Galeria Arriba the festival musicians. Without this magni- of the paintings during the concert; pres- of The Abiquiú Inn, and it has already tude of broad community support—all the ent a public lecture by Libby Larsen at the generated an increased interest, pride, and way from ice water to hotel suites and casi- museum in Santa Fe; and a buffet and open excited “buzz” about the artists, the qual- tas—the budget would have to quadruple. rehearsal with the composer and trio here ity and diversity of the work, the festival, Even for residents who may not attend the at the venue. Certainly, this will be the cat- and the village. Our very special Rising concerts, ACMF has brought a real sense alyst for a vibrant relationship between the Moon Gallery offers its vibrant space for of pride to the community. Everyone from O’Keeffe and ACMF far into the future. the outreach concerts; the U.S. Post Office the local Agricultural Extension Agent, our We are exploring that same level of inte- displays our season’s postcards and post- medical Clinicas Del Norte, to the Real gration with the Santa Fe Opera (SFO), and er; the historic Bode’s General Store (an Estate Office proudly tout ACMF as “part this season, we are featuring mezzo-sopra- Abiquiú enterprise dating from 1914) does of our community” or have ACMF linked no Deborah Domanski, who, prior to her the same publicity as well as providing all into their own websites. After five years, ascendancy to national and international the bottled water and ice for the concerts; we can truly say that the festival is wholly opera stages, was an SFO apprentice singer a ninety-two-year-old writer—who, along integrated into our community. and was stunning in her role of Zenobia in with her now deceased physician husband, What the Future Holds SFO’s production of Handel’s Radamisto. founded the local hospital in 1946—do- Returning to the question posed by Al- While our fifth season programming nates the sales of her recent book on the ice: “Tell me, please, which way I ought incorporates works by twelve living com- history of nearby Española to the festival; to go from here?” now presents a more posers, they are in good company along volunteers distribute fliers and posters firm direction for ACMF. We re- with Brahms, Rebecca Clarke, Liszt, main committed to our bedrock Haydn, Beethoven, and numerous other tenets mentioned previously and wonderful works from the standard rep- strive both to build and capitalize ertoire. Recently, I was named a Fulbright on those cornerstones. Consis- Senior Scholar and had an exciting per- tently, we hear the suggestion that forming/teaching residency planned with we add more concerts or expand Helwan University in Cairo, Egypt. With to offerings throughout the year. that now indefinitely postponed, we would However, the former would break like instead to bring my co-collaborator faith with ACMF’s county agree- in Cairo, composer Nahla Mattar, to the ment and the latter defies feasibil- festival. (To close our inaugural season, I ity due both to weather and the premiered her Eight Egyptian Miniatures for solo piano.) Likewise, when we have Figure 3. Concert audience at Abiquiú House co-founders’ full-time, year-round positions elsewhere. Gabriel Lena Frank’s string quartet, Ley- throughout the county; and two profes- Being small, however, does allow andas: An Andean Walkabout, performed sional film makers record every concert in us to move quickly on opportunities that in 2013, we hope to be able to bring this HD and make DVDs for each artist and for arise, often serendipitously. For instance, outstanding young composer as well. our archives. ACMF’s Youth-and-Senior the opening concert of this season features One other very exciting future direc- Outreach programs draw their audience a residency by composer Libby Larsen in tion will be the 2013 season’s return (fol- from among children in our local Boys and combination with Trio Lux. When doing lowing a 2009 dynamic program of all Rus- Girls Club, the nearby Ghost Ranch Sum- the programming, I asked the trio to per- sian literature) of Trio Arriba (violin, cello, mer Youth Programs, a local Teen Vol- form Libby’s Black Birds, Red Hills, which piano) as the festival’s resident ensemble. unteer Organic Gardening Program, and was inspired by paintings of Georgia Through our loyal donors, Art Invitational, both youngsters and seniors from Santo O’Keeffe, with each of the five movements and grants, ACMF will be able to provide Tomás Apóstol Parish. A former univer- bearing the title of one of Georgia’s paint- some basic support for Trio Arriba to per- sity piano student of mine opened the pre- ings of her Abiquiú surroundings: Peder- form elsewhere on a regular basis, as well miere piano retail store in Albuquerque nal Hills, Black Rock, Red Hills and Sky, A as in the summer. We are grateful to all only three years ago. Since our fine per- Black Bird with Snow-Covered Red Hills, our superb musicians because they do love forming instrument here is a Schimmel, I and Looking. On a suggestion from the coming here, telling us consistently that invited Neal up for the festival and now, trio’s clarinetist, Caroline Hartig—who has they have never performed in such a spec-

28 IAWM Journal Volume 18, No. 1 2012 tacular setting, loving the audiences, the could. We thought we could. We thought we in the United States to Europe, Mexico, and the interaction with the community, and the could.” We did. So, too, could you. Middle East. She was Professor of Piano for three decades at the School of Music at Arizona intimacy of the performance experience. Madeline Williamson has a diverse background Therefore, we like to think of ACMF as State University. In addition to her year-long and wide-ranging musical interests from per- work with ACMF, Madeline maintains a large a fast, little jet-ski out there among the big former and teacher to arts administrator and private studio of talented young pianists in Los liners, able to navigate and change course entrepreneur. She has premiered numerous Alamos, and performs as collaborative pianist as best suits our intimate chamber environ- works for solo piano and chamber ensemble and adjudicator throughout the state. She re- ment and close relationship with the festi- and has worked with such iconic twentieth-cen- sides along the banks of the Rio Chama with her val’s constituents. Borrowing from author tury composers as John Cage, George Crumb, partner and ACMF co-founder, Birgitte Ginge, Watty Piper’s iconic little blue engine in The and David Burge. Her performances as soloist and their family of four rescue dogs and four and collaborator have taken her beyond venues Little Engine That Could, “We thought we rescue cats. Meet Five New IAWM Members A Woman on the Bench concert organist. After my son was well, play each spring in New York City, which I I began to play short organ recitals in my then take on the road to about fifty concert GAIL ARCHER own parish in New York City and little venues a year. The concerts also take me Choir and organ are the center of my cre- by little, gained confidence playing up in abroad each year to England, Poland, Ger- ative life. From my earliest years, I sang Boston or in Washington, DC. At this same many, Hungary, France, the Low Countries in church and school choirs and played the time, I started to investigate modern organ and Italy, my favorite destination, where I piano, which led naturally to an interest in literature and was drawn to the spirituality speak the language and have many friends. the sonic possibilities of the organ the mo- of Olivier Messiaen, whose music is full In the spring of 2008, I became the first ment my legs were long enough to reach of chant, improvisation, bird song, modal American woman to play the complete the pedals. My interests are rooted in early scales, and highly complex rhythms. In organ works of Messiaen in honor of the music, as I am a Roman Catholic and al- July 2002, I played the cycle Les Corps centennial of his birth. ways sang hymns and Gregorian Chant. Glorieux on the summer series at the Riv- The spring 2012 series, “An Ameri- For many years, I balanced teaching with erside Church and received my first posi- can Idyll,” is devoted to American music church music, working with amateur and tive review in the New York Times, com- by women and men from 1900 to the pres- professional choirs, developing rehearsal plete with a photo — I was launched in a ent including works by Joan Tower, Libby techniques that would help singers to in- new direction. Larsen, Emma Lou Diemer, Clare Shore, vestigate the inner workings of the music, Quite honestly, I set up shop on my Judith Lang Zaimont, Pamela Decker, and particularly rhythmic complexity, modal own dining room table, sending out let- Kim Sherman. The spring 2013 concerts, scales, and harmonies. “The Muses Voice,” will feature music by At the organ, I played the old Dutch international women composers. I have and early German masters leading to Bach, commissioned the Russian-American com- and devoted myself wholeheartedly to early poser Alla Borzowa to write a piece based fingering, ornamentation, alternate tuning upon the Chagall windows at the chapel at systems, dynamics, and registration. My Pocantico Hills, in upstate New York. Alla doctoral dissertation, earned at the Manhat- hails from Minsk, the same region where tan School of Music, was a transcription Chagall was born. Chagall also inspired and translation of a seventeenth-century Messiaen. I received permission to use a print by the Venetian composer, Barbara 1936 Chagall painting of an angel on my Strozzi: Cantate, ariete a una, due, e tre CD, A Mystic in the Making, which features voci, Op. 3, which was published by A-R L’Ascension (1933) and Les Corps Glo- Editions in their Recent Researches series. rieux (1939). The new commission brings Fascinated by Barbara’s story and the cul- several powerful creative interests together. ture of the ospedale in Venice with their all- Since 1988, I have been the director of women orchestras, I searched for the loca- Gail Archer (photo by Buck Ennis) the Barnard-Columbia Chorus and Cham- tion of one of her prints and found the one ters and press kits, recording my live per- ber Choir at Columbia University (still a I edited in the British Library in London. formances, making demonstration CDs to labor of love), and then in 1994, I became While the project was very satisfying, I re- prove my worth, and posting a website: director of the music program at Barnard alized that I was destined to be a performer www.gailarcher.com. In time, I found a College, where I teach full-time. I am the rather than an academic. publicist and recording company; to date, only full-time person in music at Barnard, Then came the family crisis; my son the CDs range from the early Dutch litera- because the main university music depart- was gravely ill and my marriage fell apart ture to Bach, Mendelssohn, Liszt, Messi- ment is at Columbia. With a staff of six ad- as a result of the stress of that difficult pe- aen, and American music. Fortunately, I junct voice teachers and an adjunct history riod. I had always thought of myself as am able to practice at home on a digital or- assistant, we serve about 120 students in a teacher in the classroom, a choral con- gan with two manuals and full pedals. My solo voice lessons and the three levels of ductor, and a church organist, but never a repertoire is based upon the series that I voice classes, advise sixty majors or pro-

29 spective first- and second-year students, I compose and perform under my spirit in the rich tradition of the faerye); support an undergraduate ethnomusicol- pseudonym, Somna M. Bulist. The name is for example, Amanye, the Golden. Each ogy major, sponsor two opera companies a play on the word “somnambulist,” mean- goddess has a specific virtue—she is the in residence: Opera Hispanica and the ing sleep walker. Born Wendy Renee Fong finder of treasures. Seeking a musical cor- Opera Company of Brooklyn — and the in Pennsylvania, I am a graduate of Pratt relation of letters and words transformed choirs. I teach a year-long music history Institute, where I earned a Bachelor of Fine these elements into tonal signifiers—in survey, direct the choirs, and advise forty- Arts degree and was awarded a Ford Foun- effect, sonic sigils dedicated to calling five students in addition to the administra- dation Scholarship for my work in photog- forth a response appropriate to the faerye tive work of the program. Five years ago, I raphy. After graduation I began harp study invoked. Today, I occasionally visit this became organist at Vassar College, leaving with the renowned harpist and innovator method of working, though presently I un- church music to build an organ and harpsi- Lucile Lawrence in the Modern Method for derstand the process more in terms of an chord program; a dozen students registered the Harp. The orchestral timbre of the harp “observer effect,” in which the auditors’ in the studio for the January 2012 term. as a solo instrument is a fundamental tenet in response becomes a part of the perfor- The challenges that women organists the pedagogy of Carlos Salzedo and Lucile mance experience even if unspoken. face are daunting because the organ has Lawrence, twentieth-century harp pioneers. In 1999, I premiered the situational been associated with religious observance The Modern Method is a major influence work in tribute to the millennium, a solo for centuries, in which the leadership is tra- that I strive to continue. It involves extended electro-acoustic soundscape comprised ditionally masculine. The musicians consid- of documented accounts of the banshees’ ered the leading figures in the organ world keen, 44 minutes on the flatline_A Cry for today, therefore, are men teaching organ the Millennium, at the New York Interna- in conservatories or playing in cathedrals. tional Fringe Festival, a production of The When openings are announced, few of the Present Company. I returned to the Phila- searches are genuine, and women rarely delphia Fringe Festival in 2001 with Val- move forward in the process. Paradoxically, entine Stigmata, a three-part minimalist the majority of these men hold an MA de- opera. Valentine Stigmata is a musical ar- gree, while the women who are prominent ticulation of three ceremonial meditations organists hold a DMA or Ph.D. and are also fundamental to Western Ceremonial Magic. conductors and composers. Women organ- Traditionally, the meditations are practiced ists dominate in towns and villages, while to facilitate mental and bodily focus. men dominate in large cities. After the Fringe shows I performed my My personal experiences bear this out: music in the goth rock milieu as well as new I have built my teaching career in wom- music and multimedia events around New en’s colleges, Barnard and Vassar (which York City, Philadelphia, and Pittsburgh. is now co-educational), because these I performed as an electro-acoustic soloist schools value education and achievement. and at times as a vocalist. My participation There is a forward path in these fine plac- in Kyklos ton Asterion, a NYC Thelemic es, whereas churches and conservatories Somna M. Bulist Wiccan group, fueled the singer songwriter blocked my progress. It is my hope that the techniques such as bowing the harp strings series Folkart Songs and Spirituals (2002- search process for organists at cathedrals, and electronic processing, which provide 05). During this time I participated in the conservatories, and colleges in the major a palette for the metaphoric “shadow” in creation and performance of public rituals cities of the world will become transpar- my Fragrance of the Blue Lotus (2005) as for the Wiccan Sabbats in New York City. ent, equitable, and based upon merit in the well as the soundscape of 44 Minutes on the In 2009 I founded a publishing con- very near future, so that many women will Flatline_A Cry For The Millennium (1999). sortium to present new works for the harp, assume positions of leadership. It is inspir- The experience of playing my harp in rock Xarpe Artist Editions. Our mission is to ing to be among the many serious, creative festivals and goth rock clubs generated cultivate diversity, innovation, and cama- women of the IAWM, and I look forward some of the darker soundings. raderie with an emphasis on the harp. The to meeting you all. My first public appearance was at scores are produced in limited editions fa- the 1998 Philadelphia Fringe Festival and voring the composer’s handwritten manu- Sound as a Generative Force earlier the same year in the multimedia scripts. In June 2010, I performed pre- SOMNA M. BULIST exhibition, Representations: Asian and mieres of works from the Xarpe catalog at Asian-American Women Artists at Brew the Gershwin Hotel performance series in The possibilities of sound as a generative House SPACE 101 in Pittsburgh, where I New York City. To learn more, please visit force inspire my music making. I believe performed my original work for solo harp, www.XarpeArtistEditions.com. that sound has transformative potential and The FAERYE Invocations. The Invocations Currently, in a return to the acoustic can be used to effect change in conscious- were an attempt to tonally call forth and qualities of my instrument, my composi- ness and personal reality, influencing in empower the namesake and, consequently, tions are prolonged contemplations. Much turn the greater world that we inhabit. To awaken the corresponding virtues of the like the syntax of dreaming, the confab of achieve this sound through musical com- nine mythical maidens (women of a pure fact and fiction is an important operative. position and performance is the challenge.

30 IAWM Journal Volume 18, No. 1 2012 The music or soundings are conceived as United States in 1995. In high school, she yet surreal—will inform the music that sonic sigils striving to generate states of also took up the viola—all of these musical will be written to accompany them. In the “extreme” awareness, where energized activities seemed to lead naturally to com- near future, Tonia hopes to expand her imagination works to transform reality. posing. Growing up in Honolulu, Hawaii, career internationally—to continue her Working within a tonal language of con- Tonia was surrounded by beautiful weather whirlwind geographical journey. centrated communication, performance and people from diverse cultures. One of becomes an important part of the dialogue; her most formative experiences was sing- A Soprano on the Move it is the speaking forth, the declaration of ing and dancing hula for eleven years with JESSICA MCCORMACK intent. Results may be interpreted as imag- the Hawaii Youth Opera Chorus. A typical inary, but I prefer to think of them as in- year’s repertoire included traditional chants Soprano Jessica McCormack serves as As- voked realism. and folk songs of the Pacific Rim, choral sistant Professor of Music at Wittenberg I enjoy reading the Journal of the standards from the Western tradition, as University in Springfield, Ohio, where she IAWM and learning about the sonorous well as children’s roles in operas such as teaches applied voice and directs the opera activity of so many interesting members. I Carmen and I Pagliacci. This early expo- ensemble. This past fall, she also offered look forward to sharing a friendly ear. sure to different types of music has left her a Women in Music course as part of the with wide-ranging interests as a composer. general education curriculum and orga- Music in Migration Tonia’s artistic journey began upon nized a WIM recital series to complement her class. The series included five concerts TONIA KO moving to the bitter cold of upstate New York for college. Although ecstatic to be and featured student, faculty, and guest art- Tonia Ko is a Chinese-American com- in the company of other serious musicians ists. Guests included Marilyn Shrude and poser whose music has been described as her own age, she was severely homesick. John Sampen “expansive, meditative,” and containing The nostalgia for home, both in place and from Bowl- an “uncertain piquancy.” She completed in time, has become an important aspect ing Green her bachelor’s and master’s degrees at the of her music. Her experience of being dis- State Univer- Eastman School of Music and Indiana Uni- tanced from home and heritage has translat- sity, who were versity, respectively. In 2011, she received ed to music dealing with sonic memory as artists-in-res- the Georgina Joshi Commission Prize for well as cultural memory. As a winner of the idence as part a new work to be performed by the IU Chicago Chinese Fine Arts Society’s Mi- of the series, New Music Ensemble. Other ensembles gratory Journeys International Competition and a concert that have performed her music include the in 2010, Tonia has articulated a perspective devoted en- Eastman Wind Ensemble, Buffalo Philhar- that is distinct from the typical East-meets- tirely to Mari- monic Orchestra, West fare. She strives for a high degree of lyn Shrude’s Luna Nova New works was integration between the two sound worlds Jessica McCormack Music Ensemble, in order preserve the authenticity of her per- performed and musicians of sonal experience, where “East” and “West” during their residency. Linda Dykstra and the Chicago Sym- were very much intertwined to begin with. Charles Aschbrenner from Hope College phony Orchestra. While most of her compositions do presented a lecture-recital on the works Her music has not contain an explicit cultural element, of Libby Larsen. Jessica McCormack was also been featured this concept of integration is important to thrilled to host such accomplished musi- at festivals across the sounds that she creates. Tonia enjoys cians as part of the series! Jessica enjoys the United States searching for instrumental timbres that performing contemporary music and col- and at the Ameri- fuse to create a new cumulative “instru- laborating in a variety of chamber en- can Conservatory ment” that evolves subtly. She attributes sembles. She was especially pleased to in Fontainebleau, have the honor to premiere one of Marilyn Tonia Ko this quality of her music to her many years France. Other rec- as a chorister and thinking of instruments Shrude’s works at the recital last October. ognitions include three Louis Lane prizes as people “singing” together. An avid traveler, her educational ex- and awards from the Belvedere Festival Another important aspect of Tonia’s perience has involved a few moves across and Austin Peay State University. She is music is an interest in the visual arts. As the years. Jessica holds a Doctor of Mu- currently based in Ithaca, New York, where an officer of the Student Composers As- sical Arts degree from the University of she is pursuing a DMA in composition as a sociation at IU, she coordinated numerous North Texas, a Master of Music in vocal Sage Fellow at Cornell University. projects with filmmakers, choreographers, performance with honors in opera from Her childhood was spent in two very and artists, which led her to explore the Southern Methodist University, and a multicultural cities—Hong Kong and Ho- potential in interdisciplinary collabora- Bachelor of Music in vocal performance nolulu. As her father is a director/producer tions. As an amateur artist herself, she is from the University of Toronto. Originally of musicals and films, her early days were currently developing a project to fuse inti- from Saint John, New Brunswick, Canada, immersed in the sounds and sights of mu- mate chamber music with her own pencil Jessica enjoys returning to the East Coast sical theater. She began with piano lessons drawings. The aesthetic qualities of her whenever possible. She has sung at Carn- at the age of five and chorus a year later; drawings—whimsical, detailed, organic egie Hall, under the direction of Ton Koop- both continued when she moved to the man, Helmuth Rilling, and Robert Spano

