american new arts festival at the university of akron the ... · the society of composers, inc. -...

American New Arts Festival at The University of Akron The Society of Composers, Inc. - 36th national conference

.f.TnJhe· of Afil.birs1ty American New Arts Festival

presents

The Society of Composers, Inc. - 36th National Conference

Daniel McCarthy, host Nikola Resanovic and Ralph Turek, co-hosts

Mark Durrand, graduate assistant

featuring performances by • Paragon Brass Quintet • Solaris Woodwind Quintet

•The University of Akron Symphonic Band • The University of Akron Concert Band • The University of Akron Symphony Orchestra

• The University of Akron Percussion Ensemble • The University of Akron New Music Ensemble

• West Virginia Piano Quartet • The Akron Youth Symphony • Hierarchy • The University of Akron School of Music faculty and students

with support from • The R.C. & Katharine Musson Charitable Foundation

• Ohio Arts Council •The Society of Composers, Inc.

• The University of Akron College of Fine and Applied Arts

T he American New Arts Festival seeks to bring the world's eminent creators of new art in all artistic disciplines to the campus of The University of Akron and to the Akron area. Notable composers and musicians, choreographers and dancers, playwrights and actors, visual

artists and performance artists will work with students, faculty, and the arts community in the presentation of concerts, lectures, panel discussions, and other events.

The festival seeks to enrich arts education at The University of Akron and to enrich the cultural life of the greater Akron area and Ohio. The festival also seeks to benefit regional public schools by offering opportunities for younger students to participate in the festival and work with the guest artists. Further, the American New Arts Festival seeks to give all participants a sense of artistic greatness - the greatness of art created in our own time by persons who value and contribute to the universal language of the arts.

The American New Arts Festival at The University of Akron is proud to host the 36th national conference of The Society of Composers, Inc.

MNflMll,!lill§il .,, A STATE AGENCY

THAT SUPPORTS PUBLIC

PROGRAMS IN THE ARTS

Daniel McCarthy, Director and Founder American New Arts Festival

The University of Akron

April 2002

page 1


T he Society of Composers, Inc. is a professional society dedicated to the promotion of composition, performance, and

the understanding and dissemination of new and contemporary music. Members include composers and performers both in and outside of academia who are interested in addressing concerns for national and regional support of compositional activities. The organizational body of the Society is composed of a National Council, co-chairs who represent regional activities, and the Executive Committee.

The Society of Composers, Inc. Officers, National Council, 2001-2002 President

David Gommper, University of Iowa President-elect

Thomas Wells, Ohio State University Student Conference Coordinator

Joe Dangerfield Region 1

Scott Brickman, University of Maine at Fort Kent Beth Wiemann, University of Maine

Region 2 Perry Goldstein, SUNY-Stony Brook Daniel Weymouth, SUNY-Stony Brook

Region 3 Harvey Stokes, Hampton University Jennifer Barker, University of Delaware

Region 4 Paul Richards, University of Florida Tayloe Harding, Valdosta State University

Region 5 James Chaudoir, University of Wisconsin at Oshkosh Rocky J. Reuter, Capital University

Region 6 Kenton Bales, University of Nebraska at Omaha Phillip Schroeder, Sam Houston State University

Region 7 Marshall Bialosky, California State University at

Dominguez Hills Glenn Hackbarth, Arizona State University

Region 8 Charles Argersinger, Washington State University Patrick Williams, University of Montana

April 2002

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The Society of Composers, Inc. Executive Committee, 2001-2002 Chair

William Ryan, Suffolk Community College Chair Emeritus

Reynold Weidenaar, William Paterson University President Emeritus

Greg Steinke

Editor, Newsletter Bruce Bennett

Editor, SCION David Drexler

Editor, Journal of Music Scores Bruce J. Taub

Producer, CD Series Richard Brooks, Nassau Community College

Webmaster Tom Lopez, Oberlin Conservatory

Manager, Audio Streaming Project Thomas Wells, Ohio State University

Coordinator, Submissions Geoff Kidde

Chair, Membership Eva Wiener

Representative, Independent Composer Terry Winter Owens

Chair, Student Chapters James Paul Sain, University of Florida

Representative, Students J ason Bahr, Indiana University

Coordinator, SCl/ASCAP Student Competition Ching-chu Hu, Denison University

The Society of Composers, Inc. National Office, 2001-2002 General Manager

Gerald Warfield

Partial funding for the American New Arts Festival has been

provided by The R.C. and Katharine Musson Charitable

Foundation, the Ohio Arts

Council, The Society of

Composers, Inc., and the College

of Fine and Applied Arts at

The University of Akron.

Ohio Arts Council .A STATE AGENCY

THAT SUPPORTS PUBLIC

PROGRAMS IN THE ARTS


2002 Festival and Conference Events

• Thursday, April 18

Opening Convocation 1:10 p.m. Guzzetta Recital Hall

Michael Daugherty, Guest Composer Presentation: ''American Icons"

Art and Music Lecture/Demonstration 3:20 p.m. Folk Hall, Myers School of Art

Gary Nelson, composer, electronic music Christine Gorbach, visual artist

Concert 1: The University of Akron

5p.m. Student Composers Forum Guzzetta Recital Hall

Concert 2: New Music for Percussion 8 p.m. Guzzetta Recital Hall

University of Akron Percussion Ensemble (Larry Snider, conductor)

• Friday, April 19

Concert 3: New Music for Piano 10 a.m. Guzzetta Recital Hall

Concert 4: New Electroacoustic Music 1 p.m. Guzzetta Recital Hall

Concert 5: New Music for Quinet 3 p.m. Sandefur Theatre in Guzzetta Hall

Paragon Brass Quintet Solaris Woodwind Quintet

Society of Composers, Inc. EC/NC Business Meeting 6 p.m. Trackside Grille Board Room

in Quaker Square Hilton William Ryan, chair

Concert 6: New Music for Wind Ensemble 8 p.m. Guzzetta Recital Hall

The University of Akron Symphonic Band (Robert Jorgensen, conductor) The University of Akron Concert Band (Galen Karriker, conductor)

• Saturday, April 20

General Membership Meeting 9:30 a.m. Guzzetta Hall, room 147

Thomas Wells, chair

Concert 7: A Concert of Works in New Media 10:30 a.m. Guzzetta Recital Hall

Concert 8: 1 p.m.

Composer Gary Nelson, Oberlin College Conservatory of Music Christine Gorbach, Art Dept. Chair, Cuyahoga Falls High School

Cleveland Composers Guild in Concert Akron Art Museum 70 E. Market Street, between High Street and Broadway

Concert 9: New Chamber Music I 3 p.m. Guzzetta Recital Hall

Ohio University Dance & Chamber Ensemble University of Akron New Music Ensemble Music Faculty from The University of Akron

Concert 10: New Chamber Music II 4: 15 p.m. Guzzetta Recital Hall

University of Akron New Music Ensemble (Daniel McCarthy, conductor) Alexandra Mascolo-David, pianist The West Virginia Piano Quartet

Society of Composers, Inc. Banquet and Keynote Address 6 p.m. Cardinal Faculty Dining Room,

The University of Akron Student Center Michael Daugherty, Keynote Speaker

Concert 11: New Music for Young Orchestras 8 p.m. Guzzetta Recital Hall

Akron Youth Symphony (Eric Benjamin, conductor) University of Akron Symphony Orchestra (Ronn Cummings, conductor)

April 2002

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Guest Artist Biographies

Michael Daugherty guest composer and keynote speaker

Michael Daugherty is one of the most performed and commissioned American composers of his generation. He has created a niche in the music world that is uniquely his own, composing concert music inspired by contemporary American popular culture . Daugherty came to international attention when his Metropolis

Symphony (1988-93), a tribute to the Superman comics, was performed in 1995 at Carnegie Hall by conductor David Zinman and the Baltimore Symphony Orchestra, and subsequently recorded for Argo/Decca. Other large orchestral works include UFO (1999), a percussion concerto commissioned and premiered by soloist Evelyn Glennie and the National Symphony Orchestra conducted by Leonard Slatkin. His second symphony, MotorCity Triptych (2000), was commissioned and premiered by the Detroit Symphony Orchestra with conductor Neeme Jarvi. Philadelphia Stories (2001), Daugherty's third symphony, was premiered by the Philadelphia Orchestra conducted by David Zinman.

Daugherty's chamber music is widely performed as well, and has been recorded for Argo/Decca on his CD, American Icons. His string quartets include Sing Sing: J.Edgar Hoover (1992) and Elvis Everywhere ( 1993), both performed on world tours and recorded on Nonesuch by the Kronos Quartet. His opera Jackie 0 (1997) has been produced in America, Canada, France, and Sweden and recorded by Argo/Decca. Daugherty has also composed numerous works for wind ensemble, recently recorded by Klavier for his CD entitled UFO: The Music of Michael Daugherty.

Born in 1954 in Cedar Rapids, Iowa, Daugherty is the son of a dance-band drummer and the oldest of five brothers, all professional musicians. He studied music composition at North Texas State University (1972-76) and Manhattan School of Music (1976-78), and computer music at Boulez's IRCAM in Paris (1979-80). Daugherty received his doctorate from Yale University in 1986. During this time he also collaborated with jazz arranger Gil Evans in New York and pursued further studies with composer Gyorgy Ligeti in Hamburg, Germany (1982-84). After teaching music composition several years at the Oberlin Conservatory of Music, Daugherty joined the School of Music at the University of Michigan (Ann Arbor) in 1991, where he is Professor of Composition. In 1999, Daugherty began a four-

April 2002

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year tenure as composer-in-residence with the Detroit Symphony Orchestra. Future commissions include a violin concerto for Pamela Frank and the Detroit Symphony Orchestra, a new work for three conductors and orchestra for the Pittsburgh Symphony Orchestra, and an octet for the Lincoln Center Chamber Music Society.

Daugherty has received numerous awards for his music, including the Stoeger Prize from Lincoln Center, recognition from the American Academy and Institute of Arts and Letters, and fellowships from the Guggenheim Foundation and National Endowment for the Arts. His music is published exclusively by Peermusic Classical, New York, and represented in Europe by Faber Music, London.

Gary Lee Nelson guest composer and electronic musician

Gary Lee Nelson is a pioneer in the field of computer music. In 1964, he attended Utrecht University's Institute of Sonology in the Netherlands. Nelson earned his composition doctorate at Washington University in Saint Louis. He has taught at Purdue University and Bowling Green State University. Since 197 4, he has been a faculty member at the Oberlin Conservatory of Music. At Oberlin, Nelson is a Professor of Electronic and Computer Music. He is also chair of the TIMARA Department.

Nelson is internationally recognized in his field. He has worked at Bell Laboratories, the Swedish Radio Electronic Music Studios in Stockholm and at the and Music (IRCAM) in Institute for Research and Coordination of Acoustics in Paris. He has been composer in residence and guest researcher at the University of Melbourne, Australia, Taiwan's National Chiao Tung and Soochow Universities, Hong Kong Baptist University, the National University of Singapore, Moscow Conservatory of Music and Yunan State University in the Peoples Republic of China. In the fall of 1990 he spent four months in Europe lecturing and performing at universities in England, Scotland, and Holland.

Nelson has taught at summer music camps since the early 1960s. These include the Allegheny Music Festival, the New England Music Camp, and the National Music Camp (NMC) at Interlachen. At Interlachen Nelson was chair of the composition department. He also founded the NMC Computer

(continued on next page)


Guest Artist Biographies

Gary Lee Nelson (continued)

Music Studio and established the NMC High School Synthesizer Ensemble. In the summer of 1991, he traveled to the Republic of China. There, he led intensive workshops in computer music. These workshops included high school and college composers as well as teachers and other professional musicians.

Nelson's computer music specialties include real time interactive performance and "hyperinstruments." This term was coined to give focus to a new way that music is being made in the early 2 lst century. A hyperinstrument consists of a computer, a set of digital synthesizers, a performance interface, and software for linking them all together. Nelson chooses the MIDI Hom for his solo performances. The MIDI Hom is a digital wind instrument designed and constructed at Oberlin by music engineer, John Talbert. A Macintosh computer, and an array of synthesizers from Yamaha, Roland, and E-mu Systems complete Nelson's concert setup. He has performed more than 200 times around the world since 1987.

In 2000, Nelson began a series of collaborations with composer/painter/film maker, Christine Gorbach. This work has produced a series of videos that are being exhibited in festivals around the world and on web sites that are devoted to new media.

Christine Gorbach guest visual Artist and digital film maker

Christine Gorbach is a freelance composer and visual artists with a wide variety of interests and influences ranging from film scoring and painting to computer music and graphic art. She chairs the Department of Art at Cuyahoga Falls High School in Cuyahoga Falls, Ohio. She collaborates with composer Gary Lee Nelson in Hierarchy, an electronic music and art duo. Gorbach 's interest in combining concert music influenced by traditional Celtic music and interactive graphic art has come to fruition with Hierarchy.

Gorbach has participated in group exhibitions throughout Northeast Ohio . The Contemporary Arts Project in Summit County featured her works in the 1996 exhibition entitled "Two Painters." In 1998 Gorbach presented abstract conceptual paintings and installations in a one-woman show at Wolf School of Music in Stow, Ohio. The serial paintings "Hierarchy" were shown at the Agora Gallery in 1999. At that same time, a portion of that series was in a group show at the Akron Art Institute.

The film "Hierarchy" is a collaborative effort between Gorbach and composer Gary Lee Nelson. It premiered at Oberlin College in November 2000. In 2001 "Hierarchy" was presented at the Electroacoustic Music Festival at the University of Florida and at the Subtle Technology Conference at the University of Toronto. Also in 2001, "Hierarchy" was the focus of Gorbach's lecture about harmonic forms and generative systems in visual art at the Cleveland Artists Foundation gallery at the Beck Center.

Gorbach presented her paintings for a lecture about her collaborative films with Gary Lee Nelson at the Cleveland Institute of Art. Also in March, Gorbach and Nelson's films "Hierarchy", "Charitoo" and "Death and Transfiguration" were shown in concert at a "New Works" program at Oberlin College and again in April at the Peabody Conservatory in Baltimore. In May 2001 , Gorbach presented a painting from the film "Charitoo" in the "Abstract Avenue Show" at the Cuyahoga Valley Art Center in Cuyahoga Falls, Ohio.

April 2002

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Thursday, April 18, 2002 1:10 p.m. Guzzetta Recital Hall

Thursday, April 18, 2002 3 p.m. Guzzetta Recital Hall

Opening Convocation

Lecture by Guest Composer Michael Daugherty: "American Icons"

Concert #1: The University of Akron

Student Composers Forum

Professors of Composition: Daniel McCarthy, Nikola Resanovic, and Ralph Turek

Music by: Adam Blauser, James Chesterfield, Paul Jason Dietz, Mark Durrand, Toussaint English,

Stephen Kerestes, Jeffrey Leigh, Jeremy Poparad, Benjamin Williams, Marcus Williams, and Scott Woodruff

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Thursday, April 18, 2002 8 p.m. Guzzetta Recital Hall

Concert #2: New Music for Percussion

The University of Akron Percussion Ensemble

Almost Transparent Black I. II. III.

Cicadas

Flow

Larry Snider, director Gustavo Agvilar, guest artist

Jeff Neitzke, Chad Waterman, William Sallak, Rique Pizarro and Gustavo Agvilar, coaches

Keith Jenson, Jason Little, Jason Seich, Patrick Wagner Jeff Neitzke, coach

Rossi Di Benedetto, Josh Tariff, Adam Wells, Jeffrey Wolfe Chad Waterman, coach

Daphne Chek, Tom Hilton, Joshua Tariff, Jeffrey Wolfe William Sallak, coach

Lady Mondegreen Bangs the Can!

Used Car Salesman

The Paces of Yu

Chuck Burgess, Time Hilton, Lisa Milyiori Rique Pizarro and Gustavo Agvilar, coaches

Ronald Martin, Jason Seich, T.J. Thompson, Joshua Wood Larry Snider, coach

Graduate Ensemble: J eff Neitzke, Rique Pizarro, William Sallak, Chad Waterman,

Gustavo Agulilar, soloist (Berimbau)

Jonathan Saggau

UlfGrahn

Ronald Keith Parks

Bruce Taub

Michael Daugherty

Art Jarvinen

You are invited to the reception in the atrium immediately following the concert.

