SPRING '91 FESTIVAL OF NEW MUSIC

presented in conjunction with the

1991 CONFERENCE OF REGION II OF 1HE SOCIETY OF COMPOSERS

at Hamilton College Clinton, New York

CONFERENCESCHEDUL~

Friday, April 26 4:00 p.m., Room 201, Schambach Center / Presentation by Greg Steinke, "The Percussive Composer" How composers might more easily conceptualize their use of percussion in the compositional process in writing for percussion alone and for percussion with instruments and voices.

8:00 p.m., Wellin Hall, Schambach Center North/South Consonance, Max Lifchitz, director

music by Raoul Pleskow, Irwin Swack, Ulf Grahn, Nancy Laird Chance, Hilary Tann, and Max Lifchitz

Saturday, April 27 10:00 a.m., Room 201, Schambach Center Presentation by Max Lifchitz, "New Music in Latin America" Latin America is commonly portrayed as a source of political and economic turbulence. Contrary to popular belief, that region of the world enjoys a highly diverse cultural life and a very rich musical culture. Hoping to shed some light on what is musically current in that part of the world, the lecture/performance will focus on six living composers representing different geographical locations and various aesthetic viewpoints. 3:00 p.m., Wellin Hall, Schambach Center the Hamilton College Choir, G. Roberts Kolb, director and the Syracuse Society for New Music

music by: Ernest Mannix, Louis Angelini, Marvin Johnson, Phillip Schroeder, and Charles Bestor

8:00 p.m., Wellin Hall, Schambach Center the Hamilton College Ensemble for New Music, E. Michael Richards, director

music by: Anthony Lis, Greg Steinke, Elizabeth Bell, Brian Fennelly, Joelle Wallach, and Samuel Pellman

Sunday, April 28 12 noon, Dwight Lounge, Bristol Campus Center: Sunday Brunch.

2:15 p.m., Hamilton College Chapel A Recital of Solos and Duos

music by: Michael Richards, Walter Winslow, Margaret DeWys, Andrew Waggoner, Paul Brantley, and Janice Macaulay

3:30 p.m., Wellin Hall, Schambach Center The McLean Mix, Priscilla and Barton McLean Gods, Demons, and the Earth

This program is a combination of new technology and subjects ranging from the environment to mythology. Earth Music is ethereal and interweaves the sounds of the rainforest, glacial rocks, and other tones of the earth with digitally­ processed evocative improvisation; Dance of Shiva is visually exciting, incorporating computer-controlled dancing and shimmering, multiple slide projections; and Fireflies is magical, utilizing an instrument (recently created by Barton McLean and engineers from the Rensselaer Polytechnic Institute) that enables a synthesizer keyboard to control hundreds of blinking lights in dazzling patterns. North/South Consonance

Dana Friedli, violin Lisa Hansen, flute Benjamin Whittenburg, cello Richard Goldsmith, clarinet Max Lifchitz, piano/director

Carol Woodhouse W ellin Performance Hall The Hans H. Schambach Center for Music and the Performing Arts Friday, April 26 8:00 p.m.

Program

Intrada Raoul Pleskow

Burlesques . Irwin Swack

Nocturne ...... Ulf Grahn

Intermission

Windhover . . . Hilary Tann

Duos Nancy Laird Chance

Yellow Ribbons No. 30 Max Lifchitz Intrada, by Raoul Pleskow

Intrada was composed in 1984 and received its New York Premier on a ISCM Concert. The brief, one movement work is based on a pitch source rich in thirds, and characterized by a discernible beat, conductus-like octaves, scurrying triplets, a violin line with flute obligato, and formal repetition of these elements into a tri-partite form.

Raoul Pleskow was born in Vienna, Austria and educated in New York. His principal teachers (in composition) were Karol Rathus, Otto Luening and Stefan Wolpe. Mr. Pleskow has been the recipient of many honors, the most recent of which include awards by the National Endowment for the Arts, The Martha Baird Rockefeller Fund for Music, the National Institute of Arts and Letters,and a fellowship from the John Guggenheim Memorial Foundation. At present, Raoul Pleskow is a professor of Music at Long Island University CW. Post College. Several of his works are recorded on the CRI and Serenus Labels, and are published by American Composers Alliance, General Music, Bowdoin Press and McGinnis and Marx. His works have been performed by such organizations as the Cleveland Philharmonic; Tanglewood Festival Orchestra; Plainfield Symphony; Orchestra da Camera; New York Virtuosi; South Dakota Symphony; Kennedy Center Chamber Players; Stony Brook Contemporary Chamber Players; Queens Symphony; Queens Philharmonic; The Group for Contemporary Music; Contemporary Chamber Ensemble; Muska Viva; Pierrot Consort; Pa~nassus; LS.CM.; the New Music Consort; Light Fantastic Players; Da Capo Chamber Players; New Structures Ensemble; and the Santa Cruz Symphony, as well as by distinguished solo instrumentalists and singers both in the U.S.A. and in Europe.