Meet Five New IAWM Members 31 as part of the Professional Training Work- her love of art song, Jessica’s professional commentary, and program notes. I am in- shops, and she has also performed at the engagements generally straddle the mu- volved with many groups in the Baltimore/ Boston Early Music Festival. Her operatic sical periods as she frequently performs DC area, including: the Dahlia Flute Duo roles include Nannetta in Verdi’s Falstaff, baroque and contemporary literature. An (co-founder/performer), hexaCollective Barbarina in Mozart’s Le nozze di Figaro, avid baker, she has invited many of her (Instrumental Artistic Director/performer), Aurora in Cavalli’s L’Egisto, and Tirsi in colleagues to sip tea and sample some of Vivre Musicale, the Golden Egg Ensemble, Handel’s Clori, Tirsi e Fileno. Her oratorio her latest culinary creations during breaks the Baltimore Chamber Orchestra, and work includes Carissimi’s Jepthe, Vivaldi’s from rehearsals. Concert Artists of Baltimore. Gloria, Schütz’s Die sieben Worte, Bach’s She looks forward to meeting other I am a diverse performer of solo, Weihnachtsoratorium, Handel’s Messiah, members of the IAWM and collaborating chamber, and orchestral music. I am a pic- Mozart’s Requiem, Schubert’s Mass in G, with them soon. She would also like to take colo specialist, new music enthusiast, en- and Fauré’s Requiem. this opportunity to solicit works for her trepreneur, and dedicated scholar of wom- A featured soloist with the Fort Worth trumpet and soprano duo (feel free to send en in music. My life is one immersed in the Symphony, Symphony New Brunswick, scores to her anytime)! arts, with music as the consistent thread. Springfield Symphony Orchestra, and Jessica recently accepted the position My musical studies began at the age of five the Bach Society of Dayton, Jessica was of Director of Voice Studies and Assistant with piano lessons, which I continued until a national winner of the Canadian Music Professor of Voice at the Ernestine M. Ra- I was seventeen. I was six when I started Competition (vocal division), a finalist at clin School of the Arts at Indiana Univer- the recorder, and took dance, vocal, and the NATS (Texoma Region) “Singer of sity South Bend effective August 1, 2012. acting lessons from the ages of eight to six- the Year” competition, and a finalist in the She looks forward to her upcoming move teen. Flute came into my life when I was Bel Canto Chorus Regional Artists Com- and hopes to meet some IAWM members nine, which I chose because I wanted to be petition; she has received awards from who reside in the area. Feel free to get in like my older sister, Amy. I put up quite a the Mendelssohn Foundation of Toronto touch and she’ll be sure to put the kettle on! fight about playing piccolo in high school, and the Women’s Chorus of Dallas. Most despite playing it in the marching band. In recently, she was selected as an Emerg- The Patch-Work Musical Life my sophomore year of college, however, ing Leader by the National Association MELISSA E. WERTHEIMER the piccolo quickly became a special love of Teachers of Singing. She has been a of mine because I was in the “hot seat” of guest lecturer at Indiana University Jacobs The survival of “classical” music today the Ithaca College Symphony Orchestra School of Music for SNATS, at the Hawaii depends upon its practitioners to validate with Stravinsky’s Firebird Suite and Tchai- International Conference on Arts and Hu- this art’s place in the world as well as in kovsky’s Symphony No. 4. During my ju- manities, the National Opera Association, the lives of each individual. This is my mis- nior year at Ithaca College, I became the and for NATS (Ohio Chapter). sion. Because I cannot live without music, I first student in the history of the school to In frequent demand as an adjudicator incorporate my win the Concerto Competition on piccolo. and master class teacher, she was a guest extra-musical Although my B.M. is in Flute Per- master class clinician at the Janáček Con- interests into formance (2008), my M.M. is in Piccolo servatory in Brno, Czech Republic and the my daily musi- Performance from the Peabody Institute Halifax Summer Opera Workshop, and she cal life. They in- of the Johns Hopkins University (2010). has served as an adjudicator for the Day- clude women’s Currently, I am considering multiple of- ton Opera Guild Competition and the New studies, queer fers from D.M.A. flute programs. All of Brunswick Competitive Festival of Music. studies, art, his- my primary teachers are dear to me, and She was an invited recitalist for the Saison tory, politics, I am in awe of their contributions to my Viardot in Paris, France during the summer poetry, and lit- success: Marcia Kämper, Laurie Sokoloff, of 2010 and published an article on Pau- erature. My love Wendy Herbener Mehne, Carron Moron- line Viardot in VoicePrints for the NYSTA. for scholarly mu- ey, and Peggy Schecter. She frequently performs with her trumpet- sical experiences I have many responsibilities beyond Melissa E. Wertheimer er husband, Dr. Edward Phillips, and the brings me closer the training of flutists: as a performing duo premiered the cantata, Psalm 96, by to the music, and I always look forward to artist and teacher. Educational outreach is Canadian composer Richard Kidd during learning about how music and my myriad key. I firmly believe that communities can the summer months of 2011. Performances interests enhance one another. I consis- work in tandem with their artists to keep this spring include Orff’s Carmina Burana tently emphasize the many relationships the arts alive. Through teaching music, I with the Springfield Symphony Orchestra, between music and non-musical areas with aim to raise awareness of both the needs Handel’s Gloria with Collegium Musicum, my undergraduate students in music his- and benefits of arts education. I strive with and a recital for the Dayton Art Institute. tory at Johns Hopkins University, as well each of my performances to educate au- With regards to research, Jessica’s as with my private flute students at How- diences in order to increase their interest dissertation focused on the compositions ard Community College and in my private and investment in the arts. My educational of Pauline Viardot (1821-1910), and she studio. Additionally, I strive to share these outreach work with the Peabody Compo- enjoys introducing Viardot’s works to au- valuable lessons in each of my solo recit- sition Department’s Junior Bach Program diences whenever possible. In addition to als, chamber music performances, and edu- includes an aural history of the flute with cational outreach workshops with lectures,

32 IAWM Journal Volume 18, No. 1 2012 music from Bach to Piazzolla. Nothing is ephemera from the Archives and Special my own lectures about women composers. more magical than sharing the flute with Collections. I began this job as a work- Because we teach works by Monteverdi, inner-city Baltimore children who have study student during my master’s degree Handel, Beethoven, Berlioz, and Stravin- never seen a flute before. I also premiered studies, and I continued as a staff member sky, I have chosen to focus on Francesca pieces by two of these students as a cul- after I graduated. Four years later, the archi- Caccini, Elisabeth-Claude Jacquet de la mination project. My contribution to the val materials with which I work continue to Guerre, Fanny Mendelssohn Hensel, Clara looks on these boys’ faces when they heard teach me more about Baltimore’s musical Wieck Schumann, and the Boulanger their own ideas played live is one of my history than I ever thought possible. I have sisters. Each time I teach the unit about proudest moments as a performer. encountered many of the music world’s Stravinsky’s Rite of Spring, I take the stu- As a member of the Dahlia Flute Duo, greatest figures through their concert pro- dents on a field trip to the Baltimore Mu- I teach an annual summer masterclass for grams, composition manuscripts, letters, seum of Art to view the Cone Collection young flutists in Baltimore. In 2010, we and photographs. The strong love I feel for of Matisse and Picasso. This semester, I received a College Music Society/Yamaha Baltimore is largely due to its history pre- will also include a visit to the Evergreen In-Residence Fellowship Grant for com- served in the Peabody Institute Archives. Museum and Library to see a private the- munity engagement. With this grant, Mary As a music history instructor for the ater designed by the Ballet Russes’ Leon Matthews and I presented a three-part lec- Johns Hopkins University’s “Peabody at Bakst, as well as ogle over Bakst’s set and ture-recital series at a community center in Homewood” program, I teach Hopkins un- costume designs in this astounding private Columbia, MD. That same year, the Dahlia dergraduates of all majors and music mi- collection. I also supplement our study of Flute Duo used a Peabody Career Develop- nors about the vital connections between Monteverdi’s Orfeo with gender studies ment Grant to fund our own outreach perfor- music, art, politics, and the premieres of articles in order to expose the students to mances in Baltimore County public schools. major musical works. For two years, I have feminist criticism in music. With the Golden Egg Ensemble, I perform had the invaluable opportunity to assist Dr. As a performer, scholar, and teacher, I narrated, musical stories for children with a Richard Giarusso of the Peabody Institute aim to be engaging, thorough, and inspir- group of musicians dedicated to outreach. Musicology Department with this course. ing. I look forward to working towards My employment for nearly four years The class commissions a series of new my D.M.A. in Flute Performance in the in the Peabody Institute Archives and Spe- works as a final project, and I am fortunate fall because the music I will make and the cial Collections has deepened my respect to perform flute, piccolo, and alto flute in research I will perform will be interdepen- for history because of the daily research I these premieres. dent. My plan for my dissertation topic will perform with historical documents and pri- This semester, sonnets by Dr. Hollis be flute and piccolo music inspired by po- mary sources. I process collections, publish Robbins of the Johns Hopkins University etry. Works I have been brainstorming are the finding aids I write to an online data- will be set for soprano, flute/piccolo/alto, by Kaija Saariaho, Elliot Carter, Claude base, and assist researchers from around horn, and cello by two graduate student Debussy, and Sidney Lanier. My doctorate the world. Additionally, I have curated ten composers from Peabody. Dr. Giarusso will certainly be a culminating experience high-profile exhibits at the Peabody Insti- lectures on Mondays and Wednesdays; on for me as I become a true artist-scholar, tute, each with extensive narratives, which Fridays, I supplement his lectures with es- one that is a true ambassador for the arts in incorporate primary source documents and says, diary entries, articles, listening, and all walks of life.

2013 Athena Festival The eighth biennial Athena Festival at Murray State University, Murray, Kentucky will be held February 26-March 1, 2013. The Festival, which is devoted to the study and performance of music composed by women, has announced the following two searches. The deadline is August 1, 2012. 1. Search for original, unpublished chamber music scores by women composers to be performed on Wednesday, February 27. The award is a $1,500 honorarium and $500 travel allowance. 2. Search for original, unpublished choral music scores by women composers to be performed on Thursday, February 28. The award is a $1,000 honorarium and $500 travel allowance. The Festival announces a call for papers and lecture recitals on topics related to music by women composers for sessions of 45-50 minutes. The theme of the Festival is “Breaking Barriers – Finding Her Own Voice.” The postmark deadline is September 1, 2012. For details about the above, please see the website: http://www.murraystate.edu/Academics/CollegesDepartments/CollegeOfHu- manitiesAndFineArts/Music/FestivalsWorkshops/AthenaFestival.aspx For additional information, contact Festival DirectorTana Field at [email protected] or ATHENA Festival Department of Music 504 Doyle Fine Arts Center Murray State University Murray, KY 42071-3342

Meet Five New IAWM Members 33 Book Reviews Sally Macarthur: Towards a Twen- divide categories in opposition to each oth- ern countries—however, the conclusions ty-first Century Feminist Politics er and encourage conformity to the known not only reinforce established methods of of Music or to sameness. Macarthur argues that by evaluation, but also construct a negative Surrey, England: Ashgate Publishing, Ltd., adhering to traditional analytical methods, image of the woman composer and her hardcover, 206 pages, bibliography, index, musicologists have suppressed diversity of music. Therefore, according to the empiri- illustrations, musical examples, $99.95. thought and have demonstrated a preoccu- cal method, the music of women does not ISBN 1409409821 (2010) pation with the music of men. Moreover, belong in the concert hall. In contrast, the KIMBERLY GREENE she postulates that the predominance of the author presents the Deleuzian conception “violent and dissonant musical languages of the music of women as a destabilizing A compelling aspect of contemporary mu- and techniques of post-serial, atonal com- force in the world of music, where the pos- sicology resides in the implementation of posers” created during the twentieth- and sibility of difference and unknown direc- a multi-disciplinary approach to call into twenty-first centuries reflects a reliance on tions in music become imaginable. question twentieth- and twenty-first cen- the established historical compositional The second chapter, “How is the tury aesthetics and feminist thought. In ac- methods or the known, which is exempli- Composer Composed?” commences with cordance with this approach and through fied through the degradation of tonal mu- a vivid description of a hypothetical com- the appropriation of the fluid theoretical sic and the adoption of these techniques position workshop, where the students are complex of the poststructuralist French by women. In this respect, it is difference, introduced to the second movement of philosopher Gilles Deleuze (1925-1995) et commonly understood as diversity, and its Anton Webern’s Variations for Piano, op. al., controversial scholar Sally Macarthur potential that nullify the attraction of uni- 27 (1936). After initiating the students to maintains that the reliance on the estab- form thought and engender the unknown, the compositional matrix, with its tone lished methods and the intellectual con- thereby unleashing the divergent possibili- rows and permutations, the lecturer re- ceptual frameworks practiced by twenti- ties of new music. marks that the next session consists of an eth- and twenty-first century musicologists Often described as an abrupt departure analysis of Olivier Messiaen’s Mode de and composers has continued to marginal- from a materialistic philosophy, Deleuzian valeurs et d’intensitiés (1949), followed by ize the contribution of women, both in the theory represents a philosophy of imma- Pierre Boulez’ Structure pour deux pianos literature and in performance. In Towards nence, where the physical and the meta- la (1952). The purpose of this scene is to a Twenty-first Century Feminist Politics of physical coexist, yet function as one. It demonstrate that higher educational insti- Music (2010), Macarthur confronts the “in- stands as an inclusive theoretical complex, tutions propagate serialist and atonal com- habitants of new music and its practices,” which allows for limitless possibilities positional methods, thereby indoctrinating in order to effectively promote a revolution through thought, the resulting movement, their students and our future composers. or transformation in conception and meth- and the consequences. In the first chapter, Furthermore, while garnering support from odology that will abandon convention and “How is Gender Composed in Musical Susan McClary (UCLA) and David Ben- transfigure women and their music. Composition?” Macarthur briefly chron- nett at the University of Melbourne, Ma- Serving as Senior Lecturer and Coor- icles the pioneering endeavors of radical carthur argues that the aesthetic derived dinator of Musicology at the University of feminist research, while exposing the limi- from post-serial and atonal music reigns Western Sydney, Australia, Macarthur re- tations of two empirical studies of women within the domain of new music and has mains committed to feminist scholarship in the field of music: 1) Patricia Adkins stifled contemporary experimental music. and poststructuralist thought. The applica- Chiti, “Secret Agendas in Orchestral Pro- In addition, the author calls for a reassess- tion of feminist aesthetics in music is the gramming,” CultureGates (2003); and 2) ment of the neo-romantic conception of the topic of her doctoral dissertation (1997) Lisa Hirsch, “Lend Me a Pick Ax: The authority figure of the composer in favor of and her first book, Feminist Aesthetics in Slow Dismantling of the Compositional a deconstructivist perspective. Music (2002). Extensively published and Gender,” New Musicbox: The Web Maga- The confrontation of the currently an active leader in Australian women’s zine from the American Music Center (14 reigning neoliberal capitalism and its new music festivals and conferences, Ma- May 2008). Following a detailed analysis problematic relationship to aesthetics and carthur continues to offer viable philo- of the studies, the findings suggest that, the composer is the subject of Chapter 3, sophical constructs to inspire possibilities although the percentages of women edu- “Composing ‘New’ Music’s Public Image.” for women. cated in music composition have increased With monetary gain currently serving as the In her preface, Macarthur embarks on during the twenty-first century, only two socio-cultural prime mover and with excel- the difficult task of unraveling the elusive percent of all pieces performed by the lence affirmed as the heroic value, compos- Deleuzian theoretical complex, while af- 300 orchestras surveyed were composed ers must compete for precious resources firming its relationship to the discipline by women. As convincing as the evidence and intensify their efforts by increasing of musicology and its relevance to music. seems, Macarthur challenges the very production. Moreover, neoliberal capital- Expatiating on Nietzsche’s conception of underpinnings of the conclusions from a ism has seen the advent of the entrepreneur- pure difference, Deleuze invalidates the re- poststructuralist, Deleuzian perspective. ial composer who appropriates the domain curring social practice of reducing chaotic The empirical research confirms what is of new music while turning the end-product difference by corroborating the established already known—that the music of women into capital. The effect, sustained through hierarchal systems of classification, which is non-existent in the concert halls of West- Macarthur’s analysis of the marketing and

34 IAWM Journal Volume 18, No. 1 2012 capital generation of music, remains that History at California State University, Fuller- combined professional musicians with high composers have lost their creative edge and ton, is a recipient of the Walker Parker Memo- school players and even included women are adhering to the compositional meth- rial Endowment Fellowship (CGU, 2008) and who were learning their instruments as be- ods of avant-garde modernism, which fla- the Albert A. Friedman Research Grant (CGU, ginners. Others, such as the Marine Corps 2009). She holds a Master of Arts degree in grantly reproduces the dominant aesthetic Women’s Reserve Band, specifically re- Music History and Literature from CSUF, with and stifles musical innovation. According additional degrees in German Studies, French, cruited members with strong musical back- to Deleuze interpreter Claire Colebrook in and Business Administration. grounds and intended the band to be of a Deleuze: A Guide for the Perplexed (1997) high musical caliber. Regardless of these and cited by the author: “Art is great not Jill M. Sullivan: Bands of Sisters: initial circumstances, all of the bands seem when it maintains or repeats what has al- U.S. Women’s Military Bands dur- to have coalesced into close-knit families ready been expressed, allowing content ing World War II of musicians who worked and traveled to- to circulate while leaving the system un- Scarecrow Press, Toronto, 183 pages gether and performed a number of essential changed; great art changes the very nature (2011). functions for the war effort. of the system.” In this respect, music needs Particularly interesting are the histo- to become unfettered by the neoliberal, DEBORAH ROHR ries of some of the more prominent play- capitalistic paradigm, Deleuze’s “deterrito- Many of us have heard of Rosie the Riveter ers, whose training and accomplishments rialization,” in order to effect a radical and and other examples of women taking on are inspiring. Some had performed in the substantial aesthetic renewal. “men’s work” during World War II. We also all-women bands and orchestras, which Feminist musicology and the music know that the armed forces admitted wom- were a vibrant part of the musical scene of women remain an underlying current en during those years, but I imagine very in the 1930s. And due to the school band throughout this discussion and culminate few of us were aware of women’s military movement of the 1920s, even many of the in chapters 4 and 5. In “Feminists Recom- bands. So the first major accomplishment of younger players had been active for years, posing the Field of Musicology,” the author this book was to rescue, just as the trail was performing in high school bands and play- chronicles the tendencies and the battle- becoming too faint to trace, this inspiring ing instruments not gender stereotyped field of feminist, radical, and critical musi- chapter in the history of women’s musical as female. It is worth remembering that cology, in order to suggest a new “repara- endeavors. Jill Sullivan does so with a re- women in music (as well as in many other tive” musicology; a musicology that would sourcefulness and persistence worthy of any professions) did not just step forward to be proactive, innovative in its thinking historian, and I found the story of how and replace men during the war. Women had about the music of women, and engage in a where she found these records to be almost moved into many new public and respected more affirmative approach. Moreover, this as interesting as the history of the bands roles starting at least a generation earlier, reparative musicology would herald a new themselves. She consulted military service making the withdrawal of opportunities af- feminist era. In concordance with the mes- records and personnel requests, newspaper ter the war even more poignant. sage of hope, chapter 5 explores the music articles, and concert programs. And most Sullivan does not shrink from the ways of three composers: Sofia Gubaidulina (b. importantly, she interviewed seventy-nine that the women’s bands mirrored the racial 1931); Anne Boyd (b. 1946); and Elena surviving members of the bands, who ea- stereotypes and segregation of the times. Kats-Chernin (b. 1957). [Macarthur’s ar- gerly shared memories, correspondence, The story of the 404th WAC African-Amer- ticle, “Images of Landscape in the Music photographs, diaries, and scrapbooks. ican women’s band is powerful and inspir- of Anne Boyd,” is included in this issue The story of the bands is intertwined ing. Not permitted to rehearse or play with of the Journal.] It is Macarthur’s intent to with the social and gender values of the the white women (who performed for the substantiate through the examination of the time. The decision by the various branches segregated white troops), the Black women musical compositions of these composers of the military to invite women into their worked on their own to pull together their the concept that women composers must ranks in the early 1940s was largely due ensemble. Leonora Hull, an African-Amer- affirm themselves as artists in the process to the unprecedented need for combat sol- ican woman who had graduated from both of becoming and not position themselves diers in a war conducted on two fronts. Fisk and Oberlin, had taught college music in opposition to male composers or just as Sullivan explains that, despite the clear classes before joining the army; she be- equals. The author skillfully demonstrates need recognized by the military, there was came the conductor of the Black women’s that the becoming-composers’ music occu- a great deal of resistance from some quar- band. The leader of the white band stepped pies an aesthetic space through difference, ters to the idea of enlisted women, and in to help them organize, and some of the thus destabilizing the dominant male com- the first group—the women’s division of white players went every week to the Black modification of music. Her provocative the army—was subject to intensely nega- women’s barracks to give instrumental les- concluding remarks encourage a recon- tive publicity from the outset. Subsequent sons. The accounts of the fondness and loy- sideration of creative musical expression women’s enlistment in the Navy, the Ma- alties that developed among these women and intellectual thought. Assuredly, this rines, and the Coast Guard was conducted offered a hopeful counterpart to the other- impressive study provides productive am- in such a way to prevent or at least to mini- wise shameful practices of the time. munition for ardent debate. mize such reactions. Sullivan argues convincingly for the Kimberly Greene is a PhD candidate in musi- The reasons for and methods of found- bands’ significant contributions. They cology at Claremont Graduate University, CA. ing the bands varied widely among the performed all of the functions of the male Currently, she serves as an instructor of Music branches of the military. Some of the bands bands: marching soldiers from one loca-

