American Music Festival Staff:

Hubert Howe, ACA President Jasna Radonjic, ACA Executive Director, Festival Producer Idith Meshulam, Festival Artistic Advisor Jeffery Wildey, Administrative Assistant Richard Szpigiel, Lighting Director

The American Alliance (ACA) serves the contemporary music community as a music publisher, concert presenter, and advocate for composers. Founded in 1937 by to protect the rights of its members and to promote the use and understanding of their music, it is the oldest national organization of its kind. It offers emerging and established composers a network of connections and a supportive community. We are here to promote, protect, preserve, present and publish the concert music of American Composers.

ACA recently incorporated as a 501(c)(3) organization and is now a tax-exempt not-for-profit corporation in the State of New York. Your tax deductible contribution will help the following funds: -Festival Fund to provide the highest level performances -Library Fund to digitize 10,000 musical manuscripts only available through ACA -Custodial Fund to promote, perform and keep the music of deceased members alive -Mentoring Program to help the very young composers learn about the profession of composing -General Operations to make it all happen

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American Composers Alliance 648 Broadway, Room 803 New York, NY 10012 the great living composers of today and tomorrow, performing some of their most important works while The American Composers Alliance working in concert with them to create new ones.

Presents The two founders and directors of the Second Instrumental Unit are violinist and composers, David Fulmer and 2007 American Music Festival conductor Marc Dana Williams. David Fulmer was recently presented the prestigious Charles Ives Award from the American Academy of Arts and Letters (2007). He is the recipient of several other honors, including the 2005 Dorothy Hill Klotzman Grant from the , and the highly coveted 2004 George Thursday, June 21st at 8pm Whitefield Chadwick Gold Medal from New England Conservatory. David graduated last spring from the Juilliard School pursuing studies in composition with and violin with Robert Mann in the Masters program, and he is currently resuming his studies at Juilliard as a C.V. Starr Doctoral Fellow. As Music for the Solstice violinist, he has appeared this season throughout Lincoln Center, most recently in the “Great Performers” series, as well as Carnegie Hall, the Library of Congress, amongst other places. Marc Dana Williams is a native of Los Angeles but resides in where he works with the French conductor . He conducts various Lewis Nielson Iskra * ensembles regularly on the East Coast of the , making his Carnegie Hall debut last season leading Echoi: the Second Instrumental Unit. He is currently on the conducting staff at the Spoleto Festival USA, where he Alice Teyssier, flute recently completed his fourth season as associate conductor. Mr. Williams has served as music director of Jonathan Hepfer, percussion l'Orchestre de Sciences-Po (Paris) and Ventura College Opera (California) and has served as principal guest Gabrielle Athayde, cello conductor of l'Ensemble Musique Contemporaine Brésilienne (Bordeaux, France) and the Colorado Britten Society (Denver.) He has been an assistant or associate conductor with l'Opéra national de Paris, the Santa Raoul Pleskow On Lines form the Latin * Barbara Symphony and Opera Santa Barbara. He continues to garner acclaim with performances in New York, Patricia Sonego, soprano Christopher Oldfather, piano including concerts at Weill Recital Hall at Carnegie Hall, Miller Theatre, The Stone, and Symphony Space. Mr. Williams regularly guest conducts the Wet Ink Ensemble, Queens College New Music Group and the Columbia Composers Collective, among others. He also serves as a frequent guest with the American Carmel Raz Iola for Solo Flute * Composers Alliance. He has been a conducting fellow at the Internationalen Ferienkursen für Neue Musik in Barry Crawford, flute Darmstadt and has earned degrees in music and law from the University of California, Bard College, and The Juilliard School. Anthony Cheung Enjamb/Infuse/Implode The Second Instrumental Unit Patricia Sonego, soprano is appearing with ACA for the second year, having given the New York premier of David Buck, flute Carol McGonnell, clarinet award winning John Melby’s 3 Wordsworth Songs for voice and computer generated playback on last Nathan Schmidt, violin Victoria Bass, cello year’s Festival of American Music. Patricia made her operatic debut in in the world premiere of Alex Lipowski, percussion Molly Morkoski, piano American composer Jack Beeson's Sorry, wrong number with the Center for Contemporary Opera under the Marc Dana Williams, conductor baton of Richard Marshall, for which she received an enthusiastic review from Robert Prag of Opera News. A champion of new music, particularly electro-acoustic and chamber, Ms. Sonego is in demand to premier new works, many of which have been composed for her. In a new arrangement dedicated to her by the award INTERMISSION winning American composer Terry Winter Owens she recently gave the world premier of Owens’ Messages for Raoul Wallenberg at Carnegie’s Weill Recital Hall, with the Alaria Chamber Ensemble. The piece was recently ACA presents The to for recorded for Capstone Records featuring Reizen Ensemble, a new music group for which Patricia is the soprano “distinguished achievement in fostering and encouraging American music.” member, co-founder and Artistic Director.