Four Burlesques for Flute and Clarinet, by Irwin Swack

The Four Burlesques represent a series of short, contrasting movements. While the second one can be described as contemplative and introspective, humor and satire are the main ingredients of the other movements. Other considerations involve contrasting timbres, rhythms, and accents. There is much tension resulting from the rise of a musical idiom that is so atonal but behaves tonally in many ways.

Irwin Swack was born in Ohio and attended the Cleveland Institute of Music. After graduating with a major in violin performance, he studied with Vittorio Giannini at The Juilliard School. He went on to receive a Masters Degree in composition from Northwestern University and a Doctorate from Columbia University, where he studied with Henry Cowell. As the recipient of a Ford Fellowship Award, he studied with Gunther Schuller at the Tanglewood Music Center in the Berkshires. Nocturne, by Ulf Grahn

The Nocturne for piano trio and tape was commissioned by the George Washington University Faculty Trio and completed in January 1988, in Leksand, Sweden. I had just started my two-year appointment as Artistic and Managing Director of the Lake Siljan Summer Music Festival in Sweden. The Nocturne--a night piece--a farewell to GWU and Washington at the same time, a greeting to and from the mountains of Sweden. The opening idea is from sketches to my third Sinfonie using a twelve tone row as a germ to build a texture/structure. A Swedish herding song grows out of the texture; it's an evening call from the mountain region north of Leksand in Dalecarlia. The Introspective and reflective quality of nighttime is arrived at by mixing new and old. The complex twelve tone (city life), the simplistic mysterious traditional music of Sweden's northern mountain region (urban life) and through the juxtaposition of live instruments and tape.

Ulf Grahn, born and raised in Sweden, has resided in Washington, D.C. area since 1972 where he has been actively involved in the performance and presentation of new music. He studied music at the Royal Academy of Music, Stockholm and at the Stockholm City College where his principal composition studies were with Hans Eklund. He holds degrees from Stockholm's Musikpedagogiska Institut and the Catholic University of America. He has the equivalent to a civil economics degree from University of Uppsala, Sweden in Business Administration, Economics, and Developmental Studies. In 1973 he founded the Contemporary Music Forum, Washington, D.C. and served as its Program Director until 1984. During 1988-90 he was Artistic and Managing Director of the Music at Lake Siljan Festival, Sweden. Prior to this he was on the faculty of George Washington University and Director of its Electronic Music Studio. At present he is a free-lance composer and a frequent lecturer on Swedish/Scandinavian music, including his own and American music, and cultural economic issues. Mr. Grahn has composed for all media and received numerous prizes, grants, awards, and commissions. His music is being played worldwide.

Windhover, by Hilary Tann

Wind hover, composed during July 1985, is based on the idea of flight from a falcon's point of view. The piece is approximately eight minutes long. Sections of slow soaring, where strength and detailed focus predominate, alternate with swifter sections, where the blurring of the rush of flight takes over. Hilary Tann, a Welsh composer, came to the USA in 1972 as a Visiting Fellow at Princeton University. She is an Associate Professor of Music at Union College, Schenectady, NY. Active on behalf of women's music, Hilary Tann serves on the Executive Board of the International League of Women Composers and was Editor of the ILWC Journal from 1982 to 1988. Her interest in the music of Japan has led her to study the vertical bamboo flute known as the shakuhachi, and to co-edit a symposium of articles called 'Tradition and Renewal in the Music of Japan," published in Perspectives of New Music, Summer 1989. Her music is published by Oxford University Press. Her works for both chamber ensemble and full orchestra have received performances and broadcasts throughout the USA as well as in Australia, Germany, Ireland, and Wales. She is a member of ASCAP, and has received support from Meet The Composer, the Ford Foundation, the Pew Memorial Trust, the Welsh Arts Council, and the New York State Council on the Arts.

Duos III, by Nancy Laird Chance

Some of the material for Duos III goes back quite a long way in my life. The first ten notes of the fugue come from an assignment in Professor Ussachevsky's Counterpoint Class, and the resulting subject has been evolving mentally for years. It was hoped, in this piece, to write a work that makes maximum use of techniques and sounds which are specific to the string section, and to create music that truly "lies under the hand" for string players. I wanted to create material that derived organically from the technical needs and sonorous abilities of the instrument-­ idiomatic in the finest sense.