Book Reviews 35 tion to another and participating in cer- Throughout the armed forces, most is rather too much repetition of the same emonies and parades. They also traveled enlisted men and women were discharged information even a couple of pages apart. through the country performing for rallies as soon as the war was over and, with few The bibliography is limited to secondary at which they raised millions of dollars exceptions, the women’s bands were dis- sources, when the richness and depth of in war bonds (the women’s Marine band continued. A few band members seem to the information the author has unearthed alone raised $7,000,000 in bonds). And as have continued as music teachers, but it is largely due to primary sources. Although increasing numbers of wounded soldiers seems that many left the paid work force. the primary sources are acknowledged in returned to hospitals, the women’s bands Sullivan indicates that a great many of the the chapters’ endnotes, it would be valu- were frequently engaged to perform for women described their years in the military able for all sources to be assembled in the injured and convalescing soldiers. Sulli- band as the high point of their lives—a poi- bibliography as well. van’s speculation that this may have been gnant statement. Of course, there were se- This is a story that needed to be told, the origin of the music therapy profession verely limited opportunities—in music or and its telling restores yet another missing is perhaps overdrawn, since there were in any other career—for women after the chapter in the history of women in music. champions of music therapy and attempts war, and I would have liked to know more Sullivan has accomplished that goal with to organize as a profession before World about the lives they led and how they felt careful reconstruction of the events, rivet- War II. Still, the observed value of music about it. Admittedly, that would have taken ing anecdotes of the individual women, a as a support for injured soldiers was clear, the story beyond its stated purpose of re- wonderful selection of photographs, and and the first successful music therapy orga- counting the history of the bands. a clear fascination with the story of the nization, founded in 1950, probably gained A few shortcomings mar the otherwise bands and band members themselves. momentum from the extensive wartime fine book. More careful editing and proof- Deborah Rohr is Associate Professor of music use of music for this purpose, performed reading could have caught several typos at Skidmore College. by the women’s bands. and streamlined the organization—there COMPACT DISC Reviews Patricia Morehead: Good News Strains of harsh color permeate oth- mance in this and the other three move- Falls Gently erwise comfortable conversation in Dis- ments is assured, although not without a Carolyn Hove, English horn; Abraham quieted Souls, the ensemble alternatively few slight fluffs, and audible page turns Stokman and Philip Morehead, piano; enfolding and freeing English horn player occasionally mar an otherwise sensitive Barbara Ann Martin, soprano; Caroline Carolyn Hove’s warm sound and sense execution of Morehead’s scenes from At- Pittman, flute; Jonita Lattimore, soprano; of urgency. At times the Philip Morehead, conductor. Navona Re- melodic simplicity of the cords, ASIN: B0055T96DS (2011) Celtic melody seems en- JENNIFER GRIFFITH tirely disconnected from Despite its title, anxiety takes center stage the dissonant harmonies or in this new CD of music by composer Pa- the tense string sonorities, tricia Morehead. Her carefully laid out but the sections flow easily compositions edge into anxiety with ease; and the ensemble’s rhyth- trepidation as a subject matter is not alien mic unison juxtaposed to her. Disquieted Souls, elegant with a hint with Hove’s well-articulat- of Celtic melody, begins with a searing dis- ed solo work with accom- sonance that returns throughout the piece. paniment, all very finely Morehead convinces us she knows harsh wrought and skillfully per- musical realities and is a compassionate formed by this committed employer of such sonorities in service to band of musicians. humanity’s ongoing battle with the fears Morehead’s strongest of modern life—her interpretation of Mar- expression of mood comes in garet Atwood’s Handmaid’s Tale leaps out the first movement (“Night”) as the thematic centerpiece of this album. of Handmaid’s Tale. The Its surrounding pieces elicit even more harp-like effect from the questions of the poet/novelist’s dystopian sweep of the piano’s plucked world, a world which might not be too far bass strings draws us into a off in terms of its prophecy of regimented, malevolent place, with the prescribed identities for women. Atwood’s second (partially prepared) poem “It is Dangerous to Read Newspa- piano’s bright, percussive pers” and other pieces Morehead has cho- line resounding above, a sen reinforce Atwood’s perspective from a mixture of stark and sharp- range of angles. ly defined life. The perfor-

36 IAWM Journal Volume 18, No. 1 2012 wood’s world. Morehead’s comfort with Finally, a vibrant and colorful or- Songs and Cycles: Contemporary extreme registers, clusters, and a dense chestral palette captures well the thankful American Women Composers harmonic landscape not far from late Ro- narrator of Good News Falls Gently, the Music of Emma Lou Diemer, Flicka Rahn, manticism, stem from Ralph Shapey’s title song of the CD. Soprano Jonita Lat- Katherine Freiberger, Libby Larsen, Eliza- school, and if her colors are not as emo- timore’s deep, sometimes almost fleshy beth R. Austin. Linda McNeil, soprano; tionally gripping or continuously engross- vocal colors are quite fitting for the qua- Carolyn True, piano; Kathy McNeil, col- ing as other composers of the University si-medieval, spirit-mother inspired poem oratura soprano; and Stephanie Shapiro, oboe. Recorded by Bob Catlin at the Musi- of Chicago enclave, her subject-matter is by Regina Harris Baiocchi. Lattimore is cal Arts Center of San Antonio, TX (2008). much more ambitious: she dispenses with joined by Pittman (flute/alto flute) and Leonarda, LE 357 CD. their abstract themes, particularly in mak- the composer (oboe), and other orchestral ing the personal political in her chosen members led by conductor Philip More- JULIE CROSS texts. Salvaging depicts Atwood’s neo- head, who brings out every detail. More- Music of five living women composers Fascist regimented colony as one where head has chosen a worthy sister to Atwood comprise this intriguing CD, produced a hanging of one of its members is eerily in Baiocchi, whose poetry counters with a and performed by Temple University (San matter-of-fact (with short gestural utter- utopian vision Atwood’s dystopian mother Antonio, Texas) faculty members Linda ances between pianos, while a disharmo- archetype. Lattimore possesses a gorgeous McNeil, soprano, and Carolyn True, pi- nious feeling aptly evokes Atwood’s por- sound over an impressively wide range ano, and featuring Texas-based compos- trayal of living under such conditions), as and although Morehead’s vocal lines are ers Flicka Rahn and Katherine Freiberger. well as the ongoing pain of a life with- not equally gorgeous nor particularly tran- The program notes include biographies of out beauty or pleasure. Morehead’s rebel scendent—on this CD she is a worldly the composers and performers, and all the musical mind cannot resist including an composer in the best sense of connecting texts are printed in the CD booklet. insurgent response to such conditions, to the human situation—her use of the en- The first four songs are by the es- and, near the end, the piano’s treble voice, tire vocal range should challenge and de- teemed composer Emma Lou Diemer and to my ear, expresses an attempt to reach light singers. Baiocchi’s poem summons do not appear to be from a particular cycle. lighter recesses as a reprieve from the hor- us (women) to think as one (“Each woman The beautiful, brief opening song, Strings ror of Atwood’s version of capital punish- fanning a different skirt/yet all sharing the in the Earth and Air, poem by James Joyce, ment, with a sharp jab ending the piece. same hem” and “the women chanted in is an upbeat piece with arpeggiated fifths Melodic collisions make more in- ev’ry language/with a familiar and com- in the accompaniment and stepwise un- teresting sonorities in Morehead’s Lad- mon voice”) and Morehead accepts the dulating motion throughout the song in ders of Anxiety. The strings’ sustained invitation. With a bluesy sound—a dar- both parts. The Caller, with a powerful tones, passed from one to another with ing move here from a thoroughly West text by Dorothy Diemer Hendry (the com- beautifully executed vibrato, result in European-trained musician—she seeks to poser’s late sister), is about “courtin’” the a communal vibration, a timbral bed connect to her African American sister. Grim Reaper, “Mistah Death.” Though the of sound. These moments again remind One might hear her incorporation of the singer was courted when younger, she sent me of the composer’s compassionate re- blues as simplistic, but this foray answers Death away but is now ready for his return. sponse to the otherwise unsettling world the poet’s invocation of a spiritual world What a unique and playful song! The ac- she conveys. The sense of ensemble in that incorporates the Mother, and More- companiment sets the mood with dotted this performance immediately locks in head is surely right to forge into unknown, rhythms and syncopations throughout, and and flute soloist Caroline Pittman easily or less-known, territory, to work into her the vocal line is catchy, with a descend- moves into and between their huddled own voice the voices of other ethnicities ing four-note theme that stays in one’s conversation and her own flights of ner- and experience. ear. Dorothy Parker’s famous poem One vous or soaring energy. Morehead’s odd Navona Records has supplied en- Perfect Rose is next, with a sarcastic text bone-striking punctuation in transitions hanced multimedia materials for this ex- about receiving “only” one perfect rose, or endings seems at times not inevitable cellently produced album—Bob Lord has no “perfect limousine.” This, too, is an up- expression, but, again, a rebel impulse the magic touch with composers. While beat piece, with repetitive chords in the ac- to jolt us awake from our ever-buzzing listening, one can browse through scores companiment and an independent, soaring lives. Pensive moments are also ten- of the works and other materials, which in- vocal line that emphasizes the irony of the der; how else to get by in this anxious clude a digitized booklet (a welcome new text. The song ends with a repetition of the world? The minimalist section from the version of the standard hardcopy booklet) words “one perfect rose” in a high register, ensemble, which breaks through late in and extras: wallpaper (for one’s desktop) but instead of a cadence, the words “per- the work behind the flute’s long, lyri- and even ringtones. fect limousine” are sung twice in a lower cal melodic lines, succeeds where short Jennifer Griffith moves between creative efforts range, wistfully. Diemer’s final piece on minimalist events in so many younger as composer, jazz vocalist, and scholar. She this recording is a setting of Shakespeare’s composers these days miss their mark. earned her doctorate at the Graduate Center Shall I compare thee to a summer’s day? Morehead wisely flows from these osti- of the City University of New York, where she In this gentle piece, both vocal line and ac- nati into layers of complex and engaging studied with Thea Musgrave, David Del Tredici, companiment move at a pace that avoids sound. and Tania León. excessive sentimentality.

Compact Disc Reviews 37 Corpus Christi, Texas-based compos- tures. Finally, “Rainy Day” whimsically tive manner befitting the poetry. Larsen er Flicka Rahn set two poems by Pulitzer exclaims that the cricket, beetle, dragon- has a gift for lending a voice to the voice- prize-winning imagist poet Amy Lowell. fly, and turtle travel around the world since less, and much of Calamity Jane’s story is The first, Vicarious, features a slow, mys- they go away on rainy days, but “I just go unclear. By all reports she was illiterate, terious melody with a long piano prelude to the attic since it’s close to home.” The so the letters may have been fictitious or and postlude. The text presents the sing- piece is jazzy and fun, with tempos and dictated. er gazing upon a face painted on her fan rhythms appropriately characterizing the The final cycle is Elizabeth R. Austin’s while standing under a willow tree. The different animals. These poems capture setting of fiveSonnets from the Portuguese vocal line is difficult, as there are many the life experiences of a child in the most by Elizabeth Barrett Browning. “The face long sustained notes throughout. Shore creatively intuitive way! of all the world is changed, I think,” is full Grass is written in a similar style: a dis- The eighth track on the CD, Winter of wonderful word painting: the accompa- tinct sustained vocal line and a more active Apples, is also by Freiberger. McNeil and niment quiets at the word “still,” the vocal accompaniment with a significant mood- True are joined by coloratura soprano line reaches to the “outer brink,” arpeg- setting prelude and postlude. It paints a Kathy McNeil and oboist Stephanie Sha- giated piano chords simulate the “lute.” scene of the moon over the sand dunes, piro. The text by Charlie Langdon, senior “Say over again, and yet once over again,” flowing, glowing sea grasses, and the critic at the Durango Herald, describes is fast and passionate, with rolling piano chime of a watch, but the sound heard is the transition from the fertile fall apple chords and a vocal line that explores ex- the “windy beating of the sea.” The quasi- harvest to the bare bleak winter with nu- treme upper ranges. “Unlike are we, un- impressionistic music is well-suited to the ance and delicacy. Shapiro’s tone is cap- like, O princely Heart!” is gently declama- imagist poetry. tivating in her prelude with True, and she tory and sincere, setting well this earnest Texas native Katherine Freiberger set plays in alternation with the vocal duet sonnet in which the last line is spoken. the cycle The Coffee-Pot Songs, with poet- throughout. The oboe line is lovely, with “First time he kissed me” depicts excite- ry by children’s poet Aileen Fisher. These musicality that enriches the text. True is ment with wide intervals in both the vocal seven poems are performed back-to-back a sensitive performer throughout, with a line and the accompaniment, with widely and are all on one one-minute track. “The piano part requiring absolute rhythmic differing rhythms. The last piece is Brown- Coffee-Pot Face” is an adorable descrip- precision. The sopranos execute a closely- ing’s famous text, “How do I love thee?” In tion of the distorted face a child might see set duet, with occasional alternating solo a declaration of love, the soprano inhabits while looking at her reflection in a coffee fragments. the extreme heights of her range. This last pot. The vocal line and accompaniment Libby Larsen’s well-known cycle song has a prayerful tone with a mysteri- are simple yet sophisticated. “Otherwise” Songs from Letters; Calamity Jane to her ous, uncertain ending on “I shall but love states that the world must be magic since daughter Janey is a setting of four letter- thee better after death.” day turns to night, sailboats disappear fragments attributed to Martha Jane Can- Linda McNeil’s soprano voice is vi- from shore, and peanuts have such a thick nary, “Calamity Jane.” “So Like Your brant, and her attention to textual detail ex- shell; the music is reflective and gentle. “I Father’s” refers to a photo of Calamity’s cellent. It was refreshing to hear such clear Never Had a Pony” is an optimistic song daughter, and begins a cappella, continu- diction and accurate rhythm, and I applaud about making do—the pony is not hers ing with sparse accompaniment through- her for choosing such a difficult (but won- but she rode one when the circus came to out the remainder of the song. “He Never derful) collection of songs. That said, her town; she has no trumpet but has a whis- Misses” paints a scene of “Wild Bill,” vibrato was wider than is technically ap- tle that will do; a rim of steel replaces a Janey’s father, and his precision in killing propriate, which affected the overall sound wagon wheel; the vast beach is replaced outlaws. Repeated rhythmic gestures in quality and caused intonation problems. by a personal sandbox. The rhythm is jag- the piano propel the song forward and con- Notes were obscured, especially in the ged, with asymmetrical-sounding accents, tribute a sense of excitement. “A Man Can last cycle. In addition, musicality (and/or triplets to mimic the wheels, and a soar- Love Two Women” admonishes Janey, nuance) is sometimes lacking in her tone, ing ending to depict the beach. The piano’s with a passionate, slow vocal line, sad which affects poetic comprehensibility. postlude reintroduces the movement’s tone, and punctuated asymmetrical accom- The CD would have been more enjoyable rhythmic beginning. “Stars” wonders, paniment, to avoid getting jealous of men. had this been addressed. Pianist Carolyn with a slow climbing melody and large The longest poem, “A Working Woman,” True performed flawlessly with gorgeous piano intervals—as if little stars would expresses Jane’s frustration that her life tone, poignant musicianship, and delicate get tired staying up all night—and the vo- is so much harder than that of “virtuous balance. Ideally, I would have liked to hear cal line sighs to a tired ending. “Moon” women.” The vocal line sounds like a con- a bit more piano throughout the CD. This features a perpetual-motion accompani- temporary operatic recitative, very like a is a worthwhile introduction to female ment and punctuated vocal line. “Do you monologue. The accompaniment supports composers both familiar and new. ever wonder too, what dreams do when the voice with occasional commentary that Julie Cross is treasurer of the IAWM and As- they are through?” is the text of the brief reinforces Jane’s character. “All I Have” sociate Professor of Voice at the University of “Dreams.” The piano tone is particularly is a farewell from Janey’s blind mother. Wisconsin-Whitewater. She performs in recit- exquisite here, with an ascending vocal It follows a style similar to “A Working als throughout the United States, and has re- line over eighth-note repeated piano ges- Woman,” but in a slower, more self-reflec- cordings with Albany Records and Audio for the Arts.