Elizabeth Bell Soliloquy Loren Dempster, cello

Margaret Fairlie-Kennedy Spirit Man † Laura Campbell, flute 11 Fall. Jonathan Hepfer studied percussion with Mike Rosen at Oberlin and now studies with Steven Schick at Christopher Adler Signals Intelligence † UC San Diego. Jonathan was selected for the Lucerne Festival this Summer. Gabrielle Athayde studies cello Alexander C Lipowski, marimba with Darrett Adkins at Oberlin. Also selected for Lucerne, she has been involved in many premieres at Oberlin and elsewhere. Iskra was written at her request. Sextet II † Second Instrumental Unit An advocate of contemporary music, Alex Lipowski has performed in ensembles such as the Second Instrumental Unit, Aspen Contemporary Ensemble, Wet Ink Ensemble, Janus Trio, Alarm Will Sound, and the David Buck, flute Carol McGonnell, clarinet East Coast Composers Ensemble. As a soloist and chamber musician he has premiered works by Denisov, Nathan Schmidt, violin Victoria Bass, cello Malpica, Aylward, and Lunsqui. Recently, he gave a recital in Sao Paulo, Brazil at the State University of Alex Lipowski, percussion Molly Morkoski, piano Campinas featuring works by Globokar, Hurel, and Xenakis. After performances at Harvard University, New Music Connoisseur labeled him, “...remarkably demonstrative and pleasing.” Other recent collaborations * world premiere include working with the Columbia Composers Ensemble, Latin American composers group, altaVoz and † New York premiere premiering new works with dance at the New York City Ballet Choreographic Institute. In 2007, he premiered a new work of choreography with dancers of the New York City Ballet set to the music of Milton Babbitt. This festival has been made possible through funds from Lipowski recently gave guest lectures at the University of Virginia Commonwealth on the topics of “Composing LMCC’s Fund for Creative Communities/NYSCA, for Percussion,” as well as “The Physical Phrase.” In the past, Lipowski has served as the director of the the Alice M. Ditson Fund of , Juilliard Pierrot Ensemble and Duo Maintenant with whom he commissioned works extensively for french horn and percussion. In 2006, he was featured with the Aspen Contemporary Ensemble on NPR’s “Performance Save the Music, Inc. Today.” During the summer of 2007, he will attend the Lucerne Festival and Academy. The City University Research Foundation and many individual donors. Christopher Oldfather has devoted himself to the performance of twentieth-century music for more than thirty Thank you! years. He has participated in innumerable world-premiere performances, in every possible combination of instruments, in cities all over America. He has been a member of ’s Collage New Music since 1979, New York City’s Parnassus since 1997, appears regularly in Chicago, and as a collaborator has joined singers The American Composers Alliance is delighted to announce that Fred Sherry will be this year's recipient of and instrumentalists of all kinds in recitals throughout the United States. In 1986 he presented his recital debut the prestigious Laurel Leaf Award. The Laurel Leaf Award has been presented annually since 1951 to in Carnegie Recital Hall, which immediately was closed for renovations. Since then he has pursued a career as individuals and organizations in recognition of "distinguished achievement in fostering and encouraging a free-lance musician. This work has taken him as far as Moscow and , and he has worked on every sort American music." Among the recipients of the Laurel Leaf have been the , Leonard of keyboard ever made, including, of all things, the Chromelodeon. He is widely known for his expertise on the Slatkin, , , , Minnesota Composers Forum, American Music harpsichord, and is one of the leading interpreters of twentieth century works for that instrument. As soloist, he Center, the New Music Group and a number of other distinguished individuals and has appeared with the MET Chamber Players, the San Francisco Symphony, and Ensemble Modern in organizations. , Germany. His recording of 's violin-piano Duo with Robert Mann was nominated for two Grammy Awards in 1990. Recently he has collaborated with the conductor Robert Craft, and can be heard Mr. Sherry has distinguished himself as a major champion of contemporary music through his on several of his recordings. commissioning and performance of the works of many American composers, both celebrated and emerging. A cello virtuoso, he has explored new ways to program and