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'PAN ERICAN [Xlts1]O N

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June 4-9, 2001 "A New Generation of Buffalo Composers"

1901-2001: "The Pan-American Exposition and Beyond, in Music" David Felder, Artistic Director

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June 4-9,2001 David Felder, Artistic Director

Cheryl Gobbetti Hoffman, Associate Director

"A NEW GENERATION OF BUFFALO COMPOSERS"

Resident Composers

David Felder Jonathan Golove

Cort Lippe Erik Ofia

Jeffrey Stadelman

Resident Ensembles Amherst Saxophone Quartet BugaJlo/Wilii ams Piano Duo

Cassatt String Quartet JlB RASSWORKS Quaruor Bozzini Slee Sinfonietta

Special Guests

Pierre-Yves Anaud, flutes Robert Berkman, pianola

Kevin Bowyer, organ Cheryl Gobbetti Hoffman, flute

Michael Lasser, lecturer Frieda and Stephen Manes, piano

Dora Ohrenstein, soprano Jane Romanos, soprano

lune in Buffalo 200 I. presented by t he Univers ity at Buff:1Io's Departmen t of Music, is a fes tiva l :lnd conk'renee dedica ted to composers and their music, considered and pcr/()nllcd li"<.:" h (l IT [he page. In additio n to lectures and mas te r d: I,s:-.e\ hy F:lcu h y CO 11 I pO:-.L ........ p:lnic ip:IIH .... benefit from m usica l collaboratio n wi th lOp pcrio rlll l' r'i o f Ill usic in the cO llt cmporary vein ro pro­duce COllcert ... oCtlle;r works thruu gholll the wed .;., This YC:lr's fesri va l ope ns and close:.. wi th CO ll ce rt ... des igncd with a spirit d C: lrly root ed in the imellcc­mal and techni cal dcvclopll1l:Il LS ava ilable to LI S in 200 I, ye t closely paral1c1-ingAl1lerican;! in 190 1.

"1901 - 200 L": "The Pan-American Exposition and Beyond, in Music" Buffalo 1901 fa irly bustled with exh ibitions and ex hibitors, showcasing the spirit and workings of rhe Western Hemisphere and th e Americas. In music, America's penchant for pipes of all shapes and sizes led to daily orga n recitals featuring visi ting orga nists playing the Emmons Howard o rga n that received a gold medal for tedlllology fro m the Exposi(ion ; visit ing brass bands includ ing the So usa Band , Carl isle Indian Band, Boston Wo men's Ba nd and variolls legion bands in addit ion [Q the Pueno Rica n Str ing Ba nd and groups from Hawa ii , Mex ico, and Africa kept the Temple of Music abuzz with sounds for the new ce ntury. Concen s by Victor Herbert's Orchestra and the Pittsburgh Sym phony fea mred favorite European classics along with pre­miering works wri tten for th e Exposi tion in [he "America n" spi ri t; mechan­ical keyboa rd devices sllch as the orchesrrion and pia nola confounded, amazed, and del igh red visito rs to "The C ity of LiglH" that hosted this year­long extravagan7a.

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TABLE OF CONTENTS Morning Lecrure Schedule ...

Mon(Lly, Ju ne 4: Slee Sin fo niefta .... ................

B " I)' I" Tucsday. Ju ne 5: JIB Brown ag: lanos.

Tuc;cb y. June 5: J IBRASSWORKS ... . . .

\Vl.:dncsday, June 6: C3ssatt String Quarrer . . . . . . . . . . . . . . . .

Thursday, June 7: Rehearsed Reading by the C3ssatr Suing Quarrer

Thursday, June 7: Emerging Composers ...

Friday, June 8: JIB Faculty and Emergi ng Composers ....

Sarurday, June 9: 190 1-2001 ) The Pan-A merican Exposit ion and Beyond, in Music. . . .......... ..... .

Lccrurc: Michael L1sser. Kevin Bowyer, organ. Lunchtime wirh the Ourer C ircle Orches tra ..... . ... .•.. "PAN AMERICANA" . . . ............. . .... • ...

Frieda and Stephen Manes, piano

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Amhers( Saxophone Quarrer "The String Quartet, Then and Now" . . ... . ..... . ...... 24

Quaruor Bozzini "Ghosts in Black and White" ...... . .... . ... . 25

Bugallo/\X1illiams Piano Duo Roberr Berkman , pianola

"Miss Jane's Parlo r" .. - .... Jane Romanos, soprano Robert Berkman, pianola

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"A Concise H isto ry of Brass Bands in the Americas" . 27

JIBRASSWORKS

Rcsidcm Composer Biographies ... . ..... . . ..... . ........ 29

Res idell r Ensemble Biographies . 31

Conductor Bi ographies .. .. . . .. .. .. .. ..... . 33

Speci3l Guest Biographies . . 33

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MORNING LECTURE SCHEDULE Lectmcs will rake pLICC in l1aird Rl'ci( ;! 1 11.111 (HJ11. 250 Baird f-bll) from 10:30 am until 12 pm unless o rhcfwise nO{I.:d.