April 2002

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, __


Friday, April 19, 2002 10 a.m. Guzzetta Recital Hall

Concert #3: New Music for Piano

Playing in Chinese Sweet Dumpling Festival

Piano Sonata No. 2

Eight Preludes for the Dance

Glacius

Fantasy Pieces

Velosophy

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I. Prelude II. Free Invention III. Intermezzo IV Passacaglia V Postlude

Christina Tan, piano

Laura Silverman, piano

Maymumi Kikuchi, piano

Michael Gallope, piano

Winston Choi, piano

Amy Briggs Dissanayake, piano

Tao Yu

Andrey Kasparov

James A. Jensen

Anne Deane

Gregory J . Hutter

David Smooke

Friday, April 19, 2002 1 p.m. Guzzetta Recital Hall

Resonances Entrelacees

" ... and so the hole was dug"

Inside the Ride

Points of Arrival

Tag till .. .

alt.music.ballistix


Concert #4: New Electroacoustic Music

Christopher Weait, bassoon

Jeffrey Leigh, violin

Kristina Belisle, clarinet

Jonathan Hallstrom

Frank Felice

Larisa Montanaro

Chin-Chin Chen

James Paul Sain

Nikola Resanovic

April 2002

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Friday, April 19, 2002 3p.m. Sandefur Theatre

Four Sketches

Commentaries 1. Fantasy 2. Antique 3. The Body Politic 4. Elegy

Concert #5: New Music for Quintet

Paragon Brass Quintet Solaris Woodwind Quintet

The Solaris Woodwind Quintet: George Pope, flute James Ryon, oboe

Kristina Belisle, clarinet William Hoyt, horn

Lynette Diers Cohen, bassoon

5. You Gotta Swing, or it takes the old to have the new

Windows I. Incense II. Processional lll. Myrrh

The Demon in Checkered Pants

April 2002

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The Paragon Brass Quintet: Scott Johnston, trumpets

Jack Brndiar, trumpet William Hoyt, horn

Edward Zadrozny, trombone Russell Tinkham, tuba

Ryan Beavers

Carleton Macy

Kurt Sander

Bruce Christian Bennett


Friday, April 19, 2002 8 p.m. Guzzetta Recital Hall

Sleight of Band

Concert #6: New Music for Wind Ensemble

The University of Akron Concert Band Galen Karriker, conductor

The University of Akron Symphonic Band, Robert Jorgensen, conductor

The Slow Voyage Through Night

The University of Akron Concert Band

- Briefintermission -

Proteus Rising From the Sea

Rosie the Riveter

Niagara Falls

The University of Akron Symphonic Band

Frank Felice

Robert Hutchinson

Jack Gallagher

Felicia Sandler

Michael Daugherty


April 2002

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Saturday, April 20, 2002 10:30 a.m. Guzzetta Recital Hall

Star Music (1993)

Concert #7: A Concert of Works in New Media

Gary Lee Nelson Guest Composer and Electronic Musician

Christine Gorbach Guest Visual Artist and Digital Film Maker

Gary Lee Nelson, MidiHorn, computer, digital synthesizers

LightSong (1998, revised 2001)

Hierarchy (2000)

Colony (1994)

Charitoo (2001)

Goss (1993)

Nelson, MidiHorn, computer, digital synthesizers Christine Gorbach, interactive video processing

image: Christine Gorbach sound: Gary Lee Nelson

video with stereophonic soundtrack

Nelson, MidiHorn, computer, digital synthesizers

video with stereophonic soundtrack


Death and Transfiguration (2001) video with stereophonic soundtrack

Variations on a Theme and Process of Frederic Rzewski (1987)

April 2002

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Gary Lee Nelson

Nelson

Nelson

Gorbach and Nelson

Nelson

Gorbach and Nelson

Nelson

Saturday, April 20, 2002 1 p.m. Akron Art Museum


Concert #8: The Cleveland Composers Guild in Concert

MKF Squared

Oracion

Sonata for Piano Solo

Habanera

Opposed Directions

Trio

Spirituals

Daniel McCarthy, president Ty Emerson, vice president

Katherine O'Connell, vice president

Mary Kay Ferguson, piccolo Sally Sherwin, piccolo

Diane Fiocca, flut e and alto flute

Coren Estrin Kleve, piano

Takako Masame, violin

HyeKung Lee, piano

Eric Moe, piano Roger Zahab, violin

Amy Laing, cello

Bridgett Crocker Emerson, flute Andrew Pongracz, vibraphone and marimba

Heidi Albert, cello

Nicholas Underhill

Delores White

Stephen Griebling

Nicholas Underhill

HyeKung Lee

Andy Rindfleisch

Katherine O'Connell

April 2002

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Saturday, April 20, 2002 3p.m. Guzzetta Recital Hall

Concert #9: New Chamber Music I

The Ohio University Dance and Chamber Ensemble The University of Akron New Music Ensemble The University of Akron Performance Faculty

Streams of Ascension

Passions

Richard Shanklin, soprano saxophone Laura Silverman, piano

Andrew Carlson, violin Nelson Harper, piano

Three Pieces for Clarinet and Two for Piano 1. Adagio 2. Agitato 3. Largo

Kristina Belisle, clarinet Paul Dickinson, piano

My Aunt Gives Me a Clarinet Lesson (based on a poem by Gregory Djanikian)

Seven Deadly Sins Envy Sloth Pride Greed Lust Gluttony Anger

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The Ohio University Dance and Chamber Ensemble Rebecca Rischin, clarinet Roger Braun, percussion

Lisa Ford Moulton, dancer/narrator

The University of Akron New Music Ensemble: Andres, Valcarcel, violin

Alison Bolton, viola Liz Caldwell, cello

Phillip Schroeder

Ching-chu Hu

Paul Dickinson

Mark Phillips

Charles Argersinger


Saturday, Apri l 20, 2002 4:15 p.m. Guzzetta Recital Hall

Concert #10: New Chamber Music II

The University of Akron New Music Ensemble Daniel McCarthy, conductor

Alexandra Mascolo-David, pianist

The West Virginia Piano Quartet

Jackie's Song

Sinatra Shag The University of Akron New Music Ensemble:

Ashley Bowen, flute Yi-Chen Chen, bass clarinet

Larry Snider, percussion Jim Cross, piano

Jeffrey Leigh, violin Christina Babich, cello

Daniel McCarthy, conductor

Time Out of Mind: Six Tales of Middle Earth I. Flight to the Ford II. The Mirror of Galadriel III. The Drums of Moria IV. The Shadow of the Past V. Huorns: Silent Malice VI. The Muster of Rohan

Alexandra Mascolo-David

Quartet for Piano, Violin, Viola, and Violoncello (2001) I. Quickly, lightly II. Slowly, brooding III. Fast and rhyt hmic IV. Majestically: allegro

The West Virginia Piano Quartet James Miltenberger, piano Laura Kobayashi , violin

Philip Tietze, viola William Skidmore, cello

Michael Daugherty

Michael Daugherty

Daniel McCarthy

John Beall

April 2002

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Saturday, April 20, 2002 8p.m. Guzzetta Recital Hall

Concert #11: New Music for Young Orchestras

The Akron Youth Symphony Eric Benjamin, conductor

The University of Akron Symphony Orchestra Ronn Cummings, conducting

Variation of a Theme

" ... such sweet sorrow"

Three Portraits

Red Cape Tango (from "Metropolis Symphony")

The Akron Youth Symphony Eric Bejamin, conductor

- Brieflntermission -

The University of Akron Symphony Orchestra Ronn Cummings, conductor

Frederic G lesser

Neil McKay

William Alexander

Michael Daugherty


April 2002

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Program notes and biographies of composers,

individual and ensemble performers, and conductors are on following pages:

• Program Notes .......................................... pages 18-29 • Composer Biographies ............................ pages 30-39

• Individual & Ensemble Biographies ....... pages 40-4 7 • Conductor Biographies ............................ pages 4 7-48

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Program Notes

Concert #2: New Music for Percussion

Almost Transparent Black ... for four percussionists began as a rhythmic study inspired by some of the sometimes counterintuitive possible properties of time brought to us by theoretical physics. Imagine if time were to gradually or even suddenly slow down or speed up; imagine Cleveland gaining 15 minutes within each hour as measured in New York. What sorts of strange paradoxes would occur if time suddenly reversed for a certain few people? Perhaps cause-effect relationships could become effect-cause. One can fairly easily imagine some of the more strange, both jarring and subtle, phenomena one might encounter if time were a bit more playful. This piece explores some of the more disconcerting of those possible phenomena via various rhythmic devices such as elongating beats by certain percentages, asking one player to accelerate gradually so as to overtake another, multiple tempi simultaneous]y, sudden as well as gradual metric modulation (changes in tempo), and so on.

Cicadas . . . was composed for Bent Lylloff and his Marimba Quartet in 1996. I have had a Cicada like contact with the marimba and used it in several works both solo and in chamber music over time. This piece is not an illustration to the insect. It is based on an idea from the final percussion episode in my Sinfoni no 2, which later is used in Three Dances with Interludes for 6 percussionists. Growing out from an accented single pitch things begin to happen. Some of the techniques used in the work were shown to me along time ago in Sweden when Bent was giving a workshop on new techniques for the marimba.

Flow . . . was written in the fall of 2000 for Anthony Miranda and the University at Buffalo Percussion Ensemble who premiered the work in March, 2001. For several years before writing FLOW I had been working primarily in the field of electroacoustic and interactive computer music. Many of the techniques I had been using in my electronic compositions, such as granular sampling, convolution, spectral filtering, etc., had come to influence not only the way I though about sounds themselves, but also how sound can be transformed and developed in a composition. Flow features the gradual transformation of sounds in ways that closely resemble the electroacoustic transformation techniques mentioned above. The sounds themselves are created using a variety of nontraditional percussion objects such as bricks, blocks, bolts, gravel, and metal plates.

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Lady Mondegreen Bangs the Can! ... was written during the spring and summer, of 1996. This new piece shares a lot of similar musical material with its two prequels: Lady Mondegreen Dances, which is a sextet for "pierrot" ensemble plus percussion, and Lady Mondegreen Sings the Blues, which is for Winds, Percussion and Piano and was commissioned by the Cleveland Chamber Symphony, Edwin London, conductor.

Lady Mondegreen does not exist. A mondegreen is a word or phrase that is construed as it is actually heard, not as the speaker intends it to be heard. Coined by Sylvia Wright in 1954 (Harper's), the word refers to the Scottish Ballad "The Bonny Earl of Murray" and how she recited it as a child: "They have slain the EarlAmurray And Lady Mondegreen." The damsel bleeding loyally beside the slain Earl was in her romantic imagination and the last line was actually written "and laid him on the Green." After reading an article about this by William Safire in the New York Times, it occurred to me that mondegreens happen quite naturally in music all of the time; that everyone hears a piece of music quite differently. I intend for this piece to be last in the Lady Mondegreen series (although I said that about the second piece).

Used Car Salesman (2000) for Percussion Quartet The first performance of Used Car Salesman was given on April 18, 2000 by the Ethos Percussion Ensemble at Hancher Auditorium, Iowa City, Iowa. It was commissioned by Hancher Auditorium, the University of Iowa. Funding was provided by the Hancher Auditorium Millennium Fund through the University of Iowa Foundation and the National Endowment of the Arts. It is scored as follows: Percussion I (vibraphone, tambourine), Percussion II (marimba, maraca), Percussion III (eight metals, two gongs, tambourine, claves, vibraslap, two car horns, tambourine), Percussion IV (Bass drum, four tom-tom or paddle drums, bongos, piccolo snare, four woodblocks, three cowbells, four cymbals, claves, maraca) . Duration is ten minutes .

Used Car Salesman is a tribute to my father Willis Daugherty (born 1927) who is a dance band drummer and was a used car salesman in Cedar Rapids, Iowa from 1955-60. In my composition, I create a musical landscape where I reflect upon the world of the 1950s used car salesman. In addition to the percussion quartet performing on a wide variety of metal instruments from the scrap heap, I punctuate the rhythmically complex counterpoint with spoken text:

Used cars Ladies and Gentlemen I got used cars Don't settle for less I got used cars

You deserve this car Right Here! It's got -

Power brakes Good Evening Ladies Gentleman Power steering I know what you are thinking Power windows Can you afford to buy this car? Power locks Let me tell you something. Power seats You can't afford not to buy this car! Power antenna

It's loaded! Kick the tire!

I never lie I'm a Used Car Salesman Used Cars Bankrupt? You got Used Divorced? Right. No credit? Left. We finance! Here!

This is my last offer Trust me! Take it or leave it! I've got a deal for you. As is. No warranty

Don't blame me! Get their confidence I'm a used car Salesman Get their friendship Get their money


- Michael Daugherty

The Paces of Yu (1990) ... is a test for true Jarvinen fans, his timbral imagination at its most extreme. The work reduces Jarvinen's rhythmic methods to their essence while raising his homespun ensemble concept to its apex. The solo (and only pitched) instrument is the berimbau, a Brazilian instrument of a single string attached to a bow with a gourd at the end. The other instruments are all homemade, with window shutters, mousetraps, rulers, and the pencil sharpener mounted on boxes which are played with pencils and mallets. The piece's underlying idea is a Taoist story about a man, Yu, who walks around the world, symbolically reaching the nodes at which "outer time" and "inner time" coincide. His paces mark off a simple melody run through delightfully subtle rhythmic variations whose phrases are dotted by the flick of the shutters and punctuated by the sharp snap of the mousetraps.

April 2002

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Program Notes

Concert #3: New Music for Piano

Playing in Chinese Sweet Dumpling Festival .. . is a traditional anniversary festival of China. It is a time for the whole family to get together. Based on a traditional musical form, the music consists of two elements: a folk song from Shan Xi province, and a pentatonic pitch series abstracted from this folk song. At the Allegro section, a lively folk rhythm is used depicting the festival atmosphere, and a dramatic change of mood mark the Lento section.

Piano Sonata No. 2 In Andrey Kasparov's Second Piano Sonata, composed in 1994, he sought to bring together the elements of traditional form and serial techniques. The Piano Sonata No. 2 employs the classic concept of exposition-development-recapitulation. The formal design of the piece includes well defined thematic groups, featuring the return of secondary thematic material on another tonal level in the recapitulation.

The sonata is based on two contrasting twelve-tone rows, the first one being introduced at the very opening of the piece, and the second enters soon after in a succession of overtone chords. These two rows interact with each other throughout the rest of the composition.

Eight Preludes for the Dance ... is a series of brief movements for piano, ranging from one to three and a half minutes, in a variety of meters, tempos, and styles. The composer writes: "In using the rather daunting title 'Preludes', the composer risks the inevitable comparison with a parade-through-the-centuries of esteemed predecessors beginning with J.S. Bach. While admitting to only one quotation from Chopin's Op. 28 (How does one write a prelude without consulting the def-nitive set in the genre?), it is only with a great deal of humility that these miniature musings are offered."

For the most part rhythmically and motivically generated, and firmly rooted in tonality, the "Preludes" range in style from the repeated rhythmic motives of # 1 and #6, through the insistent asymmetric rhythmic structure of #7, to the quiet and open consonance that ends #8.

Glacius ... was commissioned by pianist/conductor Robert Spano at the Oberlin Conservatory of Music in 1984. Along with being a gifted conductor, Mr. Spano is a virtuoso pianist. I tried to stretch myself to write a technically challenging work, while exploiting Mr. Spano's incredible dynamic and color range. The piece is programmatic: a musical journey through static, icy waters, leading to an oasis of vast simplicity and depth, and then the return trip back.

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- Anne Deane

The Fantasy Pieces ... were written to serve two basic purposes: technical studies for the pianist, as well as compositional challenges for the composer. All five pieces are various manifestations of the piano in its various sundry traditions. The Prelude is a response to the instrument's mechanical side and timbral possibilities. It exploits the piano's extreme registers as well as the juxtaposition of figuration, two-part chorals, dense tremolo figures and percussive techniques.

The Free Invention is a two-part invention, which is at times imitative, but does not employ many- if any--strict canonic devices. It was also somewhat inspired by the music of Elliot Carter with its various tempo modulations. The middle section explodes into a manic episode of figuration and jazz-like syncopation before settling into a "demonic" gigue in the low register of the instrument. The music then returns to the rhythmic counterpoint of the opening, yielding a quasipalindrome effect as the movement comes to a close.

The Intermezzo was initially inspired through my love of Brahms and Schoenberg. The descending four-note opening motive was spawned from the descending gesture of Schoenberg's Op. I, No. I- and even employs a very similar intervallic content. Much of the harmonic and melodic content of the movement is based on a single hexachord, which also appears in various guises in the other four movements, thus giving the work a sort of harmonic symmetry throughout. Like many of the Brahms Intermezzi, the middle section of this movement becomes slightly more agitated and rhapsodic before rounding out the material of the first section. Obviously in this instance, there is no literal repeat.

The Passacaglia is perhaps the most "pianistic," of the set, while also being the most outrageous- and at times, ridiculous and absurd! The ground bass, or ostinato consists of a very ostentatious descending chromatic line inc minor, harmonized in parallel fifths. The rhythm of the ostinato figure is varied upon each repetition constantly obscuring the bar line-which is superimposed with the irrelevant, and sometimes "irrational" melodies and rhythms of the right hand. After a cadenza-like climax, the ostinato settles into the key of d minor, and is presented one last time within a more stable or "square" rhythmic structure.

The Postlude really serves as a sort of melancholic afterthought to the pianistic and contrapuntal furry of the preceding four movements. I didn't feel too compelled to end this cycle with the traditional bombastic display of pianistic virtuosity. This movement is rather dream-like, and explores the instrument's resonance and various acoustical properties. There is not much in the way of melody in this movement, but rather a single sonority, which is presented in a constantly changing light.

- Gregory J. Hutter


Velosophy The title Velosophy is a coined word containing the prefix "velo-", meaning "speed or rapidity" and the suffix" -sophy", meaning "knowledge, wisdom or science". Velosophy is therefore the wisdom of speed.

The rhythm is the driving force of this piece, beginning with eighth-note motion that gradually increases to sixteenth notes and resolves back to eighth notes in the final section. These smallest units are grouped in shifting permutations that provide rhythmic interest.

As I was writing the piece, I was surprised to find that I had been using the processes associated with sonata form. The symmetrical nine-note scale that provides the harmonic and melodic materials for the composition allows for four different transpositions. I used two of these to create contrasting theme areas within the first large section. The middle section develops motives from these themes, followed by a recapitulation of earlier ideas, in reverse order.

This work was written for Amy Dissanayake and exploits her ability to perform the impossible.

Program Notes

Concert #4: New Electroacoustic Music

Resonances Entrelacees In recent years, Hallstrom has become increasingly interested in making compositions which seek to pass various voices, frequently drawn from diverse cultures, through the sieve of his own perceptions (both cultural and personal). This process involves not only considering what these voices are saying in the literal sense of their words, but also of the meaning of those words and the beauty of the sounds made as the words are uttered.

Resonances Entrelacees was composed in Paris during the spring of 2000, and reworked in the wake of the tragedies in New York and Washington D.C. The work uses as its source material statements of prayer drawn from cultures throughout the world. Some of these statements are joyful; others sad; and others contemplative. All have been processed and combined in such a way as to offer a single multi-cultural persona whose goal is to convey a sense that, regardless of the voice uttering the words, spirituality can serve as a common bond among all peoples, and need not act as a force to divide them.

" ..• and so the hole was dug" Those of you who know me will understand that I won't apologize in advance for the title/pun of this piece -- indeed -- what you are about to hear consists of sounds that are 96.8999% (or more) produced by Doug Spaniol. These sounds (bassoon licks, laughter, clicks, pops, wheezing and burzles) were recorded in the Colin Clive Electronic Music Studio at Butler University, Indianapolis, Indiana, 46208 early in the autumn of 2000, and then manipulated using computer software, synthesizer filtering, basic editing techniques and guilt to produce the tape part.

(Tape! What tape? At no time during the production of this piece was tape ever used. Why do we call it a tape piece?)

It is a cautionary tale - at some point, the recorded part (Der Uberbassoon!) tries to dictate what material should be performed by the bassoonist - much like an upper level administrator (or applied music instructor ... ) trying to get you to do a piece of work that you'd rather not do. However, the bassoonist has other ideas: "No .... I think I'll sleep. -- No .... I think I'll procrastinate.. ... No .... I'd rather play the Mozart concerto instead of the Hindemith sonata." A tug of war ensues with the inevitable clash of wills in the last section of the piece.