Nancy Laird Chance has been twice the first prize winner of ASCAP's prestigious Rudolph Nissim Competition for Orchestra Composition. Her Odysseus, which won in 1984, was chosen from among 200 entrants in a blind judging. Chance has also been the recipient of two composer fellowship/grants from the NEA, and was a Sundance Institute Film Composer Fellow in 1988. Her works have been played by: The Philadelphia Orchestra, St. Louis Orchestra, American Composers Orchestra, Jupiter Symphony, League-ISCM, Group for Contemporary Music, New Music Consort (Commission), Da Capo Chamber Players, Continuum, Manhattan Marimba Quartet (a commission), and the Goldman Memorial Band. Aulos, Relache in Philadelphia, New Aryt Winds in Boston, Contemporary Chamber Players in Chicago, VoxNova Quintet at the Piccolo Spoleto. Festival, and the Contemporary Music Forum in Washington, D.C., at the Corcoran Gallery and at Wolf Trap Farm. She has composed the score for a film, "Heat and Silence" by Edward Kadysewski. Chance is published by Theodore Presser, MMB Music, G. Schirmer and Seesaw Music. She is recorded on the Opus One label. Yellow Ribbons No.30, by Max Lifchitz

Yellow Ribbons No. 30 belongs to a series of works written as a hommage to the former American hostages in Iran. These works are a personal way of celebrating the political and artistic freedom so often taken for granted in the West. The work consists of twelve variations without a theme. Each variation explores different combinations of instruments and develops material presented at the beginning by the piano. The music climaxes in a section in which each instrument plays given material at its own tempo or speed. This superimpostion creates a kind of" counterpoint of tempi." The music allows each instrumentalist to use a high degree of virtuosity. The musical language employs conventional and innovative techniques.

Max Lifchitz (b. 1948, Mexico City) is a graduate of The Juilliard School and Harvard University. His works are performed regularly throughout the US, Latin America and Europe and are available on the CRI, Finnadar, New World, Opus One and Classic Masters record labels. He has received grants from the ASCAP, Ford and Guggenheim Foundations; NYS CAPS Program and from the NEA. He has taught at the Manhattan School of Music, Columbia University and at the State University of New York at Albany.

ABOUT THE PERFORMERS:

Lisa Hansen, flute, is a graduate of The Juilliard School. She has recorded two chamber music albums for the Musical Heritage Society and she may be heard on the EMI label as the soloist in Joaquin Rodrigo's Flute Concerto with the London Symphony Orchestra.

Dana Friedli, violin, is a graduate of the Eastman School and Mannes College of Music. Her teacher was Ani Kavafian. She is an active free-lancer in New York City and enjoys performing contemporary music.

Richard Goldsmith, clarinet, is a graduate of CUNY's Aaron Copland School of Music. He is active as a recitalist and chamber music performer. He has recorded for the CRI, Opus One, and Classic Masters labels.

Benjamin Whittenburg, cello, is a graduate of Colgate and Boston Universities. His main teacher was George Neikrug. During the 1985-87 seasons he was first cellist with the San Carlo Opera Orchestra in Naples, Italy. Max Lifchitz, piano, received the first prize in the 1976 Gaudeamus Competition for Performers of Contemporary Music held in Holland. He has appeared as pianist and conductor throughout Latin America and the US. The Vienna Modem Masters record label will soon release a CD featuring Mr. Lifchitz performing piano music by several American composers.

North/South Consonance, Inc. is a non-profit organization devoted to the promotion and performance of music by American and Latin American composers. Founded in 1980, by Max Lifchitz, it has been responsible for the first performance or New York premiere of over 500 different works by composers representing a wide range of aesthetic points of view. The NORTH/SOUTH CONSONANCE ENSEMBLE may be heard on the Opus One label in performance of works by Richard Cameron-Wolfe, Stephen Dickman, Orlando Garcia, Luis George Gonzalez, Laura Greenberg, Max Lifchitz, Stephen Strunk, Sherwood Shaffer, Aurelio de la Vega and Nancy Van de Vate. For the Classic Masters label, the NORTH/SOUTH CONSONANCE ENSEMBLE recorded works by Joseph Alexander, Elizabeth Bell, Johan Franco, and Max Lifchitz. The activities of NORTH/SOUTH CONSONANCE, INC have attracted funding from the National Endowment for the Arts, the New York State Council for the Arts, Meet the Composer, Inc., Columbia University's Ditson Fund, Bell Research Laboratories, and many other corporate and private sponsors.

This concert has been made possible with the support of MEET THE COMPOSER with funding provided through the Composers' Performance Fund, supported by the New York State Council on the Arts, ASCAP, BMA, Xerox and the Metropolitan Life Foundations. Society of Composers

Carol Woodhouse W ellin Performance Hall The Hans H. Schambach Center for Music and the Performing Arts Saturday, April 27 3:00 p.m.