38 IAWM Journal Volume 18, No. 1 2012 Meira Warshauer: Living Breath- player Haim Avitsur, performing on shofar ment, “Living, Breathing Earth,” recalls ing Earth and trombone. The attractive CD is well- elements of the opening as well as themes The Moravian Philharmonic, Petr Vron- produced and Vronsky leads powerful from the second movement. The composer sky, conductor. Navona Records, ASIN: performances by the Moravian orchestra, is able to evoke a sense of the orchestra in- B004P96WFE (2011) which has recorded many contemporary haling and exhaling with alternating chords ANNA RUBIN composers, including IAWM members. upon which she quilts ever-changing tim- The first work is a testament to War- bres and rhythms. This movement comes Meira Warshauer brings a unique blend shauer’s sense of the sacredness of life. to a poignant and satisfying climax. of concerns and influences to her work, Living Breathing Earth, in four sections, The second work on the CD is Te- including major pieces for orchestra and follows a fast/slow/fast/slow progres- keeyah, the Hebrew name for the long choir, and has devoted much of her creative sion. The first section, “Call of the Cica- tones played on the shofar or ram’s horn output to Jewish themes and their universal das,” features percussive textures. Strings during the Jewish High Holidays. Tekeeyah message. Warshauer eschews the liturgical imitate the lush forest sounds of cicadas; (a call), the first concerto ever written for and folk influences of Eastern European varied percussion instruments help main- shofar, trombone, and orchestra, had its Jewish music; rather, her signature sound tain a pulsing driving rhythm. Delicate premiere performances in 2009 with so- derives from such diverse influences as melodies are woven together throughout loist Haim Avitsur and commissioning Copland and John Adams, jazz and world the rich texture. Warshauer has a wonder- orchestras Wilmington Symphony (NC), music, as well as her mentor at Harvard, ful ear for the varied timbres of the orches- Brevard Philharmonic (NC), and Univer- Jacob Druckman. Her compositional out- tra, and she leads us from soft and delicate sity of South Carolina Symphony. Con- put is considerable and among her honors sounds to powerful rhythmic unisons. Part sortium premieres continued with West- are awards from ASCAP, Meet The Com- two, “Tahuayo River at Night,” is a rest- ern Piedmont Symphony’s performance poser and residencies at the MacDowell ful work and listeners will hear echoes of in Spring 2011 and will conclude with the Colony and Hambridge Center. Coplandesque quartal harmonies as well Dayton Philharmonic’s performances in Her CD, Living Breathing Earth (pub- as tinges of Mahler’s adagio movements. the 2012-2013 season. lished by Navona Records, performed by Its cyclic nature builds up to a powerful The shofar’s call is meant to wake up the Moravian Philharmonic, Petr Vronsky, climax and then gracefully exhales into a the listener and turn her towards the divine. conductor) consists of two major orches- soft ending. Part three, “Wings in Flight,” First mentioned in the Old Testament, the tral works, the eponymously-named title evokes bird flight with graceful melodies sounding of the shofar is for many Jews work and Tekeeyah, a unique concerto for and harp accompaniment. The last move- one of the most stirring moments in the en-

Compact Disc Reviews 39 tire liturgy. Each shofar is unique, limited more primitive and earthy timbre. “Dance of longing. Maybe that was the point—a in range and famously difficult to play. For of Truth,” a lively section which celebrates recognition of unfulfilled potential. Just this recording and premiere, the composer the nine short sounds (teruah) sounded by as an obituary is a narrative of a person’s collaborated with soloist Haim Avitsur, a the shofar during the Rosh Hashanah ser- life, this work is a requiem for unfinished superb performer. He is able to make near vice, features a solo by the shofar and con- business. The B-flat minor tonal center is seamless transitions between the plain- cludes in an exciting climax—just as the unsettling, and from the beginning, that tive and earthy sound of the shofar and the service ends with the final “Tekeeyah.” sense of unease is compounded by an ur- trombone, which extends the simple pat- For additional information on War- gency suggested by bass and drums. The terns of the shofar into virtuosic passages. shauer’s music, see “The Sacred Con- flugelhorn offers a pensive contemplation Warshauer writes in her program notes cert Hall: Meira Warshauer’s Orchestral of what could have been. about the three distinct patterns in which Works” by Christina L. Reitz (Journal of Cartoons of the Prophet will incite the shofar is sounded: “tekeeyah, a long the IAWM 17.2, 2011). Warshauer’s CD is no jihad; there is no provocation or dis- tone; shevarim, three shorter tones; and distributed by Navona Records, a division respect here. My sense was of a Bedouin teruah, at least nine staccato or short notes. of Parma Recordings. Parma has absorbed caravan traversing the rolling dunes of Tekeeyah g’dolah, a very long tekeeyah, many smaller labels and has made a no- C minor, treading carefully through a concludes the sequence on Rosh Hashanah table effort to market classical music with wadi in F minor, and stopping briefly at (the Jewish New Year).” She incorporates its attractive website, the requisite social an oasis of vibraphone comfort provided all three in this composition. She adds: media, and outreach to composers. by Steve Shapiro. The implied exoticism “The shofar calls us. It calls us before we Anna Rubin (annarubinmusic.com) is a com- invites comparisons with another famous are born. It calls us to enter the world. It is poser of chamber, orchestral and electronic mu- convoy: Caravan, immortalized by the our touchstone as we move through life’s sic whose compositions have been performed Duke Ellington band in the late 1930’s. challenges. It helps break through walls internationally. She directs the Certificate Pro- Both have a plaintive, haunting quality, we construct around our essence. Those gram in American Contemporary Music at the but Collins’ is a different journey for a protective walls may be the very ones that University of Maryland/ Baltimore County, a different time, following a different route. keep us from our true knowing. The shofar one-year post-baccalaureate program. Her excursion might not move as quickly calls us to return.” as its predecessor, but it seems that all are Kiku Collins: Here With Me The work opens with a section aptly enjoying the trip. named “a call,” with breath sounds by Innova Recordings 668 (2007) The opening of Levitation conjures up various players fusing with gongs, all sur- RONALD HORNER a lonely lounge pianist contemplating the rounding the low call of the shofar with My initial response to this disc was one construction of ninth chords while hoping its sinuous tone-bends and falls of a third. of skepticism. Kiku Collins? Trumpet? that the tip jar will fill. The pianist doesn’t Warshauer alternates winds and strings in Flugelhorn? Jazz? Hardly the sort of pen- remain lonely for long, as friends who play another evocation of the cycle of breath. sive, abstruse fare routinely contemplated trumpet, guitar, and drums drop in. The The second section is called “Breaking by the readers of this esteemed chronicle. combination of sounds reminded me of Walls.” Here, shofar music is developed However, as I submersed myself in the George Benson’s Weekend in L.A. album. by the trombone, starting with its lowest selections, it became apparent that this is There are periods of dialogue between gui- sounds and reaching into its upper register music to which we must treat ourselves. It tar and trumpet with occasional moments as the piece becomes highly dramatic and is fresh, effervescent. Each track is like a of unison agreement. The piano returns, filmic in its drama. This middle section is new neighborhood waiting to be explored. wanders away in a different harmonic di- full of Warshauer’s signature pulsing tex- The title track, Here With Me, beck- rection, but finds its way back. The piece tures and varied orchestration. The shofar ons the listener to a warm and comfort- ends with a return to the earlier collabora- returns to round out this section with its able place where energy and tranquil- tion of trumpet and guitar. Acid Cowboy ity find their balance. Arpeggiated guitar slips a few drops of musique concrète into Video by Alexandra Pierce chords open the door for flugelhorn and the mixture by adding crickets and drip- mbira. As trumpet and drums are added, ping water. The performance was tasteful, An Audio-Video Companion by Alex- the intensity builds—only to be swept expressive, and engaging. andra and Roger Pierce to Deepening away by violin and cello. The cycle re- You Too (featuring more of the gui- Musical Performance through Move- peats and leaves the listener with wistful tar artistry of Julian Harris) is the perfect ment by Alexandra Pierce (2007), re- memories of companionship. Mr. Barista antidote to a stressful day. The listener viewed by Jean Wald in the Journal of is a shot of aural caffeine. This is a work doesn’t have to search for any hidden the IAWM 17, no. 2 (2011), can now with a decidedly Cuban flair that begs the meanings or consider the ramifications of be seen at the website https://sites. listener to move; a physical response to it composer angst. What you hear is what google.com/site/deepeningmove- is simply impossible to resist. The Mes- you get, and I enjoyed the liberation of ment/home. In fourteen videos, Al- senger, a reflective exchange between being carried away by this track. Blues exandra explains, and Roger demon- Collins and co-composer Julian Harris Again was happy blues—if that’s possible. strates, techniques for awakening the on guitar, features prominent overtones A bluesy guitar opening quickly yields to musicality inherent in the body. of John Coltrane. Confidential Obituary trumpet harmonies and conga rhythms was pleasant, but left me with a sense that I found reminiscent of a Mariachi

40 IAWM Journal Volume 18, No. 1 2012 ensemble, propelled by a beat that dares David Ludwig, Daniel Kellogg, Andrew especially because of their aesthetic simi- the listener to get up and move. Guitar and Rudin, Katherine Hoover, David Bennett larities. While “Dizi Dance” provides bass solos flirt with blues scales, but I had Thomas, and Michael Djupstrom. As only some welcome energy and rhythmic drive no sense of long-term commitment. If the one of the eleven composers is a woman, after the dreamy character of the first two blues are a musical way of expressing (or this review will be devoted to her work. movements, it still seems rather staid as identifying with) depressing situations, I According to Stillman, the title Od- the finale of this work. felt that tempo and tonality conspired to yssey reflects the “exhilarating journey of Stillman and Abramovic perform bril- prevent that in this piece. The final selec- musical discovery” and the penchant of the liantly throughout the recording. They tion, Sakura, remains faithful to the origi- featured composers to “draw upon the mu- commissioned and premiered several of nal Japanese folk tune. Harmonies flour- sic of different world cultures.” In addition the works, and thus play each piece with a ish like the cherry blossoms that lend their to the Argentinean flavor of David Lud- wonderful sense of ownership. With nearly name to this composition. wig’s Sonata, the Balkan folk song pres- two hours of music and relatively limited Collins’ mastery of her instruments is ent in Michael Dupstrom’s Sejdefu majka instrumentation, the duo eloquently com- evident throughout the CD. She has a soul- budase (Sejdefu’s Mother Wakes Her), and municates each composition’s unique ful touch that touches the soul. Although the multi-cultural influences of Katherine mood and each composer’s individual this collection includes the performances Hoover’s Mountain and Mesa, the compo- voice. of thirteen musicians, their contributions sitions also reflect a wide variety of music Flutist Pamela Murchison serves on the faculty are made in small combinations. Each idioms, encompassing classical, jazz, and at Frostburg State University. Her varied ca- track blends different timbres in a manner world music. reer includes membership in the West Virginia that prevents predictability. The contribu- Mountain and Mesa for flute and pi- and Akron Symphonies, and she maintains an tions of Collins’ collaborators must not be ano (2009) by Katherine Hoover contains active career as a chamber musician. Her doc- underestimated. While some performers three movements: “Hungarian Lassù,” toral research topic explores the music of com- played fewer notes than others, each por- “On the Mesa,” and “Dizi Dance.” In poser Amy Williams. tion of the finished product was presented keeping with the wide range of cultural Clare Maclean: Osanna with loving attention to detail. Production influences present throughout this record- Sydney Chamber Choir, conducted by considerations are masterfully handled, ing, each movement is evocative of a dif- Paul Stanhope. Tall Poppies Records and the result should be required listening ferent heritage. “Hungarian Lassù” places TP218 (2011) on Friday afternoons. the flute in the role of a gypsy violin, with JAMIE REIMER This music is fulfilling without being long, improvisatory melismas exploring mysterious, enjoyable without pretense. It sophisticated eastern European harmo- The Sydney Chamber Choir presents a is just good music: well written, well per- nies. The piano interjects short comments crystalline and ethereal performance of formed, and well produced. This is comfort that contrast with the long, sensual lines Clare Maclean’s Osanna Mass, the title food for your ears. Forget calories—just in the flute and represents a cymbalom, or track on their 2011 recording from Tall keep piling it on. Delicious. hammered dulcimer, common in this style Poppies Records. Conducted by Paul Stan- Ronald Horner teaches Percussion and World of music. hope, the ensemble functions as a single Music at Frostburg (MD) State University. A “On the Mesa” uses as its theme a voice with many facets, seamlessly mov- former member of the Israel Philharmonic Or- Hopi lullaby of the same title notated by ing from homophonic moments to poly- chestra, he holds a Doctor of Musical Arts de- Natalie Curtis in 1913 at Third Mesa, Ari- phonic lines with perfect intonation and gree from West Virginia University. zona. Hoover includes bird-like calls in the uniform purpose. flute to represent the importance of nature Maclean’s setting of the traditional Odyssey: 11 American Premieres to the Hopi tribe. Again, the piano takes a Catholic mass incorporates plainchant for Flute and Piano subordinate role in this movement, provid- found in the Ordinary of the Mass as well Mimi Stillman, flute, and Charles ing simple harmonic accompaniment. as Jewish liturgical melodies, creating a Abramovic, piano. Innova 814 (2011) The final movement, “Dizi Dance,” cross-cultural experience that feels re- PAMELA MURCHISON is based on Chinese rhythmic and har- markably organic to the text. Her use of monic patterns, and takes its name from traditional compositional processes such as Odyssey: 11 American Premieres for Flute one of the most popular Chinese flutes. As counterpoint and canon combined with el- and Piano is a two-CD set which features on the rest of the recording, Stillman and ements of sound mass result in a work that works by living American composers. All Abramovic perform with beautiful crafts- is traditional and, at the same time, quite of the compositions receive their premiere manship, giving each movement the dis- forward thinking. recording, and the repertoire includes tinct flavor that Hoover intended. Com- Composed for the Sydney Chamber pieces for both solo flute and flute and positionally, there could have been more Choir, Maclean’s work is beautifully in- piano. Mimi Stillman, flute, and Charles contrast between the vast geographical terpreted by Stanhope and twenty-six ex- Abramovic, piano, are both members of differences inherent in the music Hoover ceptional singers. Occasionally, one voice Dolce Suono Ensemble, a group dedicated used as her sources. The first and second emerges unintentionally from the ensem- to commissioning and performing new movements, which could successfully be ble sound, but it is not pervasive enough music. The composers on the disc are Ben- performed as stand-alone pieces, seem a to distract from the work as a whole. The jamin C.S. Doyle, Mason Bates, Richard bit too long in this multi-movement work, ability of the singers to uniquely color Danielpour, Gerald Levinson, Zhou Tian,

Compact Disc Reviews 41 their voices as individual instruments is twice, with the distinction between the poet dently praising the summer’s warm light. particularly useful in the Sanctus when and the chorus becoming more indistinct The basses soon adopt a drone-like role, Maclean creates a canon at the interval of as the piece progresses. The ensemble han- giving the piece a sense of earthly con- a major second. Her effective use of disso- dles the two roles well, even as the unique nection. It is as if one can feel the warm nance is particularly striking in the Agnus forces collide in intricate harmonies and breezes rolling through the air. When the Dei when used to highlight “the sins of the opposing rhythmic figures. text mentions darkness, a rhythmic canon world.” It is obvious that Maclean was ac- Vive in Deo features a collection of forms between the male and female voic- quainted with the ensembles’ superb abil- inscriptions from Christian graves in the es, creating an appropriately unsettling ity to sing close-knitted harmonies with Roman catacombs. The ghostly nature feeling that soon gives way to a beauti- ease and elegance, making them seem al- of the repeated “Mnéskesthe” (Remem- ful and blossoming “forgiving light.” The most angelic. ber) creates a reverent yet haunting en- “Amen” begins with the tolling of bells, In the Year that King Uzziah Died is vironment for the piece. Each section of but concludes on a single unison pitch, based on Isaiah’s vision of God in heaven, the work adopts one word as an ostinato sung beautifully by the male voices. It is and incorporates a great deal of text paint- beneath the individual inscriptions being a satisfying and fitting conclusion to a re- ing to create the scene. Up to this point, sung, as if by the families of the deceased. cording that celebrates the triumph of the the clarity of text delivery by the Sydney All voices come together to call upon Je- spirit. Chamber Choir is superb, but the com- sus to remember their dead, while a solo Dr. Jamie Reimer is an accomplished singer, plexity of this setting makes accurate text soprano voice provides the final bless- teacher, and scholar who performs regularly declamation challenging, even for the most ing: “Sweet soul, may you always live in in opera, oratorio, and recital venues around gifted ensemble. Listeners will want to re- God.” The piece is effective, haunting, the country. Her research and performance of fer to the program notes for this selection. and comforting as a celebration of the life the music of African American composer Rob- ōs anthos chortou (As the Flower of the after death. ert Owens has garnered international recogni- Grass) is structured with a Greek chorus We Welcome Summer, set to a poem tion. Dr. Reimer serves as Assistant Professor and a poet presenting Sappho’s fragment by Australian Michael Leunig, begins of Voice at the University of Nebraska-Lincoln. 31. Each segment of the poem is repeated with a full chorus of voices indepen-

Recommended New CDs (Additional new releases are listed in the Members’ News column.)

Laurel Firant: Music for Solo Piano and Violin and Piano Pianists Robert Conway, Tomoko Deguchi and Leonore Hall, and violinist William Bouton. Ravello Records, Capstone Collection, MP3 format (2012) The CD, which contains nine compositions by Laurel Firant, was first reviewed by Laura Silverberg in the Journal of the IAWM, vol. 13, no. 1 (2007), and it was recently re-released on the Ravello label. Laurel reports that the original CD has received extensive airplay since the initial release, most notably over WNYC in New York City, Radio France, RTE Lyric fm in Ireland, the American Music Center’s Counterstream Internet radio out of New York, the Classical Public Radio Network in the U.S., and Venice Classic Radio in Italy.

Nancy Van de Vate: Hamlet Vienna Modern Masters VMM 4008 (2012) Nancy Van de Vate’s new opera, Hamlet, based on the play by William Shakespeare, has just been released on a three-CD album, VMM 4008, from Vienna Modern Masters. In five acts, the opera features a distinguished international cast, with three soloists from the US, three from Vienna, one from South Africa, one from Greece, and one from Colombia. The excellent Moravian Phil- harmonic and Zerotin Academic Choir from Olomouc, Czech Republic are also heard on this new recording, conducted by Petr Vronsky of Prague. The composer was invited to present a guest lecture about the opera on March 26 at the University of Vienna and on April 26 at the Institute for European Studies (IES Abroad) in Vienna.

Frances White: In the Library of Dreams Choshi (traditional), Ralph Samuelson, shakuhachi; The ocean inside, eighth blackbird; Walk through Resonant Landscape No. 5.1; In the library of dreams, David Cerutti, viola d’amore; Walk through Resonant Landscape No. 5.2; The book of roses and memory, Liuh-Wen Ting, viola; Thomas Buckner, narrator. Pogus 21064-2 (2012) In the Library of Dreams features exquisite performances by Ralph Samuelson, eighth blackbird, David Cerutti, Liuh-Wen Ting, and Thomas Buckner. The CD has beautiful cover art by the brilliant artist Lothar Osterburg. White’s music has been described by James Pritchett as “absolutely beautiful—and disturbing….The power of her work comes from her ability to take listeners on journeys through her inner sense of sound, finding something luminous, exalted, dramatic, and at times frightening there.”

42 IAWM Journal Volume 18, No. 1 2012 FESTIVAL, OPERA, AND CONCERT REPORTS The 2012 Women Composers Festival of Hartford: Concert Report JESSICA RUDMAN

When the twelfth annual Women Compos- some of her own compositional solutions, Patrick-St. Anthony conducted by Gabriel ers Festival of Hartford was held on March including use of layered pulses to create Löfvall. Choral music from the nineteenth 4-11, 2012, I finally realized what I missed emergent patterns, pattern deconstruction and twentieth centuries filled the resonant in college: Judith Shatin, founder of the through rotation and permutation, and use space of Center Church, and interspersed Virginia Center for Computer Music, and of rhythms as focal points analogous to instrumental chamber works provided William R. Kenan, Professor at the Uni- harmonic centers. Her talk also touched contrast. Though the choirs performed versity of Virginia, where I completed my on gestalt theory and recent experiments in separately for most of the concert, the two undergraduate degree in 2004. Amazing- music perception as well as the effect such groups combined to perform Hark, I Hear ly—through flukes of scheduling or other work has on her music. the Harps Eternal arranged by Alice Parker. quirks of fate that I do not quite remem- On Thursday, Dr. Shatin discussed The Wednesday night Local Composers ber any more—I never studied privately or her piano trio View from Mt. Nebo at Cen- Concert reflected the Festival’s strong sense even took a class with Dr. Shatin. Re-meet- tral Connecticut State University’s Music of community. Held in the Chase Family ing her at the Women Composers Festival Forum. Inspired by the Biblical story of Gallery of the Mandell JCC, where works of Hartford allowed me to recapture a little Moses being unable to enter the Promised by artist Jennifer Moses were exhibited, the of what I did not get to experience in my Land, Dr. Shatin hoped to express “the audience was time at UVa, and I am sure that I was not combination of yearning for an impossible able to enjoy the only person who was impacted by her goal, as well as the joy at having reached an extremely music or her words during the Festival. another, perhaps more critical one.”1 She varied eve- Dr. Shatin arrived in Connecticut on explained how she strives to write music ning of cham- Wednesday and began her eventful four- that clearly communicates emotion to its ber works day residency by speaking to a computer listeners and then conducted an exercise with instru- music class at Trinity College in Hartford. to demonstrate how sound can create an mentations She discussed different computer pro- expectation of emotion: after playing John ranging from grams with which she has worked, focus- Williams’s theme for Superman, Dr. Sha- piano trio to ing on what was possible in each program tin asked students to describe what ideas percussion and how different programs can affect the or images the music suggested to them and sculpture. types of music composers will create. She why such music was appropriate for the The Dahlia played her Penelope’s Song as an example film. This practical demonstration helped Flute Duo, of her electro-acoustic work. That compo- to underscore the wealth of emotions ex- members of sition incorporates a solo instrument (there pressed in View from Mt. Nebo. Addition- the new mu- Judith Shatin are many different versions for various in- ally, the Connecticut Trio—comprised of sic ensemble struments) accompanied by audio based on CCSU faculty members Gerard Rosa, Julie 016, the New England Guitar Quartet, and manipulated recordings of someone work- Ribchinsky, and Linda Laurent—was pres- various students/alumni from The Hartt ing at a loom. As a contrast, Dr. Shatin also ent and performed the work to give stu- School participated in this event. shared a piece for robotic percussion. dents an intimate experience of the music. Co-presented by The Studio of Elec- Later that afternoon, Dr. Shatin spoke Other works by Dr. Shatin featured tronic Music, Inc., the Electro-Acoustic about her music at the Institute for Con- at the Festival included Hearing the Call Concert on Thursday night focused on temporary American Music Composer’s on Wednesday night and Elijah’s Char- works that combined electronic media with Seminar held at The Hartt School. Citing iot on Thursday night. Aside from works one or more live musicians, while a pre- musical influences ranging from Ba’aka by our composer-in-residence, music by concert reception featured works for fixed pygmy music to Ligeti to her own hands- more than fifty other composers—many media. The concert proper included com- on experience working with electronics, of whom were selected through various positions for voice, string bass, flute duet, Dr. Shatin demonstrated some of her own score calls—was also presented. Concerts gayageum, and more. The inspiration be- personal musical concerns and interests and other events were held at diverse ven- hind the works ranged from ventriloquism through three representative pieces: Clave ues including Hartford’s Center Church, to a tea kettle, leading to a diverse recital for mixed chamber ensemble, Run for the Mandell Jewish Community Center of culminating with Dr. Shatin’s Elijah’s piano quartet, and Jefferson In His Own Greater Hartford, The Unitarian Society of Chariot for string quartet and manipulated Words for orchestra and narrator. In a fasci- Hartford, Trinity College, Capital Com- recordings of a shofar. nating presentation, she focused on rhythm munity College, Central Connecticut State The Friday night concert featured the and her reaction against what she terms University, and The Hartt School. Connecticut Trio performing View from “modernist arrhythmia”: after explaining This year’s opening concert featured Mt. Nebo along with performances by some reasons beyond some composers’ the Festival Choir conducted by Mat- our Ensemble-in-Residence, The Curios- tendency to avoid pulse, Shatin showed tie Banzhaf and the Gallery Choir of St. ity Cabinet. Founded by composer and