present new music to a wide variety of audiences, Residing in New York City, the Second Instrumental Unit is currently concluding their third full season. making the performances both exciting and accessible. He has made a true difference in American musical life Throughout past seasons, the Unit has been featured both as Resident Ensemble, and as Guest Ensemble at by giving American music real respect and a significant place in his repertoire. Mr. Sherry has had numerous Queens College, Harvard, Yale, Princeton, Ball State University, Columbia, Bates College, University of pieces written for him by composers such as and Milton Babbitt, among others, and has Western Michigan, and the Juilliard School. In particular, the Unit has developed a very special relationship performed these compositions with orchestras that include the San Francisco Symphony, Municipal Orchestra of with Queens College (Aaron Copland School of Music), where they have just completed their second season as Buenos Aires, the American Composers Orchestra, the Orchestra of St. Luke's, and the New York City Ballet. ensemble in residence, astoundingly premiering over 50 new works by student composers. A highlight last In 2001, in collaboration with the Chamber Music Society and Merkin Concert Hall, Mr. Sherry created and season included a debut in Carnegie Hall’s Weill Recital Hall, in a tribute concert celebrating Milton Babbitt. directed A Great Day in New York, the groundbreaking festival featuring the music of 52 living composers. Mr. This summer, the Unit will be featured for the first time at the ACA (American Composers’ Alliance) Festival, Sherry is a founding member of the groups Tashi and and is a member of the chamber music and also at the Monadnock Music Festival for their second appearance. The artistic vision of the Second and cello faculties at The Juilliard School. He has been an Artist of The Chamber Music Society of Lincoln Instrumental Unit is steadfast and resolute. We have built and continue to build a strong rapport with many of Center since 1984.

10 Composer Biographies and Program Notes “Row Row Row Your Boat” in a tightly packed configuration. This figure occurs five times, each time a whole step higher. Beginning in measure 200 an ascending series of minor 6ths is heard in the piano, beginning on Lewis Nielson (b. 1950) studied music at the Royal Academy of Music in , England, Clark University in low G. A few bars later the same is heard in the vibraphone beginning on low F, the bottom note of that Massachusetts and the University of Iowa, receiving a Ph.D. in Music Theory and Composition in 1977. His instrument. Near the end of the work this figure returns in massive “four part harmony” in the flute, clarinet, music appears through American Composers Edition and CDs of his music are available from Albany, MMC, violin, and cello, doubled by the piano and some vibraphone notes, with virtuosic fast note xylophone activity. Capstone, Centaur, and . He has received numerous grants and awards for his works, A pianissimo reference to the earlier flute and snare drum is heard at the end. including from the National Endowment for the Arts, the Delius Foundation, Meet the Composer, the Georgia Council for the Arts, the Groupe de Music Expèrimentale de Bourges in France, the Ibla Foundation, Sicily, and Performer Biographies the International Society of Bassists. He served as Professor of Music Theory and Composition at the University of Georgia, where he directed the University of Georgia Contemporary Chamber Ensemble, for 21 years. In Concerning flutist Barry J. Crawford, the New York Sun recently reported, “Mr. Crawford is a young musician 2000, he joined the composition faculty of the Oberlin Conservatory of Music where he is currently Professor of with guts….he found the quirky spirit of Prokofiev's mercurial melodies and brought a robust flute sound..., Composition, chair of the Composition Department, and Director of the Contemporary Music Division. Crawford always performs with steely accuracy and a superb, singing tone.” Mr. Crawford is currently Principal Flute of the Jupiter Symphony Chamber Players, Poetica Musica, Ensemble Pi and Sedna Winds. He Iskra (2006) was written at the Banff Centre in Alberta, Canada. It was written for Gabrielle Athayde. It is has participated in numerous internationally recognized music festivals, such as Mostly Mozart, the Lincoln dedicated to her and to Gerald Torres and Alice Teyssier. A version