Program

Years Beginning, and Years End ...... Ernest Mannix

for stereo tape

Four Pieces for Violin Louis Angelini

Allie Jensen, violin

Miniatures ...... Marvin Johnson

for stereo tape

Thoughts and Perfections Phillip Schroeder

performed by the Hamilton College Choir G. Roberts Kolb, director

Four Choral Love Songs Charles Bestor

"Jenny Kissed Me" (Leigh Hunt) "The Time I've Lost in Wooing" (Thomas Moore) "My Summer Love too Late" (Charles Bestor) "She Walks in Beauty" (George Gordon, Lord Byron) Years Beginning and Years End, by Ernest Mannix

Years Beginning and Years End are two short pieces composed and recorded in the late 1989. In the Years Beginning, my aim was to try to capture the hope and promise of a new year. It begins with a quite simple theme, signifying the dawn of the year. As "time" progresses this simple theme becomes almost unrecognizable, until finally, after being transposed and complicated, it fades away. Years End begins somewhat abruptly as if one has realized so much is left to be done in so little time. Slowly, this mood gives way to Year ending reflection, as calm takes over and soft bells ring out the year.

Ernest Mannix resides in Manhattan, and has composed and produced music for many television and radio commercials. He enjoys writing all forms of music from "serious" to "pop." Mr. Mannix is a graduate of Long Island University's C.W. Post Center, where he studied composition with Raoul Pleskow and Howard Rovics.

Four Pieces for Violin, by Louis Angelini

The first piece is called "Aria." It begins in a relatively simple manner and becomes more elaborate as it goes along. The second is entitled "Scherzo" and features a lively interplay of bowed and plucked sound. The third piece is called "Ancient Song"; this one is the shortest of the four. "Perpetual Motion" is the last piece; it features a driving rhythmic quality.

Louis Angelini received his Bachelor of Music degree from Ithaca College and his Ph.D. from the Eastman School of Music of the University of Rochester. From 1963-65, he studied composition in Italy as a Fulbright Scholar. He has studied with a number of prominent composers, among them Lukas Foss, Howard Hanson, Luigi Nono, Franco Evangelisti, and Witold Lutoslawski. Angelini also has received numerous awards, including a Koussevitsky Prize in Composition, the Darmstadt Festival and Institute for New Music Tuition Award, and a Ford Foundation Fellowship. His works include vocal and instrumental music, chamber music, orchestral music and musical theater. He is a professor of music at Utica College of Syracuse University. Miniatures, by Marvin Johnson

Miniatures represent a new compositional direction for this composer in that the principal parts are not in the melody or bass bu~ in the middle registers. Other "voices" rotate around these central registers, as do color changes, registral shifts, etc. Tempo changes further differentiate the texture by rapidly changing from larger to smaller division, and in so doing help to identify important features in harmony, melody, and design. This composition was realized using the Music IV-BF sound synthesis program in the electronic studios at The University of Alabama.

Marvin Johnson is a native of Alabama and received his first degrees in music from the University of Alabama. He completed his Ph.D. in Composition at Princeton University. He held faculty appointments at Kent State and Western Illinois prior to his joining the faculty at Alabama, where he is Associate Professor of Theory and Composition and Director of the Electronic Studios.

Thoughts and Perfections, by Phillip Schroeder

Thoughts and Perfections (1990) for mixed choir and piano uses three poems from Walt Whitman's From the Roadside. It was commissioned by Grinnell College (IA) and the Grinnell College Singers. The three pieces reflect my growing tendency to write music that may help us gain an understanding and sympathy for internal and external stillness, balance, and peace. This focus is as much a personal attraction to an aesthetic, as it is a response to the rather incessant "high energy" of most popular music and contemporary culture. I have often been asked to describe my musical style ("What does your music sound like?"). When forced, words such as lyric, sensual, open, sometimes whimsical, or introspective come out somewhat feebly. The quandary arises from my attempt to ignore style and, instead, focus on ideas and emotions, and from the understanding that my "sources" of musical expression are diverse and often seemingly at odds (classical, experimental, rock, jazz, etc., etc.).

A recipient of a variety of awards and commissions, Phillip Schroeder (b. 1956) has composed numerous works for orchestra, chamber ensembles, choir, and soloist. He has held residencies at the Charles Ives Center for American Music, MacDowell Colony, Palenville Interarts Colony, and the Millay Colony for the Arts. Currently on the faculty at the University of Iowa, Schroeder has also taught at Grinnell College, Butler University, and Hamilton College. He received a PhD from Kent State University, the MM from Butler University, and BM from the University of Redlands. Four Choral Love Songs, by Charles Bestor

"Jenny Kissed Me" (Leigh Hunt) "The Time I've Lost in Wooing" (Thomas Moore) "My Summer Love too Late" (Charles Bestor) "She Walks in Beauty" (George Gordon, Lord Byron)

The Four Choral Love Songs were written during the spring and summer of the 1990 at the Virginia Center for the Creative Arts and Ragdale Foundation. They were commissioned and first performed by the Somerville (MA) Community Chorus in celebration of its fifth anniversary. The settings are of love poems from the 18th, 19th, and 20th centuries treating of love in its various guises and cast in a melodic and harmonic style reminiscent of a simpler and perhaps amorous age. Hamilton College Ensemble for New Music

Jennifer Myers, violin Donald McMahon, piano George Myers, viola Colleen Roberts PeJJman, piano Gregory Wood, 'cello Laurance Luttinger, percussion Barbara Rabin, clarinet E.MichaelRichards,clarineYdirector

Carol Woodhouse Wellin Performance Hall The Hans H. Schambach Center for Music and the Performing Arts Saturday, April 27 8:00 p.m.

