WELLESLEY COLLEGE DEPARTMENT OF MUSIC MUSIC FROM THE SOCIETY OF COMPOSERS REGION 1 (NEW ENGLAND) October 19, 1996 Jewett Arts Center Acknowledgements The New England chapter of SCI gratefully acknowledges the hospitality and support of the Wellesley College Department of Music and chairman Arlene Zallman in hosting our regional conference. Special thanks also to the performers who have come long distances for the event and to the composers performing their own music. We also acknowledge the ready help of our national office in providing mailing labels, membership information, and some financial assistance for our meeting. Announcements Those who are attending an SCI conference for the first time are invited to look over the organization brochures and compact discs in the lobby. Composers who submitted materials for the cont erence may pick them up in the lobby. Materials on display in the music library may be collected at the end of the day Those wishing cassettes of their performances may pick them up from the engineer during the day. (Details on cost will be announced.) Copies of Extraordinary Measures, intermediate piano pieces by Boston area composers published by the Boston League ISCM, are also on display in the lobby as are materials from several small music presses. Those with reservations for the luncheon can meet immediately after Concert 2 at the College Club, across campus by the lake. THE SOCIETY OF COMPOSERS, REGION 1 WELLESLEY COLLEGE DEPARTMENT OF MUSIC October 19, 1996 Jewett Recital Hall 9:00 am Wellesley, Massachusetts CONCERT 1 Slow Burn William Ryan William Manley, percussion Four Postcards to Betsy Mark Kilstofte E. Michael Richards, clarinet Chipmunks Ross Moyer Arcadian Winds: Jane Harrison, oboe Mark Miller, clarinet, Janet Underhill, bassoon Toccata and Ondine Eric Sawyer Eric Sawyer, piano Phoenix Elliott Schwartz Charles Kaufmann, bassoon Elliott Schwartz, piano Tableaux Tartroniques Brian Field Arcadian Winds: Jane Harrison, English horn Mark Miller, clarinet, Janet Underhill, bassoon Poem for Solo Violin Kathryn Mishell Robert Rudie, violin The Breath Inside the Breath Arthur Welwood Kathryn Wright, soprano John Zornig, flute Elisa Birdseye, viola Michele Pinet, harp THE SOCIETY OF COMPOSERS, REGION 1 WELLESLEY COLLEGE DEPARTMENT OF MUSIC October 19, 1996 Jewett Recital Hall 10:30 am Wellesley, Massachusetts PAPER SESSION I Robert Peck: Interpretation through Analysis of Shulamit Ran's Fantasy Variations for Violoncello (1979184) Shulamit Ran has sought a balance between the intuitive, the 'fantasy,' and conscious decision, the 'discipline.' Underlying the complex surface aspects of the music, organizational patterns exist which may inform performance. Her Fantasy Variations for Violoncello (1979/84) integrates spontaneous elements, particularly with regard to the work's motivic recurrences, with an overall sense of inevitability resulting from the work's organicism. THE SOCIETY OF COMPOSERS, REGION 1 WELLESLEY COLLEGE DEPARTMENT OF MUSIC October 19, 1996 Jewett Recital Hall 11 :00 am Wellesley, Massachusetts CONCERT 2 Sonata for Sasson and Piano Otto Luening (1900-1996) 1. Andante 2. Allegro 3. Larghetto 4. Fast Charles Kaufmann, bassoon Elliott Schwartz, piano Cornwall Hunt Pamela Marshall Jeanne Paella, Bob Moffett, Myra Porter and Pamela Marshall, horns Forth Project Beth Denisch Sandra Hebert, piano Semi-Suite Tom Flaherty Tom Flaherty, cello Saving Daylight Time David Patterson Valerie Anastasio, soprano David Patterson, piano Lief Hilary Tann Sue Ellen Hershman, flute Reinmar Seidler, cello Steppin' Out Clark Winslow Ross Nancy Dahn, violin Thomas Heinrich, cello Maureen Volk, piano THE SOCIETY OF COMPOSERS, REGION 1 WELLESLEY COLLEGE DEPARTMENT OF MUSIC October 19, 1996 Jewett Recital Hall 2:30 pm Wellesley, Massachusetts CONCERT 3 Long Into The Night, Heavenly Reynold Weidenaar Electrical Music Flowed Out Of The Street for piano, video and digital sound Barbara Blegen, piano The White Birds Joe Utterback Paul Guttry, bass baritone Michael Beattie, piano The Listeners Anna Larson Paul Guttry, bass baritone Michael Beattie, piano The Varieties of Elizabeth Walton Vercoe Amorous Experience Kathryn Wright, soprano Jack Jarrett, piano Bare Minimums David Heinick Robert Faub, alto saxophone Two Shakespeare Sonnets John Crawford Kathryn Wright, soprano Jack Jarrett, piano Dance Suite #3 Gerald Shapiro Diane Hefner, clarinet Nancy Cirillo, violin Donald Berman, piano THE SOCIETY OF COMPOSERS, REGION 1 WELLESLEY COLLEGE DEPARTMENT OF MUSIC October 19, 1996 Jewett Recital Hall 4:00 pm Wellesley, Massachusetts PAPER SESSION II E. Michael Richards Subtle Timbre Resources for Clarinet: A Consolidation of Extended Resources Following a period of wild experimentation with new instrumental resources during the 1960's and ?O's (mostly written for a few performers considered to be specialists), a significant group of composers in the last ten years have incorporated and consolidated small selections from this vast palette into their musical language. These composers have also been concerned with