Inside the Ride ... (2000) is based entirely on sounds associated with elevators. These sources have been manipulated to create the feeling that the listener is actually inside the elevator. All of the sounds used in creating this work were recorded in and around elevators.

Points of Arrival ... (1998) for violin and tape explores the relationships between a solo live performer and a musique concret sonic environment, created through MIDI. The opening section for tape alone creates a ferocious but harmless environment, shortly to be contrasted by a lyrical exploration by the soloist, supported by the tape.

The subsequent return of the violin exhibits the virtuoso aspect of the instrument, this time in competition with the tape. The last section finds the lyrical material recapitulated, in new dramatic garb.

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Program Notes

Concert #4: New Electroacoustic Music (cont.)

Tag till ... . . . (1998) owes its lineage to those electroacoustic works with a transportation theme. Like Pierre Schaeffer's "Etude aux chemins de fer" (Railroad Etude, 1948). Tag till .. . is about another rail based mode of transport. While living in Stockholm, Sweden, during the summer of 1995 I took a portable DAT recorder around with me on my journeys to and from the Institute for Electroacoustic Music Sweden (EMS) . This meant a 45-minute trip from Stockholm University, mostly by subway to the old brewery on Sodermalm. I became enchanted with the musical sounds around me from both the machinery and the people of the underground railway (though, like many "subways" the Stockholm system often rises above the terra firma to get a breath of fresh air). I was particularly interested in one engineer's voice on the train to Telefonplan.

"alt.music. ballistix" " ... perhaps the most provocative piece of the entire conference ... exciting ... wild and fascinating .. . " - The CLARINET journal (International Clarifest 2000)

In the brief time since its world premiere by clarinetist Hakan Rosengren in Sweden ( 1997), Resanovic 'salt. music. ballistix has entered the repertoire of dozens of nationally and internationally renowned clarinetists, has been a featured work in three of the last four International Clarinet festivals, and has received performances throughout the United States, Europe and Asia.

Bearing a title suggestive of a fictitious internet news group, alt.music.ballistix was composed for clarinetist Hakan Rosengren during the fall of 1995. The 12 minute work is divided into four contiguous movements as follows:

Mvt. 1 - "A Matter of Fax" (a sonic montage featuring original samples from various technological sources including a fax/ modem, telephone, short-wave radio, mingled with a most precious musical commodity- silence)

Mvt. 2 - "A Soliloquy" (an largely unaccompanied clarinet solo based on every pitch but the pitch 'D' which appears later as an accompanying 'ison' or drone).

Mvt. 3 - "A Balkan Dance" (influenced by Macedonian and Bulgarian dance idioms, the movement features many references to the folk music of this region of the Balkans.)

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Mvt. 4 - "[email protected]" (The above three movements are polyphonically combined, and a fourth element- an unrelentingly polite voice-mail lady- is injected into the sonic recipe.)

Ballistix is a musical representation of some of the bizarre realities of our modem era of digital communications and information transfer. It is a metaphor of the seemingly backwards peasant down-loading the latest nasdaq figures via his cell phone/modem onto his lap-top computer in some remote region of the Balkans-his cows grazing in the background. This juxtaposition of the modern and the timeless, the sophisticated and the simple, the sublime and the ridiculous, expresses itself in a music which combines "atonality" with the 'ison'; "emancipated rhythm" with a metric straight-jacket; a clarinet with an accordion, tambourine and modem. Ballistix is twisted and convolved music: it takes musical events that seem isolated and unrelated at their first presentation and restates them in a contrapuntally intertwined manner. In this new context these same musical events are transformed by their very interaction as they combine to reveal a higher order of relationships.


Program Notes

Concert #5: New Musi.c for Quintet

Four Sketches Four Sketches for Woodwind Quintet (2000) is based on a set of miniature pieces for solo guitar, composed a few years ago. In an attempt to stray from the usual harmonies and progressions that seem to go hand-in-hand with the guitar, the instrument was returned as follows: Eb-A-D-G-B-E. As a result, the pieces have an overall "Eb-ness". But you'll get over it. Really.

Windows ... is a three-movement work that portrays three aspects of the Eastern Orthodox liturgical rite. Each movement is a musical reflection of the properties inherent in the title. Incense evokes the drifting of smoke as it rises from the priest's censer; Processional is a slow, stately movement which has a cyclical formal design emulating the circular procession that often takes place around a church; and Myrrh reflects the liquid and solid conditions of this substance which is used both in holy oil and incense.

Commentaries ... for Woodwind Quintet is my second quintet. Each of the five movements is a loose comment on my life as a composer and academic professional. Fantasy is just that, a diversion into a free ranging, perhaps surprising expression. Antique pays homage to a style of past music. The Body Politic is my impression of the internal academic existence. Elegy needs no comment, and You Gotta Swing, or it takes the old to have the new is a 60-year-old style of jazz transplanted into the texture of the Woodwind quintet. I think of this movement as my 'Fletcher Henderson' piece.

"The Demon in Checkered Pants" for Brass Quintet "It was a gentleman, or rather a Russian gentleman of a certain type, no longer young, qui frisait la cinquantaine, as the French say, with rather long, thick, dark hair, only just streaked with grey, and a small clipped, pointed beard. He was wearing a sort of brown coat, evidently cut by a good tailor, but rather threadbare, made about three years before and quite out of fashion now, in a style that had not been worn for two years by well-to-do men about town. His linen and his long scarf like cravat were all such as were worn by smart gentlemen, but on closer inspection his linen was rather dirty and the wide scarf very threadbare. The visitor's check trousers were of an excellent cut, but again were a little too light in colour and a little to tight, such, in fact, as were no longer worn, and the same was true of his white fluffy felt hat, which was certainly not in season. In short, he gave the impression of a well-bred gentleman who was rather hard up." [F. Dostoyevsky, The Brothers Karamazov]

The Demon in Checkered Pants was composed between 31 March and 5 April 1997 as the written component of my Qualifying Exam. It is primarily a monothematic exploration of nine harmonic fields derived from frequency modulation (FM) calculations [Pi= c + (m - i)] from the notes middle C, F# below middle C, and the C below middle C. From these harmonic fields are derived eight modes, ranging between five and eleven pitches, which accommodate transformations of the principle theme. The FM generated harmonic fields appear at points of structural significance and come to the fore during the slow middle section of the piece. Furthermore, certain chords of historical significance (the Tristan chord, the Mystic chord, the chord from Schoenberg's Op. 16, #3, and the Hendrix chord) are associated with these various FM generated harmonic fields and are present throughout the work.

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Program Notes

Concert #6: New Music for Wind Ensemble

Sleight of Band (a prelude to a sideshow)

Circus music. Circus McGirkus music. Carnival music. (not Carnival Cruise music)

What can I say? I can't seem to escape writing fun, wacky, somewhat-askew music these days. (It has nothing to do with the premature change into the new millennium - it probably has more to do with a plentiful garlic supply.) Having spent a lot of time recently writing "deep, serious" pieces of angry music, it's quite a lovely feeling to compose happy-go-lucky stuff. Little" announcement" fanfares abound, as do a number of quirky clown bits. A few surprises around the comer, and if we're lucky, maybe the Bearded Lady and The World's Largest Beet will make an appearance. Perhaps, if we're extra well behaved, even that unbelievable trio will show - you know which ones I mean: The Butler Buffet Boys!!!!! Better than the Reptile Boy! Better than the Moon Rock! Better thanAlien Fur! Step right up! Commissioned by and dedicated to Robert Grechesky and the Butler University Wind Ensemble. Lunch is on me, Bob. Un debito owio a Maestro Rossini e felicemente riconosciuto! !! ! !!

- Frank Felice

The Slow Voyage Through Night This piece was composed in response to the Thurston High School shootings in Springfield, Oregon, on May 21, 1998. That night, I sat down at my keyboard and played music that reflected what I was feeling emotionally - a mixture of sadness, disbelief, and hope. That music became The Slow Voyage Through Night. As a composer who lived in the Eugene-Springfield community I felt compelled to share my feelings and to offer this composition as a means for people to explore their own feelings about this tragedy. It is my hope that this piece will provide solace to those who have grieved.

The Slow Voyage Through Night was premiered by conductor Robert Ponto and the Oregon Wind Ensemble in May 1999 in Eugene, Oregon.

Proteus Rising from the Sea . .. was composed during a 1993-94 Research Leave from The College of Wooster. It was commissioned by the Air Force Band of Flight, Wright-Patterson AFB, Ohio, Lt. Col. Richard A. Shelton, Commander and Conductor.

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A single-movement work of 10 minutes duration, Proteus makes use of a number of unusual instrumental colors (such as tuned crystal goblets, water gongs, bowed percussion instruments, etc.), complex changes of meter, and challenging technical demands placed upon each section of the ensemble.

In Greek mythology, Proteus was the sea god who possessed the power of altering his shape at will. Described as the son or attendant of Poseidon, god of the seas, Proteus held as well the power of foretelling the future. Often he was described as slumbering in or near the seas, where he was sometimes awakened by mortals who desired to wrest from him the secrets of the future. Proteus was said to resist such challenges by changing his shape into a frightening, bewildering, and overpowering succession of fearsome or intimidating creatures.

The title of the work is taken from the following lines from Wordsworth's The World is Too Much With Us:

So might I . . . Have sight of Proteus rising from the sea; Or hear old Triton blow his wreathed horn.

The prevailing imagery of the piece, while not aspiring to mythological authenticity, endeavors to depict a fanciful scenario in which a formidable sea god, disturbed from his slumbers by importunate and audacious mortals, proceeds to wreak a formidable wrath and vengeance. The musical argument is precipitated by the god's awakening (represented by opening hammer strokes for the full ensemble), after which the piece begins quietly and enigmatically and proceeds gradually to a great show of turbulence by the end.

Early on, numerous grumblings and disquieting sonorities depict the reluctance of the god to become involved. A repeated, clarion-like motive in the solo oboe is heard, always associated with the deity's warning, to repeated importunings, that he be left alone. Failing in this exhortation, and stretching to his full stature, he becomes increasingly animated, splenetic and frenzied. Displays and posturings of machismo soon lead to a colloquy with Triton's imagined horn. Near the end of the work, the clarion-like warning motive, now in 11/8 meter, surfaces in the piano, ramifies throughout the entire ensemble, and is heard contrapuntally in augmentation with itself as a massive and ominous chorale in the brass. Finally, in an ostentatious show of strength, the god casts out the interlopers with the same hammerstroke gesture with which the piece began. Proteus Risingfrom the Sea was premiered 26 January 1995 at East Tennessee State University by the Air Force Band of Flight, Lt. Col. Richard A. Shelton, conductor, and released on that ensemble's compact disc titled Images. The work was selected for the Virginia College Band Directors 2001 Symposium of New Band Music at the University of Richmond, where it was conducted by the composer. Other performances have included wind ensembles at Indiana, Massachusetts and San Houston State Universities.


Rosie the Riveter When the United States entered World War II in 1941, nearly all able-bodied men were drafted into active duty. The production of weapons, aircraft, ships and the like had to be accomplished by someone, and so the War Department launched a propaganda campaign to enlist women into the workforce as welders, riveters, electrical workers, machine operators, and so forth. "Rosie the Riveter" was the name the War Dept. chose as the epitome of the patriotic woman. Roughly eighteen million women were employed in the workforce in WWII, with six million employed for the first time. Twelve million, then, had been previously employed, but predominantly in menial jobs, domestic work, laundering, pottery, and so forth. Though the propaganda targeted middle class, married, white women whose husbands were overseas, a full two thirds of the force came from single, widowed, divorced women, including women of color, all needing work. Defense offered most of these women wages on which they could survive for the first time in their lives. As "Rosie" Margie Salazar McSweyn noted: "There wasn't that much money working as an [telephone] operator and I could see that I wasn't going to make it. The money was in defense."

Working in the public sector offered a sense of pride and self esteem that many felt for the first time in their lives, as well. As welder Lola Weixel remembers: "We believed that the economy was going to burgeon. It would be splendid. We would rebuild the cities. We would do all these things because before the war we didn't have all these skilled people. But now we had. It would be time to do all the good and beautiful things for America because fascism was destroyed." Any postwar rebuilding was not to include Weixel nor the majority of her coworkers. There was little effort by the government to plan for a re-conversion to a peacetime economy that would include the newly developed skills of the female workforce. Though some women were pleased to return to domestic life, most were not. The majority of women were dismissed from their jobs at the end of the war, barraged with a new propaganda that sought to lure them back into the private sector with new shiny kitchen appliances and reminders of their "proper" place. Rosie The Riveter is a tribute to the pioneering women of the World War II era.

Niagara Falls (1997) Niagara Falls was commissioned by the University of Michigan Symphonic Band in honor of its One Hundredth Anniversary and is dedicated to its conductor H. Robert Reynolds. The work was premiered by that ensemble on October 4, 1997 at "Bandarama", conducted by H. Robert Reynolds at Hill Auditorium, Ann Arbor, Michigan.

The composer writes: Niagara Falls, a gateway between Canada and the United States, is a mecca for honeymooners and tourists who come to visit one of the most scenic waterfalls

in the world. The Niagara River also generates electricity for towns on both sides of the border, where visitors are lured into haunted houses, motels, wax museums, candy stores, and tourist traps, as well as countless stores that sell "Niagara Falls" postcards, T-shirts, and souvenirs. This composition is another souvenir, inspired by my many trips to Niagara Falls. It is a ten-minute musical ride over the Niagara River with an occasional stop at a haunted house or wax museum along the way. Its principal musical motive is a haunting chromatic phrase of four tones corresponding to the syllables of Niagara Falls, and repeated in increasingly gothic proportions. A pulsing rhythm in the timpani and lower brass creates an undercurrent of energy to give an electric charge to the second motive, introduced in musical canons by the upper brass. The saxophones and clarinets introduce another level of counterpoint, in a bluesy riff with a film noir edge. My composition is a meditation on the American Sublime.

- Michael Daugherty

Program Notes

Concert #7: A Concert of Works in New Media

All three works are digital videos written, directed and produced collaboratively by Christine Gorbach (painter) and Gary Lee Nelson (composer) .. Visual components of the work are derived from paintings and photographs by Gorbach and in a few cases public domain images from other sources. Editing and sequencing of the moving images was done by Gorbach. Musical scores were composed, processed and edited by Nelson

Gorbach holds a master's degree and chairs the art department at Cuyahoga Falls High School. Gorbach's paintings have appeared in many shows in Ohio. Recently, her work has been seen in Toronto, New York, and Baltimore.

Nelson holds a Ph.D. and chairs a multimedia department at the college level. Nelson's works have been performed throughout the world and his research in the areas of computer music and multimedia is widely published.

Gorbach and Nelson began collaborating on art/music projects in 1998. These films are the most recent manifestations of what will be a long term collaborative relationship.

Hierarchy is based on 16 paintings by Gorbach. We also use a poem she wrote describing the paintings and the methods she used to make them. The paintings were made by selecting

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Program Notes

Concert #7: A Concert of Works in New Media (cont.)

small portions from a larger canvas. The s01md track is derived by digitally recording and manipulating Gorbach's nearly 50 readings of the poem. The subtext of the work is "deconstruction." We are concerned with the making of new art by recomposing older work - both musical and visual. Before they began their collaboration, both Gorbach and Nelson had independently developed techniques by which small fragments of older works were extracted and magnified to become the seeds of new paintings or compositions.

Charitoo is a verb of Greek origin meaning "to endue with divine favor or grace." The "theme" of this work is the idealization of women by male artists and the recognition that such ideals are quite at odds with the realities of women's existence. The central image here is the Virgin Mary, There are brief appearances by other idealized women such as the Gibson Girl, Barbie, and Rosie the Riveter. The work also includes digital processing of several of Gorbach's paintings and manipulation of original live action footage filmed by Nelson.

The sound track is based primarily on two Gregorian chants. "Salve Regina" is sung in female voice and conveys the sense of asking for grace from below. "Timete Domine" is sung in male voice and conveys the sense that grace can be achieved by following instructions. The first represents supplication while the second implies dominance and fear. There are several brief quotations from popular songs to support the appearance of the more contemporary female ideals.

Death and Transfiguration is based loosely on the orchestral tone poem of the same name by Richard Strauss. Gorbach made the images by animating black and white photographs of things dead in nature - uprooted and fallen trees, leaves.

The soundtrack is synthetic but intentionally orchestral in genre. The pitch structure and texture are derived with a technique that does not quote but rather casts an aura of Strauss' work on the soundtrack. Like Strauss, we hold the hope of transfiguration from winter to spring, from turmoil to calm and from death to rebirth. The final moment of the film symbolizes this hope.

This work was carried out in our home studio using a suite of hardware and software for processing, editing and sequencing images and sound entirely in the digital domain. These films are now available in limited edition on DVD.

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Program Notes

Concert #8: Cleveland Composers Guild in Concert

MKFSquared . . . was commissioned by Mary Kay Ferguson for the Greater Cleveland Flute Society, which she founded. The title is based on the friendly association between the two Cleveland Heights-based flutisits with the same initials who are occaisionally mistaken for each other. Toward the end of the piece, the high registers of both piccolos combine to form "difference tones", as the frequencies cancel each other out leaving only the growling fundamental tones. The effect on the sinuses is roughly equivalent to eating all of the sushi mustard at once.

Oracin The piece Oracin (prayer) consists of eight short sections that run the gamut from complete atonality to frankly traditional tonality. Each starts with a pitch center (C#, A, C, Db, F, A, F#, E), which begins the flow of life's force towards the infinite. Life's force is untouchable, mysterious, yet strong and powerful. It is a constant drive towards the unknown, ejecting energies that control and lead our lives in many directions; to commune with the supernatural and the spirits of the ancestors.

The solitary linear line soars, sometimes quickly and sharply, and are interrupted, abruptly, sometimes with a silence, other times with a calm, slow resolve. The timbral tones of the flute in contrast to the alto flute are meant to reflect nature's need for change and yet balance. The rhythmic movement of the piece is salacious, bold and ever changing and yet in keeping with the driving force behind all existence. The exaggerated sounds and ranges are tensions in which I try to sound the inner voices and spirits of human beings, to experience the lyricism in life and the driving force behind all existence but with the knowledge and understanding of the ultimate mortality.