Program

Bird on a Briar ...... Anthony Lis

Rudimentalisis Greg Steinke

Perne in a Gyre Elizabeth Bell

Int.ermission

Canzona ...... Brian Fennelly

Experiences of Women Joelle Wallach

Neva Pilgrim, soprano Allie Jensen, piano

Night of a Great and Unreturning Day Samuel Pellman Bird on a Briar, by Anthony Lis

Bird on a Briar is a set of continuous variations on a 13th Century English folksong. The piece is based almost exclusively on the notes of the A natural minor scale. An abbreviated version of the tune is stated in the piano at the opening. Composed for the 1988 spring tour of Ontario's Pro Musica Ensemble, the work has been performed in Toronto, Ottawa, Thunder Bay, St. Paul, Minneapolis, Cincinnati, and Cedar Rapids, Iowa.

Anthony Lis is Asst. Prof. of Music and Composer-in-Residence at South Dakota State University in Brookings, a position he has held since 1987. Lis studied composition with Michael Hennagin, Jonathan Kramer, and T. Scott Huston, and received his Doctor of Musical Arts degree from the College-Conservatory of Music at the University of Cincinnati in 1985. Lis' compositions have been performed throughout the Midwest and in Canada. He has been commissioned by the Cincinnati Composers Guild, Northern Kentucky University, the University of Northern Iowa, and the South Dakota Music Teachers' Association. Lis has received grants from "Meet the Composer" the South Dakota Arts Council, and S. Dakota State University. In 1985, his chamber orchestra composition Westron Wynde was the recipient of an ASCAP Foundation Grant. Lis is listed in The International Who's Who in Music. Five Thousand Personalities of the World and International Leaders in Achievement. Lis has taught Theory and Composition courses at the University of Cincinnati, the University of Northern Iowa, and South Dakota State University. He has been an officer in Cincinnati Composers' Guild, the Association of South Dakota Composers, and the Minnesota Theory Consortium.

Rudimentalisis, by Greg Steinke

Rudimentalisis was written for Mark Jacobson especially for a March, 1980 concert featuring my works. Its point of inspiration comes from the many rudimental drumming experts I've heard over the years in juries. To the usual snare drum that the rudimental drummer would use have been added hi-hat and suspended cymbals, a wood block and triangle. A few new percussion techniques have been added here and there; but it is a straightforward piece and should express a certain delight in just "drumming away."

Greg Steinke is Assistant Director and Professor of Music (composition and oboe) at the University of Arizona (1988). Professor Steinke holds degrees from Michigan State University (Ph.D.), the University of Iowa (M.F.A.), and the Oberlin Conservatory (B.M.). Formerly, he was Chairman of the Music Department at San Diego State University, Director of the School of Music at the University of Idaho, Chairman of the Music Department at Linfield College, and a faculty member at the Evergreen State College, California State University at Northridge, and the University of Maryland. He is the author of numerous articles and has completed revisions to the Paul Harder Harmonic Materials in Tonal Music, 6th edition, and Basic Materials in Music Theory, 7th edition, for Allyn and Bacon. Steinke is very active as a composer of chamber and large ensemble music with more than a dozen published works. He is also active as an oboe soloist, specializing in contemporary music for oboe. Currently he is serving as the National Chair of the Society of Composers, Inc.

Peme in a Gyre, by Elizabeth Bell

Perne in a Gyre's title is taken from a passage from the poem "Sailing to Byzantium" by the late Irish poet W.B.Yeats:

An aged man is but a paltry thing, A tattered coat upon a stick, unless Soul clap its hands and sing, and louder sing For every tatter in its mortal dress...

0 sages standing in God's holy fire As in the cold mosaic of a wall, Corne from the holy fire, perne in a gyre,* And be the singing-masters of my soul.*..,

I found the imagery tremendously rich: flickering fire, whirling dancers, clapping hands and the stillness of the "gold mosaic of a wall" ... Thematically the piece is all built from a simple "turning" motif which is introduced in the first few measures. It begins almost motionlessly, very slowly picks up energy until it is whirling madly, gradually drops back down to slow motion, and again builds up to an intense climax. A brief flicker of the slow section returns to leave one suspended in timelessness.. . The occasional "wrong" notes that one hears are actually quarter-tones, used to enrich the melodic and harmonic palates... The piece is dedicated to Paul Levi, and is recorded by North/South Consonance on a Classic Masters CD.