Festival, Opera and Concert Reports 43 conductor Whitney George, The Curiosity of instruments, Chris Lastovicka’s Ante- NOTES Cabinet is a New York City-based chamber chamber made use of the beautiful, but not 1. Judith Shatin, program notes for View orchestra dedicated to performing music standard, combination of countertenor, alto from Mt. Nebo. of the twentieth and twenty-first centuries. flute, and piano. The program concluded The Women Composers Festival of Hartford is The Curiosity Cabinet opened their set with three exhilarating movements from held annually each March as part of Women’s with pink fluffy alarmetts still sound by Dr. Juliana Hall’s Orpheus Singing for alto History Month. Information about score calls Karen Power, winner of the Festival’s 2012 saxophone and piano, performed by Hartt and upcoming events can be found online at Composition Competition. The group also School saxophone professor Carrie Koff- womencomposersfestivalhartford.com. If you would like to find out how you can participate presented excerpts from an opera in prog- man with the composer at the piano. in the festival or to make a donation, please ress by Ms. George, as well as works by Curated by vocalist and musicologist contact the Festival Director, Daniel Morel, at Ellen O’Meara and Faye-Ellen Silverman. Dr. Susan Mardinly, the final concert of the [email protected]. Organized by Mattie Banzhaf and Pa- Festival featured accompanied and unac- Jessica Rudman (www.jessicarudman.com) trice Fitzgerald (both of whom also per- companied performances by vocal faculty has been involved with the Women Composers formed in the concert), Saturday’s Concert and students in The Hartt School’s Col- Festival of Hartford since 2005 and currently Pro Femina included a potpourri of cham- legiate and Community Divisions. A new serves as its Associate Director. An active com- ber and choral music by historical and con- work by CT-based composer Stacy Cahoon poser, Ms. Rudman is currently pursuing her temporary composers. Though many of the entitled Lyric Lament was featured as the Ph.D. at the CUNY Graduate Center. works were for traditional combinations concert’s humorous finale. Slaying the Dragon: World Premiere of the Opera ELLEN FRANKEL

The opera, Slaying the Dragon, by com- bringing together a range of lively, eclec- formed in September 2011 at a Philadel- poser Michael Ching, with the libretto by tic, and wide-ranging styles. For his score, phia abbey and synagogue. IAWM member Ellen Frankel, will have Ching drew from a variety of musical In 2005, Philadelphia’s prestigious its world premiere in Philadelphia at the genres and sources—Yiddish folk songs, Mendelssohn Club Choir commissioned Prince Music Theater June 7 and 9 during Vietnamese children’s songs, Jewish sa- Clearfield to write a new oratorio; Frankel the national Opera America Conference, cred music, Aryan rock, Broadway, and wrote the libretto. The resulting work, The with additional performances at the Acad- country-western tunes. Slaying the Dragon Golem Psalms, inspired by the ancient Jew- emy of Vocal Arts on June 14, 16, and 17. is Ching’s third full length opera. ish legend of the Golem, premiered at the It will be presented by Center City Opera Slaying the Dragon is the latest work University of Pennsylvania in May 2006, Theater. to emerge from Center City Opera The- performed by the Mendelssohn Club and Based on a true story depicted in the ater’s Creative Development Projects, an the Philadelphia Chamber Orchestra, with book, Not by the Sword by Kathryn Wat- ongoing series of new opera works that are Sanford Sylvan as baritone soloist, and has terson, Slaying the Dragon is about a brought from inception to fully-staged pre- also been performed at Haverford College, Grand Dragon of the Ku Klux Klan, who mieres. During the two-year development Indiana University, and at Verizon Hall in renounces violence and hatred because of process, workshops for Slaying the Dragon the Kimmel Center. Frankel and Clearfield his unlikely friendship with a rabbi and included a libretto reading in June 2011, have signed agreements with Center City his wife. The opera is a powerful vehicle music workshops in September 2011 as a Opera Theater to develop a full-length for confronting contemporary themes of part of the Philadelphia Live Arts Fringe opera based on the legend of the Golem, tolerance, the dangers of inflammatory Festival, and a second music workshop in as part of CCOT’s Creative Development rhetoric and stereotyping, and the pos- January 2012, plus staged workshops in Projects. sibilities of atonement, forgiveness, and February 2012. Dr. Ellen Frankel is the author of ten published personal redemption. Both men undergo Although Slaying the Dragon is li- books, including The Classic Tales, The Ency- personal transformations and break from brettist Ellen Frankel’s first opera, she has clopedia of Jewish Symbols, The Five Books of the prisons of their dark pasts. We are all been writing libretti for choral works for Miriam, and The JPS Illustrated Children’s Bi- too familiar today with the brutal land- the past twelve years, working primarily ble, which won the 2009 National Jewish Book scape of intolerance: bullying, gay-bash- with Philadelphia composer and IAWM Award. She served for eighteen years as the Edi- ing, terrorism, anti-immigrant sentiment, member, Andrea Clearfield. In May 2000, tor in Chief and CEO of The Jewish Publication and flash-mobs. One way to confront and the Los Angeles Jewish Symphony pre- Society, the oldest and only nondenominational, non-profit publisher of Jewish works in English, overcome these modern manifestations of miered Clearfield’s cantata, Women of and was named its first Editor Emerita upon her intolerance is to take a contemporary and Valor, which included two pieces by Fran- retirement in 2009. non-traditional approach—through opera, kel, “Sarah” and “Hannah.” In 2011, the for instance. Women’s Sacred Music Project commis- In writing the music for Slaying the sioned Clearfield and Frankel to write a Dragon, composer Michael Ching coun- new movement, “Hagar,” for an adapted ters intolerance through the joy of music, version of Women of Valor, which was per-

44 IAWM Journal Volume 18, No. 1 2012 Women’s Work 2012 Concert Steve and Marie Sgouros Theatre of The Players Theatre, New York City, March 11, 2012 SALLY SCOTT On Sunday evening, March 11th, Women’s After a short intermission, Ms. Ernst big success. The following work was Jen- Work, a series created, curated, and pre- performed Spontaneous D-Combustion by nifer Higdon’s Secret and Glass Gardens, a sented by Beth Anderson, sponsored an Stefania de Kenessey. This is part of a new piece with a pastoral flavor that made spe- interesting and varied piano recital of cial use of a varied harmonies and haunt- works by American women, performed ing filigree. Katherine Hoover’s Dream by Mary Kathleen Ernst at The Players Dances came next; at times playful, then Theatre in New York City’s Greenwich lyric, and finally intense—it is a highly Village. The first half began with Ju- effective work. The program closed with dith Shatin’s Chai Variations on Eliahu Vivian Fung’s Keeping Time, a concert HaNavi, eighteen variations based on a etude which combines propulsive writing simple, stern theme, which is treated in with gamelan-like sounds, and never lets ways both traditional and highly original, go. All in all, the Women’s Work Concert from simple to complex, never losing its Left to right: Beth Anderson, Katherine Hoover, provided a most interesting musical eve- interest. This was followed by Luo Jing Judith Shatin, Stefania de Kenessey, ning. Mary Kathleen Ernst gave an excel- Jing’s Mosquito, a virtuoso portrait of in- Mary Kathleen Ernst lent accounting of all the pieces, coaxing sistence and annoyance, and the inevitable “composition for use,” to be performed with fine performances from an instrument that attempts to deal with the insect—it proved local bands and music classes as well as with was rather below her high level of skill and to be charming, well-written, and amusing. orchestras. It is a fun piece and should be a musicianship.

REPORTS Reports from Europe Austria Italy Luxembourg The economic crisis of the past four Fondazione Patricia Adkins Chiti: Donne Cid-femmes—Centre d’information et de years has resulted in decreased funding for in Musica documentation Thers Bodé music and the arts everywhere. In Europe, In September 2011 the Fondazione Congratulations to Cid-femmes in Lux- where government support of the arts has hosted WIMUST (Women in Music: Unit- embourg, celebrating the twentieth anniver- always been dependable and generous, na- ing Strategies for Talent), a gathering of sary of its founding, in 1992, as a documen- tional budget austerity has been especially representatives of European women-in- tation center intended to contribute to equal- damaging in some cases—but not all. La- and-for-music organizations. With funding ity between women and men. The center’s ment for Kosovo, a much-performed and assistance from the European Commis- newsletter editors, reflecting on feminism exquisite work for string orchestra by Betty sion, WIMUST is working to convince all then and now on the occasion of Interna- Beath, was presented in Mürzzuschlag, EU member states to implement the 2009 tional Women’s Day on March 8, 2012 note Austria on December 3, 2011 on the open- European Parliament resolution on equal- that while legal equality may be attained, ing concert of the city’s annual concert se- ity of treatment and access for men and in daily life much remains to be done and ries. The stunning performance by the first women in the performing arts. WIMUST backpedaling always threatens. They urge Austrian Women’s Chamber Orchestra in aims to promote women composers and us to get on board the feminist “train.” the Künsthaus Mürzzuschlag received long creators of music throughout Europe—in Early in January, to open its twentieth- and sustained applause. It was performed Austria, Belgium, Cyprus, Czech Repub- anniversary year, Cid-femmes cospon- again by the orchestra on December 10 in lic, Denmark, Finland, France, Germany, sored a concert of orchestral works by Vienna, on a program commemorating the Italy, Ireland, Liechtenstein, Luxembourg, Lou Kosters and Helen Buchholtz. In the fiftieth anniversary of the death of Dag Montenegro, The Netherlands, Poland, Ro- same month, Cid-femmes cosponsored a Hammarskjöld. The concert, entitled Frie- mania, Serbia, Slovenia, Spain, Sweden, performance of music of the ninth-century densmusik (Music of Peace), took place Turkey, and the United Kingdom. Byzantine composer Kassia, by VocalMe, on the International Day of Human Rights Also in 2011 the Fondazione Adkins an ensemble of four women’s voices with under the aegis of the Swedish Ambassador Chiti was given a renovated medieval re- instrumental arrangements by Michael and Representative to the United Nations, fectory in the center of the city of Fiuggi Popp. In March, Fatoumata Diawara, S.E. Mils Daag. Also heard on both concerts to use as a library and archive. This year, author-composer-interpreter from Mali, was “Andante Expressivo” from Die Kinder Patricia Adkins Chiti wrote, “Notwith- performed in the town of Dudelange, Lux- des Krieges (The Children of War) by Nan- standing the economic crisis hitting the embourg. In her first CD, recently released, cy Van de Vate, a work composed for—and cultural sector, we believe it is essential for Diawara “reinvents” the rhythms of Was- performed several times in the past—by this us to keep moving to enlarge the scope of salou, a popular West African women’s same orchestra. —Nancy Van de Vate our activities to obtain greater visibility for genre, by adding elements of jazz, funk, women who create music!” and folk music.

Reports 45 In June 2011 Luxembourg’s two-day of professional association, gender-differ- articles about her, plus the first two pages Ladyfest in the town of Esch/Alzette was entiated cultural association, and center for of the score of her Suoni per viola e piano- titled “Can Some Girl Plug Me In?” and performance and research documentation. forte; the whole work is available in PDF featured art exhibits, musical performanc- At a special meeting, the FMF Comité de- from http://www.fmf.ch. es, and workshops. Music and videos are cided to propose a transfer of the FMF’s Charlotte Hug, violinist, singer, com- online at http://www.cansomegirlplug- holdings to existing institutions or to sec- poser, new-music specialist, was the Artiste mein.blogspot.com/. tions to be created within those institu- Étoile (star artist) at the Lucerne Festival Switzerland tions. The last FMF Bulletin issued in 2011 in mid-2011. The Canadian composer Rita announced several events: Ueda (b.1963) won an Australian composi- FrauenMusikForum Schweiz / Forum mu- Bulletin no. 1 features Myriam Marbe tion prize. Espoir, by Evdokija Danajloska sique et femmes Suisse (Bern, Switzerland) (1931-1997); two pages are shown from (b.1973), a Macedonian composer, was In 2011 FMF lost its subvention from her Drei Stücke für Gitarre solo. conducted in France by Sofi Jeannin. A the federal office of culture, following a Bulletin no. 2 announced a concert CD of compositions of Grazyna Bacewicz modification of directives. At issue was in Bern on May 28, 2011, in honor of the (1909-1969) issued by DGG was awarded FMF’s polyvalence / vielseitige Profil(ma- composer Margrit Zimmermann (b.1927). Le disque du mois in the French publica- ny-sided profile), that is, its combination Her photo is on the cover; inside are two tion Diapason. The Kapralova Society: Annual Report 2011 KARLA HARTL The music of Czech composer Vitezslava melodrama for reciter, violin, and piano, piano concerto, beautifully rendered by Al- Kapralova (1915-40) became public do- from 1939, dedicated to the memory of ice Rajnohova (who was a major force be- main last year, and this change expedited Czech writer Karel Capek. In Germany, hind this project) and the Bohuslav Martinu several major initiatives celebrating the Egge-Verlag made available Kapralova’s Philharmonic conducted by Tomas Hanus, composer’s life and music, resulting in an Trio for Woodwinds (from 1937), recon- will delight Kapralova enthusiasts. Anoth- increased number of Kapralova projects structed by Stephane Egeling, principal er recording with Kapralova’s music was overall. The most significant among these oboist of the Aachen Symphony Orchestra released in a limited edition by the Bach was the first English language book on the and a member of Trio Lezard, while Cer- Dancing and Dynamite Society in Madison, composer, published in November 2011 tosa Verlag made available Kapralova’s Wisconsin. The CD includes Kapralova’s by Lexington Books, an academic press piano miniatures Zwei Blumenbouquets Elegy for violin and piano performed by based in the United States. The Kapralo- (Two bouquets of Frank Almond and Jeffrey Sykes, thus be- va Companion, edited by Karla Hartl and flowers). In To- coming the third release of the piece since Erik Entwistle, is a collection of biographi- ronto, the Soci- it was first put out in 2008 by Koch Records cal and analytical essays on the composer. ety published the and Albany Records. Accompanied by an annotated catalog of second edition of There were also two concert premieres works, annotated chronology of life events, Kapralova’s piano in 2011. Kapralova’s Trio for oboe, clarinet bibliography, discography, and a list of pub- miniature Little and bassoon, from 1937-38, was given its lished works, the book is an essential, com- Song (Pisnicka, world premiere by Trio Lezard during the prehensive guide to Kapralova’s life and from 1936) whose Mitte Europa Festival in Decin, Czech Re- music. Besides contributions by Hartl and first edition, origi- public. Her orchestral song Smutny vecer Entwistle and a foreword by Michael Beck- Vitezslava Kapralova nally published in (Sad Evening, from 1936) was performed erman of New York University, the chap- 1936 in Brno as a for the first time (in a version for voice and ters have been written by Judith Mabary of part of a collection of piano literature for piano) by Kimberly Haynes and Timo- the University of Missouri-Columbia, Tim- children, has been long out of print. This thy Cheek at the University of Wisconsin. othy Cheek of the University of Michigan witty, playful piece in ABA form (hence Other important performances included a School of Music, and Jindra Bartova of the the title) can be downloaded free from the Canadian premiere of Kapralova’s string Janacek Academy of Performing Arts. Society’s website at kapralova.org/EDI- quartet by the Kapralova Quartet in Toron- The Companion was not the only TION.htm. to; and a Canadian premiere of Partita that publication put out last year. Amos Edi- Last year, the Society also assisted the was given a strong performance by Sara tio in Prague published not just one but release of a profile CD of the composer, a Davis Buecher, a former student of the late two Kapralova scores in 2011: Five Piano project undertaken in partnership with the Rudolf Firkusny. She was accompanied by Pieces (from 1931-32), edited by Veroslav Czech Radio label Radioservis. The all- Sinfonia Toronto under the baton of Mae- Nemec; and a piano and voice version of Kapralova disc, the fourth since 1998, also stro Nurhan Arman at the Glenn Gould Stu- Kapralova’s orchestral song Smutny vecer includes two CD world premieres: Piano dio in Toronto in March. (Sad Evening, from 1936), reconstructed Concerto in D Minor, op. 7, and Three Kapralova’s music was also pro- and prepared for publication by Timothy Piano Pieces, op. 9. Sonata Appassionata, grammed at two summer music festivals Cheek. Both projects were initiated and op. 6, and the Variations sur le Carilon de last year: the first, Concentus Moraviae (a financially assisted by the Society. In ad- l’eglise St-Etienne du Mont, op. 16, com- chamber music festival based in thirteen dition, Czech Radio published Kapralova’s plete the disc. All works, but especially the cities in Moravia, Czech Republic), pro-

46 IAWM Journal Volume 18, No. 1 2012 grammed Kapralova’s Ritornel for cello Simon Mawer, whose novel Glass Room, “Kaprálová’s Jablko s klína, op. 10,” based and piano; the second, the Mitte Europa shortlisted for the Man Booker Prize in on her doctoral dissertation. It provides an Festival—a chamber music festival orga- 2009 and translated into Czech the same interesting insight into one of the most di- nized in several cities on either side of the year, draws attention to the life and music of verse song cycles composed by Kapralova. border between the Czech Republic and Vitezslava Kapralova. During the program, The fall issue featured another insightful Germany—presented the composer’s reed the composer’s oeuvre was represented by analysis of one of Kapralova’s art songs, trio. Kapralova’s music was also introduced the first movement of her neoclassicalPar - this time by Michelle Latour (“Kaprálová’s at the Spring Symposium organized by the tita for Piano and Strings, op. 20. song Leden”), and the article, “Kaprálová’s University of Michigan School of Music Kapralova’s music was reviewed in Trio for oboe, clarinet and bassoon,” by (poster presentation by Nicholas Skorina) several music magazines and online plat- Stephane Egeling, that explores the his- and at the eleventh Czech and Slovak In- forms in 2011. One review, written by To- tory and background of Kapralova’s only ternational Voice Competition (with semi- mas Kabrt for the Czech musical monthly work for reed trio. Furthermore, the Czech finals taking place at the University of Wis- Harmonie, reported on the world premiere Radio Weekly Tydenik Rozhlas printed consin-Green Bay and the finals in Montre- of Kapralova’s trio for woodwinds. Other Karla Hartl’s article “Unikatni Vitezslava al, Canada). The Society participated in this reviewers focused on CD recordings of Kapralova” about the reception of Kapralo- biannual event by sponsoring one of the Kapralova’s art songs. Two reviewers va’s Piano Concerto in D Minor when it competition prizes. The Kapralova Society took interest in the Women of Firsts CD, was first performed in 1935 in Brno. Award is given to the best interpreter of a produced by Centaur Records in 2008 and In 2011, the Society put out the ninth Kapralova art song. In 2011, it was award- featuring Kapralova’s song cycle Forever volume of its online journal of women in ed to Canadian soprano Lida Szkwarek, a (reviews by Marco del Vaglio for Critica music, The Kapralova Society Journal, graduate of the University of Western On- Classica and Agire, and by Michelle La- publishing research by Tereza Jandura, Mi- tario’s Don Wright Faculty of Music. tour for the Kapralova Society Journal); chelle Latour, and Stephane Egeling. The Kapralova’s music was featured in and two writers reviewed the 2003 re- Society’s online resources on women in eight radio broadcasts, and the participat- cording of complete songs by Supraphon music, which also includes a comprehen- ing radio stations included three national (Doundou Tchil reviewed the disc for Cas- sive bibliography of books and articles on broadcasts. Among last year’s broadcasts, sical Iconoclast and Michelle Latour for the subject as well as databases of women the most important were the BBC Radio 3 the Kapralova Society Journal). composers and conductors, continue to be series Private Passions on September 25, In addition to these reviews, several a main attraction for visitors to our website and the Czech Radio 3’s live broadcast, on articles and texts on Kapralova’s music and are frequently bookmarked by online December 14, of a special gala concert dedi- were published in 2011. Kapralova So- blogs and discussion groups and linked to cated to songs and piano music of Kapralo- ciety Journal alone published several by public and college libraries worldwide. va and Martinu. The aforementioned BBC texts on the subject. The spring issue fea- Karla Hartl is Chair of The Kapralova So- program also featured an interview with tured Tereza Jandura’s analytical article, ciety in Toronto, Canada. IAWM NEWS IAWM Membership Report DEBORAH HAYES