for flute, cello, and percussionists also Center Festival, the Spoleto Festival in Spoleto, , the Bergen Festival in Norway, the Pablo Casals Festival, exists, which is dedicated to all the previously-named as well as Jonathan Hepfer. The title refers to the late- in San Juan, Puerto Rico and others. He has been a featured on the McGraw-Hill Young Artist's Showcase on 19th, early 20th century journal of that name (meaning “The Spark”), published in , and whose WQXR as both a soloist and chamber player, and has performed as a soloist on Lincoln Center's Great editorial board included Vladimir Lenin, Nadezhda Krupskaya, Julius Martov, and Georgi Plekhanov. Performers Series. Mr. Crawford attended the Mannes College of Music where he received the Master of Music The matter of Iskra is political in many ways, as implied by the title. The cooperative aspects of the ensemble, degree and a Professional Studies Diploma, as a student of Judith Mendenhall. Mr. Crawford is currently an their unity of purpose, and their ability to adapt to any course of development placed before them is metaphoric Affiliate Teaching Artist at Sarah Lawrence College in Bronxville, NY. He has recorded for Albany Records. and, since these attributes seem lost at present, perhaps even a call to action. Musical issues are much harder to talk about. Material collides constantly, the idiom controlling what may or may not sound. A breakthrough, Laura Campbell a strong proponent of contemporary music, has given numerous performances throughout the late in the piece leads to a (probably) entirely unexpected occurrence. Perhaps this clarifies the foregoing US and has appeared as a soloist at the New York Composers' Forum, Southeast Composers' Forum, and the collisions and jostling of sounds; it’s equally possible that this is not a breakthrough at all, but only a hope, or a Syracuse . She can also be heard on “Morning Light” and “Visions” (two CDs of flute glitch, in the musical fabric that leads inwards rather than outwards. and Harp music) with harpist Myra Kovary, “Baroque Music for Guitar” and “Classical Music for Guitar” (with guitarist Karl Wolff) and two contemporary music recordings, “Evocations” from Capstone Records and Raoul Pleskow, composer, was born in , Austria and educated in New York City. His principal teachers Michael Gandolfi's “Pinocchio” recorded by The Society for New Music on Innova. Laura is Instructor of Flute in composition were Karol Rathaus, , and Stefan Wolpe. He has been recipient of many honors, at Colgate University in Hamilton, New York, principal flutist of the Colgate Orchestra and Instructor of the most recent of which include awards by the National Endowment for the Arts, the Martha Baird Rockefeller Chamber Music at Wells College in Aurora, New York. She holds music degrees from Southern Illinois Fund for Music, the National Institute of Arts and Letters, and a fellowship from the John Simon Guggenheim University and the University of Illinois. Her teachers have included Robert Dick, Alexander Murray, Kenton Memorial Foundation. His works have been performed by the Cleveland Philharmonic, the Tanglewood Terry, and Janet Scott. Festival Orchestra, the Plainfield Symphony. The Orchestra de Camera, the South Dakota Symphony, the Pierrot Consort, the Stony Brook Contemporary Chamber Players, the Queens Symphony Orchestra and many Loren Kiyoshi Dempster, (cellist, composer) uses a combination of computer patches, field recordings, cello, others. In the Summer of 2006 a concert dedicated to him music was presented in , at the Salzburg improvisation, tiny instruments, and world music influences to create and perform music. He might be found Summer Festival. Commissions include those by the Chamber Players of the Kennedy Center, the Aeolian playing music in the next while with Arthur Solari, Jessica Pavone, Dan Joeseph, Taylor Ho Bynum, Matt Chamber Players, the New York Virtuosi, Camarata, the North/South Consonance and the Unitarian Church of Bauder, and/or Jerome Begin. Ever interested in the relationships between movement, space, and sound, he may All Souls. He was Chairman of the music department at C.W. Post University from the late 1960s until 1994. be found creating or performing music for many choreographers including Merce Cunningham, Amanda His work can be found on CRI, Serenus, Ars Nova-Ars Antiqua, Golden Crest, Centaur, CRS, Capstone, and Drozer, Chris Ferris, Gabe Forestieri, Thomas/Ortiz, qxi o. qxa, and