* A pem is a spool or spindle, gyre a whirling dance; hence "spin in a dance". **Used with permission of Anne and Michael Yeats.

Elizabeth Bell graduated from Wellesley College (1950) and the Juilliard School (1953), where she studied composition with Peter Mennin and Vittorio Giannini; she also studied privately with Paul Alan Levi. She has written orchestral, chamber, solo instrumental and vocal music. She has had two retrospective concerts of her works: one at Cornell University in 1973, and one in her native city of Cincinnati, Ohio in 1985; another is planned in New York City for October 1991. Ms. Bell's music has been played widely, throughout the United States, in Japan, and on the radio in Australia. She was music critic for the Ithaca (NY) Journal from 1971-76., and has appeared as featured composer on the radio and on educational television. She is the recipient of numerous grants from Meet-the-Composer, has had works recorded on CRI, Oassic Masters, and Vienna Modem Masters Labels, and has received commissions from numerous performers and perfonning groups, as well as from the New York State Council for the Arts. A BMI composer and member of American Composers Alliance, she is one of the founders and officers of New York Women Composers, Inc., and is a member of many other professional organizations.

Canzona, by Brian Fennelly

Initially conceived for the Musica Nova Ensemble of Bucharest, Romania, Canzona is a ten-minute piece dedicated to the memory of pianist Robert Miller. It is straightforward in its musical form and surface while still exhibiting.basic concerns for instrumental exploitation and expressivity characteristic of my other music. Canzona was completed in January 1982 and was co-winner of the 1982 New Music for Young Ensembles competition; it was premiered by that organization in Carnegie Recital Hall, October 4, 1982.

Brian Fennelly (born Kingston, NY, 1937) studied at Yale with Mel Powell, Donald Martino, Allen Forte, Gunther Schuller, and George Perle (M.Mus. '65, Ph.D. '68). In 1968 he joined the faculty of New York University, where he is now professor of Music and co-director of the Washington Square Contemporary Music Society. In addition to a Guggenheim fellowship, his awards include three fellowships from the National Endowment for the Arts, three composer grants from the Martha Baird Rockefeller Fund, and a Koussevitsky Foundation commission. Major works include In Wildness is the Preservation of the World, Quintuplo, Thoreau Fantasy No. 2, and Fantasy Variations, all for orchestra, String Quartet in Two Movements, Wind Quintet, Sonata Seria for piano, Evanescences for instruments and tape, and Canzona and Dance for chamber ensemble. His music has been awarded prizes in such prestigious competitions as the Louisville Orchestra New Music competition and the Premio Citta di Trieste. Commercially available recordings of his music have been made by such groups as the Empire Brass Quintet, Polish Chamber Orchestra, Audubon String Quartet, and the Czech Radio Orchestra Prague. Most recently released are a CD recording of his Fantasy Variations by the Louisville Orchestra and a cassette recording by the Gregg Smith Singers including his Two Poems of Shelley.

Experiences of Women, by Joelle Wallach

Joelle Wallach's cycle of five songs, Experiences of Women, covers a broad range of subjects. While the first song's resentment and longing are a response to the soul's metaphorical rape, the alternately sad agitated second song deals with literal, violent rape. It evokes the pervasive alternation of sorrow and violation it imparts to all other experience. The third song is a setting of a real personal classified advertisement from the New York Review of Books, both wistful, a little brash and funny. Like the phenomenon of personal ads, it is of our time but recalls a Romantic ideal. These three songs are followed by two songs which may be performed as an independent cycle called Love in the Early MorningL two songs about making love to milkmen, a serio-comic treatment of sexual longing. Except for the classified ad (which had only a box number), the songs are based on poems by two living American women poets, Susan Donnelly and Madeline Tiger.

Joelle Wallach was born in New York City, and grew up there and in Morocco. She began her musical studies early, both privately and at the Juilliard Preparatory School. Excelling in the study of piano, voice, theory and composition, she also studied the violin and bassoon. Ms. Wallach earned the B.M. and M.M. degrees in composition at Sarah Lawrence College and Columbia University respectively, and studied with John Corigliano at the Manhattan School of Music, which granted her its first doctorate in composition.

Night of a Great and Unreturning Day, by Samuel Pellman

The title of Night of a Great and Unreturning Day is a line taken from the poem "Final Autumn" by Josephine W. Johnson (b. 1910). The apocalyptic imagery of the poem has provided the inspiration for the timbral and textural ideas shared by the three performers. The dramatic design of the composition is fixed, but the details of the performance are to some degree the result of close improvisation. The electronic sounds are produced by Yamaha synthesizers and an Ensoniq sound sampler. These devices are in turn placed under the control of sequencer software developed by Opcode Systems, Inc. for the Macintosh computer.