Piano Sonata . .. is in a Neo-Romantic Style, with conservative, contemporary harmonies and is tonal and melodic. Its four movements are based on a single motive, which is introduced in the opening bars. This motive in quadruple meter is developed by means of a number of connected variations in the first movement (Adagio, Allegro, Andante Cantabile, Maestoso) including a section in the whole tone scale and ends with a march-like treatment.

Movement II (Allegro con brio, Andante Cantabile) uses the motive as a principal subject in a light hearted rondo from in triple meter.


In Movement III (Adagio) the motive is divided into parts, played an octave apart. The similarity of the beginning of this movement to a well-known Chopin prelude is strictly coincidental and this music is extended to a much greater length, using the now well-established motive as its main subject.

In Movement IV (Allegretto 6/8) the motive is treated fugally in the dark, octatonic (diminished seventh) scale until, near the end, a sequence of major keys featuring a secondary theme ends the piece joyfully.

Habanera . . . was commissioned in 1996 by Takako Masame and performed by her in Tokyo, Oberlin, and Cleveland. The piece explores simple dance rhythms, tonality and violin virtuosity.

Opposed Directions ... for Solo Piano was originally written for Disklavier and Live-electronics and also written for Solo Piano later in the year. Opposite emotions are captured in various forms.

Trio . . . for piano, violin, and violoncello was written over a twoyear period (1991-93), and marks an attempt to confront musical issues which, at times, conjure up notions of the past. The first compositional issue that needed to be addressed was the ensemble itself- a notoriously difficult combination of instruments for a composer to manipulate. This, in combination with my own familiarity with the Trio repertoire of Beethoven, Schubert, and Brahms provided for me an overwhelming desire to compose a work designed to convey a richly textured character. This character is exemplified by a formal and gestural language at times closely akin to those masterworks of the 19th Century- here, stretched out, condensed, and filtered through my own late 20th Century sensibilities. Completed in January 1993 at the MacDowell Colony, Trio is dedicated to composer Arthur Berger on the occasion of his 80th birth year.

Spirituals I wrote this piece as a commission from Yvonne Kendall, flutist and musicologist at the University of Houston (1999). It was first performed as part of a concert of spirituals, and as such, she requested that it be based on familiar Afro-American tunes. I had studied Shape Note music extensively as well, and thought it would be interesting to combine the melodies of these "white spirituals" with the black spiritual melodies. As I looked for pieces on which to base my piece, I found that many were in the same keys and modes and had similar contours in their melodies. I ended up basing the first movement on "Sometimes I feel like a Motherless Child" and 'Tm Just a Poor Wayfaring Stranger." The second movement is based on "Didn't My Lord Deliver Daniel" and other tunes. The result is what I hope is a seamless mesh of two different and important American musics.

- Katharine O'Connell

Program Notes

Concert #9: New Chamber Music I

Streams of Ascension ... was composed in early 1998 for saxophonist Scott Plugge, who premiered it during the annual North American Saxophone Association Conference at Northwestern University in March of the same year. The piece is based on two complementary melodic and harmonic motives: the first is a rising Lydian scalar figure, usually presented in parallel 7ths and 9ths with the piano (A sections); the second is a serpentine lyric melody which is developed through interval expansion and contraction, and accompanied by florid harmonic figuration (B sections). Sectional, pitch center, voicing, metric, tempo, and registral relationships are each based on portions of the Fibonacci series 1, 2, 3, 5, 8, 13, 21, and 34. Although the formal structure resembles a rondo, each statement and contrast is a developed and expanded version of its predecessor, thus creating the sense of constant forward motion.

Passions ... deals with the intermingling of influences in my life as an Asian American: the folk tunes that have surrounded me since my childhood and the western-based education of classical music and twentieth-century techniques. For Passions, I composed music idiomatic for the er-hu (Chinese fiddle) and sheng (Chinese aerophone) and combined attributes for Wolfgang's lines. As a contrast, music for the piano alternates between various pentatonic tapestries and neo-romantic, neotonal influences.

This work was premiered by Wolfang Sengstschmid and Daniel Grimwood at the Wigmore Hall in London, 7 October 2001, and is dedicated to them.

Three Pieces for Clarinet and Two for Piano Although piano is used in two of the three pieces, the title Three Pieces for Clarinet and Two for Piano also stems from the relation between the two performers. The music for each instrument, although derived from the same basic material, is presented in very different ways as two unrelated layers of sound. The music for the piano is always very rigid' static and symmetrical. The music for the clarinet, on the other had, is always freely expressive, rhapsodic and constantly changing shape and form. The aggressive energy of the second piece and the distant calm of the third are both (alternately) reflected in the first piece for clarinet alone.

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Program Notes

Concert #9: New Chamber Music I (cont.)

My Aunt Gives Me a Clarinet Lesson One summer years ago, I happened to glance at an issue of American Scholar left lying around by my editor wife. (By a long shot, this was not my usual summer reading material, so it must have been a really slow summer.) A cover story about the "Ph.D. Squid" problem in American academia(!?) grabbed my attention and pulled me into the volume, where I stumbled across this wonderful poem by Gregory Djanikian. Years later when Rebecca Rischin asked me to write a piece of chamber music for clarinet, the idea to incorporate this poem became irresistible. Happily, Mr. Djanikian and Carnegie-Mellon University Press graciously granted permission to use his poem; and Lisa Ford Moulton agreed to participate-despite the unusual nature of her projected role in the work.

Both Lisa Ford Moulton and I are pleased to acknowledge the support of the Ohio Arts Council Individual Artist Fellowship program in the creation of this work. It is dedicated to all those who have ever attempted to bridge the chasm between their earliest dreams of virtuosity and the pathetic (but often humorous) reality of their first lessons -whether through hard work or flights of fancy.

Seven Deadly Sins ... is a non-programmatic expression of the composer's own experience, and an impressionistic view of others, present company excepted. - Charles Argersinger

Program Notes

Concert #10: New Chamber Music II

Jackie's Song (1995-96) I composed Jackie 's Song as a prelude to my opera Jackie 0 (1995-97). I imagine Jacqueline Kennedy Onassis as a solitary and melancholy figure after the assassination of her first husband in Dallas in 1962. My composition is a song without words, for chamber ensemble and solo cello. A mournful cello line is performed by the soloist, who plays in the extreme upper range of the instrument. The solo gradually ascends to a prolonged high C that is suddenly cut short by a riveting snare drum rim-shot. This elegiac theme, comprised of a tritone and a perfect fifth interval, is the compositional core for many of the melodies and harmonies of the composition; later, it became the leitmotif of Jackie in my opera.

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Sinatra Shag (1995) In the spring of 1995, I had the pleasure of working with the Milwaukee-based new music ensemble Present Music during a residency at the Cornish Institute of the Arts in Seattle, Washington. During a lunch break, I chanced upon an alternative rock record store with an impressive array of unusual postcards. One postcard in particular interested me: Nancy Sinatra, circa 1966, sporting a pair of knee high white boots sitting on a Harley Davidson motorcycle. I dashed back to the rehearsal filled with inspiration, and Sinatra Shag for Flute/Piccolo, Bass Clarinet, Violin, Cello, Piano, and Percussion was born.

- Michael Daugherty

Time Out of Mind Written for Portuguese-American pianist Alexandra MascoloDavid, Time Out of Mind was inspired by the epoch trilogy "The Lord of the Rings" by J. R.R. Tolkien. The movements, named after various chapters from the trilogy, depict stories from, The Fellowship of the Ring, The Two Towers and The Return of the King. Each book of the trilogy begins with this synopsis of the ring's history:

Three Rings for the Elven-kings under the sky, Seven for the Dwarf-lords in their halls of stone, Nine for Mortal Men doomed to die, One for the Dark Lord on his dark throne In the Land of Mordor where the Shadows lie.

One Ring to rule Them all, One Ring to find them, One Ring to bring them all and in the darkness bind them In the Land of Mordor where the Shadows lie.

Quartet for Piano, Violin, Viola, and Violoncello Written sporadically from summer (started at Interlachen) to early in the New Year, the Piano Quartet was ready for its February, 2001, premiere just in the nick of time. A major four movement work, the Piano Quartet is unified in that the outer movements are based on the same musical ideas, albeit at different tempos. The inner movements are not related and in fact, the melodies of the third movement have been in my mind for many years and never written down until I began to work on the quartet. The final movement, despite it's links to the first, contains it's own very personal melody and also a quotation of a famous Appalachian fiddle tune, "Sourwood Mountain." The work was composed for my colleagues at West Virginia University, the WVU Piano Quartet.


Program Notes

Concert #11 : New Music for Young Orchestras

Variation of a Theme This piece was developed out of material borrowed from an earlier work of mine for double bass and piano (Contraforte ). That material is, of course, the "theme" referred to by the work's title. This short composition, written for a youth orchestra ensemble, is the first installment of a planned "collection" of five such pieces for orchestra. Variation of a Theme was premiered by the Old Post Road Orchestra in Ludlow Massachusetts on November 11 and 12, 2000 (Neal Schermerhorn, conducting) and subsequently broadcast over the Wilbraham Public Access affiliate station.

" ... such sweet sorrow" The title is from Shakespeare's Romeo and Juliet, where, at the conclusion of the balcony scene, Juliet says that "Parting is such sweet sorrow," a sentiment universal in love stories through the ages. The mood suggested by the words is reflected in the music.

Three Portraits These pieces began life as sketches for piano, each depicting characteristics of a friend of the composer. Each open with a variation on a theme (a twelve tone theme masked by tertian harmony). These sketches were later expanded and orchestrated. Each movement is now a short composition which can stand alone, although the unifying introductory sections remain.

Red Cape Tango The fifth movement from the Metropolis Symphony, Red Cape Tango was composed after Superman's fight to the death with Doomsday, and is my final musical work based on the Superman mythology. The principal melody, first heard in the bassoon, is derived from the medieval Latin death chant Dies irae. This dance of death is conceived as a tango, presented at times like a concertina comprising string quintet, brass trio, bassoon, chimes, and castanets. The tango rhythm, introduced by the castanets and heard later in the finger cymbals, undergoes a gradual timbral transformation, concluding dramatically with crash cymbals, brake drum, and timpani. The orchestra alternates between legato and staccato sections to suggest a musical bullfight.

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Composer Biographies

William Alexander A native of Lompoc, California, William Alexander was born in 1927. He attended the Peabody College of Vanderbilt University to study with Roy Harris, then in residence there. He completed his master's and doctorate at Vanderbilt and then began his teaching career. Dr. Alexander spent 40 years at Edinboro University of Pennsylvania where he taught music history and composition, also serving as department chairman for 25 years. He now is an emeritus professor at the university.

Alexander prefers to create works for chamber ensembles, although several orchestra works have been performed, notably by the Erie Philharmonic, Pittsburgh Symphony and Orchestra Society of Philadelphia. His band works have been performed by the U.S. Army Band, U.S. Navy Band and U.S. Air Force Band in addition to several college and university bands. Commissioned works include those for the York Symphony, Music Teachers National Association, Pennsylvania Music Teachers Association and several solo works for various performers.

Charles Argersinger After completing a Ph.D. at the University of Minnesota in 1979, CharlesArgersinger went on to teach at California State University, DePaul University, and at Washington State University, where he is presently coordinator of composition and theory. Currently he serves on the national council of the Society of Composers (SCI) as the Co-Chair of the Pacific Northwest region. Among his awards is the 1995 United Nations first prize for a brass fanfare for the 50th Anniversary of the U.N. His Concerto for Piano and Chamber Orchestra was recorded by members of the Chicago Symphony Orchestra and the Contemporary Chamber Players of the University of Chicago. It was premiered by the Alabama Symphony Orchestra in 1992, and has been recently performed by the Kansas City Symphony, the Memphis Symphony Orchestra, the Contra Costa Chamber Orchestra in Oakland, and the LSU Contemporary Music Festival Orchestra. He is the 1997 Composer of the Year for the Washington State Music Teachers Association and winner of the 1997 Composer Fellowship from the Idaho Commission on the Arts.

John Beall John Beall was born in Belton, Texas, in 1942. He studied composition at Baylor University with Charles Eakin and Richard Willis completing his studies there with a master's degree in 1966. During the years 1971-73 Mr. Beall completed doctoral study at the Eastman School of Music where he was a student of Samuel Adler. In 1972 he received the Louis Lane Prize for his orchestral work, Lament for Those Lost in the War, and in 1973, the Howard Hanson Prize for his Concerto for Piano and Wind Orchestra. Since 1978 Beall has been professor of music and composer-in-residence at West Virginia

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University. His summers since 1992 have been spent teaching at the Interlochen Center for the Arts in Michigan.

Beall has received commissions from the National Endowment for the Arts (two awards), several universities, the West Virginia Music Teachers Association (Composer of the Year, 1981), Radiological Consultants Association of West Virginia, and the West Virginia Symphony Orchestra . Performances have come from the Dallas, Rochester, Pittsburgh, and West Virginia Symphonies, the Bach Choir of Pittsburgh, chamber organizations such as the Interlochen Faculty Players, Quorum, Pittsburgh New Music Ensemble, Claremont Quintet, Laureate Wind Quintet, and Rutgers Wind Quintet, among others

In 1985 John Beall completed his Symphony No. 1 while a fellow at the Rockefeller Foundation's Study and Conference Center at Bellagio, Italy, and at Yaddo, Saratoga Springs, New York. The work was premiered by the West Virginia University Symphony Orchestra under Rachael Worby in 1986. In 1990 he was named Benedum Distinguished Scholar for the Arts and Humanities by West Virginia University. December, 1991, saw the premiere at WVU of Beall's Anglican Mass for large choir, soloists, organ and orchestra. In 1995 he was named to a fellowship in music composition by the West Virginia Division of Culture and History in collaboration with the West Virginia Commission on the Arts. His two-act opera based on Edith Wharton's novel, Ethan Frame, was staged as a part of the centennial celebrations of the West Virginia University School of Music in the fall of 1997 and recorded for television broadcast. His music is published by MMB Music, Inc., Carl Fischer, and Southern Music Co. Recordings are on Cambria (2 CDs) and Crystal.

Ryan Beavers Ryan Beavers is pursuing his master's degree at the University of Texas at Austin, where he has studied with Dan Welcher, Donald Grantham, Kevin Puts, Kevin Beavers, and Mark Schultz. His music has been performed at Music2001 in Cincinnati, the Tallahassee Composition Workshop, and the third annual SCI National Student Conference in Bloomington, Indiana.

Bruce Christian Bennett Born in 1968, Bruce Christian Bennett is a native of Seattle who has lived in San Francisco since 1991. He is involved in research and composition at the Center for New Music and Audio Technologies (CNMAT) and is currently employed by Digidesign. He received his Ph.D. in music composition from the University of California, Berkeley, in 1999, where he studied composition with Richard Felciano and computer music with David Wessel. He received his M.M. in composition from the San Francisco Conservatory of Music in 1993, where he studied composition with Andrew Imbrie,



David Conte, and Elinor Armer, and his B.A. in music from Reed College in 1990, where he was a student of David Schiff. He has received numerous honors, including the 1993 Prix Maurice Ravel. He is a founding member of both the Berkeley New Music Project and the CNMAT Users Group (a coalition of composers and engineers whose interests are in the interaction of music and technology), and is president of the board of directors for Earplay (a San Francisco based new music ensemble). His works have been performed by such groups as the Arditti String Quartet, the Ensemble InterContemporain, Sirius, and members of the San Francisco Contemporary Music Players.

Chin-Chin Chen Chin-Chin Chen, composer and director of the Grand Valley State University Music Technology Center, joined the GVSU music faculty in 1999. Prior to coming to GVSU, she taught at Millikin University in Decatur, Illinois. She holds a D.M.A. in Composition/Theory, M. M. in Music Theory, as well as M. Mus. in Piano Performance from the University of Illinois (Urbana/Champaign), and a B. A. in Social Work from FuJ en Catholic University in her native Taiwan. Her electroacoustic works Points of No Return (1997, for twochannel tape) and Points of Arrival ( 1998, for violin and tape) won first prize and honorable mention, respectively, in the Concorso Internazionale Luigi Russolo in Varese, Italy. Her works have received international performances and broadcasts in such cities as Corfu, Buenos Aires, Seoul, Lyons, Prague, Austin, San Jose, Montreal, Melbourne, Belo Horizonte, Barcelona, Beijing, and others. She is published by Media Press.

Anne Deane Anne Deane is a composer whose acoustic md computer music is distributed internationally by Innova, MIT Press and Neuma recording labels and Theodore Front Musical Literature. She holds advanced degrees from Oberlin Conservatory and University of California at Santa Barbara. Before coming to Iowa State University's Department of Music as assistant professor, Deane was assistant researcher in the Department of Music at University of California, Santa Barbara (CREATE), and Associate Director of the University of California system-wide Digital Media Innovation Program (DiMI). While at DiMI she championed the digital media research infrastructure for all nine campuses and three national laboratories across many scientific disciplines and creative fields. She was a lecturer in the Media Arts & Technology graduate degree program at UCSB. Previously, she also served on the board and faculty of The Walden School for young composers and as associate editor of Computer Music Journal, published by MIT Press.

Deane's research interests are grounded in acoustic composition (orchestral, chamber, and vocal music) with further interests in multimedia live performance using intelligent interactive production systems (sensor-based lighting and sound production, as well as virtual set technology). Recent performance venues for her works range from Carnegie Recital Hall to Silicon Valley's Tech Museum where her immersive sonic environment, Beloved Mnemosye, was a featured installation at the Art & Technology Network conference presented by GroundZero and New York's The Kitchen. Created in collaboration with UCLA's HyperMedia Studio, this first prototype in a series named after Mnemosyne, the Greek goddess of memory, focuses on how seeing objects can trigger our memories. This research features an important development in the creation of interactive, immersive sonic environments - "smart art." Her latest acoustic commission from ZA WA! Flute duo, Dreams Awake,premiered at Carnegie Hall in February 2000 before it went on tour throughout the U.S. In August 2001, ZAWA! performed the piece to a crowd of over 2,000 at the National Flute Association Conference in conjunction with the CD release of the work.

Paul Dickinson Paul Dickinson was born in 1965 in Illinois, and grew up in Oregon. He began his musical studies on piano at age 11 and composition at age 12. He has received degrees from the Eastman School of Music (BM) and Northwestern University (MM, DM). His composition teachers have included Joseph Schwantner, Warren Benson, Samuel Adler, Tomas Svoboda, Alan Stout, and Gerhard Stabler. His honors and awards include a grant from the Arkansas Arts Council, a BMI Award, a grant from the Deutscher Akademischer Austauschdienst (DAAD-German Academic Exchange Service) and numerous commissions. Dickinson is assistant professor of composition and music theory at the University of Central Arkansas.