We welcome forty-five new members who Jennifer (Jenny) Clarke (New York City) Vanissa Wing Lun Law (Hong Kong) have joined since our last Journal issue Emily Custer (East Grand Forks, Minnesota) Yoon-Ji Lee (Brooklyn, New York) was published! They include compos- Jaime Doerr (Morgantown, West Virginia) Kerrith Livengood (Champaign, Illinois) ers, instrumentalists, singers, conductors, Emily Doolittle (Seattle, Washington) Michelle Lou (South San Francisco, Cali- editors, bloggers, arts consultants, and all Kaley Eaton (Cambridge, Massachusetts) fornia) manner of people with an interest in the Sharon Farber (Riverdale, New York) mission of the IAWM. The IAWM Mem- Hannah Field (Granda Hills, California) ber Directory 2012, distributed to mem- Yvonne Freckmann (Louisville, Kentucky) Join the IAWM bers only, contains complete self-descrip- Sarah Gibson (Los Angeles, California) Please encourage your colleagues and tions from our members. Renewals have Sarah Carina Graef (Pasadena, California) students to join the IAWM and ask been difficult this year owing to problems Haruka Hirayama (Lancaster, UK) your university library to subscribe to at our website, iawm.org. A big thank you Serom Kim (Suwon, Gyeonggi, Republic the Journal of the IAWM. To meet the to our members and subscribers for being of Korea) goals of our organization, we need to persistent as well as patient! Here are our Elizabeth L. Kowalski (Harrisburg, North continue to enlarge and strengthen our most recent new members: Carolina) membership. For renewals and new Deborah J. Anderson (Tacoma, Washington) Stephanie Kumetz (Fort Myers, Florida) memberships, please visit the IAWM Gina Biver (Falls Church, Virginia) Leslie La Barre (Pleasanton, California) Web page at http://iawm.org/member- Faye Chiao (Baltimore, Maryland) Mary E. Larew (New Haven, Connecticut) ship_joinUs.htm. Rebecca Larkin (Burlington, Vermont)

IAWM News 47 Ruth Lee Martin (Canberra, Act, Australia) Emma O’Halloran (Ranelagh, Dublin, Amanda Stuart (Hilton, Cambridgeshire, Laurie Matheson (Champaign, Illinois) Ireland) UK) Esther Megargel (Eagle Mountain, Utah) Erin Pauley (Oakland, California) Patricia Surman (Tahlequah, Oklahoma) Rita S. Moerschel (Chestnut Hill, Massa- Angelique Poteat (Clinton, Washington) Karen Thevissen (Bierbeeek, Belgium) chusetts) Leah Sproul Pulatie (Kansas City, Missouri) Justi Ware (Canton, Ohio) Maria Mykolenko (New York City) Mary Sue Rowan (Masonville, Colorado) Liselotte Westerterp (Philadelphia, Penn- Deborah Nemko (Roslindale, Massachu- Fiona Rutherford (Edinburgh, Scotland) sylvania) setts) Kelly Starcher (Bradenton, Florida) Katherine Young (Chicago, Illinois) Osnat Netzer (Brookline, Massachusetts) Allison Yuen (Los Altos, California) Announcements IAWM Annual Concert 2012 Molly Joyce: Illuminated Shadows of is wonderful to learn about so many great The IAWM Annual Concert 2012 will Louise Nevelson for clarinet, violin, and pi- concerts! —Sabrina Peña Young be performed by the New York-based En- ano (student at the Juilliard School in New 2013 Pauline Alderman Awards semble Pi (http://ensemble-pi.org/) at the York) The IAWM announces the 2013 com- Livewire Festival in Baltimore, Maryland, Maureen Reyes Lavastida: Genera- petition for the Pauline Alderman Awards USA on Sunday, October 28, 1:30 p.m. tion for piano and electronics (professor of for outstanding scholarship on women in The concert will be held at the University composition at the Superior Institute of Art music. Works published during the calen- of Maryland, Baltimore County (UMBC). in Havana, Cuba) dar years 2011 and 2012 will be considered The process of narrowing down the selec- Kanako Okamoto: Inori-prayer for for cash prizes in the following categories: tions for this program was very difficult, cello and piano (Tsu-shi, Mei, Japan) 1. An outstanding book-length monograph as there were many deserving composers Heather Stebbins: Three Stones for about women in music, including biogra- and compositions! From the initial seventy clarinet and electronics (student, Boston, phy, history, analysis, and critical interpre- submissions, the committee unfortunately Massachusetts) tation, in any academic format. had to eliminate several scores that were Frances White: Tracing for trombone 2. An outstanding journal article or essay not submitted anonymously. The following and electronics (Princeton, New Jersey) treating an aspect of women and music. eight works were selected: Many thanks to the committee members 3. An outstanding bibliographic study, re- Jerry Casey: O, Death, Rock Me who so generously donated their time: search, or reference work about women in Asleep for violin and soprano (Worthing- Linda Dusman, chair, Kristin Norderval, music. ton, Ohio) and Idith Meshulam Korman, the Direc- Any individual or organization may submit Kyong Mee Choi: Inner Space for tor of Ensemble Pi. Contact Linda Dusman items for consideration by sending a letter cello and electronics (assistant professor for additional details at Dusman@UMBC. of nomination and the nominated work, of composition at Roosevelt University in edu. IAWM members and their friends are postmarked no later than February 1, 2013. Chicago) invited to attend. Send letters and publication to: Mara Helmuth: Butterfly Mirrors for Back Issues of the Journal of the IAWM voice, piano, and cello (professor of com- Elizabeth L. Keathley, chair Deborah Hayes is now the contact position, College-Conservatory of Music, Pauline Alderman Awards Committee, person for requests for back issues, the University of Cincinnati in Ohio) IAWM position Elizabeth Hinkle-Turner has oc- School of Music, Theatre and Dance cupied. We are grateful to Elizabeth for University of North Carolina Greensboro IAWM Congress 2014 her many years of devoted service. Re- P O Box 26170 Everyone who attended the 2011 sponding to librarians’ requests for the oc- Greensboro, NC 27402-6170 casional missed issue or volume is crucial IAWM Congress in Flagstaff, Arizona For additional information, please see the was enthusiastic about the many stim- to our Journal operations. Elizabeth has established strong professional relationships IAWM website, and for questions, contact ulating concerts, lectures, and papers, Dr. Keathley at [email protected] as well as the beautiful surrounding with librarians and subscription services area. Especially important were the throughout the world. Library holdings of IAWM Board Changes social events, which afforded opportu- our Journal allow our work to reach a huge Elizabeth Hinkle-Turner (Univer- nities to become acquainted with oth- number of interested readers and research- sity of North Texas) has stepped down er IAWM members. It is now time to ers. Thank you, Elizabeth! as vice president, a post she held for several years. Susan Borwick (Wake Forest schedule the 2014 IAWM Congress, IAWM Facebook University) succeeds her. Cynthia Green but we need your help in identifying Please post your concert links on the Libby (Missouri State University) is our the next congress host. If you would IAWM FB page: https://www.facebook. new secretary now that Susan has taken be willing to submit a proposal, please com/IAWMusic. Links posted on the the vice president position. Special thanks contact President Hsiao-Lan Wang at IAWM FB page go out to the 1200+ IAWM to Elizabeth, Susan, and Cynthia for their [email protected]. fans and an additional 600+ on Twitter. It outstanding service.

48 IAWM Journal Volume 18, No. 1 2012 Awards and Honors

Nancy Bloomer Deussen String Quartet, on poems by W.S. Merwin. sic as one locus of their activity challenges Nancy Bloomer Deussen was award- She also received the A.I. du Pont Award the conventional understanding of modern- ed second prize in the National League of from the Delaware Symphony, given to ism’s ostensible insularity and misogyny. American Pen Women’s Biennial Com- living composers for their outstanding con- Too often historical accounts of mu- position Competition on April 19, 2012, tributions to contemporary classical music. sical modernism resort to narratives of Washington, D.C. The NLAPW is an affili- Previous winners include Joan Tower, John solitary genius and Oedipal rebellion and ate of IAWM. The award-winning compo- Adams, and Steve Reich. overlook those modes that consider rela- sition, Memorabilia, is a work in progress Elizabeth L. Keathley tional and communitarian aspects of cul- about memorabilia items found in a trunk Elizabeth L. Keathley of the Univer- tural production and reception, aspects in in the attic. The two movements that won sity of North Carolina, Greensboro, has the award, “Driftwood” and “Postcard been awarded a fellowship from the Na- Advertise in the from Mallorca,” were premiered last year tional Endowment for the Humanities to Journal of the IAWM at a NACUSA concert in San Francisco. complete her book, The Feminine Face of Lynn Gumert Musical Modernism: Women and Collab- As a benefit of membership, you can Lynn Gumert was awarded an Honor- orative Networks in Schoenberg’s Modern place an ad at a reduced rate! And if able Mention in the chamber music cat- Music Subcultures. The book argues that you are a member of any organiza- egory of the Eighth Aliénor International when we shift the focus of inquiry from tions that would benefit from the ex- Harpsichord Competition for Desert Song fêted modernist composers to the networks posure the Journal can provide, please (soprano, violin, harpsichord). that enabled the composition and perfor- encourage them to take advantage of Barbara Harbach mance of their music, we find women in our inexpensive rates. key roles. These women were not passive Barbara Harbach received the YWCA Guidelines: helpers, but rather active subjects who ad- of Metropolitan St. Louis Leader of Dis- Ads should be camera-ready, in a tinction Award on December 1, 2011. She vanced their own artistic, social, and personal interests through their support of graphic file. Graphic files should be was honored for her contributions to the 300 or higher resolution and saved arts: Barbara Harbach “has distinguished modern music. The study draws on interpretive mod- at the highest quality; do not use lzw herself as one of the pre-eminent American compression. composers of any generation.” els from sociology, philanthropy scholarship, and women’s history and uses ar- Ad sizes: Jennifer Higdon chival materials to illuminate women’s Full page: 7.0 (w) x 9.25 (h) Jennifer Higdon was awarded a Kous- work in collaborative networks pervading Half page sevitzky Grant to compose a work for so- the modern music subcultures in which (vertical): 3.3 (w) x 9.25 (h) prano Christine Brandes and the Cypress Schoenberg worked in Vienna, Berlin, Half page Paris, and Los Angeles. Through these (horizontal): 7.0 (w) x 4.5 (h) Visit the IAWM Website networks and in their roles as performers, Quarter page: 3.3 (w) x 4.5 (h) We encourage you to visit the IAWM librettists, patrons, and writers, women Eighth page 3.3 (w) x 2.25 (h) Website often at www.iawm.org. You proposed and contested the terrain of musi- Ad prices: will find information about the orga- cal modernism. In demonstrating how and Full page $250 (members $175) nization, how to join or renew your why they did so, the book will enrich and Half page $150 (members $100) membership, the listserv, concerts, complicate our current understanding of Quarter page $80 (members $60 congresses, competitions, opportuni- musical modernism’s relationships to gen- Eighth page (members only $30) ties, publications, awards, radio re- der and to feminist currents. quests, and advocacy work. Under The international cultural and po- Please send your ad as an attach- Resources, you can search the ar- litical movement now called “first-wave ment to: chives for more than 220 articles from feminism” was contemporaneous with [email protected] Schoenberg’s life (1874-1951), and some the IAWM, ICWM, AWC, and ILWC Deadline for the next issue: of his collaborators were feminist activists. Journals. The site provides links to September 30, 2012 members’ pages and to the IAWM Patron Dr. Eugenie Schwarzwald (1872- Payment: Facebook and blog. A Calendar of 1940), for example, directed a progressive Events (http://www.iawm.org/calen- lycée at the forefront of the Mädchenre- Please send your check, payable to dar.htm), to which members can add form (girl reform) movement; librettist IAWM, to their own events, is now available. If and pioneering dermatologist Dr. Marie Linda Dusman you need assistance, please contact Pappenheim (1882-1966) co-founded the FA 509-UMBC our Webmaster, Stefanie Acevedo, at Socialist Society for Sexual Reform with 1000 Hilltop Circle [email protected]. Wilhelm and Annie Reich. That these so- Baltimore, MD 21250 cially conscious women chose modern mu-

IAWM News 49 which women have often excelled. These Conference: Dale Warland Choral (ad) reception for the eight women on March women’s stories raise crucial questions Ventures reading session on June 16, also 29 at the Library of Virginia in Richmond. about how women understood their stake in Minneapolis. Princeton Singers will Dafina Zeqiri in modernist music, the extent and limits present a new SATB piece at the National The Ministry of Culture, Youth and of their aesthetic agency, and how the wax- Symposium on American Choral Mu- Sports of the Republic of Kosovo holds ing and waning of the women’s movement sic, “The Search for an American Style” an annual Composers Competition. The informed their musical and career choices. (a joint project of the American Choral Awards for Music, “Niketë Dardania,” With The Feminine Face of Musical Mod- Directors Association and the Library of are presented in different categories ac- ernism, Elizabeth hopes to contribute to Congress) on June 30 in Washington, DC. cording to genre. The Ministry announced the ongoing revision of the history of mod- Jessica Rudman in February 2012 that Dafina Zeqiri was ernism, both within music studies and with Jessica Rudman’s orchestral work the winner of the 2011 Chamber Music scholars and students across disciplines. Seasonal Affective Disorder was chosen as Award for Përreth (Around) for chamber Kala Pierson the winner of the East Carolina Universi- orchestra. The work is aleatoric and uses Kala Pierson has won awards for three ty’s annual Composition Competition, and various contemporary instrumental tech- of her choral works. VocalEssence and it was performed on March 17 as part of niques and colors to describe the natural the American Composers Forum selected the NewMusic@ECU Festival. phenomena that surround us. Although the her Summer of Songs (SSATB, flute) to Judith Shatin form is free, it follows an arch-like shape. be performed on April 28 in Minneapo- Composer Judith Shatin has been The work begins in a slow tempo, gradu- lis, MN. Blue Phoenix (SSAATB) will be named one of Virginia’s 2012 Women in ally accelerates, and then returns to a slow performed at the Chorus America National History. She took part in the program and tempo until the sound disappears.

Members’ News news of individual members’ activities Compiled by Anita Hanawalt

News items are listed alphabetically by New York City at a Social Networking and v.2 at ISIM (International Society for member’s name and include recent and Concert. On May 18 UnCivil Wars for Improvised Music) in February at William forthcoming activities. Submissions are flute, horn, and piano will be premiered Patterson University in New Jersey. always welcome concerning honors and in Denton, Texas. On May 20 Animalogy Decker and Book are continuing to develop awards, appointments, commissions, for woodwind quintet will be performed in The Phaedra Escapes for performances premieres, performances, publications, Los Angeles. in 2012-13, which include the Asolo Art recordings, and other items. We On March 16, The Deering Estate Chamber Film Festival, Italy, in August. She has recommend that you begin with the Ensemble performed Victoria Bond’s been invited to develop an audio, text and most significant news first—an award, Bridges at the Deering Estate in Miami image version of Phaedra for Anglistica, a major commission or publication, a Florida. Performers included Jose R. an online interdisciplinary journal. The new position—and follow that with Lopez, piano; Scott Flavin, violin; Laura issue, “Writing Exile: Women, The Arts, an organized presentation of the other Wilcox, viola; Ross Harbaugh, cello; and and Technologies,” is due out in fall 2012. information. Due to space limitations, Margaret Donaghue-Flavin, clarinet. On Lynn’s new video project with a working news items may be edited. Please send March 27, Bond conducted the Roosevelt title of “Glossographia” will organize information about your activities to University Wind Ensemble in the premiere fragments of voice, text and image-based members’ news editor Anita Hanawalt at of The Indispensable Man, about Franklin pieces for camera around the idea of [email protected] or by mail to 514 Delano Roosevelt, with music by Bond deranged boundaries of the feminine body. Americas Way PMB 3734; Box Elder, SD and script by Myles Lee. Chicago She performed a duo set of improvised 57719-7600. The deadline for the next Symphony clarinetist John Yeh was the music with drummer, percussionist, issue is September 30, 2012. Please note: soloist and narrator David Holloway read composer Kevin Norton, which included Anita does not monitor announcements Lee’s script incorporating FDR’s inspiring a reprisal of a 2003 co-composed work sent to the IAWM listserv; you need to words. On the same program, flute soloist called bird for voice, vibraphone, and send the information directly to her. Gaby Vargas and narrator Adrian Dunn electronics. Adrienne Albert reports the following performed Bond and Lee’s Pater Patriae Canary Burton appears in Wikipedia recent performances. On March 31 Elegy about George Washington. These works under “Canary Lee Burton.” Her scored for two cellos was performed at the will be recorded and will be available on electronic piece, Harbor, is included in Unitarian Church of Montpelier, Vermont. the Albany label. Margaret Nobel’s website: http://www. On April 5 Lullaby and Doppler Effect Lynn Book’s song cycle, The Phaedra margaretnoble.net. Burton was asked to for flute, clarinet, cello, and piano were Escapes, which she wrote in collaboration write a guitar lullaby for Aaron Larget- performed in Sydney, Australia. On April with electronic musician and sound artist Caplan’s “Lullaby Project,” which included 24 Americana for flute, violin, viola, and Shawn Decker, previewed at the Outer a performance on October 9, 2011 as part cello received its East Coast premiere in Ear Festival in Chicago, January 2012 of John Thomas’s Great Music series held