Monday, June 4 Cort Lippe

Tuesday, June 5 Erik Gna

Wednesday, June 6 Jeffrey Stadelman

Thursday, June 7 Jonathan Golove

Friday, June 8 David Felder

Saturday, June 9 Michael Lasser, 9:30am, Slee Concert Hall

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Monday, June 4 Pre-concen talk: Slee Concert Hall , 7: 15 pm

The Slee Sinfonietta David Feldel; Artis/ic Director Magllus M!irtemsoll, conductor Pierre- Yves Arltluc/, flute soloist

Slee Concert Hall, 8pm PROGRAM

Inner Sky (1994) Is forflute soloist, chamber orchestra & compllter processed SOUnt

Pierre-Yves Anaud , flute

David Felder (b. 1953)

EI Salon Mexico (1932-36) arm;lged (or ensemble by YUllr MikhtlShoff dedicated to Lukas Foss

Intermission

Chansons de Bilit is (1901) for normt01; 2 filltes, 2 harps, & celeste I. Chant Pastoral II. Les Comparaisons II!. Les COlltes IV. Chamon V. La Partie D'Osselets VI. Bilitis VI!. Le Tombellu SIIIlS Nom V!!!. Les COllrtisanes EgyptieuJleJ IX L'ellu Pure du Bmsin X. La DallSeuJe IIUX Crotales XI. Le SOU/Jenir de MlIllSidica XII. La Plllie lilt Mlltin

Dora O hrensrein. narraror Pierre-Yves Arraud, flurc

Cheryl Gobbetti Hoffman, flute Suzanne Thomas, harp

Beth Ann Brenneman , harp Helena Bugallo, celesre

Starry W isdom (2001 )

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Aaron Copland ( 1900- 1990)

C laude Debussy (1862- 19 18)

Jeffrey Sradelman (b. 1959)

Slee Sinfonietta

VioLin f Eun- Hee Ellie Kang Clemens Merkel Muneko Orani ,

CO llrertlllflster Starry W'isdom Trond Sacvcrud Sarah Schwanz John \Villiams,

Violin 11

ConCt'rt'flltlSter Inner Sky 6-£:.1. SaiOn Mexico

Orhan Ah iskal Be[hany Bergman 101 ise laVoie Jennifer Leshnower + L1zara Nelson Eric Rynes ,.

Viola Stephan ie Bozzin i N icole Brock man Adrienne Elisha Manhew McBridc-Daline · Jill Pellet 'rawnya Popoff +

Diane Willi ams

Cello Isabelle Bozzini Jona than Golovc ~ Joshua Gordon Just in Kagan C aro line Stinson + Karl Toews Si mon Turner

Bass Mich3.e1 Camero n *# Corrado Canonici + Sriliana Chrisrof Steve Gilewski

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Hille P iCITC- Yves Arraud Cheryl Gobberci Hoffman

Oboe t.rienne de Meciicis

Clnriuet Ben Freim uth

HtWOOII

Matthew Shubin

Trumpet Louis Hanzli k Jeffrey Luke

Trombone John Faieta

Harp Berh Ann Brennem:l1l Suzanne T homas, principal

PerclIssion Craig Binerrnan Ti fr.'In)' Nicely Rin Oza ki Jan Williams

Piano Srephen Manes Michael Orland

Celeste Helena Bugallo

~pri}/cipafs !nner Sky +pri1lcipals StruT} Wisdom #prim:ipnls El5a/01/ Mexico

T EXT TRANSLATION

US Chansons de Bili tis 1. Chant PastoraJ II Gut chamer un cham pastoral , invoqm'r Pan, dieu du ven! d'ctc. )e g:lrcle mOll lroupeau cr Selenis Ie sicn, a J'ombre ronde d'un olivier qui rremhlc.

Selenis CSt couchee sur Ie pr{:. Elk se leve ('1 court, au (hefeh" des (igab, Oll cucillc des /leurs avec des hcrbes, Oll lave son vis:lge d:ms 1'eau fraiche du ruisscau.

Moi, j'amche blaine au dos blond des moutons pour en garnir rna qucnou ille, e( jt file. les heUTes son lemes. Un aigle passe dans Ie ciel.

Lombre [ourne, changeons de pbce la corbeillc de /leurs et In jarre de !ail. II bm chanter un chant pastor~1 1, invo<Juer Pan, dieu du vem d'ere.

n. Us Comparaisons Bergeronncuc, oiseau de Kypris, clllnle avec no premiers desirs! Le corps nouveau des jell!1es lilies Sf couvre de /leurs camille la terre. L1 nuit de tOllS nos reves approche et nous en parlons entre nous.

ParrOIS, nOllS comparons ensembl e nos beautes si diflercmes, nos cneve!ufes deja longues, nos jeunes seins encore pet its, nos pubenes rondes comllle des cailles et

blotrics sous Ia plume naiS$jrHc.

Hier, je lultai de Ia sortc conrre Melanth6, mon aince. Elle ctait flerc de sa poitrine qui venair de craine en un mois. er, mont rant rna [Unique droilc, die m'avait appclCc Petite enfant.