Frank Felice Frank Felice began his musical studies in Hamilton, Montana, playing piano, guitar and double bass. Interest in composition began through participation with a number of rock bands, one of which, Graffiti, toured the western United States and the Far East in 1986-1987. Felice attended Concordia College in Moorhead, Minnesota, the University of Colorado, and Butler University. Most recently he has studied with Dominick Argento and Judith Lang Zaimont at the University of Minnesota in Minneapolis, where he completed his Ph.D in 1998. Now an assistant professor at Butler University in Indianapolis, he has taught at Eastern Wyoming College, the University of Minnesota, Sam Houston State University, and Lamar University.

Felice has most recently served as composer-in-residence with the Symphony of Southeast Texas in Beaumont, where he helped write the Create-a-Symphony Program. He has also served as composer-in-residence for Eastern Wyoming

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College, along with the Wyoming Council on the Arts from 1988-1990. During his tenure there he not only taught in the public schools, but lectured and composed pieces for many of the ensembles in residence.

His works have been performed extensively in the U.S. as well as Japan, the United Kingdom, Austria, the Czech Republic, and Hungary. His commissions have included funding from the NEA, Wyoming State Arts Board, Indianapolis Youth Symphony, Kappa Kappa Psi/Tau Beta Sigma and the Minneapolis Vocal Consort.

Jack Gallagher Jack Gallagher's Symphony in One Movement has been called by American Record Guide "a well-written, moving work;" it noted "the Gallagher alone is worth the price of this wellrecorded disc." Mr. Gallagher is professor of music at the College of Wooster in Ohio. He earned doctoral and masters degrees in composition from Cornell University and the B.A. degree cum laude from Hofstra University.

Gallagher's Exotic Dances was nominated by the then-editor of American Music magazine for the 1997 Pulitzer Prize in Music. In the same year, his The Persistence of Memory was selected by the Charleston Symphony Orchestra for performance at the Piccolo Spoleto Festival. He was named 1996 Ohio Composer of the Year by the Ohio Music Teachers Association. In 1999 he was Featured Guest Composer at the 37th Annual Contemporary Music Festival at Sam Houston State University, Huntsville, Texas. He has received awards, grants, fellowships and recognition from the Ohio Arts Council Individual Artist Fellowship Program, the Charles Ives Center for American Music, the Yaddo Corporation, Meet the Composer, the Atlantic Center for the Arts, the Virginia Center for the Creative Arts, the Barlow International Composition Competition, and others . Compact disc recordings of his works include: Symphony in One Movement: Threnody, on (Vienna Modem Masters); The Persistence of Memory (In Memoriam: Brian Israel-on VMM); Proteus Rising from the Sea, commissioned and released by the Air Force Band of Flight; Berceuse (VMM); Toccata for Brass Quintet (Musical Heritage Society MHS); Capriccio (Artsmart); and Ancient Evenings and Distant Music (Capstone). Since 1999, most of his works are published by Editions Bim, Switzerland.

Frederic Glesser Frederic Glesser is a native of Toledo, Ohio. Educated at Kent State University (B.M.) in Ohio and the University of Miami (M.M.) in Florida, he has studied composition with Dennis Kam, James Waters, David Stewart, and has attended masterclasses with Pulitzer Prize-winner Donald Martino. He has also studied flute with Raymond DeMattia and Maurice

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Sharp (Cleveland Orchestra). Among the performers who have championed his music are such artists and groups as North/ South Consonance, Kathleen Supove, Kesatuan, Luis Gomezlmbert, Max Lifchitz, Lisa LaCross, Michael Linville, the Florida Symphony and The Glass Orchestra. Glesser's writings include works for small to medium ensemble, solo piano and orchestra. His music is published by North/South Editions and Musica21 Publishing, and is available for loan from the American Music Center archives.

UlfGrahn Ulf Grahn 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 Stockholms Musikpedagogiska Institut and the Catholic University of America. He has also studied Business Administration, Economics and Development Studies at The University of Uppsala, Sweden. In 1973 he founded the Contemporary Music Forum in 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. Presently he teaches Swedish language and culture at the Foreign Service Institute.

Recent performances include The Instrumental Opera The Enchanted Forest; Sinfonie no II, Celebration for Marimba, Nocturne for piano trio and Tape, Trombone Unaccompanied?!, Three Dances with Interludes for six percussionists, Kurbitsmalning for choir and violin, Psaltaren 9:2 3,9-12 for two Sopranos. Grahn's music is published by Seesaw Music Corp, Edition Suecia and Edition Nglani and is available on Opus One, Orion and Caprice Records.

Stephen Grielbling Stephen Grielbling was born and raised in Akron where he has lived except for 3-1/2 years in England. He worked at the Firestone Tire & Rubber Co. for 40 years as a chemist and engineer, and holds four patents there. Griebling earned a degree in chemistry from Mount Union College and attended graduate school at The Ohio State University.

He was a member of the Akron Symphony Chorus and Blossom Festival Chorus and plays piano and cello. Although he is largely self-taught, his music has been performed widely and is published by The Willis Music Company, Southern Music Company, and Manduca Music. His Tone Poem Queensmere: December 1964 was awarded first prize in the NSOA composition contest in 1976 and was premiered by the Akron Symphony Orchestra directed by Louis Lane. A choral setting of the biblical text "For Everything there is a Season" was a finalist in the Ithaca Choral competition and performed by the Akron Symphony Chorus.



Jonathan Hallstrom Jonathan Hallstrom was born in 1954 and teaches music theory and composition at Colby College, Waterville, Maine, where he also conducts the Colby Symphony Orchestra and directs the electronic music studio. He has also served as Consulting Director for the Juilliard Music Technology Center. Hallstrom has received grants and fellowships from the Rockefeller, Exxon, and Sloan Foundations, and is known as a conductor and composer and for his work in computer-aided composition systems design and real-time interactive music systems.

Ching-chu Hu Ching-chu Hu, was born in Iowa City, Iowa, and received his B.A. from Yale University in 1992. After studying at the Freiburg Musikhochschule for a year, he went to the University of Iowa, where he received a M.A. in Composition and a M.F.A. in Orchestral Conducting in 1996. He received his D.M.A. in Composition from the University of Michigan in 2001. His composition teachers include William Bolcom, Leslie Bassett, William Albright, Bright Sheng, Evan Chambers, Michael Daugherty, David Gompper, Michael Tenzer, and Jonathan Berger. He has been a composition fellow at the Bowdoin Summer Music Festival, May in Miami Festival, June in Buffalo, and the Advanced Center for Composition at the Aspen Music Festival. Ching-chu was a winner of the 2000 SCI/ AS CAP Composition Commissioning Program. He has written the score for The Life and Times of Jimmy B., a film by Alison McDonald, which recently received a Director's Guild of America Award. Ching-chu is an assistant professor at Denison University in Granville, Ohio.

Robert Hutchinson Robert Hutchinson is assistant professor of music theory and composition at the University of Puget Sound in Tacoma, Washington. He earned his B.A. magna cum laude from California State University Bakersfield, where he studied with Doug Davis, and his M.M. with honors from Northern Arizona University, where he studied with Kenneth Rumery. Hutchinson completed his Ph.D. in composition with a supporting area in music theory at the University of Oregon, where his primary teachers were Robert Kyr, Kathryn Alexander, Harold Owen, and Jeffrey Stolet. During his final year at the University of Oregon, he received the award for Outstanding Graduate Student in Composition. He has participated in master classes by Daniel Asia, Seymour Barab, Osvaldo Golijov, John Harbison, Stephen Jaffe, David Maslanka, Donald Martino, Arvo Part, Krzysztof Penderecki, Miroslav Pudlak, and Joseph Schwantner.

Premier performances of commissioned works by Hutchinson include the L'Organo Series of the Piccolo Spoleto Festival in Charleston, South Carolina, Winthrop University in South Carolina, the Oregon Festival of American Music, the Oregon

Wind Ensemble, the Oregon Bach Festival Composers Symposium American Milestones series in Eugene, Oregon, the Musica da Camera orchestra, and the Valley City State University Wind Ensemble in North Dakota.

In 1997, Hutchinson won the Third Angle New Music Ensemble's Young Composers Competition. The Pacific Rim Gamelan presented his music (Sightseeing and Celebration) at the SCI Regional Festival in Stockton, California, the Oregon Bach Festival Earport Concert Series, and the Music Today Festival at the University of Oregon.

Gregory J. Hutter Gregory J. Hutter holds bachelors and masters degrees in theory and composition from Western Michigan University and the University of Michigan at Ann Arbor, respectively. He is a doctoral candidate in music composition at Northwestern University, where he is also a lecturer in the Department of Academic Studies and Composition. Hutter has also served as an adjunct professor of Music at Concordia University in River Forest, Illinois. His extensive catalog of compositions includes orchestral, solo and chamber works, music written for theater and modern dance, and works for electronic and computer media.

His music has been presented at various venues including the Festival Musica Moderna (Lodz, Poland), the Society of Composers, Inc. national conferences, the Syracuse Society for New Music, the Midwest Graduate Music Consortium's Fifth Annual Meeting at the University of Chicago, June in Buffalo, Music 2001 (Cincinnati College-Conservatory) and Austin Peay State University's Dimensions Series. In April 2002, his Skyscrapers for orchestra will be premiered at the North American Music Festival (Boca Raton), with Arthur Weisberg conducting.

Hutter was the first prize recipient in the 14th annual Young Composers' Competition for 2000, given by the Center for Creative Arts at Austin Peay State University. In 2001, he won the second prize in the Chicago Union League Civic and Arts Foundation competition for original piano music.

Arthur Jarvinen Arthur Jarvinen, born in 1956, has been a featured composer and performer on prominent concerts and festivals throughout the U.S. and abroad for over two decades. He was a founding member of the California E.A.R.Unit with whom he was associated for 18 years as composer, arranger, and conductor, performing on percussion, electric bass, slide guitar, chromatic harmonica, voice, and electronics. In 1978 he founded the Antenna Repairmen, an experimental percussion trio that continues to this day. In 1995 he established Some Over History, an ensemble dedicated to his own music.

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Jarvinen has received commissions from the Los Angeles Philharmonic, the Koussevitzky Music Foundation, the Fromm Foundation at Harvard University, the American Composers Forum, the San Francisco Contemporary Music Players, Zeitgeist, Alea III, and others. He received a 1990 NEA composer fellowship for The Paces of Yu, a unique percussion work for Brazilian berimbau (a folk instrument) and homemade instruments. Jarvinen 's works have been performed by the California E.A.R. Unit, the Los Angeles Philharmonic New Music Group, the San Francisco Contemporary Music Players, Xtet, Bang On A Can All Stars, and New York New Music Ensemble. He is on the composition faculty of the Califonia Institute of the Arts.

James A. Jensen James A. Jensen is professor chair of theory/composition in the School of Music at Samford University in Birmingham, Alabama, where he also teaches clarinet. He earned B.M. and M.M. degrees from Pittsburgh State University, and a D.Mus. degree from Florida State University. His composition teachers have included John Boda, Carlisle Floyd, and David Cope. His music has been performed throughout the southeast and at both regional and national conferences of SCI. He is a member of the International Clarinet Association, International Association of Jazz Educators, Board Member and past president of the Birmingham Chamber Music Society, Phi Mu Alpha Sinfonia, American Federation of Musicians, Reserve Officers Association, Society of Composers, Inc., a founding member of the Birmingham Art Music Alliance, a consortium of local composers, and serves as commander of the 313th United States Army Band.

Andrey Kasparov Andrey Kasparov was born in Baku, Azerbaijan, to a family of Armenian descent. He began studying music at the age of six. At age 15 he moved to Moscow, Russia, where he entered the Moscow State Conservatory, graduating with honors in Music Composition and Piano in 1989 and 1990, respectively. In the United States, he studied composition at the Indiana University School of Music in Bloomington. He also participated in the 1996 Courses for New Music in Darmstadt, Germany, where he studied with Brian Femeyhough. He is a music professor at Old Dominion University in Norfolk, Virginia, where he also directs Creo, the new music ensemble.

Kasparov is an active pianist, appearing in concerts with symphony orchestras throughout the former Soviet Union, North America, Europe, and South Africa. He has won prizes at numerous composition and piano competitions, such as the 1997 Sergei Prokofiev International Composition Competition in Moscow, Russia, the 1998 Orleans (France) International

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Piano Competition for 20th-century music, and the allU .S.S.R. composition competitions in 1985 and 1987. He has received the Indiana Arts Commission Fellowship and a grant from the Yvar Mikhashoff Trust for New Music.

Kasparov's music and performances are featured on the Vienna Modem Masters and Contemporary Record Society labels. His compositions and articles have been published by the Kompozitor Publishing House in Moscow, Russia and Hungarian Music Quarterly in Budapest, Hungary.

HyeKungLee HyeKung Lee, a graduate from The University of Texas at Austin (DMA in composition and performance certificate in piano) studied with Karl Korte, Donald Grantham, Russell Pinkston, Dan Welcher, and Stephen Montague. She also studied with Bernard Rands at the Atlantic Center for the Arts in March 1998, and Ladislav Kubik at the Czech-American Summer Music Institute in Prague 1995. Her Suite for Solo Piano is available on New Ariel Recordings (performed by Jeffrey Jacob) and her Opposed Directions for Disklavier and Live-electronics (performed by herself) is available on Volume 8 of the SEAMUS CD Series. Her Sonatina for Soprano Saxophone and Piano is published by Musik Fabrik (Vandoren Catalog) in Paris and Piano Concerto No. I by Ballerbach Music. She was a composer-in-residence at University of Missouri at Kansas City Conservatory of Music in November 1999. She taught at Oberlin Conservatory in spring 2000, and at the University of Hawaii at Manoa, Honolulu in fall 2001. While she was in Hawaii, she finished the CD recording, Blue - New Music for Saxophone and Piano, with saxophonist Todd Yukumoto.

Carelton Macy Carel ton Macy, born in 1944, is a composer of works ranging from vocal and orchestral to jazz and music for non-western instruments. Macy's music often integrates a variety of historical and ethnic stylistic influences. His compositions have been performed throughout the U.S. and Europe, and are recorded on the INNOVA, DAPHENO, ACCESS RECORDS and aca Digital Recordings (University of Georgia). His woodwind quintets have received special recognition at the National Symposia for New Woodwind Quintet Music held at the University of Georgia.

Macy's composition teachers have included William Bergsma, Robert Suderberg, and Donal Michalsky. Macy is professor of music at Macalester College where he has taught since 1978. He has an active interest in non-western music and is artistic director, conductor and performer with the Minnesota Chinese Music Ensemble.



Daniel McCarthy "Daniel McCarthy's music," writes David Patrick Steams of U.S.A. Today, "is intriguing, inviting, shimmering ... with the vigor of pop music and the spontaneity of jazz." The Music Connoisseur proclaims his music to be " ... contemporary in the best sense of the word" and 20th Century Music Magazine describes his work as "sassy and foreboding - refreshing and kicky. It's called style."

McCarthy's music has become standard repertoire for college, professional, and high school musicians throughout the world. Recent performances include The Taiwan Symphony Orchestra (world tour, 2001), The Amarillo Symphony Orchestra, Quorum Ensemble, Arianna Quartet, Slovak Radio Symphony Orchestra, University of North Texas Wind Symphony, and Cleveland Orchestra bassoonist Barrick Stees.

He has received awards from the International New Music Consortium, NEA, Indiana Arts Commission, Ohio Arts Council, Mary Anderson Center for the Arts, Arts Midwest, the National and Ohio Federation of Music Clubs (three awards), Indiana State University Arts Endowment (five awards), The University of Akron, T.U.B.A., and the National Association of Jazz Educators. He was nominated recently by the Michigan State University Bands for the Pulitzer Prize in Music and the Grawemeyer Award in Composition.

McCarthy chairs the Composition and Theory Section at The University of Akron School of Music where he is founder and director of the American New Arts Festival. He was previously Theodore Dreiser Distinguished Creative Professor in Composition at Indiana State University, where he directed the Contemporary Music Festival with the Louisville Orchestra. He is founder of the Midwest Composers' Forum and president of the Cleveland Composers Guild. During the summer he is Instructor of Composition, Theory, and Computer Music at the Interlochen Arts Camp and music director and conductor of the Interlochen Festival Orchestra.

Neil McKay Born in Canada, Neil McKay was educated at the University of Western Ontario and the Eastman School of Music where he studied with Bernard Rogers, Howard Hanson, and Alan Hovhaness. Early work as arranger-performer in Canadian radio was followed by American citizenship and a teaching career at the University of Wisconsin and the University of Hawaii where he is now Professor Emeritus.

His compositions include works for orchestra and band, chamber music, choral music and opera. Many works written since 1965 reflect McKay's interest in the ethnic music of the Pacific Basin and are published, recorded, and heard internationally. Recent honors include a composer residency

at the Piccolo Spoleto Festival in Charleston, SC in May 1997 and an Individual Artist Fellowship Award from the Hawaii State Foundation on Culture and the Arts in July 1997.

Larisa Montanaro Larisa Montanaro, born in 1972, is originally from northern New York, but is currently a doctoral student at the University of Texas at Austin. She has studied electronic composition with Paul Steinberg, Russell Pinkston, Mark Schultz, and Stephen Montague. Her first compositions were composed using analog equipment and cut-and splice techniques. As a result, her new music retains the technique of musique concrete, but employs digital technology. In addition to being a composer, she is a singer specializing in New Music and song/vocal literature from the 12th through the 19th centuries. She spent this past summer in Seattle, where she premiered an interactive video/sound installation in collaboration with artist and videographer Alicia Berger.

Katherine O'Connell Katherine O'Connell was born in Santa Barbara, California, in 1971. While in high school, she studied with Edward Applebaum at UC Santa Barbara. In 1993 she received a B.M. in composition from Shepherd School of Music at Rice University, where she studied with Paul Cooper and Samuel Jones. In 1996 she completed her M.M. in composition at the University of Kentucky, where she worked with Joseph Baber. She returned to UK in 1999, where she received a fellowship to complete a DMA in composition. She teaches at Cleveland State University and is vice president of publicity for the Cleveland Composer's Guild.