50 IAWM Journal Volume 18, No. 1 2012 at the Universalist Unitarian Meeting John Leonard, artistic director. The Shape for a world premiere performance at the House in Provincetown, Massachusetts. of My Soul also appeared on the program Newburyport Chamber Music Festival on Larget-Caplan performed Whispers on his in a new arrangement for women’s choir August 16. Clearfield is the composer-in- concert at The New School of Music in (poetry by Susan Windle). Clearfield gave residence for the festival and will give a Cambridge, Massachusetts on November a pre-concert lecture. pre-concert lecture. 10. Burton’s classical and jazz music may Flutist Carol Wincenc with New York The Lapland Chamber Orchestra, John be heard on an Internet station: http:// Philharmonic principal players Cynthia Stogårds, conductor, gave the Finland www.Jango.com/music/Canary+Burton. Phelps, viola, and Nancy Allen, harp, premiere of Beth Denisch’s The Suite Chopin Slept is scheduled to be played on performed and low to the lake falls home, of Five Seasons on May 16, 2012 in a concert by Cross Island at the Wellfleet a five-movement trio commissioned by Rovaniemi, Finland. The work was Library, sponsored by WOMR FM, on Wincenc for her Ruby Anniversary in commissioned by the Equinox Chamber August 7, 2012. Fanfare Magazine’s Lynn New York City, 2010. The concert was Players and premiered by them (world Renee Bagly reviewed Burton’s album, presented by the West Chester Chamber premiere) on March 22, 2009 in St. Piano Music from Cape Cod, in the March/ Music Society in Rye, New York. On Louis, Missouri as part of their “Olympic April issue. Burton is currently composing March 25, 2012 the Rainbow Chorale of Harmony!” project. Inspired by the 2008 a work for viola and cello, commissioned Delaware performed Into the Blue (SATB, Beijing Olympics, this woodwind quintet by Laura Craciun, a violist with the with poetry by Susan Windle), a piece explores the dreams and aspirations of Falmouth, Massachusetts Symphony. they commissioned for their ten-year athletes who came to work and play Tamara Cashour’s new opera company, anniversary. Tse Go La (At the threshold together from all over the world. Musical OperAvant, Inc., presented its second of this life), a thirty-minute cantata for influences from the five continents are production, Bloody Fire, Unchaste Desire, SATB and SSA choirs, chamber orchestra, heard throughout the work and reflect a hybrid adaptation of Shakespearean and electronics (co-commissioned by The the spirit of the participants and their text and scenes from operas based on Mendelssohn Club and The Pennsylvania homelands. The five Olympic mascots: Shakespearean subjects, January 11- Girlchoir with The Chamber Orchestra of happiness, prosperity, good fortune, 15, 2012 at TheatreLab in New York Philadelphia), received its world premiere passion, and vitality, represent elements City. Cashour was the Musical Director/ performance on April 29 in Philadelphia, of traditional Chinese philosophy and Conductor/Incidental Singer, and two with the New York City premiere provide distinct temperaments for each of her compositions were featured as following on May 19 and an additional movement. For more information, please incidental music: Full Fathom Five, performance in New Jersey on May 20. see www.bethdenisch.com and http:// for soprano (Cashour), SATB chorus, The work was inspired by the Tibetan www.rovaniemi.fi/Kansainvalinen_ string quintet, and percussion; and Fie melodies Clearfield has been documenting sivusto/English/Culture/Music/Orchestra. On Sinful Fantasy! for SATB chorus, in the remote, restricted Himalayan region iw3 of Lo Monthang, Nepal. tuba, and percussion. The mission of Nancy Bloomer Deussen’s Rondo for Ron OperAvant, Inc. is to present thought- Lung-Ta (The Windhorse), a twenty- five-minute work for nine instruments was performed by the Palisades Virtuosi provoking, deconstructionist stagings of (flute, clarinet and piano) at a Women’s existing works of the opera/theater canon, and digital sound, inspired by Clearfield’s field work in the same region of Nepal Work concert held at The Players Theater as well as new music and new music- in New York City on March 2 and 4 at the theater hybrid works. Submissions will be was performed by the University of Chicago New Music Ensemble under the Mahway (New Jersey) Public Library. Also accepted starting fall 2013. Cashour is a on March 4, Et in Terra Pax (SATB, piano) recipient of the 2012 AscaPlus award. direction of Barbara Schuberton on May 5. Clearfield gave a pre-concert lecture. was performed by the Cantata Singers Schwarzer Tod, with video by Quintan Ana 3 Tenses of Light, (chorus and string at a Women’s Festival of Music held at Wikswo and music by Andrea Clearfield, quartet, with poetry by Rhina P. Espaillat) First Presbyterian Church of Horseheads, was featured at the California State commissioned by the Newburyport New York. Pianist Libby Kardontchik University - Fullerton New Music Festival (Massachusetts) Chamber Music Festival, performed Musings: Circa 1940 at the on March 2. On March 10, Clearfield’s David Yang, Artistic Director, is scheduled Unitarian Church of Palo Alto, California arias from her cantatas The Golem Psalms and Women of Valor were featured at a concert given by National Art Song NLAPW Biennial Convention Competition Finalists, in Philadelphia, Washington, D.C., April 19-21 Pennsylvania. The College of New Jersey The IAWM was well represented at the National League of American Pen Women New Music Week “Composer’s Concert” convention. Nancy Bloomer Deussen was an award winner and participated in a of March 17 featured Poet of the Body panel discussion on the gulfs and rifts between classical composing and contempo- and the Soul for SATB chorus and piano rary music in this age of technology. The concert on April 20 included Sakura by (text from Walt Whitman’s “Song of An-Ming Wang and Mapping the Mind of a Madwoman by Joelle Wallach as well Myself”), commissioned by The College as performances by pianists Margaret Mills and Nancy Bloomer Deussen. of New Jersey for the TCNJ Chorale,

Members’ News 51 on March 4 and on April 22 at a NACUSA name will be premiered by Italian pianist Ensemble, under the direction of the concert held at Foothill Presbyterian Corrado Greco in the fall. composer. Church in San Jose, California. Pianist Mary Kathleen Ernst is presenting During February and March, Anita The world premiere of Afternoon recitals this spring featuring works by Hanawalt (IAWM Members’ News in Asbury Park (trumpet and piano) Stefania de Kenessey, Vivian Fung, Editor) presented workshops on building was given by Joyce Johnson-Hamilton, Jennifer Higdon, Katherine Hoover, careers in online teaching at two regional trumpet, with the composer at the piano, Luo Jing Jing and Judith Shatin at venues meetings of The College Music Society during a PEO (Providing Educational including New York’s Women’s Work in Tucson, Arizona and Portales, New Opportunities for Women) Conference Festival (curated by Beth Anderson), Mexico. Between October and January, in Menlo Park, California on April St. Petersburg College Piano Series, she made the transition from long-time 13. On April 15, Carmel by-the Sea Eckerd College Visiting Artist Series, the resident of La Verne, California to full- (orchestra) was performed by the United Steinway Piano Series at University of time RVer based out of Box Elder, South States Army Orchestra (Pershing’s South Florida, and at the Crocker Museum Dakota. Though recently retired as an Own), conducted by Tod Addison, at the in Sacramento, California in tandem with organist, she continues her career as a Clarice Smith Performing Arts Center in a Judy Chicago exhibition. She will record virtual professor, teaching online courses College Park, Maryland. Music From the the program at Mechanics Hall in Boston in American Music, Music Appreciation, Heartland (flute/piccolo, violin, cello) in June. For more information, please visit World Music, Music and Religion (team- was performed at the National League of www.MaryKathleenErnst.com. taught with another professor), and American Pen Women Convention held in Women’s Studies for four colleges and Washington, DC on April 19. On April 20, Laurel Firant announces the February 2012 re-release of her CD of works for universities across the United States soprano Debbie Lawrence performed two in New York, Maryland, Alabama, and American Songs and Bloomer Deussen solo piano and solo violin and piano on the Ravello label in MP3 format. For additional California. Her spouse, Jay Hanawalt, has performed Adirondak Morn for solo piano retired as an electronics engineer, though at the same convention. information, see “Recommended New CDs.” he continues in his unofficial capacity as The Dahlia Duo has performed Linda technical adviser, when needed. You are Dusman’s duo for piccolo and alto flute, Librettist Ellen Frankel is pleased to cordially invited to follow the Hanawalts An Unsubstantial Territory, many times, announce that her first opera, Slaying the on their blog: www.bear-n-frau.net. Dragon, based on the book, Not By the most recently at the IAWM International Jennifer Higdon was awarded a Congress at Northern Arizona University Sword by Kathryn Watterson, will have its world premiere in Philadelphia at the Koussevitzky Grant to compose a work for in September of 2011. The inHale Duo soprano Christine Brandes and the Cypress (Lisa Cella and Jane Rigler) recorded Prince Music Theater on June 7, presented by the Center City Opera Theater. For String Quartet, on poems by W.S. Merwin. the work on the recently released solo She also received the A.I. du Pont Award CD I Need No Words, available from I additional information, see the report elsewhere in this issue. from the Delaware Symphony, given to Resound Press and on cdbaby, which also living composers for their outstanding includes performances by pianist Shannon Lynn Gumert was awarded an Honorable contributions to contemporary classical Wettstein, The Damocles Trio, the Mention in the chamber music category music. “Echo Dash,” part of In 27 Pieces: Hoffmann/Goldstein Duo, and Ruckus. of the Eighth Aliénor International The Hilary Hahn Encores, was premiered Susurrus, for Disklavier, was premiered Harpsichord Competition for Desert Song by Hahn and taken on tour. It is scheduled at the Center for Art, Design, and Visual (soprano, violin, harpsichord). The piece to be recorded sometime next year. The Culture in Baltimore in April 2012, was premiered in Princeton Junction, University of Texas-Austin band gave the and a new solo piano work by the same New Jersey on April 14 by Zorzal Music world premiere of Road Stories for wind ensemble. Future of Music Symposium New Releases include: On The Death of the Righteous (choir and orchestra) The Oklahoma Composers Association, a non-profit organization dedicated to pro- on a text by John Donne, featuring the moting new music in Oklahoma, presents its third annual “Future of Music Sympo- commissioning group, The Mendelssohn sium” this July. The free, day-long event will take place on Saturday, July 7, 2012, Club of Philadelphia; a DVD and CD of 9:30 a.m. to 7:00 p.m. at Sonder Music, Dance & Art. The annual symposium focus- a tone poem commissioned for the Grand es attention on how technology, globalization, and the economy are influencing the Teton Music Festival (the first movement way music is created, distributed, valued, and experienced. This year’s symposium has been installed in the National Park includes three presentations, a round table discussion, and a concert. Konstantinos Visitors Center); and a commissioned work Karathanasis, a faculty member in composition at the University of Oklahoma, will by the Gilmore Piano Festival based on discuss the future of electroacoustic music. Sabrina Peña Young, an intermedia the Goldberg theme, including variations composer and percussionist, will talk about how technology is affecting modern from thirteen composers, recorded by Lara composition, and Kerry Franklin Folsom will concentrate on Native American mu- Downes. To The Point is the title track of sic. Their works will be performed on the concert. For more information, please see Orchestra 2001’s new CD and Legacy is www.oklahomacomposers.org. part of Tim Fain’s new CD. Piano Trio was

52 IAWM Journal Volume 18, No. 1 2012 released on a disc of women composers, and Contradanza de la Madrugada; baritone; with Scotty Reynolds, director; while Bop, written for the Prism Quartet’s and Gisela Hernandez Cárdenas (1912- and Joseph Rodgers, associate conductor. anniversary, also appears on disc. [Editor’s 1971): Zapateo Cubano. The eight-day The performance will be in Saint Paul, Note: While driving toward Tucson, festival, directed by composer Guido MN on June 2. Abstrações will receive its Arizona for a regional meeting of The López-Gavilán, included music of world premiere by the Abstrai Ensemble College Music Society, I heard Higdon’s Cuba’s most well-known 20th- and 21st- on August 3 in Rio de Janeiro, Brazil. Autumn Reflection (flute and piano) on century composers as well as guests from Ann composed Xingu as a response to the satellite radio’s “Symphony Hall” channel. Mexico, El Salvador, Canada, Spain, Italy, disastrous Belo Monte Dam, and to honor After mentioning this while responding Denmark, and the United States. two extraordinary women defending to Jennifer’s members’ news submission, Adriana Isabel Figueroa Mañas the Xingu River and her people: Sheyla Higdon responded, “Wow...you heard announces two world premiere Yakarepi Juruna and Antonia Melo. Her something of mine on Symphony Hall? performances in March. On March 1, the video is now available on YouTube at I’m glad I wasn’t driving....I might have National Orchestra of the University of http://youtu.be/JmDGIp4W1lI. Vimeo wrecked the car!”] Cuyo premiered Tres piezas Modernas http://vimeo.com/37295548 Anne LeBaron’s Crescent City, her para Fagot y Orquesta in Mendoza, Pianist Margaret Mills was featured in new HyperOpera, received its premiere Argentina, with bassoon soloist Andrea several New York City concerts in March on May 10 in Los Angeles, with a run Yurcic, conducted by Luis Lhez. On and April both as soloist and chamber of twelve performances. The Industry, March 6, Los Andes (fantasy for soprano musician. On March 17, she was the guest a new experimental opera company, sax and symphonic band) received pianist at the Bruno Walter Auditorium at brings together over fifty artists from its world premiere performance with the Lincoln Center Library in works by every discipline to create and inhabit saxophonist soloist George Wolfe. The Joel Feigin. Mills has recorded his two the landscape of a mythical city called work was commissioned by America’s major piano works on the Cambria label. Crescent City. Anne LeBaron’s raucous, Hometown Band, Muncie, Indiana, On March 25, she took part in a “Happy electronica-infused hyperopera, featured Roger McConnell, conductor; the Birthday, Bach!” concert held in the twice in New York City Opera’s VOX Indianapolis Symphonic Band, Joseph Subways, as both soloist and accompanist. Showcase, springs to life in an industrial Poio, conductor; and the Victoria West On April 13, Mills was the pianist in a warehouse at Atwater Crossing. The debut High School Wind Symphony, Victoria, chamber concert at the Third Street Music of the Solaris Vocal Ensemble on April Texas, Adam E. Ardner, conductor. Three School Settlement in New York, including 14 in Seattle coincided with the world additional performances are planned. The works by Bach, Carl Reinecke and premiere of LeBaron’s Floodsongs, set to Argentina premiere of Romanza y Tango Madeleine Dring. On April 20, she gave poetry by Douglas Kearney and scored for for Violin and Orchestra was given by the Washington premiere of Lágrimas twelve voices and live electronics. the Philharmonic of Mendoza on March y Locuras a solo piano work by Joelle On May 9 and 12, Musikwerkstatt 21 with soloist Mariela Nedyalkova. The Wallach, along with works by Amy Beach. Wien performed LeBaron’s cyborgopera, world premiere took place in Brazil in This concert was part of the Biennial of Sucktion, on a double bill with Peter 2011. the National League of American Pen Maxwell Davies’ Miss Donnithorne’s Laurie Matheson was promoted from Women. She plans to give her solo Paris Maggot. Southwest Chamber Music senior editor (assigned to music, among (France) debut on Sunday, September 16, performs Solar Music, for flute (bass, alto, other topics) to Editor-in-Chief at performing works by Schumann, Mozart, concert, and piccolo) and harp, on May University of Illinois Press. Ives, Brahms, and Louise Farrenc. 21 at Zipper Concert Hall in downtown Ann Millikan reports on three upcoming Janice Misurell-Mitchell presented Los Angeles. On July 10, Leonard Slatkin a lecture-recital, “Flute and Voice in will conduct her work for large orchestra, performances on three continents, a new video with cello soundtrack, and Transformation,” at the University of American Icons, at the Hollywood Bowl. North Carolina, Chapel Hill, in September This performance with the Los Angeles the exciting news that Pat O’Keefe is commissioning a new work for clarinet, 2011. In October she performed Scat/Rap Philharmonic kicks off the classical Counterpoint with percussionist Dane season, and includes Beethoven’s Ninth which he will premiere and record in spring 2013. Ballad Nocturne was Richeson on the “6 Degrees” concert held Symphony along with works by Cindy at Holy Family Church in Chicago. Later McTee and Anna Clyne. performed by pianist Emanuele Arciuli with the Sinfonica della Provincia di Bari, that month, she presented Weaving (three Pianist Margaret Lucia was a featured conducted by Carlo Boccadoro, at the female voices and alto flute) on a CUBE performer in the XXV Festival de La Festival “Silenzio!” in Bari, Italy on April concert in Chicago. Access Contemporary Habana de Música Contemporánea in 27. The world premiere of her first opera, Music performed the first movement of November 2011. She played works by Swede Hollow, for which she wrote both Vanishing Points/Quantum Leaps, for three Cuban women: Magaly Ruiz the music and the libretto, will be given clarinet, violin, cello and piano at its Lastres (an IAWM member and Journal by the Mankato Symphony Orchestra December concert in Chicago. Sometimes contributor): Preludio II, Estudio No. with Rachel Wandrei, soprano; Meredith the City is Silent (solo flute) was performed 8 and En Prégon; Maria Álvarez Ríos Cain-Nielsen, mezzo-soprano; Brad by Meerenai Shim at a December 3 concert (1919-2010): Contradanza de la Mañana Bradshaw, tenor; and Stephen Mumbert, in Mountain View, California.

Members’ News 53 On January 21, Frances Nobert East Lansing, Michigan from August 10- “A New Star” and “Great and presented a 75th birthday concert for 12. From August 13-18, she is scheduled Marvelous Are Thy Works” from Cantatas over 350 people at Pasadena (California) for Sitar Concerts, Music Workshops and on the Birth and Resurrection of Christ Presbyterian Church. The first half of the Morning Meditative Music at Sivananda (commissioned by the Barlow Endowment program featured solo organ compositions Ashram Yoga Camp in Val Morin, Quebec, for Musical Composition) was performed by Margaret Meier, Orpha Ochse, and Canada. by Mason Neipp (tenor), Mayu Greehalgh Margaret Sandresky, as well as works Jeannie Gayle Pool was commissioned (violin), LeeAnn Morgan (viola) and Joel performed by the Haarlem Keyboard to write a new score for the 1911 Mary Castleton (piano) on April 5 on the Group Duo with Steve Gentile, organist, and Pickford film, The Dream, which for New Music Concert: “Retrospective Frances Nobert, pianist. After intermission was performed by the Scarborough of Barlow Commissions and John Cage” the audience was treated to Emma Philharmonic, in Ontario, Canada, in Centenary at Brigham Young University Lou Diemer’s Three Madrigals, sung May 2011, conducted by Ronald Royer (Utah). Yellow Jade Banquet was by Nobert’s Grant High School 1980 (in cooperation with The Mary Pickford performed by Brian Walsh (clarinet) and Chamber Singers and a few guests. Foundation). Pool’s book, co-authored Mary Au (piano) on April 5 at the Emeritus Mary Lou Newmark’s Breath of Trees with H. Stephen Wright, A Research Guide College in Santa Monica (California). On had two workshop performances on to Film and Television Music in the United May 12 the concert bands at Antelope November 12 and 13, 2011 at ARC (A States, was published in January 2011 by Valley College in Lancaster (California) Room to Create) Pasadena in Southern Scarecrow Press of Rowman Littlefield played Fanfare for a New Day, America California. Breath of Trees is a new hybrid Publishing. This past year, she scanned Themes, Gateways, Meditation, and theater work exploring the connection and donated all of the music of Zenobia Clariphonia, with Dr. Berkeley Price and often disconnection between modern Powell Perry (1908-2004) to the Center (conductor and clarinet soloist) and Deon humanity and nature through live music, for Black Music Research in Chicago, Price (guest conductor) in a concert of poetry, humor, storytelling, and dance. Illinois. Perry’s works are now available music by Leonard Bernstein and Deon The six person cast, including the writer/ for study by contacting Suzanne Flandreau Nielsen Price. On January 23, Stile Antico composer, was directed by Doug Tompos. in the Archives. Pool wrote Perry’s for Solo Viola was performed by David Video clips are available at www. biography, which was published in 2009 Walther at Fanciful Gifts Hall, Hollywood greenangelmusic.com, in the Theater by Scarecrow Press, American Composer (California). Works pull down menu. In December, Zenobia Powell Perry: Race and Gender Jessica Rudman’s orchestral work Sea- Newmark was one of the musical in the 20th Century. She is currently sonal Affective Disorder was chosen as composers for Overlay, a new dance work finishing a book on Babe Egan and the the winner of the East Carolina Univer- created through the collaboration of the Hollywood Redheads, an all-girl band that sity’s annual Composition Competition Pennington Dance Group of Los Angeles toured the vaudeville circuit in the 1920s and was performed on March 17 as part of and the Yorke Dance Project of London. and early 1930s. She has appeared as a the NewMusic@ECU Festival. Rudman’s Overlay had multiple performances in guest lecturer at California Institute for the works were also performed at the Com- both Long Beach and Pasadena. Arts, Chapman University, and West Los posers Now Festival in New York City, After recovering from left knee Angeles College in recent months. the Women Composers Festival of Hart- replacement surgery, Hasu Patel learned Deon Nielsen Price’s Mesuree Mexicana ford, and the CUNY Composers Alliance. new techniques for sitting on the floor was broadcast on “Classical Discoveries,” L’Age Mûr (solo flute) was performed in order to play the Sitar for upcoming WPRB in Princeton (New Jersey) on at the SCI Region III conference where concerts and music workshops. From February 8, 2012, and recorded on SunRays Rudman also presented a paper on Ellen March 20 through April 23, she gave II (Cambria/Naxos CD) with Douglas Taaffe Zwilich. In spring of 2012, three Sitar Concerts and taught Classical Masek (soprano saxophone) and James new works will be premiered in New York Music of India on Sitar / Tabla / Voice Smith (guitar). “The Latest Score” on City: Sleeping Standing Up by the CUNY to Gurukul students at Paramarth WOMR in Provincetown (Massachusetts) Contemporary Music Ensemble, First Ashram in Rishikesh, India (close to the on March 13, included Angelic Piano Praise by the Cygnus Ensemble, and Half Himalayas). From May 18-25, she will Pieces and Passacaglia Professor with Turn to Go Yet Turning Stay by the Mivos give Sitar Concerts and music workshops Deon Price (piano) from the CD album Quartet. at Sivananda Ashram Yoga Farm in Grass SunRays II (Cambria/NAXOS). L’Alma Marjorie Rusche is composing a violin Valley, California, with additional Sitar Jubilo was performed by Gregory Newton sonata, Variations Vortex (Into the Swirling concerts and workshops in San Francisco (guitar) and Mesuree Mexicana by Douglas Storm) for Jacob Murphy, founder and and Berkeley, California from May 27- Masek (soprano saxophone) and Jon Ortiz second violinist of the Euclid Quartet, 30. A lecture-seminar and Sitar concerts (guitar) on the Guitarathon co-produced the string quartet in residence at Indiana are scheduled at the International Institute by the National Association of Composers, University, South Bend. The composition of Integral Human Sciences in Montreal, USA Los Angeles Chapter (NACUSA- will be written during the summer of 2012 Quebec, Canada from July 6-15. Patel L.A.) on March 24 at the Culver City and subsequently premiered on a recital at will give four Sitar concerts in three days Presbyterian Church (California) and IUSB. Dedicated to the preservation of the at the Great Lakes Folk Music Festival in March 25 at the Pasadena Neighborhood environment, Variations Vortex is inspired Church (California).