Jeremy Wade. North-South Records. Echoi: Alice Teyssier, Jonathan Hepfer, and Gabrielle Athayde are three members of the chamber group Written in 2006, On Lines From The Latin are seven short songs alternatively calm and intense, rather than Echoi, currently completing degrees in performance at Oberlin Conservatory. Like their forerunners Eighth contrasted by tempo. Though some centers are at times implied, the music is freely atonal. The texts are culled blackbird and ICE, Echoi is devoted to the performance of contemporary music, particularly works written in from various early Christian laments and hymns. the past ten years. Alice Teyssier studied flute and voice at Oberlin. She recently appeared as Alice/Renee in the US Premiere of Olga Neuwirth’s Lost Highway, performed at Miller Theatre in New York this past February. She has performed at numerous festivals in Europe and will be studying in this coming

4 9 The words sweep and spiral, On Lines From The Latin (Translation) gather strength, A voice in Rama is heard lure you to my side. (It is) of Lamentation and Tears (It is) Rachel weeping for her children Christopher Adler is a composer, performer and improviser living in San Diego, California. His music draws She is inconsolable because they are dead upon over a decade of research into the traditional musics of Thailand and and a background in mathematics. He is a foremost performer of traditional and new music for the khaen, a free-reed mouth organ Listen earth from Laos and Northeast Thailand. As a pianist and conductor, he has performed with many of the West coast's Listen to the contained grand seas finest improvisers, and he performs contemporary solo and ensemble repertoire and is pianist and composer-in- Listen man residence for the San Diego New Music resident ensemble NOISE. He received Ph.D. and Master's degrees in Listen those who live beneath the sun composition from and Bachelor's degrees in music composition and in mathematics from the Alas, misery Massachusetts Institute of Technology. He is currently an Associate Professor at the University of San Diego. Why man do you seek false pleasure? His work may be heard on Tzadik, pfMENTUM, Nine Winds Records, Artship Recordings, Vienna Modern Masters, Circumvention, Accretions, and WGBH's Art of the States. Why do you weep Virgin Mother of Rachel, Whose beauty would please Jacob? Signals Intelligence (solo version, 2002) explores the experience of hearing an electronic transmission in which Like her red eyes of your older sister made her pleasing (to look upon). order is clearly audible but the information density is too high for a human to parse. The experience is one of being made aware of that which is always just out of reach, just beyond comprehension. Two related algorithms Alas! are employed to generate melodic material using from one to six pitches. One algorithm generates a self-similar series that replicates itself when played at different speeds, in effect comprising a mensuration canon in Come holy spirit may your grace be with us compound melody. The second algorithm generates a self-similar series that is also non-retrogradable (identical Come spirit of the creator when played in reverse order). The results are applied to six indefinitely pitched objects chosen by the performer. The solo version was composed concurrently with the ensemble version, which was commissioned Active as a composer, violinist and improviser, Carmel Raz attended the Hochschule für Musik in Berlin, by the Duke University Department of Music for the Milestones 2002 Festival. Germany, before continuing her studies at the University of Chicago. Her pieces have been performed in New York, Chicago, Cincinnati, Nottingham, Berlin, Saarbrucken, and Tel-Aviv by ensembles and artists such as Rolv Yttrehus (born March 12th, 1926, in Duluth, Minnesota.) studied with , Nadia Cliff Colnot, the Pacifica Quartet, Dal Niente, Adrian Pavlov, Vox Novus, members of Eighth Blackbird, the Boulanger, , Aaron Copland, and . His honors include a grant from the National Fire Escape Film Festival, the NY Miniaturist Ensemble and the Music06 quartet. Honors include a 2007 Meet Endowment for the Arts. His music has been performed on the ISCM World Music Days USA, by The Juilliard the Composer Grant, a Susan and Ford Schumann Scholarship, first place in the 2006 Musica Donum Dei Ensemble, the Da Capo Chamber Players, The Group for Contemporary Music, Parnassus, Speculum Musicae, Composition