This past June, 0 'Connell 's Turner Seascapes was chosen as part of a national search to be read and recorded by the Women's Philharmonic in San Francisco. Other activities this year include the premiere of a choral work commissioned by the New Haven Oratorio Chorale, the performance of a dance piece at New York University and the premiere of a sextet for wind and piano commissioned by the Prism Chamber Music Society in Chicago. Last summer she was invited to participate at the Ennis Opera workshop in Ireland, where her opera excerpt from Waiting for Godot was performed. She is working on a ballet for chamber orchestra, to be performed at the Sandusky Festival of New Music in Ohio, where she was composer-in-residence in May 2000.

Mark Phillips Mark Phillips won the 1988 Barlow International Competition. Leonard Slatkin has conducted his music with the St. Louis Symphony Orchestra, the Cleveland Orchestra, and the NHK Symphony Orchestra of Japan. Other significant performances of his music include the Chautauqua Symphony Orchestra, the Kansas City Symphony, the San Antonio Symphony Orchestra, the Columbus Symphony Orchestra,

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the Lark Quartet, and the Pittsburgh New Music Ensemble. Phillips has received awards from the Ohio Arts Council, the Indiana Arts Commission, ASCAP, Meet the Composer, Ohio University, Indiana University, the Delius Composition Competition, and the National Flute Society.

Phillips, a faculty member at the Ohio University School of Music since 1984, is serving a five-year term as a presidential research scholar. From 1982-84 he was a Visiting Instructor of composition at the Indiana University School of Music. Born in Philadelphia, he holds a B.M. from West Virginia University and a M.M. and D.M. from Indiana University.

Ron Parks Ron Parks has composed acoustic and electronic music for over 20 years. He holds a B.A. in composition from the North Carolina School of the Arts, an M.M. in composition from the University of Florida, and a Ph.D. from the University at Buffalo. His compositions include large orchestral works, chamber music, choral music, electroacoustic music, and interactive computer music. He is lecturer in composition, theory, and computer music at Winthrop University.

His compositions and papers have been selected for inclusion at numerous national and international festivals and conferences including the Florida Electroacoustic Music Festival, the Society for Electroacoustic Music in the United States (SEAMUS) conference, the International Computer Music Conference (ICMC), The Two-Sided Triangle concert series in Essen Germany, the Next Wave festival in Melbourne Australia, the Earfest and Computer Music at Stony Brook series at SUNY Stony Brook, the Unbalanced Connection concerts at the University of Florida, the Timara Faculty and guest concert series at Oberlin College.

He has received two Giannini Scholarships for Music Composition at the North Carolina School of the Arts, the Chancellor's Award for Excellence at the North Carolina School of the Arts, three Graeffe Memorial Scholarships for Composition at the University of Florida, and the University of Florida's 1994 Presidential Recognition Award. He was commissioned by the North Carolina School of the Arts' International Music Program to write a work for the 1988 European tour and was awarded a grant from the Semans Creative Arts Foundation for the composition of an orchestral work which was premiered by the North Carolina School of the Arts Orchestra. He received a Meet the Composer grant and in 1995 was elected to the Gamma Zeta Chapter of Pi Kappa Lambda, a national honor society for musicians.

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Nikola Resanovic Born in Derby, England in 1955, Nikola Resanovic is of Serbian heritage and has lived in the United States as a naturalized citizen since 1966. He is a graduate of The University of Akron School of Music and the Cleveland Institute of Music, where he studied composition with Donald Erb. His instrumental compositions and arrangements have been performed by the Toledo Symphony, Greater-Palm Beach Symphony, Mansfield Symphony, Lima Symphony, Cleveland Orchestra Youth Orchestra, Akron Youth Symphony, University of Akron Symphony, Cleveland Orchestra Trio, Coryton Ensemble, Solaris Wind Quintet, Paragon Brass Quintet, and Chicago Brass Choir. His music been performed at Interlochen, Tanglewood, BostonSymphony Hall, Severance Hall, Blossom Music Center, and in Great Britain, Holland, Germany, Poland, Portugal, Finland, Sweden, China and Israel.

Resanovic has worked extensively with the sacred chant of the Serbian Orthodox Church and has composed several volumes of choral liturgical music based on Serbian chant. His secular choral rhapsodies - featuring the music of the former Yugoslavia- have been performed by Serbian choral societies throughout the United States and Canada.

Resanovic is a member of BMI, the Society for Composers Inc. and the Cleveland Composers Guild. He is music professor at The University of Akron where he implemented and directs the School's newly relocated and renovated Electronic Music Facility.

Andrew Rindfleisch Andrew Rindfleisch is an internationally active composer, conductor, and pianist who has produced dozens of works for the concert hall. He is the 1997-98 recipient of the Rome Prize and in 1996 received a John Simon Guggenheim Foundation Fellowship. He received the 2001 Aaron Copland Award and the 2000 Koussevitzky Foundation Commission from the Library of Congress. He holds degrees from the University of Wisconsin at Madison (B.M.), the New England Conservatory of Music (M.M.) and Harvard University (Ph.D.) and is composition professor at Cleveland State University.

An active conductor, Rindfleisch is founder and music director of Boston's contemporary American music ensemble, Phantom Arts. He is associate conductor of the Cleveland Chamber Symphony, an orchestral ensemble dedicated solely to contemporary literature, and music director of the New Music Associates, a concert series in Cleveland devoted to presenting contemporary chamber music literature.


Composer Biographies Jonathan Saggau Jonathan Saggau attends the New England Conservatory in Boston where he studies composition with Robert Cogan. He was recently awarded the BMI Student Composer Award, a young composer award drawing applicants from throughout the western hemisphere. He holds a B.M. in composition from Iowa State University and is a former member of the board of directors of the Iowa Composers Forum. He recently was commissioned by Iowa State University to write Dismantling the Silence to mark the installation of that University's new president. Future plans include finishing a concerto for percussion, clarinet and chamber winds with piano for the Soria Chamber Players of Boston.

James Paul Sain James Paul Sain, a native of San Diego, California, is associate professor of music at the University of Florida, where he teaches acoustic and electroacoustic music composition as well as music theory. His duties include directing the internationally acclaimed annual Florida Electroacoustic Music Festival. His dedication to the design and implementation of interdisciplinary projects lead to a cooperative project with colleagues in dance and electrical engineering aimed toward developing an alternative MIDI controller for dance. This project culminated with the creation of the MIDI Movement Module, M3, developed for Ender's Game and nominated by the editors of Discover Magazine for their 1998 Award for Technological Innovation in Sound. In the fall of 1993, Sain was in residence at the Swedish Royal Academy of Music as part of the SwedishAmerican Music Exchange. Most recently he was in residence at the Sonoimagenes 2001 festival hosted by the University of Lanus in Buenos Aires, Argentina.

His works have been featured at the Society of Composers, Inc., Society for Electro-Acoustic Music in the United States, College Music Society, American Guild of Organists, T.U.B.A., International Clarinet Association, World Saxophone Congress, North American Saxophone Alliance, Southeastern Composer's League, Southeast Hom Workshop, and on the Computer Music at Clark [U.S.A.], Discoveries [U.K.], and Sonoimagenes [Argentina] concert series. Sain served as Board Member in Composition for the College Music Society Southern Chapter. He is an elected member of the American Composers Alliance and he currently sits on the Executive Committee for the Society of Composers Inc. Sain's composition Dystopia for saxophone and piano is on Volume 14 of the Society of Composers Inc. CD Series. His music is published by Brazinmusikanta Publications of Amityville, New York.

Kurt Sander Kurt Sander, born in 1969, is assistant professor of music at Indiana University Southeast and founder of the Resolution 2000 New Music Festival. His works have been played by the Cleveland Chamber Symphony, Synchronia Ensemble, The New Music Associates, Schola Cantorum (St. Peter's in the Loop), and have been read by the Lydian Quartet, the Quintet of the Americas, and the Cincinnati Philharmonia. He has also been awarded first prize in the Ninth Annual Young Composers Competition at Austin Peay State University, first prize in the 2000 Illiana Choral Composition Competition, and honorable mention in the 1998 ASCAP Morton Gould Grants for Young Composers Competition and the 1996 Utah Composers Guild Composition Contest. His music has appeared on two Young and Emerging Composers Concerts by the Cleveland Chamber Symphony directed by Edwin London, at the Ear Talk '96 Composers Symposium in Greece, at the 1993 June-in-Buffalo New Music Festival, the North by Northwestern New Music Festival, and on WGUC's New Music Spotlight (Cincinnati). His music is published by Lawson-Gould and Media Press.

Felecia Sandler Felicia Sandler 's recent commissions include Rosie the Riveter for the University of Michigan Symphony band, commissioned by H.R. Reynolds, Ring Out Wild Bells! for the University of Michigan Chamber Chorus, a theater score The Nightingale for the Wild Swan Theater, an electronic music score Inside/Out for Robin Wilson (founding member of the Urban Bush women) for solo dance, and a ballet score for full orchestra Seven for the Emily Berry Dance Co. This last work was one of seven works selected by the American Composers Orchestra for the ensemble's 1999 Whitaker New Music Reading Sessions in New York. Her song cycle Songs of Love, Life and Death was performed at the I Ith Congress of the International Alliance of Women In Music, in London. Her choral music has been performed in Canada and Croatia as well as extensively in the United States. Sandler's choral music is published with E.C. Schirmer Publishing and Mark Foster Music Company. She earned the Ph.D. in composition and theory in 2001 from the University of Michigan.

Phillip Schroeder Born in 1956 in Northern California, Phillip Schroeder has composed music for orchestra, wind ensemble, liveelectronics, chamber ensembles, choir, instrumental solos, and voice. He has appeared as a featured guest composer, lecturer, and performer at festivals, conferences, and universities, including the Bowling Green State University New Music and Art Festival, SEAMUS and SCI Conferences, and numerous schools across the United States. He has held residencies at the MacDowell Colony, Palenville Interarts Colony, Millay Colony, and Charles Ives Center for American Music. His awards include the Delius Composition Contest,

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Rhode Island Philharmonic Composers Award, and New Music for Young Ensembles Competition.

His music has been released by Moon of Hope Publications, Recital Publications and Boca! Music. Recordings include Turning to the Center, music for baritone, clarinet and keyboards recently released on Capstone Records, Lux aeterna, included on a Capstone Records CD through the Society of Composers, Inc. (CPS-8674), and two recordings with Vienna Modem Masters and the Moravian Philharmonic: Salutations for Orchestra (VMM-3045) and Fantasy for Clarinet and Chamber Orchestra (VMM-3048). He is on the faculty at Henderson State University, teaching composition, theory and aural skills.

David Smooke David Smooke has received a MacDowell Colony Fellowship, the William Schuman Prize for most outstanding score in the BMI Young Composers Competition, and a first-level prize in the National Association of Composers USA Student Composer Competition; and scholarships from June In Buffalo and the Bowdoin Summer Music Festival. His music has been performed by the University of Chicago Contemporary Chamber Players, the University of Iowa Center for New Music, the Pacifica String Quartet, eighth blackbird, and pianist Amy Dissanayake, among others.

He teaches music history and theory at the College of Performing Arts of Roosevelt University, and music composition and theory at the Merit School of Music. He has taught at the University of Chicago, the Birch Creek Music Perforrnance Center (where he was also composer in residence) and the Sun Valley Summer Symphony Workshops; and has delivered public lectures for, among others, the Chicago Symphony Orchestra and the Civic Orchestra of Chicago. He received an M.M. degree from the Peabody Conservatory and a B.A. magna cum laude from the University of Pennsylvania, and is currently in Advanced Residency in the Ph.D. program at the University of Chicago, where he received the Century Fellowship, the highest fellowship offered by the Humanities Division.

Bruce J. Taub Bruce J. Taub was born in New York City in 1948. He began studying the bassoon at an early age with David Manchester of the Metropolitan Opera Orchestra. He was an active performer as a member of the Composers Ensemble in New York. He has studied composition with Mario Davidovsky, Vladimir Ussachevsky, Jack Beeson, Chou Wen-chung and Charles Dodge at Columbia University, where he was one of the first two recipients of the DMA in 1974. He also studied Indian Classical Music with Ravi Shankar.

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He has received the Marc Brunswick Award in Musical Composition, Columbia University Fellow of the Faculty, National Defense Education Act Fellowship, the Joseph H. Beams Prize in Music, BMI Award, National Endowment for the Arts Fellowship to the 1975 Composers Conference in Johnson, Vermont and the 1985 Composers Conference in Wellesley, Massachusetts, Commission from the Criterion Foundation, Fellowship from the National Endowment for the Arts, Fellowship to the Charles Ives Center for American Music, Friends of Harvey Gaul Composition Contest, Finalist, the 1987 Kucyna International Composition Contest, a commission from Sigma Alpha Iota, and commissions from the Cleveland Chamber Symphony, the Fromm Foundation, the Empyrean Ensemble, Ensemble 21, Trio Maurice Durufle, and the Stony Brook Contemporary Chamber Players.

From 1974-76 he served as the Chairman of the Executive Committee of the American Society of University Composers and from 1977 through the present he has been editor of the SCI (A.S.U.C.) Journal of Music Scores. Taub has taught at the City College of the City University of New York and at Columbia University. His music is published by Music for Percussion and C.F. Peters Corporation.

Nicholas Underhill Composer and pianist Nicholas Underhill studied composition at Hampshire College, Amherst College, and the New England Conservatory of Music. His composition teachers include William Thomas McKinley, Lewis Spratlan, Donald Wheelock and James McElwaine, as well as consultations with Donald Erb, Margaret Brouwer, and Dennis Eberhard. He has been commissioned by the Cleveland Orchestra, the Ohio Music Teachers Association, The Fortnightly Musical Club, The Cleveland Flute Society, Mary Kay Fink, Takako Masame, and Richard King.

Long known in Boston and New York City as a champion of new music for the piano, he has performed solo recitals in Carnegie Recital Hall and Merkin concert Hall. He has taught piano at Mount Union College and Hiram College, and has performed with the Cleveland Ballet Orchestra, the Cleveland Chamber Symphony, and the Cleveland Chamber Collective.

Dolores White Dolores White lives in East Cleveland and is an adjunct professor of music at Kent State University's regional campuses. She has received several grants from ASCAP and the Bascom Little Foundation. She is a member of the American Music Center, ASCAP, Delta Sigma Theta, The International Alliance for Women in Music, Fortnightly Musical Club, Oberlin Alumni Club, and OMTA. She has done research on Afro-Cuban Music and Culture and given presentations on the topic at John Carroll University,



Cuyahoga Community College, and Cleveland State University. She belongs to the Shaker Heights Interest Group that has sponsored and provided scholarships to the lnterlochen Arts Center in Interlochen, Michigan, for high school and elementary students for 15 years. In June 2001 the Dallas Symphony performed her composition Celebration which had been performed earlier by the Detroit Symphony in recognition of her being selected as a finalist in the Detroit Symphony Composer's Competition. She has several compositions on compact discs on the Albany label. The latest CD (1998) is titled, New American Scene II - Five Distinguished African American Composers, performed by the Cleveland Chamber Symphony with Edwin London conducting. In May 2001 she attended the Inter-American Conference on Black Music Research sponsored by the Center for Black Music Research and the 27th annual Conference of the Society for American Music in Port of Spain, Trinidad and Tobago. Three of her art songs will be included in An Anthology of Art Songs by 20th Century African Americans Composers published by Southern Illinois University, Carbondale Press, 2002-2003.

Tao Yu Tao Yu was born in 1981 in Beijing, China. She is a thirdyear student in the composition department of the China Conservatory of Music. As the top student of the entrance examination, She studied at the China Conservatory of Music from 1996 to 1999. Her primary composition teachers have been Professor Wang Ning, Professor Shi Wan-chun, and Professor Yao Heng-Ju. She has sung with the chorus of the China Conservatory of Music. She has received the third prize in a piano competition held by the Haidian district of Beijing and now teaches the piano at the Golden Sun Conservatory.

During 2000, her song Rose for mezzo-soprano and piano was awarded the second prize for Artistic Songs Competition hold by China Conservatory of Music. Her music has also received an award from the National Universities Original Songs Competition. Other notable performances of her music, beside Beijing, include venues in Korea and the International Contemporary Music Festival held in Tianjin.

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Performer Biographies

Gustavo Aguilar, percussion Gustavo Aguilar, percussionist, composer, and improviser, has been active in the creative music scene for almost a decade. His commitment to combining pre-composed (notated) and present composed (improvised) musical elements has earned him the reputation as an "intuitive, methodical mystic." His music has been called "beautiful, introspective and passionate," "thought-provoking and thoroughly fresh."

A Brownsville, Texas native, Aguilar has appeared both as a solo performer and group collaborator in Australia, Austria, Croatia, Macedonia, Yugoslavia, and South Korea, as well as throughout the United States, performing improvisational compositions and works written exclusively for him. He has performed and/or recorded with such creative artists as John Bergamo, Roy Campbell, Nels Cline, Vinny Golia, Charlie Haden, Kang Tae Hwan, Park Jae Chun, Robert Reigle, and Wadada Leo Smith.

He has been on faculty at Del Mar College/Texas A&M Corpus Christi, Korea National University of the Arts, and The University of Akron, and has given master classes at universities across the United States and abroad. He is composer-in-residence with GroundWorks Dancetheater of Cleveland, Ohio - a position he has held since 1997, and is a graduate of The University of Akron under the tutelage of Larry Snider.

Heidi Albert, cello A native of Texas, Heidi Albert received her M.M. from New England Conservatory of Music, where she was the assistant to David Wells. An avid chamber musician, Albert has studied chamber music with Eugene Lehner, Colin Carr, Patricia Zander, and the Orford String Quartet. In 1985 she was principal cellist with the A.I.M.S. Orchestra in Graz, Austria.

Albert is principal cellist with the Cleveland Chamber Symphony, and appears often with the Cleveland Pops Orchestra, the Akron Symphony Orchestra, and many other groups throughout northeast Ohio. she has been a cello faculty member of Westminster College in New Wilmington, Pennsylvania; Hiram College in Hiram, Ohio; and the Portage String Academy in Kent, Ohio.