Samuel Pellman was born in 1953 in Sidney, Ohio in a hospital. His teachers of composition have included David Cope, at Miami University, and Karel Husa and Robert Palmer at Cornell, where Pellman received a D.M.A. in 1979. He has received a few awards in composition and has made guest appearances as a composer at several colleges and universities in the United States. Some of his works may be heard on recordings by Redwood Records, the Musical Heritage Society and the Cornell University Wind Ensemble Series. Most of his music is published by the Continental Music Press, Dom Publications, and NACUSA Publications. Presently he is an associate professor of music at Hamilton College and is chair of the department. Often he teaches theory and composition and directs the Studio for Electronic Music. Tonight's concert has been made possible with the support of MEET THE COMPOSER with funding provided through the Composers' Performance Fund, supported by the New York State Council on the Arts, ASCAP, BMA, Xerox and the Metropolitan Life Foundations. Syracuse Society for New Music

Hamilton College Chapel Sunday, April 2 2:15 p.m.

Program mike-ro-tunes . . . E. Michael Richards

E. Michael Richards, clarinet

Sette Bagatelle di Primavera Walter Winslow

Linda Greene, flute

Atem ...... Margaret DeWys

E. Michael Richards, clarinet

Improvisations Andrew Waggoner and Paul Brantley

Tuba Contra Mundum Janice Macaulay

Charles England, tuba mike-ro-tunes, by E. Michael Richards mike-ro-tunes was written during my Fall 1988 residency as a Fellow at the Camargo Foundation in Cassis, France. It was conceived as an etude to demonstrate and "work out" a variety of new · clarinet resources that I had recently explored in my book-length study, "The Clarinet of the Twenty-First Century." mike-ro-tunes investigates the colorful and murky sonic territory within, and between, the altissimo, clarion, and chalumeau registers of the clarinet in much the same way that a listener might alter his or her attention among different levels of consciousness. This territory is expressed by not only standard multiphonics, but by rapid passages of microtones from all three registers, as well as multiphonics made up of half-pitched percussive sounds from finger or key trills. I wish to extend thanks to my colleague, Sam Pellman for the title!

As a recitalist of new music, E. Michael Richards has premiered over 100 works that have utilized the clarinet at performances throughout the U.S., Japan, Australia, and Western Europe. His performances with pianist Kazuko Tanosaki have included concerts at the Tokyo American Center (Japan), 1990 Kobe International Festival of Contemporary Music (Japan), Cal Arts Festival of Contemporary Music (Valencia, Cal.), the 1989 International Electronic Music Plus Festival (Oberlin, Ohio), the 1982 International Stravinski Symposium (San Diego), the 1987 national conferences of ASUC and the College Music Society, and the 1988 symposium of the International Musicological Society (Melbourne, Australia). Richards has also been a member of the Yale Contemporary Ensemble under Arthur Weisberg, SONOR (contemporary music ensemble) under Bernard Rands, and the Syracuse Society for New Music. As a conductor, he has led the Hamilton College Orchestra on a two-week concert tour of Romania and Bulgaria, and recently conducted the American premieres of works by Samuel Pellman and Akira Nishimura. E. Michael Richards, trained as a clarinetist at the New England Conservatory of Music and the Yale School of Music, earned a Ph.D. in theoretical/experimental studies at the University of California, San Diego, and is currently an Associate Professor of Music at Hamilton College. He has received a 1990 U.S./Japan Creative Artist Fellowship as a solo recitalist (sponsored by the NEA, U.S./Japan Friendship Commission, and Japanese Cultural Agency -Bunka-cho) for a six­ month residency in Japan, a NEH Summer Fellowship to study traditional japanese music, and a Camargo Foundation Grant to complete a book, "The Clarinet of the Twenty-First Century." ------1

Sette Bagatelle di Primavera, by Walter Winslow

Written in Rome for Loren Weiss, Sette Bagattelle are a unity (one movement) of.diverse sections (the Bagatelles). The number seven has no symbolism here. But, the many layers of the city are perhaps reflected in the registral layering apparent from the beginning in the music, while the accretion of ideas and their transformations (in the spirit of a well-written history rather than a gathering of spolia) owe something to the impressions absorbed there by the composer.

Cited in 1983 by the American Academy and Institute of Arts and Letters as a composer of "powerful and expressive vocal and instrumental music" Walter Winslow began writing music and studying piano at the age of eight. A native of Salem, Oregon he attended Oberlin College and Conservatory and the University of California at Berkeley. His teachers were Richard Hoffman at Oberlin, then Edwin Dugger, Andrew Imbrie and Olly Wilson. A solid background in both liberal arts and music helps him pursue related interests: among these is a fascination with Polynesian culture that resulted in Himene, a 40-minute work for orchestra, chorus and vocal soloists composed in 1985. His works include most genres and have received performances in Italy, Canada, and Belgium as well as many in the U.S. by such ensembles as the Audubon Quartet, The Gregg Smith Singers, League -ISCM, and the San Francisco Contemporary Music Players. His music has been recorded on CRI, Opus One Records, and on compact disc by Edipan Edizioni of Rome. He has taught at Berkeley, Oberlin, Reed College and Columbia University. Among his honors is a Guggenheim Fellowship in Composition,1986. He was a Fellow of the American Academy in Rome in Composition in 1989-90.