Competition, a Mellon Graduate Achievement Award, as well as support from the America- Israel Ensemble 21, and the Cygnus Ensemble. His Gradus Ad Parnassum was recorded by The Louisville Orchestra, Cultural Foundation and the Tel-Aviv Academy of Music. In 2006, Carmel was appointed resident composer of with soprano Catherine Rowe conducted by Peter Leonard. Mr. Yttrehus lectured on this work at the the Millennium Chamber Players, a chamber ensemble based in Chicago. Among her upcoming projects are Internationale Ferienkurse für Neue Musik in Darmstadt, Germany in 1994. His Espressioni Per Orchestra commissions by the Aspen Music Festival and the Van Buren String Quartet, as well as world premieres in received critical acclaim after its performance by the Philharmonic Orchestra of Augsburg, Germany in 1996. Chicago, San Diego, Tel-Aviv, and . The National Philharmonic, conducted by Joel Suben, performed Mr.Yttrehus’s Symphony Number One, on the Warsaw Autumn Festival in September, 1998. It was recorded by that orchestra and by the Polish Iola for Solo Flute pays tribute to the tradition of melodic, quasi-improvisatory flute writing prominent in the National Radio Orchestra. In 2006, the Washington Square Contemporary Music Society performed Laudate works of many Israeli composers, ranging from Paul Ben Haim and Oeden Partos to Shulamit Ran. Other Milton Babbitt for violin and clarinet, and the New York New Music Ensemble premiered an earlier version of. influences include ornamental figurations from traditional Arabic music, as well as the flute writing in the music Sextet II. He is now Professor of Music Emeritus at . of Maurice Ravel. Flexible and free throughout, the title “Iola” comes from the second half of the word hemiola.

This version of SEXTET II is a revision of the work premiered by the New York New Music Ensemble on May Anthony Cheung (b. 1982), a native of San Francisco, began his musical studies at the age of six. He is 15th, 2006. It begins loudly and vigorously with most of the instruments playing most of the time. At measure 34 currently a doctoral candidate at Columbia University, where he studies with Tristan Murail and teaches in the there is a modified reprise of the opening material. Partway through this reprise, a tightly packed snarl of notes Core Curriculum. Previously, he attended Harvard College, where he studied with Bernard Rands and graduated is heard, looking daunting on the page with its dotted 16th notes, 32nd notes, etc. but it really has the rhythm of with a joint degree in Music and History. He has been a composition fellow at the Tanglewood, Aspen, Acanthes, and Fontainebleau festivals. His compositions have been played by groups such as the Minnesota

8 5 Orchestra, American Composers Orchestra, Ensemble InterContemporain, Harvard-Radcliffe Orchestra, and the Philadelphia Classical Symphony's Maxfield Parrish competitions. Commissions include Bennington Dinosaur Annex, Aspen Contemporary Ensemble, the orchestras of Haddonfield, Marin, and Berkeley, the New and Agnes Scott Colleges, the New Arts Gallery, Atlanta, the Walker Art Center, Minneapolis, Cornell York Youth Symphony, and the SF Symphony Youth Orchestra. Honors include the Charles Ives Fellowship University Theater Arts Dept, several choreographers and recent CD commissions for 20th and 21st century and Scholarship from the American Academy of Arts and Letters and three ASCAP Morton Gould awards. As works. Performances include the Alabama Symphony, the Atlanta Symphony String Quartet, The Relache an advocate for new music, he hosted and produced many programs on WHRB devoted to contemporary music. Ensemble, at venues such as the Eastman School of Music, Carnegie Weill Recital Halletc., and in Paris, Uppsala and . She is published in the SCI Journal of Music Scores, American Composers Alliance and “As with many of my titles, Enjamb/Infuse/Implode came as an afterthought. I chose this particular Galaxy Music Corp. Her CDs can be found on Capstone, ACA Digital and Euterpe labels. She is a member of combination of verbs to describe certain actions occurring throughout the piece. The long, sweeping, lyrical ACA and BMI. lines - the first of which is introduced in the opening as a piano solo - expand and contract persistently, despite different musical undercurrents. These long, arching "melodies" are set in motion to gradually shifting SPIRIT MAN harmonies that either propel them forward or resist against them. The resulting moments