Roger Braun, percussion Roger Braun has made recordings and performed with such artists as Bob Mintzer, Rosemary Clooney, Billy Taylor, Kathleen Battle, Keiko Abe, Lyle Mays, Della Reese, and with Broadway touring shows Beauty and the Beast, Titanic, and Ragtime. His orchestral experience includes co-principal percussion of the Lansing Symphony and the Central Wisconsin Symphony, as well as performances with the Flint, Ann Arbor, and Saginaw Symphonies. He is an active

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performer of African, Afro-Cuban, and Brazilian music and a founding member of the music and dance ensemble, Biakuye.

Braun joined the faculty of Ohio University in 2000. Prior teaching appointments include the University of MichiganFlint, Albion College, Interlochen Arts Camp, and the University of Wisconsin-Stevens Point. He earned his bachelor's degree from the University of Michigan and his master's degree from the Eastman School of Music.

Kristina Belisle, clarinet Belisle has performed as soloist with the Houston Symphony, the Flint Symphony, and throughout Arkansas. She has won numerous awards for her performances including the 1993 William C. Byrd National Young Artist Award for Winds and Brass and the 1992 Ima Hogg National Young Artist Award. As a chamber musician, she has performed with the Renaud Chamber Music Senes, the Fontana Festival of Music and Art, and the Norfolk and Bowdoin Chamber Music Festivals. As a founding member of Southspoon Winds, she received top prizes in the Fishoff and Yellow Springs Competitions and was a finalist in the 1997 Concert Artist Guild Competition. An assistant professor at The University of Akron, she previously was on the faculty of the University of Central Arkansas. Belisle holds a DMA from Michigan State University, where she studied with Elsa Ludewig-Verdehr.

Andrew Carlson, violin Andrew Carlson has performed as a soloist and as a chamber musician throughout the United States. Of his 1998 Merkin Hall performance the New York Times wrote "Mr. Carlson is a demon fiddler and his performance here was serious and concentrated." He has earned both a M.M. and B.Mus. from the University of Georgia and a D.M.A. in performance and pedagogy from the University of Iowa. In addition to his experience as a classical violinist, Carlson began learning traditional fiddle music from his grandfather at age 5. He has won numerous fiddle contests and has twice been named the Georgia State Champion Fiddler and was named the 9000 Ohio Grand Champion fiddler. His book entitled A Guide to American Fiddling was recently released by Mel Bay Publishers. As a studio musician and string arranger he has recorded for companies including Warner Bros., Atlantic, Elektra, Geffen, Polydor, and Capricorn. His most recent major label appearance is with the band "R.E.M."

An active teacher, Carlson has served as a faculty member at Morehead State University and the Preucil School of Music. An assistant professor at Denison University in Granville, Ohio, he teaches violin, music history, and directs the orchestra.



Winston Choi, piano Pianist Winston Choi is a student of Ursula Oppens at Northwestern University. He obtained both his master's and bachelor's degrees at Indiana University, studying with Menahem Pressler. Early piano studies began in Toronto, Canada, where he was in the Young Performer's Program at the Royal Conservatory of Music of Toronto.

Most recently, he won the prize of best soloist in the 2000 International Krystof Penderecki Contemporary Chamber Music Competition. He is one of the few two-time winners of Indiana University's Piano Concerto Competition, and has also won the grand-prize of the 2000 Indianapolis Matinee Musicale, the 2000 Kingsville Piano Concerto Competition, and the 1999 Crane Festival of New Music Solo Performer Competition. New York audiences first heard him when he played with flutist Ken Chia in their New York debut at Carnegie-Weill Recital Hall. He is also actively involved in the performances of contemporary music, playing in numerous new music festivals and conferences. In April of 1999, he performed Post-Partitions by Milton Babbitt for the composer's induction into the American Classical Music Hall of Fame in Cincinnati, Ohio. He has premiered dozens of new works and has had numerous works dedicated to him. Composers he has worked with include Leslie Bassett, P.Q. Phan, Sven-David Sandstrom, and Elliott Carter.

Coren Estrin Kleve, piano Coren Estrin Kleve was taught by her father, the well-known New York City pianist Mortin Estrin, and later by Eunice Podis at the Cleveland Institute of Music. After earning her degree, she made her home in Bay Village where she teaches today. Kleve is a frequent performer of music written by Cleveland and Akron composers in concerts at the Cleveland Music School Settlement, the Cleveland Institute, Baldwin Wallace Conservatory, Cuyahoga Community College, and Lorain Community College where she has also taught.

Kleve 's deep commitment to teaching young people has sparked her involvement with the Ohio Federation of Music Clubs, both as President of the West Side Junior Fortnightly Musical Club and as a coordinator of the anuual Junior Festival. Kleve may be heard on two compact disks: Frederick Koch's "Contrasts" (Dimension Records) and "Riverside Academy of Music presents Frederick Koch" (Trumedia Records Ltd.)

Paul Dickinson, piano See Composer Biographies.

Amy Briggs Dissanayake, piano Amy Briggs Dissanayake served as the principal pianist of the Civic Orchestra of Chicago for six years, and has performed with the Chicago Symphony Orchestra as an extra keyboardist. Her awards include a stipend prize at the 2000 Darmstadt Internationale Fereinkurse fiir Neue Musik, first prizes in the American Opera Society of Chicago competition, the Union League and Civic Arts Foundation piano competition, the Farwell Competition, and the Rose Fay Thomas Competition, which led to a solo performance in Orchestra Hall, Chicago. Dissanayake has also been a prizewinner in the Joanna Hodges International Piano Competition and the Frinna Awerbuch International Piano Competition, and made her New York City recital debut at the Donnell Library in 1992.

While Dissanayake's repertoire ranges from Baroque to contemporary, she is especially interested in performing compositions of living composers. She appears regularly on the Chicago Symphony's MusicNOW series and on Chicago's classical music radio station, WFMT. She has taught on the faculties of the Merit Music School, St. Xavier University, and the DePaul University Community Music Program. She has studied with Chicago Symphony Orchestra pianist Mary Sauer, and most recently with Ursula Oppens at Northwestern University, where she earned a doctorate in piano performance in 1999. The French newspaper La Republique du Centre called her performance of Frederic Rzewski's Down by the Riverside, "ascetique et sensuelle." The Chicago Tribune praised her "dashing virtuosity," and the Chicago Sun Times called her a "ferociously talented pianist."

Bridgett Crocker Emerson, flute Flutist Bridgett Crocker Emerson, a native of Northern Virginia, received a B.M. in flute performance from Shenandoah Conservatory where she studied with Francis Lapp Averitt. Emerson is currently working on her thesis entitled "Analysis in Performance: An Exploration through Lou Harrison's First Concerto for Flute and Percussion," the completion of which will fulfill the requirements for two M.M. degrees (theory and flute) from the Bowling Green State University. While in residence at Bowling Green, Emerson studied flute with Judith Bentley, voice with Myra Merritt, and served as teaching assistant in the theory department. Emerson presently works for WCLV radio, and resides in Cleveland Heights where she maintains a private studio.

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Diane Fiocca, flute Diane Fiocca is sssociate professor of music at Kent State University, where she performs with the Kent Wind Quintet. She performs in solo and chamber settings at the University and for series such as Music from Stan Hywet, Tuesday Music Club, and Kent/Blossom Music. She served as principal flute for the Youngstown Symphony Orchestra and has also performed with the Akron, Canton and Indianapolis symphony orchestras. Fiocca was a winner in the 1999 National Flute Association's Convention Performer's Competition and was a finalist in the Great Lakes Performing Artists Competition in 2001. She has served as artist/faculty for Kent/Blossom Music and the Lutheran Summer Music Program, and has presented master classes for the Ohio Music Teachers Association. Before her appointment at Kent, she held teaching positions at Kenyon College and Northeastern Missouri State University, and later engaged in doctoral study at Indiana University (Bloomington). Fiocca holds degrees from the University of Cincinnati College Conservatory of Music and the Capital University Conservatory of Music .

Mary Kay Ferguson, flute Mary Kay Ferguson is the principal flutist with the Cleveland Pops Orchestra, and plays flute and piccolo in the Cleveland Chamber Symphony, the Akron Symphony, and the New Hampshire Music Festival Orchestra. She was a prize winner in the NFA Piccolo Artist Competition and the Tuesday Musical Club Competition. Her music festival performances include the Grand Teton Festival, the Pierre Monteux Domaine School, and the Odenwald Festspiele in Germany. Ferguson is a graduate of the Cincinnati College-Conservatory of Music and The University of Akron, where she teaches piccolo. Her recordings are on the Tel Arc, Albany, and Hyperion labels, among others. She is the founder of the Greater Cleveland Flute Society.

Michael Gallope, piano Michael Gallope of Milwaukee, Wisconsin, is a strong promoter of new music, both as a soloist and a collaborator. His repertoire ranges from the works of Boulez and Babbitt to Reich, Ligeti, and George Crumb. As a student at the Oberlin Conservatory, he has premiered more than 20 works. He has performed twice as soloist with the Oberlin Wind Ensemble, and performs as a member of the Oberlin Contemporary Music Ensemble. He has performed at the Aki New Music Festival, Krannert Center for the Performing Arts, Wisconsin Conservatory of Music, and Cleveland Museum of Art. He is organizing a John Cage festival in collaboration with Frances-Marie Vitti, The Oberlin Contemporary Music Ensemble, Deborah Campana, and Stephen Drury to take place in May 2002. In 2003 he will perform portions of Michael Finnissy's History of Photography in Sound.

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Nelson Harper, piano Nelson Harper has appeared at the prestigious Grand Teton Festival, and has been featured in numerous live broadcast recitals from Chicago's Fine Arts Station, WFMT. He has performed in a duo with violinist Michael Davis for over 20 years, with concerts throughout the U.S and in London's Wigmore Hall. Other colleagues with whom he has performed include flutists Donald Peck and Jeanne Baxtresser, principals of the Chicago Orchestra and New York Philharmonic respectively; the Atlanta Symphony's principal trumpeter James Thompson; violinists Yfrah Neaman and Max Rostal, and many others. He has given several works their American or world premieres, including music by Wilfred Josephs, William Mathias and Faye Ellen Silverman. He is featured on seven compact discs on the Koch International, Orion and Vienna Modem Masters labels. Harper serves on the piano faculty of Denison University, and was formerly on the faculty of Ohio State University where he was the recipient of the Distinguished Teaching Award in the School of Music.

Mayumi Kikuchi, piano Mayumi Kikuchi hails originally from Hamamatsu, Japan, home of the Yamaha and Kawai piano companies. She attended Chuo University where she majored in English literature. After graduating, she decided to study piano at Benedictine University in Lisle, Illinois, under a two-year scholarship. Kikuchi attended the University of Illinois at Urbana-Champaign for graduate study. In 1999, she received a D.M.A. in piano performance from the School of Music at the University of Illinois. She has studied under Ian Hobson, William Browning, Fr. John Palmer, and Noriko Hikita. She holds a visiting professor position in the School of Music at The University of Akron. Prior to arriving in Akron, she taught at the University of Illinois, the University of Massachusetts at Boston, and Assumption College.

Amy Laing, cello Originally from British Columbia Canada, Amy Laing earned her bachelor's degree from the HARID conservatory in Florida and her master's degree from the Cleveland Institute of Music, where she studied with Cleveland Orchestra principal cellist Stephen Geber. She has attended various summer festivals, including Spoleto in Italy, Spoleto USA in Charleston, the National Orchestral Institute, and the Banff Festival of the Arts. She is a member of the Canton and Akron Symphony Orchestras, the Erie Philharmonic in Pennsylvania, and the Cleveland Chamber Symphony. She also has played for the Aki Festival of New Music presented by the Cleveland Museum of Art and in April she will perform in the New Music Associates Series at Cleveland State University.



Jeffrey Leigh, violin Studies on both the piano and violin were early interests for Jeffrey Leigh, while other instruments (mandolin, harmonica and ronroco), were later added to his palette. A graduate of Indiana University with a B.M. in performance and a minor in Spanish, Leigh is currently a double masters degree candidate for music composition and violin performance.

Takako Masame, violin Takako Masame has been a member of The Cleveland Orchestra since 1985 and holds the Elizabeth and Leslie Kondorossy Chair. Before corning to Cleveland she was a member of the Indianapolis Symphony Orchestra, where she appeared as soloist for the Kurt Weill Violin Concerto. She is a founding member since 1985 of the Amici String Quartet. A native of Tokyo, Masame attended the Toho Gakuen School of Music there where she received the B.M. degree. She earned an Artist Diploma from The New England Conservatory of Music.

Alexandra Mascolo-David, piano Portuguese pianist Alexandra Mascolo-David has performed and led workshops and master classes in Europe and the Americas. She has given solo recitals in Brazil, Italy, Portugal, Poland, and in the United States. She has appeared as a soloist with orchestras in Peru and the USA, and has completed five years of engagements with the Orpheus Piano Trio of Central Michigan University. Her performances of Mignone 's piano music, especially of his Valsas Brasileiras (Brazilian Waltzes), have been widely praised.

Mascolo-David holds a piano diploma from the Oporto Conservatory of Music, Portugal, and the D.M.A. in piano from the University of Kansas, where her teacher was Sequeira Costa. She has served on the piano faculties of Iowa State University and of the Interlochen Arts Camp. She teaches piano at Central Michigan University in Mount Pleasant.

Eric Moe, piano Eric Moe has received commissions from the Fromm Foundation, the Koussevitzky Foundation, and several distinguished ensembles and soloists. His diverse catalog embraces works for a wide range of forces, including music for chamber and orchestral ensembles, music for the stage, and electroacoustic music. The Pittsburgh Symphony Orchestra premiered his orchestral composition, Mosaika, in early 1998. As a pianist, he has received critical acclaim for his performances of new music in Rome, New York, Pittsburgh, Boston, and San Francisco. Recordings of Eric Moe as composer and pianist can be found on the CRI, Centaur, and Koch International labels.

Lisa Ford Moulton, dance Lisa Ford Moulton performed, taught, and toured extensively with the Ririe-Woodbury Dance Company in Salt Lake City from 1990 to 1994. She has also danced as a guest artist with SB Dance, Marina Harris, Contemporary Danceworks, and Loose Gravel Dance Company. Her choreography has been performed at the Congress on Research in Dance, OhioDance's Choreographers' Showcase, the American College Dance Festival, Repertory Dance Theatre's Experiments in the Black Box, and by the Ririe-Woodbury Dance Company. Moulton received Individual Artist Fellowship Awards from the Ohio Arts Council in 1997 and 1999. Moulton joined the faculty of the Ohio University School of Dance in 1995. She earned a B.A. from Brigham Young University in modern dance performance and a M.F.A. from the University of Utah.

Andrew Pongracz, percussion Andrew Pongracz is principal percussionist of the Cleveland Chamber Symphony and the Penn's Woods Festival Orchestra. He has played with the Youngstown and Mansfield symphonies and the Erie Philharmonic, as well as with Charo, Aretha Franklin, Yes, and Dennis De Young, among others. He holds degrees from Hiram College and Cleveland State University and is on the music faculty at Hiram College.

Rebecca Rischin, clarinet Rebecca Rischin, winner of first place at the First International Clarinet Competition in Cracow, Poland, has performed with orchestras and at international clarinet festivals in England, France, Poland and the United States. At the age of 17 she was selected by clarinetist Richard Stoltzman to be the featured soloist at the 1985 San Francisco Mayor's Command Performance. Rischin is assistant professor of clarinet and chair of the woodwind division at Ohio University. She holds the B.A., cum laude, and M.M. degrees from Yale University, a doctorate from Florida State University, and a performance diploma from the Ecole Normale de Musique de Paris.

Richard Shanklin, saxophone Richard Shanklin received a bachelor's degree in music education from Illinois State University in 1968 and a master's degree in music education from the University of North Texas in 1974. Shanklin began teaching at The University of Akron in 1982, where he has taught classical and jazz saxophone and directed the Vocal Jazz Ensemble (which was invited to perform at the OMEA State Convention and at the 1983 International Association of Jazz Educators national convention). He has soloed with the Cleveland Orchestra in a concert conducted by John Williams. He is a published composer and arranger in the fields of jazz ensemble, vocal jazz ensemble, and flute choir music. His compositions and arrangements for jazz ensemble and vocal jazz ensemble have been published by C.L. Barnhouse Co. and by the University of Northern Colorado Jazz Press

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Sally Sherwin, flute/piccolo Before moving to Cleveland in 1997, Sally Sherwin was solo piccoloist of the Colorado (formerly Denver) Symphony Orchestra and was featured soloist with the orchestra on numerous occasions. In 1998, Music Director Christoph von Dohnanyi appointed Sherwin to the one-year position of acting second flutist with the Cleveland Orchestra, and she continues to be invited to perform with them. Since 1999, she held the post of assistant principal flute/piccolo of the Grant Park Symphony Orchestra of Chicago and in 2000 was the orchestra's featured soloist in a live broadcast performance on National Public Radio. Sherwin has been on the music faculties at the University of Denver, the University of Northern Colorado, and Indiana University (Bloomington), as well as adjudicator for the New York State School Music Association, the Greater Cleveland Flute Society, and the National Flute

Laura Silverman, piano Laura Silverman is coordinator and director of accompanying at The University of Akron. She received both her B.M. and M.M. degrees at The Cleveland Institute of Music, where she studied with Vitya Vronsky Babin. She also had additional studies with Paul Schenly and Grant Johanessen at CIM, and Lee Luvisi at The Aspen Music Festival. Silverman was a prize winner in both The Robert Casadesus International Piano Competition and the JS Bach International Piano Competition. She was selected by The United State Information Agency to be an artistic ambassador for the U.S.; she toured South America and Australia. Most recently, she appeared as guest artist at The Peninsula Music Festival in Door County, Wisconsin.

Christina Tan, piano A native of Singapore, Christina Tan made her national debut on television at the age of five . Concert pianist Bela Siki heard her perform in 1981 and invited her to study at the College Conservatory of Music in Cincinnati. She has won first prize at several competitions in the United States and abroad. In addition to appearances with orchestras in Singapore and the United States, Tan has performed solo and chamber recitals in Southeast Asia and the United States.

Tan has earned the Licentiate of the Royal Schools of Music, London; and the Fellowship of the Trinity College, London; and bachelor and master of music degrees from the University of Cincinnati. In 1995 she completed the D.M.A. from the University of Cincinnati's College-Conservatory of Music. Her teachers include Frank Weinstock, Bela Siki, Eugene and Elizabeth Pridonoff, and James Tocco.