Improvisations, by Andrew Waggoner and Paul Brantley

The Brantley-Waggoner Duo is unique among contemporary concert ensembles in that their performances are entirely improvised; nothing is certain about the nature of a specific concert until the pair takes the stage and begins to make music. Both members of the duo are active composers with a 13 year history of playing many different kinds of music together. Their experiences as creative artists and their long-standing, intimate musical relationship make possible for them the spontaneous creation of engaging, large-scale works. Although both Mr. Brantley and Mr. Waggoner have close ties to the worlds of jazz and popular music, their performances together can best be described as "contemporary classical"; this is a broad term, however. The fun in their concerts stems from the very real possibility that anything may happen. Andrew Waggoner was born in 1960 in New Orleans. He grew up there and in Minneapolis and Atlanta. He studied composition at the New Orleans Center for Creative Arts, continuing his education at the Eastman School of Music and Cornell University, where he earned the Doctor of Musical Arts degree in 1986. For several years he was an announcer and producer at WXXI FM, the National Public Radio affiliate in Rochester, New York. He has also worked as an independent producer at WNYC FM in New York City. Mr. Waggoner is a member of the American Composers Alliance, and has received grants from ASCAP, Yaddo, Meet the Composer, the New York Federation of Music Clubs, and the Eastman School of Music. His music has been played by the Saint Louis Symphony Orchestra, the Los Angeles Philharmonic, the Denver Symphony, the Cassatt Quartet, The Syracuse Society for New Music, and the Atlanta Symphony Youth Orchestra. In addition to his concert works, Mr. Waggoner has also composed extensively for the theatre, and for public television. He is currently an assistant professor of music at Syracuse University.

As a composer, conductor and cellist, Paul Brantley has studied at the Manhattan School, Eastman, Curtis, Tanglewood, and Fontainebleau to work with such notable musicians as Samuel Adler, Leonard Bernstein, Alan Harris, Betsy Jolas, Leon Kirchner, David Loeb, Ned Rorem, and David Wells. He has performed with The Yellow Barn Festival, Eastman Musica Nova, The Ontario Chamber Players, and The Society for New Music in addition to numerous solo recitals. His compositions have been performed by the Atlanta Symphony, the Augustine Quartet, L'ensemble des Deux Mendes, the Pittsburgh New Music Ensemble, the Society for New Music, the Syracuse Opera Studio, at Tanglewood and for the Louis Vuitton Foundation pour L'opera et La Musique. Presently, Mr. Brantley serves on the composition and chamber music faculties at Syracuse University and is active as a free-lance cellist in the Central New York area.

Tuba Contra Mundum, by Janice Macaulay

The title of this piece was not chosen to convey paranoia, but rather to indicate the solo performer's exultation in his or her own virtuosity. Tuba Contra Mundum is meant to suggest the spirit of a concerto in which the individual performer triumphantly holds his own against the group -a piece for tuba and orchestra without the orchestra. Tuba Contra Mundum is published by the TUBA Press.

Janice Macaulay received her DMA in composition from Cornell University, where she studied composition with Karel Husa and Steven Stucky. Awards have included two of the three Best of Category Prizes in the 1983 Delius Composition Competition for her Three Pieces for String Quartet (chamber music category) and Seven Love Poems of Emily Dickinson (vocal music category), as well as two Honorable mentions from the International League of Women Composers for Brass Quintet and Elegy for Orchestra. She has received three grants from Meet the Composer for performances of her music at Wells College, where she taught from 1984 to 1987. Her music has been performed at the Charles Ives Center for American Music and at regional and national conferences of the Society of Composers, Inc. and of the International Congress on Women in Music. She is currently the Music Department Coordinator at Anne Arundel Community College (Arnold, MD), where she teaches and conducts the orchestra. The McLean Mix

Gods, Demons and the Earth

Carol W ooclhouse W ellin Performance Hall The Hans H. Schambach Center for Music and the Performing Arts Sunday,April28, 1991 3:30 p.m.

Program

Earth Music (1989-90) ...... Barton McLean

Barton McLean, processor routing, keyboards Priscilla McLean, voice, ocarinas, found instruments, Burgess Shale rocks

Visions of a Summer Night Barton McLean IV. Demons of the Night (1989) Digital tape V. Fireflies (1990) Digital tape with light patterns Barton McLean, Sparkling Light Console

Wilderness (1989-90) Priscilla McLean

Priscilla McLean, soprano Barton McLean, flexatone

The Dance of Shiva (1990) ...... Priscilla McLean

Priscilla McLean, multiple slide projections and visuals Barton McLean, stereo tape, mixing