54 IAWM Journal Volume 18, No. 1 2012 by the energy, beauty, and drama of at the world’s largest band and orchestra Jamie K. Sims announced that on nature. The motivating image is that of a convention, the Midwest Clinic, in April 17, her CD, Gentle Woman of a hurricane, combined with variations form. December 2011 in Chicago, performed by Dangerous Kind: Documentary Film For more information, please see: http:// Vandercook College of Music Wind Band Score, was released on MPT Records. www.usaprojects.org/project/variations_ and conducted by Charles Menghini. The CD includes a collection of Sims’ vortex_into_the_swirling_storm Shapiro’s music is the soundtrack classical works used as soundtrack to the Sharon Guertin Shafer gave a for Reflection, the latest short video from documentary about peace and civil rights presentation on the music of Gustav artist Grimanesa Amoros. The video activist Marii Hasegawa. Gentle Woman and Alma Mahler at a Salon sponsored was premiered in December 2011 at the premiered on April 15 at the James River by Legatum Institute on January 21, International Streaming Festival, Sixth Film Festival in Richmond, Virginia. 2012, held in London, England. She also Edition at The Hague in the Netherlands. Please see the trailer at SmallStepsFilms. participated in a panel discussion on the It will also be screening in Milan, Italy, com. Marjorie Wharton, soprano, and same topic presented by Legatum Institute and will be included in Amoros’s 2013 Russell Wilson, pianist, performed The and The City Choir of Washington, held Video Retrospective in Lima, Peru. Lord’s Prayer in a concert on November at The Phillips Collection Museum in Shapiro herself appears in the new film, 13, 2011, as part of the South-of-the- Washington, DC on November 29, 2011. Shining Night, about the life and music of James Concert Series. On March 11, 2012, On January 31, she performed the premiere Morten Lauridsen. An official selection of Duet for Two Male Voices was featured in of her composition, The Artist Speaks: the American Documentary Film Festival, the Friends of Music Concert, Richmond, Creative Conduit, a cycle of twenty the film was premiered in Palm Springs, Virginia, with vocalists David Lenz and songs on the poetry of Gene Markowski CA in February 2012. On February 15, Rob McTier and Sims on piano. The for soprano, piano, and digital keyboard. Shapiro was the in-studio guest on Marvin EcoVoce ensemble will be releasing a CD On February 25, she gave a presentation Rosen’s celebrated new music radio show, in the summer of 2012, that will include at the 2012 College Music Society Mid- “Classical Discoveries,” out of Princeton Narciso Solero’s recording of Sims’ Birds Atlantic Regional Conference held at University on WPRB-FM, during which Turning at Sunset (solo piano). George Mason University in Fairfax, seven of her works were broadcast Evelyn Stroobach’s Dark Blue (alto Virginia on a topic titled “Non Tacete: in between a lively and wide-ranging saxophone and orchestra) received its Be Not Silent! Silences That Generate conversation that covered everything from world premiere in Kiev, Ukraine on Music.” Examples by women composers rural island life to the need for artists to November 25, 2011 with saxophone were drawn from the middle ages to the advocate for each other. soloist Lawrence Gwozdz, who described twenty-first century. Faye-Ellen Silverman gave the world the work as “beautiful.” Leo Walz “Beneath,” from Alex Shapiro’s premiere of Fleeting Moments (composer conducted the orchestra. Crepuscule symphonic suite for winds, percussion, and at the piano) on the NMFMFA concert (orchestra) was performed in Poland on prerecorded soundscape, Immersion, was series held at Mannes College in New March 23, conducted by Silvio Wyler performed in March 2012 at the CBDNA York City on February 19. On March 21, with another performance taking place in wind band conference in Reno, Nevada, the ZigZag Quartet (Francisco Roldan, Kiev on November 25, 2011, conducted by Oregon State University Symphonic guitar; Danny Mallon, percussion; Hillard by Emelyne Bingham. Pianist Nick Band, conducted by Chris Chapman. Greene, double bass; and Alexander A. Wu, Rodgerson performed Solar Flare in Her newest chamber sextet, Perpetual piano) gave the world premiere of Shifting Ottawa on January 30, 2012 at a 60X60 Spark, was premiered in several Chicago- Colors on the Music Under Construction concert. Aurora Borealis (orchestra) area concerts throughout February and series also held at Mannes College. will be performed in Bulgaria on June 1, into March, by Fifth House Ensemble. Manhattan Fixation was performed by conducted by Sandra I. Noriega. Dedicated to the late Mara Bershad, this Jody Mellon (soprano), Melissa Fogarty In January 2012, Alan Neal, producer piece for flute/piccolo, violin, viola, cello, (mezzo) and Gretchen Bender (cello) at and host of “All in a Day” on CBC double bass, and piano, originally came to a Douglas Townsend Facebook Concert Radio in Ottawa, Ontario, Canada, aired life as Spark for solo piano, premiered by on April 24 at Saint Peter’s Church in Stroobach’s Aurora Borealis from her Teresa McCollough in New York City in New York City. The Composers Voice compact disc of the same name. On November 2011. concert on April 29 featured Laura February 14, Canary Burton, producer Paper Cut, an electroacoustic Patterson (flute) and Sophia Yan (piano) and host of “The Latest Score” at WOMR band piece for middle school students, performing Xenium. On March 9, No radio in Provincetown, Massachusetts, was commissioned for the American Strings was performed by The Curiosity also aired Aurora Borealis. Burton aired Composers Forum BandQuest program Cabinet, Whitney George, conductor, for O Come, O Come Emmanuel (SATB and and continues to be performed weekly the Women’s Music Festival of Hartford cello) on December 20, 2011 and The in high schools and universities around at Central Connecticut State University in Human Abstract (soprano, flute, viola the world. Scored for wind band, New Britain, Connecticut. A performance and cello) on October 25. On December prerecorded electronics and printer paper of Translations was given on May 8 in a 22, Bill Zargorski, producer and host of used extensively throughout the piece as private home at a Member Musicale for “New Releases” at WWFM radio in West a percussion instrument, it was featured Women in Music in Columbus, Ohio. Windsor, New Jersey, aired O Come, O

Members’ News 55 Come, Emmanuel. On December 12, Tom Nancy Van de Vate’s new opera, and pianist Mary Jane Rupert) performed Quick, producer and host of “Monday Hamlet, based on the play by William Kleemation at Misericordia University in Evening Concert” at CKWR radio, in Shakespeare, has just been released Pennsylvania on February 16. They took Waterloo, Ontario, Canada, also aired internationally on a three-CD album, the piece on tour in March to Australia the work. On July 11, 2011, Marvin VMM 4008, from Vienna Modern and New Zealand. Rosen, producer and host of “Classical Masters. In five acts, the opera features Barbara Weber recently scored the music Discoveries” at WPRB radio, Princeton, a distinguished international cast, with for a short film,Was My Whole Life Wrong, New Jersey aired Crepuscule. The work three soloists from the United States, written and directed by Maxine Pugh. The is included on Stroobach’s compact disc, three from Vienna, one from South film was accepted for presentation at the Aurora Borealis. Africa, one from Greece, and one from 2012 Cannes Film Festival (Short Film Suzanne Summerville gave a presentation Colombia. The Moravian Philharmonic Corner), and Barbara is very excited to be on Fanny Hensel’s Faust at an International and Zerotin Academic Choir from able to attend the festival in May. Olomouc, Czech Republic are conducted Conference, “Music in Goethe’s Faust: On April 20, 2012, Case Western Reserve Goethe’s Faust in Music,” held at the by Petr Vronsky of Prague for this recording. Van de Vate gave a guest University’s Concert Choir and University National University of Ireland, Maynooth, Singers, under the direction of Matthew April 20-22. Hensel is the only woman lecture about the opera on March 26 at the University of Vienna. On March 18, Garrett, performed two works by Dolores composer listed on the conference program, White in a program titled “Americana: though two presentations on Hensel’s her opera, Where the Cross Is Made, was broadcast by Swiss Radio. On April 12, Choral Music by American Composers.” work were scheduled. Summerville shared The works were jimmie’s got a goil and a session with Cornelia Barsch (Research her chamber music was heard in Vienna at a concert of the Society for Austrian o spontaneous earth; both are setting of Fellow, University of Basel, Switzerland), poetry by e.e. cummings. On April 29 the presenting “Goethe’s Faust and the Light Music, and on April 13, her vocal music was performed in Frankfurt, Germany group of composers called Six Degrees of Tolerance: Intertextuality and Light of Separation presented a concert at the Imagery in Fanny Hensel’s Faust Scene.” on a program of works by American women composers, presented by the Church of the Good Shepherd in Chicago Summerville’s presentation included a featuring White’s Five Prelude Dances recording made in Leipzig with the Middle International Arbeitskreis Frau und Musik. Recent broadcasts of her music for B-flat clarinet plus works by Janice German Radio children’s choir singing Misurell Mitchell, Patricia Morehead, SSAA instead of women. have been reported from many countries including Austria, Belgium, Canada, and others. Hilary Tann’s concerto, Shakkei, was Czech Republic, Denmark, Estonia, Rain Worthington’s orchestra piece, selected for the opening concert of Georgia, Germany, Japan, Lithuania, Of Time Remembered, was recorded NASA2012 in Tempe, Arizona on March Macedonia, Romania, Russia, Slovak in November 2011 by PARMA with 15, with soprano saxophone soloist Susan Republic, South Africa, Spain, the Conductor Petr Vronsky and the Moravian Fancher. The performance was reviewed United Kingdom, and the United States. Philharmonic in the Czech Republic for by Stephen Lias on the NewMusicBox Flutist Peter Bloom performed Elizabeth a 2012 release. Violinist Michael Braudy blog: http://www.newmusicbox.org/arti- performed Paper Wings on several concert cles/blogging-from-nasa-north-american- Vercoe’s To Music at the Advent Library Concert Series on Beacon Hill in Boston, programs, including February 2012 saxophone-alliance-day-1. March also saw performances in New Delhi and Calcutta, three performances of Contemplations 8,9 Massachusetts this past September. Cynthia Libby, oboe, and Jeremy India. The composition is dedicated to the (SSA) by Boston’s Cappella Clausura. The composer’s mother. new work is designed to precede Contem- Chesman, harp, gave a lecture recital plations 21, 22 (previously commissioned on Butterfly Effects (arranged from the Carol Worthey announces two world- by the Radcliffe Choral Society). Both original flute version) at the IAWM premieres—Fantasia and Pastorale— pieces use stanzas from a long poem by Congress in Flagstaff also in September. to be performed by American pianist “America’s first poet,” Anne Bradstreet, The duo plans to record the piece this Helen Lin in Beijing, China at Central whose 400th birthday is celebrated this summer. Vercoe’s song cycle, Herstory Conservatory of Music on May 7, 2012. year. The continuing Eastman School of II: 13 Japanese Lyrics for soprano, On August 20, 2011 at Italian Brass Week Music “Women in Music Festival” fea- percussion, and piano, was performed in Santa Fiora, Italy world-renowned tures Canadian jazz pianist and composer by Mary Henderson Stucky with pianist hornist Dale Clevenger conducted Carol’s Lorraine Desmarais. As part of the sur- Donna Loewy at the Cincinnati College Fanfare for The New Renaissance with rounding festivities, Tann’s Between Sun- Conservatory on October 9. Mezzo soprano brass players from major symphony sets (to poems by e. e. cummings) was Jennifer Capaldo sang “Irreveries” from orchestras. In September 2011 the premiered by pianist Sylvie Beaudette and Sappho and selections from Herstory III instrumental world premiere of A Simple soprano Eileen Strempel. A full evening of accompanied by pianist Emily Yap Chua Ditty took place with renowned flutist Tann’s chamber music was performed by and Herstory IV with mandolinist Neil Aleksandr Haskin and pianist Mary Au “Music after 1900” on March 29 (www. Gladd at The College Music Society in Pacific Palisades, California and again esm.rochester.edu/wmf). Conference in Richmond, Virginia in at the Nixon Library in San Clemente, October. The duo “2” (flutist Peter Bloom California. During spring 2012 A Simple

56 IAWM Journal Volume 18, No. 1 2012 Ditty has gone on to be performed with Spain at the Music Conservatory. On Dafina Zeqiri won a competition for a variety of instrumentalists, with double March 24, in Manhattan at a “Faces of chamber music that was organized by bassist Anthony Grosso and later with Eve” recital (part of the Women’s Work the Ministry of Culture of the Re- saxophonist Brian Walsh in Greater Los series curated by Beth Anderson), the public of Kosovo. For more informa- Angeles, all accompanied by Mary Au on world-premiere of A Simple Ditty in its tion, please see: http://www.mkrs-ks. piano. original version (as a song) took place org/?page=1,6,256 and http://www.koha. On February 19, Carol Worthey with soprano Arietha Lockhart, pianist net/?page=1%2C5%2C94261. Blue for was guest speaker at the Inland Empire Mary Au, hornist Lydia Busler-Blais, horn solo was chosen to be performed on Valley Flute Society in Redlands, and flutist Sheryl Cohen. In March 2012 a Composers Voice Concert at Jan Hus California. On March 8, in celebration International Art Critics Association Church in New York City on March 11. of International Women’s Day, Piano nominated Billowing Beauties (the The concert was part of “Fifteen-Minutes- Duo QuaTTro (Victoria Marco and 2011 Manhattan exhibit for which Carol of-Fame: 15 new pieces by 15 composers Daniel Curichagua) performed the world Worthey collaborated musically with performed in 15 minutes!” an open-ended premiere of Carol’s Valentine Sampler Parisian sculptor Anne Ferrer) for “Best series started as a part of the Composer’s for four-hand piano (with a second Exhibit in A Commercial Gallery.” On Voice concert series in 2011. The fifteenth performance on May 29). The European April 7, pianist Stanley Wong performed incarnation featured pieces written spe- premiere of Romanza for violin and piano the Asian premiere of The River to a cifically for Michelle McQuade Dewhirst, (Victoria Marco, piano, Miguel García sold-out audience at Hong Kong City horn, and supported the Homeless Out- Sala, violin) was given in Alicante, Hall Recital Hall. reach and Advocacy Program (HOAP).

Officers of the IAWM

Hsiao-Lan Wang Susan Borwick President Vice President

Julie Cross Treasurer Cynthia Green Libby Secretary

57 The International Alliance for Women in Music is a global network of women and men working to increase and enhance musical activities and opportunities and promote all aspects of the music of women. Board of Directors PRESIDENT BOARD MEMBERS PAST PRESIDENTS Hsiao-Lan Wang Stefanie Acevedo, SUNY Buffalo (13) Anne Kilstofte (2006-2008) Houston, TX Adriana Figueroa-Mañas, Mendoza, Argentina (14) Anna Rubin (2004-06) Deborah Hayes, Boulder, CO (12) Patricia Morehead (2003-04) VICE-PRESIDENT Jennifer Kelly, Lafayette College (13) Kristine Burns (2001-03) Susan Borwick Stefania de Kenessey, Eugene Lang College (13) Sally Reid (1999-2001) Wake Forest University Pamela Marshall, Cambridge, MA (13) Deon Nielsen Price (1996-99) TREASURER Carrie Leigh Page, Tempe, AZ (14) Stefania de Kenessey (1995-96) Julie Cross Ursula Rempel, University of Manitoba (14) University of Wisconsin-Whitewater Meira Warshauer, Columbia, SC (13) Tao Yu, Paris, France (13) SECRETARY Cynthia Green Libby Missouri State University IAWM Committees and Affiliates ADVOCACY FINANCE IAWM AFFILIATES Ursula Rempel, chair Julie Cross, chair Archiv Frau und Musik (Germany) Gail Archer Elizabeth Hinkle-Turner Association of Canadian Women Composers Anne Kilstofte Anne Kilstofte CID-Femmes (Luxembourg) Linda Rimel Lan-chee Lam Fondazione Adkins Chiti: Donne in Musica Hsiao-Lan Wang Anna Rubin (Italy) Eve Wiener Foro Argentino de Compositoras (Argentina) MEMBERSHIP FrauenMusikForum Schweiz/Forum musique AWARDS/CONCERTS Deborah Hayes, chair et femmes Suisse Julie Cross Pauline Alderman Awards Kapralova Society Elizabeth Hinkle-Turner Elizabeth Keathley, chair Korean Society of Women Composers Jennifer Kelly Mu Phi Epsilon, Los Angeles Chapter Concert Committee Cynthia Green Libby National Association of Composers, USA Linda Dusman, chair Eve Meyer Kristin Norderval National Federation of Music Clubs Idith Meshulam Korman NOMINATIONS/ELECTIONS National League of American Pen Women Maryanne Rumancik, chair Romanian Association of Women in Art Search for New Music Sigma Alpha Iota Pamela Marshall, chair PUBLIC RELATIONS Sophie Drinker Institut (Germany) Linda Rimel, chair COMMUNICATION Stichting Vrouw en Muziek (The Netherlands) Jenese Gerber Stefanie Acevedo, web master Suonodonne-Italia Ursula Rempel Elizabeth Hinkle-Turner, chair Women in Music (United Kingdom) Hsiao-Lan Wang digital communication Sabrina Peña Young Anne Kilstofte HONORARY MEMBERS Eve R. Meyer IAWM ADVISORS Tommie Carl Hsiao-Lan Wang Chen Yi Elena Ostleitner Sabrina Peña Young Emma Lou Diemer Jeannie Pool CONGRESS Jennifer Higdon Nancy Van de Vate Patricia Morehead, chair Apo Hsu Esther Flückiger Tania León Anne Kilstofte Cindy McTee Deon Nielsen Price Pauline Oliveros Ursula Rempel Jeannie G. Pool Li Yiding Marta Ptasznyska Judith Shatin DEVELOPMENT Li Yiding Linda Dusman, chair Judith Lang Zaimont Deborah Hayes Ellen Taaffe Zwilich Stefania de Kenessey

58 IAWM Journal Volume 18, No. 1 2012