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Tan has been a member of the music faculty at Northern Kentucky University, Cincinnati's College-Conservatory of Music, Asbury College in Wilmore, Kentucky, Transylvania University in Lexington, Kentucky and at Hiram College in Hiram, Ohio. At present she is on the faculty at The University of Akron School of Music.

Christopher Weait, bassoon Christopher Weait, professor of bassoon at The Ohio State University, joined the faculty in 1984. Prior to his OSU appointment, he served 17 years as principal bassoonist in the Toronto Symphony. He has been a member of the Chamber Symphony of Philadelphia, United States Military Academy Band, and Columbus Symphony Orchestra. He has taught at the University of Toronto, National Youth Orchestra of Canada, and at the Festival Internacional de Musica in Buenos Aires. He was a visiting professor at the Eastman School of Music and at Indiana University. His publications include Bassoon Reed Making: A Basic Technique, Bassoon Warmups, and an edition of Schubert's Wind Octet in F Major, D. 72. His research interests include the physiology of wind playing and historic wind music. His recordings include compact discs on Innova and other albums on the Crystal, Lyrichord, and CBC labels. He was recipient of the School of Music Distinguished Teaching Award in 1999. Weait holds a B.S. in music education from the State University College in Potsdam, New York, and an M.A. from Columbia University.

Roger Zahab, violin Educated at The University of Akron and the State University of New York at Stony Brook, Roger Zahab has studied violin with Vincent Frittelli, Paul Biss, Hiroko Yajima, John Graham and Paul Zukofsky. He has written much chamber, vocal and orchestral music in addition to work in dance, theater and video. Recent recordings have been made of Doubles Keening by the Pennsylvania Quintet, Fall/Return by guitarist James Marron on a CD entitled Spring Rising, Personal Dances by the composer, violin and Eric Moe, piano, and your offending kiss by the Solaris Quintet. Other works have recently been performed in Rio de Janeiro, Bangkok, London and Lima, Peru. As a performer he has given more than 70 premieres of works for the violin and recorded for the Koch International Classics and Truemedia labels. His version of John Cage's Thirteen Harmonies for violin and keyboard is published by C.F. Peters Corporation.


Ensemble Biographies

Paragon Brass Quintet

Scott Johnston, trumpet Scott Johnston is professor of trumpet at The University of Akron and principal prumpet with the Akron Symphony Orchestra and the Canton Symphony Orchestra. Johnston has performed with the Madison Symphony, the Columbus Symphony, the Grand Teton Festival, and as an extra with the Cleveland Orchestra. In May 1993 he organized and hosted the 1993 International Trumpet Guild Conference in Akron. During the summers he is principal trumpet and brass coordinator for the American Institute of Musical Studies in Graz, Austria.

Jack Brndiar, trumpet Jack Brnd.iar is instructor of trumpet and director of the brass choir at The Baldwin-Wallace Conservatory. He has received degrees from The Cleveland Institute of Music and The Baldwin Wallace Conservatory. He also is principal trumpet of the Cleveland Chamber Symphony, a member of the Ohio Chamber Orchestra, and has performed and recorded with the Cleveland Orchestra, the Akron Symphony Orchestra, and the Canton Symphony Orchestra.

William Hoyt, horn William Hoyt is professor of horn at The University of Akron. He performs regularly with the Paragon Brass Quintet, the Solaris Quintet, and the Jazz Unit. He has performed with the Akron Symphony, the Canton Symphony, and the Cleveland Orchestra. He won the Concert Artists Guild Award in 1977 and as a result performed a debut recital in Carnegie Recital Hall in December of that year. Joseph Horowitz of the New York Times reviewed the recital and declared Hoyt "clearly a poised, sensitive horn player." He can be heard with the NFB Horn Quartet on Crystal Records and GM Recordings, with Solaris Quintet on Capstone Records, and with the Jazz Unit on the Go Bop label.

Edward Zadrozny, trombone Edward Zadrozny is an associate professor of trombone at The University of Akron, and is in his 24th season as principal trombone of The Akron Symphony Orchestra. A native of Northeast Ohio, Edward holds degrees in music from The Ohio State University and the University of Illinois. Additional training was received at The Berkshire Music Center (Tanglewood) . A former member of The Philadelphia Orchestra, Zadrozny has performed, recorded and toured with The Cleveland Orchestra and The New York Philharmonic. Additionally, he has performed with The Pittsburgh Symphony Orchestra, North Carolina Symphony, Naples Philharmonic, Detroit Concert Band, Cleveland Symphonic Winds, Pro Musica (Columbus), and The Columbus Symphony Orchestra.

Russell Tinkham, tuba Russell Tinkham earned his B.M. degree from East Carolina University and his M.M. degree from The University of Akron. He won the North Carolina MTNA collegiate brass competition, The University of Akron graduate concerto competition, and second place in the Leonard Falcone International Artist Tuba Competition. He is a freelance tubist in the Akron area and interim music librarian at The University of Akron. He will earn his master's degree in library and information science in August.

Solaris Woodwind Quintet

George Pope, flute Pope is the principal flutist of the Akron Symphony and Lyric Opera Cleveland and professor of flute at The University of Akron. He graduated with honors from the University of Tulsa and Northwestern University and studied with Maurice Sharp, Walfnd Kujala, William Bennett and Geoffrey Gilbert. A founding member of Solaris, Pope is also a member of the Garth Newel Chamber Players and is director of the Chamber Music Society of Ohio. He has held pnncipal positions in the Tulsa Philharmonic, the New Mexico Symphony, the Cleveland Philharmonic, and Canton Symphony and the Toledo Symphony. Fanfare magazine has acclaimed George Pope's playing on Opus One Records as "clean, arrestingly vigorous and beautiful."

James Ryon, oboe James Ryon has appeared as soloist with orchestras in Brazil, Venezuala, Egypt and the United States. He is principal oboist with the Akron Symphony and associate professor of oboe at The University of Akron. Ryon holds music degrees from the Juilliard School as well as a degree in Engineering and Applied Science from Yale University. He has served as principal oboist with the Caracas Philharmonic and the Flonda Orchestra and has appeared at the Aspen, Berkshire, Blossom, New College and Kneisal Hall music festivals. He has also performed with the Ars Nova Quintet, the Pittsburgh Symphony, the Cleveland Opera, the Cleveland Ballet, Lyne Opera Cleveland, the Charleston Symphony, the New York Bach Ana Group and the British rock group Emerson, Lake and Palmer.

Kristina Belisle, clarinet See Performer Biographies.

William Hoyt, horn See Paragon Brass Quintet Biographies.

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Lynette Diers Cohen, bassoon Lynette Diers Cohen is principal bassoonist of the Ohio Chamber Orchestra and has performed with the orchestras of Atlanta, Baltimore, Cleveland, and Pittsburgh. Noth the Seattle Times and the Cleveland Plain Dealer have called her "a superb musician." She is a member of Theater Chamber Players of Kennedy Center and has performed frequently with American Chamber Players. She has appeared at many festivals, including Aspen, Library of Congress, Marlboro, Round Top, and Santa Fe, as well as performed on tour with Musicians from Marlboro . She has taught at Oberlin Conservatory, the University of Maryland, and The University of Akron and is on faculty of Baldwin-Wallace Conservatory.

The West Virginia Piano Quartet

James Miltenberger, piano Pianist James Miltenberger teaches piano, piano repertoire, and jazz piano at West Virginia University. He received his D.M.A. and master's degree from the Eastman School of Music and his bachelor's degree from Miami University of Ohio. His solo appearances with various orchestras include performances at Carnegie Hall and with the Pittsburgh Symphony Orchestra. He is the founder and pianist of the Miltenberger Jazz Quartet and has been soloist with the University Symphony Orchestra, the Wind Symphony and Percussion Ensembles at WVU. He has four compact discs available, two of solo contemporary classical piano music and two of jazz compositions.

Laura Kobayashi, violin Laura Kobayashi received a bachelor's degree from Juilliard, a master's degrees from Yale, and a D.M.A. from the University of Michigan. She recorded a compact disc recording of music by 19th and 20th Century women composers which has been released on the Albany Records label. Kobayashi has performed as a soloist with several orchestras in the United States, including the Seattle Symphony Orchestra, Northwest Chamber Orchestra, and the Grand Junction Symphony.

Philip Tietze, viola Philip Tietze earned a bachelor's degree from Indiana University and a master's degree from the University of Southern California. He has been the assistant principal violist with the American Sinfonietta since 1993 and served as principal violist of the Wichita Symphony and the Colorado Springs Symphony Orchestras, as well as a member of the Denver Symphony Orchestra. Solo and chamber music recital appearances have included a solo recital performance on the Phillips Collection Recital Series in Washington, D.C., that was broadcast over National Public Radio.

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William Skidmore, cello As professor of cello at West Virginia, William Skidmore coaches the resident graduate string quartet and other chamber groups and coordinates the string department. He has presented numerous concerts throughout the Eastern U.S. , including performances at the National Gallery of Art, Phillips Collection, The John F. Kennedy Center for the Performing Arts, and at national MTNA conventions. As a chamber music artist, he has been a member of the Maryland Trio, the Baltimore Symphony String Quartet, and the American Arts Trio . Skidmore has been a member of the Baltimore Symphony Orchestra, and principal cellist with the West Virginia Symphonette and Ohio Valley Symphony. He holds bachelor's and master's degrees from the University of Illinois. His performances are found on a recent Cambria compact disc, "On Chestnut Ridge, Appalachian Chamber Music by John Beall."

The University of Akron New Music Ensemble

Christina Babich, cello Christina Babich is a first-year graduate student at The University of Akron studying cello performance with Michael Haber. She just graduated with a bachelor's degree in Spanish. Christina began cello studies at age 9 under the Suzuki Method. She has attended the Meadowmount Music School as a student of Hans Jensen, and performed in master classes given by Steven Isserlis and Crispin Campbell. In 1996 she won the Akron Youth Symphony Concerto Competition and performed with the orchestra at E.J.Thomas Hall, and was soloist in February with The University of Akron Symphony Orchestra as result of winning the 2001 Concerto Competition. She has performed with the Kent State Honors Orchestra (1995), Northeast Ohio Regional Orchestra (principal), Tuscawaras Philharmonic (acting principal), and Akron Youth Symphony (2 years as principal). Last year she received first prize in the Tuesday Musical Club competition and attended the National Orchestral Institute at the University of Maryland.

Alison Bolton, viola Bolton is a graduate student at The University of Akron. studying viola with professor Alan Bodman.

Ashley Bowen, flute Bowen is a junior flute major at The University of Akron. She is currently a flute student of George Pope (University of Akron), Mary Kay Ferguson and Wendy Webb Kumer. She is principal flute in The University of Akron Symphonic Band and was also principal flute with the Three River's Young People's Orchestra. She is the recent first-prize winner in the 2002 Tuesday Musical Club Scholarship Competition and is a University of Akron Concerto Competition Winner.



Liz Caldwell, cello A native of Olathe, Kansas, Liz Caldwell received her bachelor's degree in 2001 from the University of Kansas where she played in the New Music Ensemble. She is in the graduate program at The University of Akron School of Music.

Yi-Chen Chen, bass clarinet Yi-Chen Chen was born in Lo-Tung, Taiwan. She earned a bachelor's degree in June 2000 from Fu-Jen Catholic University , Taiwan, where she studied with Ti Huang. She was awarded a scholarship to attend the master class at the Banff Arts Centre in Canada with Lei Fan in July 2000. Now she is a graduate assistant in clarinet performance at The University of Akron where she studies with Kristina Belisle.

Jim Cross, piano Jim Cross is a freshman at The University of Akron where he studies piano with Christina Tan and jazz piano with Rock Wehrman. He hails from Columbus, Ohio, where he attended Worthington Kilbourne High School and studied piano with William Van Sickle.

Jeffrey Leigh, violin See Performer Biographies.

Larry Snider, percussion See Conductor/Director Biographies.

Andres Valcarcel, violin Andres Valcarcel received his undergraduate degree in performance at the Conservatory of Puerto Rico where he studied with professor Jose "Pepito" Figueroa in 1999. He continued his violin studies with professor Alan Bodman at The University of Akron School of Music where he received the master 's degree. He currently is studying for his second master 's degree at The University of Akron.

Conductor Biographies

Eric Benjamin conductor of the Akron Youth Symphony Resident conductor of the Akron Symphony and director of the Akron Youth Symphony, Eric Benjamin is responsible for the design and direction of the ASO's educational programs, including the Concerts for Kids series for preschoolers and the early elementary programs sponsored by the Children's Concert Society. He rehearses and performs regularly with the 90-member Akron Youth Symphony, leading young musicians from throughout northeast Ohio in works from the standard orchestra literature as well as new and commissioned works. He also serves as music director of the Tuscarawas Philharmonic in Dover, Ohio.

Benjamin is active as a composer and arranger and was recently named Composer of the Year by the Ohio Music Teachers Association. With this award came a commission for his Autumn Songs for mezzo-soprano and keyboard on texts by Frost, Howes and Rilke. Recent premieres also include A Carol Concerto for hammered dulcimer and orchestra, music for Shakespeare's "Romeo and Juliet" in a production by Akron's Actors Summit and "On the Night Before Christmas" for narrator and orchestra.

Benjamin earned a master's degree in orchestral conducting at New England Conservatory. Additionally, he lists among his conducting teachers Gunther Schuller, Kurt Sanderling, Gustav Meier and Leonard Bernstein.

Ronn Cummings conductor of The U Diversity of Akron Symphony Orchestra Ronn Cummings is director of orchestral studies at The University of Akron. Originally from Minnesota, Cummings holds a B.M. degree from the University of Wisconsin, an M.M. degree from Southern Methodist University in Dallas, and a D.M.A. from the University of North Texas. He came to UA from the University of North Texas, where he served as assistant director of orchestras, conductor of the UNT Chamber Orchestra, music firector/conductor of the 20th-century performance ensemble NOVA, and taught conducting at the undergraduate and graduate levels. Past teachers include Anshel Brusilow, Murry Dislin, Herbert Blomstedt, Maurice Abravanel and Elizabeth Green. Currently working on a book on conducting technique, Cummings continues to conduct ensembles throughout the United States and gives master classes and couching sessions on conducting techniques and audition preparation.

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Conductor Biographies

Galen S. Karriker assistant director of bands, UA School of Music, and conductor of The University of Akron Concert Band

Galen S. Karriker is assistant director of bands and assistant professor of music at The University of Akron. He conducts the Concert Band and directs both the University Marching Band and the Blue and Gold Brass.

A native of Lake Charles, Louisiana, Karriker received his bachelor's degree in music education from Louisiana State University and his M.M. degree from Michigan State University. An active arranger, Karriker writes much of the music performed by The University of Akron Marching Band and the Blue and Gold Brass. Prior to his appointment at The University of Akron, he was assistant to the director of bands at The University of Wisconsin-Madison.

Karriker holds memberships in the Ohio Music Education Association, College Band Directors National Conference, Music Educators National Conference, Percussive Arts Society, Phi Mu Alpha Sinfonia, and honorary memberships in Kappa Kappa Psi, and Tau Beta Sigma.

Robert D. Jorgensen director of bands, U A School of Music, and conductor of The University of Akron Symphonic Band Robert D. Jorgensen is director of bands and professor of music at The University of Akron. He also serves as assistant director of the UA School of Music. He received a bachelor's degree from the University of Illinois and a master's degree from Michigan State University, where he was a student of Leonard Falcone. From 1969 to 1972, Jorgensen was euphonium soloist with the U.S. Army Field Band in Washington, D. C. Prior to his appointment at Akron, he taught at Morehead State University in Kentucky and was director of bands at Midwestern State University in Texas.

Jorgensen is the recipient of the "Citation of Excellence" Award from the National Band Association and the "A. Frank Martin Award" from Kappa Kappa Psi. In 1999 he was honored by the International Assembly of Phi Beta Mu International Bandmasters Fraternity by being selected to receive the Outstanding Bandmaster Award. He holds professional memberships in the National Band Association, College Band Directors National Association, Music Educators National Conference, Ohio Music Education Association, Phi Beta Mu, and was elected to membership in the prestigious American Bandmasters Association in 1991. The University of Akron Symphonic Band has performed at the 1991, 1993, 1995, 1997, and 1999 OMEA Conferences the 1992 CBDNA Conference in East Lansing, Michigan, and at the 1998 CBDNA Conference in Kansas City, Missouri.

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Daniel McCarthy director of The University of Akron New Music Ensemble Daniel McCarthy is chair of the composition and theory section at The University of Akron, as well as director of The American New Arts Festival (see Composer Biographies). McCarthy served as guest composer and fellow for the Conductors/Composers Institute at the University of South Carolina and is formerly music director of the Terre Haute Symphony Youth Orchestra. McCarthy has been guest conductor of the Interlachen High School Symphonic, Concert, and Intermediate Bands, The Central Michigan University Concert Band, Grand Ledge High School Symphonic and Concert Bands (Michigan), and the Terre Haute Symphony Orchestra. McCarthy is currently Music Director and Conductor of the Interlachen Festival Orchestra at the Interlochen Arts Camp (Michigan).

Larry D. Snider cirector of The University of Akron Percussion Ensemble Larry D. Snider is professor of music and director of percussion studies at The University of Akron. He holds bachelor's and master's degrees from Illinois State University and the University of North Texas, respectively, and a D.M.A. in percussion performance from the University of Illinois.

He has built a strong percussion program whose graduates consistently achieve professional success as performers and educators throughout the world. The program's most visible and widely acclaimed component is The University of Akron Steel Drum Band. Founded in 1980 by Snider as one of the nation's first and foremost collegiate panorama-style ensembles, the Steel Drum Band performs locally and throughout the United States.

An accomplished performer, Snider is principal percussionist with the Akron Symphony Orchestra. He has premiered more than 20 contemporary music compositions in international venues, including those by such noted composers as Marta Ptaszynska and Stuart Smith. In addition, he is responsible for bringing the internationally acclaimed Slyvia Smith New Music Archives to The University of Akron to serve as an invaluable resource for musicians from around the world.

Long active in the Percussive Arts Society, Snider is on the organization's Board of Directors and is among the founding members of the New Music/Research Committee. He has chaired the New Music/Research Day for Percussive Arts Society conferences throughout the U.S. for the past 15 years. He also is a percussion clinician for Yamaha Corporation, Sabian Cymbals, and Pro Mark. During 2000 he was invited to Poland to serve on the performance and teaching faculty at the International Marimba Competition in Warsaw.

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