virtuosity, but to a lesser degree with new sounds as 'effects.' Rather, the 'new' techniques of the 60's and ?O's (which were not all new, many having been derived from jazz and influences of non-Western music) that have proved to be widely reliable and expressive in performance have assumed a deeper role of extending or heightening more conventional musical ideas. THE SOCIETY OF COMPOSERS, REGION 1 WELLESLEY COLLEGE DEPARTMENT OF MUSIC October 19, 1996 Jewett Recital Hall 4:30 pm Wellesley, Massachusetts CONCERT 4 Stations of the Night Charles Bestor David Witten, piano Ch rono metrics Allen Bonde Mara Bonde, soprano Allen Bonde, piano Other Worlds for cello and tape David Hainsworth Tom Flaherty, cello Colors for a Changing Sky Timothy Kramer David Witten, piano Good Times Morris Knight Nancy Ellen Ogle, mezzo soprano Clayton Smith, piano Exhortation Andrew Simpson Robert Faub, alto saxophone Sei la terra che aspetta Arlene Zallman Hekun Wu, cello Elise Yun, piano April 23, 1896 Charles Kaufmann Tim Johnson, tenor Charles Kaufmann, bassoon Program Notes Charles Bestor studied at Yale University, the Juilliard School of Music, and independently under Vladimir Ussachevsky. He has served on the faculty and administration of the Juilliard School and subsequently as the head of the music departments of Willamette University and the Universities of Massachusetts, Utah, and Alabama. He has written commissioned works for the Utah Symphony, the Composers String Quartet and many other organizations. Also, he won first prize in the 1994 Omaha Symphony Competition, the Delius Prize, and awards in the Bourges International Competition and Quinto Maganini. His music is published by G. Schirmer, Elkan-Vogel, International Editions and others and is recorded on Centaur, Serenus, Orion and Ariel labels. The composer writes: "Stations of the Night, Three Blues for S is a blues in somewhat the same sense that Ravel's La Valse is a waltz. Stations takes the procedures and the spirit of the blues and attempts to integrate these into the larger forms of concert music; one of the movements is in sonata form, one is a chaconne, and one is I'm not quite sure what. The piece is in every sense except its title a piano sonata. The title itself is a black or, I suppose, a blue reference to the Stations of the Cross, and each of its movements has as its title a time in the night of the blues, the stations of the night-9: 15 p.m., when the evening is just beginning; Midnight, the frantic height of the night; and 3:45 a.m., when the chairs are up on the tables and the pianist sits alone and plays for himself a quiet rhapsody on all the things he never got around to saying, and a few that he did, during the evening." Allen Bonde is a Professor of Music at Mt. Holyoke College and performs in a piano duo with his wife, Maria Kushmerick Bonde. His prize-winning Jubilate: A Festive Overture was premiered at the Kennedy Center in 1987 and his music for pipa entitled, With the Heart of a Child, received six performances in Taiwan in 1989 by a noted pipa virtuoso. Recently on sabbatical, he spent two months in residence at Nanyang University in Singapore and two months at the MacDowell Colony. For the last two years he has served as Composer in Residence at the Harmony Ridge Brass Center Festival in Vermont. His daughter, Mara Bonde, is the soloist in today's performance. He writes: "Chronometrics, a suite of six songs, was written during the spring of 1994 especially for soprano, Mara Bonde. Although time is of the essence in these poetic settings by Robert B. Shaw, it is the composer's intention to create a stylistically timeless music reflective of different moods and shades of expression. One might describe the musical settings as follows: recitative/aria, electrifying, blues, slightly country-western, ancient drought, and fast minuet." [Note: texts printed separately.] Kristine H. Burns is currently on the faculty of Dartmouth College and is artistic director and composer of the performance art group, schwa. She is a member of Pi Kappa Lambda, the International Alliance of Women in Music, the Society of Electro-Acoustic Music in the US, and the International Computer Music Association. Her intermedia compositions have been performed throughout the US, Canada and Europe including numerous festivals and conferences. She writes: "Dido and Anais, a CD-ROM composition was specifically designed around the abilities and limitations of the CD-Rom environment. It is divided into six sections, ranging from general information to three video/music compositions. Background information on the fundamental 'how-to's' of navigating the environment are presented in one section; biographical information is provided in section two. Sections three and four introduce the user to the worlds of Henry Miller and Ana"is Nin, and the Purcell opera, Dido and Aeneas. These sections contain bio-bibliographical information, as well as incorporating external sound elements for further investigation. The final section of the CD-ROM contains three music and video compositions.