of heightened tension by My prison shimmers, vibrates to were for me like carefully placed line breaks in an otherwise continuous musical thought, thus the analogy to Linda Boyden your beat, enjambment. At other times, melody and harmony become one, or infuse together. The infusion idea also relates Part 1 breath quickens with delight. to the blending of instruments in different ways for coloristic purposes. And finally, there are moments where Deep velvet night, the music implodes, either from opposing forces, or from the accumulation of "infused" elements collapsing the Seven Sisters watch I feel you first ____ inwards.” shadows flick across my face; tremor through my legs; cloud ripples on the moon. hear you ____ Elizabeth Bell was born in 1928 in Cincinnati, Ohio. She graduated from Wellesley College and The Juilliard Under my pillow warrior wails against the dark; School, married and raised three children, was divorced and later remarried, and now, in 2007, lives in your thunder speaks, see you ____ Westchester County with her husband and their Siamese cat. Her music, for voice, solo instruments, chamber hoof-beat rhythm of the drums: a speck fermenting into bloom. ensembles, and orchestra, has been performed world-wide. She has three all-Bell recordings: MMC CD#2082, chanting our love song, I stand, unflinching target of your N/S R #1029, and N/S R #1042. She had two all-Bell 75th Birthday year concerts given in her honor in NYC in crying our dream song, sights. 2003, and inYerevan, Armenia in 2004. She has received a number of grants and awards, including Grand Prize cursing our magic night song. in 1996 in the Utah Composers’ Guild Competition for her large chamber ensemble composition “Spectra”. She You lunge, ghostly arc against the served as music critic for the Ithaca (NY) Journal for five years, was one of the founders and officers of New I rise ___ sky ____ York Women Composers, Inc. and she served for five years on the Board of Governors of American Composers breathe your name to the moon, your rushing breath, inhaled, Alliance. She is also a member of SCI, IAWM, AMC, and other professional organizations. “Elizabeth Bell . . "Beloved, Beloved Man!" melts my snow. . is a composer not as well known as she deserves. . . . While the overriding style for this music tends to be a Through glass prison walls, Black eyes rivet; sort of Bergian romanticism, there’s a strong personality that asserts itself in every piece. Conservative but I stare ____ pierce through my empty shell; never timid, would be my capsule description.” -- Fanfare patient pulse, eager for reply. swallow, then redeem my tattered soul. Soliloquy for Solo Cello is subtitled “A Collection of Reflections” -- reflections implying both those in a mirror, Part 2 or in slightly disturbed water, and those that occur in one’s thoughts while day-dreaming. It explores the range You rise ____ Strange harmonies in tune, and scope of the solo cello, using a tone-row mainly as a unifying device. The row is not used strictly, and is toss your massive head. our forces spent; unusual in being almost entirely scalar; it is presented in its downward version in the first twelve notes. “I tried White shag, ivory horns jagged breath now metered and to convert this rather melancholy material into a form which would portray differing moods in each of the eight sear through vaulted black; controlled, brief “movements,” in much the way the movements of a Bach suite represent contrasting moods and tempi. . . . rear and tear we rest. The work is dedicated to my oldest son, Stephen Drake, a professional cellist who gave it its premiere in 1980, the supple path Shattered, intersected, yet and has played it many times since -- as have other cellists around the world.” beneath thunder hooves. combined, full moon meetings of our souls. Margaret Fairlie-Kennedy writes for various chamber groups, orchestra, contemporary dance and mixed Part 3 media. Initially a serial composer, she worked during a lengthy silent interval to develop her “own voice” in Across the ribboned trail, order to communicate on a deeper personal level. Awards and grants include the National Endowment for the the moontrail of the night, Arts, National endowment for the Humanities, Georgia Commission on the Arts and Cornell Council for my silent voice commands, Creative and Performing Arts. She was a winner in the N.Y. Women Composers, Tampa Bay Composers Forum "come home, Beloved Man, come. Home to me." 6