Pas un hom me ne pouvai r now; voir, nom IlOUS mimes nues devant les fllles , el, 5i die vainquir sur un point , je I'cmpom i de loin Sli r les :lutres. Bergeronncltc, oist"au de Kypris, chante avec nos premiers dt's irs!

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Songs of Bilitis 1. Shepherds Song The song to sing is a shepherds song. the god (Q 011 is Pan , god of the summer wind. [ keep my flock :lJld Sclenis keeps hers, in the circular shade of a trembling oli ve-tree.

Sclenis is lying on {he grass. She rises and runs, or seeks grasshoppers, or garhers nowers wilh herbs, or washes her face in the cool waters of the stream.

1 pluck wool from the backs of my fair-fleeced sheep and garnish my distaff, and spin. The hours go by slowly. An eagle gl ides across the sky.

The shade has turned, we must move the basket of nowers and lhe POt of mi lk. The song to sing is a shepherds song. lhe god to call is Pan, god of rhe summer wind.

II. Comparisons \'<'agtail, bird of Kypris, si ng along with Ollr gi rl ish longings! Our taut bodies arc strewn with flowers like the fi elds.

The night of :111 ou r dreams is drawing near and fill s our talk.

At times, we co mp:!re each others diffcrel1l beauties: ou r hair, long already, our breasts, s(il1 small , Ollr loins plump as quail ncstling beneath the nedgling down.

Yesterday, I com peted thus with Mclamho. my elder. She, proud of her bosom which had sprouted in a mOlHh, pointed at my flat runic and called me Ch ild.

No man could sec us, we stripped bare and were judged by our friends, and, though she won on olle point, [ won easily on all the others. Wagtail, bird of K),pris. sing along wirh our first longi ngs!

Ill. Les Contes Je suis aimee des petits enfunts; des qu'ils me voient, ils courent ~ moi et s'accrochent 3. ma runique et prennelll mes jambes dans leurs petits bras.

S'ils Ont cueilli des fleurs, ils me les donncnt (Qules; s'ils Ont pTis un scaf:l bee, its Ie meuem dans rna main; s' ils n' om rien, ils me carcsselll el me font asscoir devant eux.

Alors ils m'embrassent sur la joue, ils POSCIll leurs teteS sur mes seins; its lIle supplient avec les yeux. Je sais bien ce que ceta veut dire.

Cela veut dire: ~Bilitis cherie, redis-nous, car nous sommes gentils, l'hislOire du heros Perseus ou la mort de]a petite Helle. ~

IV. Chanson "Ombre dl! bois ou elle devait venir, dis-moi, 011 cst allee ma maitresse~ -Ellc cst dcscendue dans la plaine.

-Plaine, ou cst allee rna rnaitrcsse? -Elle a suivi les bords du Aeuve.

-Beau fleuve qui I'as vue passer, dis-moi, est-eUe pres d'ici~ -Elle m'a quitte pour Ie chemin.

-Chemin la vois-ru encoure? -Elle m'a laisse pour Ia route.

-0 route blanche, route de ta ville, dis-moi, oll l'as-ru conduite? -A la rue d'or qui entre a Sardes.

-0 rue de lumierc, touches-tu ses picds nus? -Elle est entree au palais du roi.

-0 palais, splendeur de la terre, rends-Ia moi! -Regarde, elle a des colliers sur Ies seins et des houppes dans Irs cheveux, cem perles Ie long des jambes, deux bras autour de la taille."

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III. Tales I am she whom little children 10'1('";

as soon as they sec me, they run to me and cling to my tunic and circle my legs with their lillie arms.

If they have picked flowers, they give 111('

all of them; if Ihey have caught a beerle, they place it on my palm; ir they are empty-handed, rhey fondle me and sit me down in front of them.

Then they kiss Illy cheek lay thei r heads on my breast, beseech me with their eyes. ! know what that means.

It means: ~Sweet Bililis, lei! LIS once again, for we ha\·e been good, the story of brave Perseus or tht" dt"ath of lin Ie Helle.~

IV. Song "Shade of the wood where she failed to come, tell fllt" , which way did my mistress go? -She went down to the plain.

-Plain , which way did my mistress go? -She went along the river banks.

-Fi ne-looking river who saw her P;ISS,

tell me, is she /lear? -She left me for the lane.

-Lane, can you still sec her? -She left me for the road .

-0 white road, road to the city, tell me, which way did you lead her~ ·To the golden street which enters Sardis.

-0 street of liglH , can you feel her bart" reet~ -She went into the royal palace.

-0 palace, splendour of the eanh, give her back to me! -Look, she has necklaccd breasts and tufted hair, S1tings of pearls down her legs and 1\\10 arms round her waist. »

V. La Partie D'Osselets Comme nOliS I'aimions roules les deux, nous l'avons jour aux osselets. Et ce fut llne partie celebre. Beaucoup de jeuI1cs fdl es yassistaient.

El1e amena d'abord Ie coup des Kykl6pes, et moi, Ie coup de SOlon. "his dIe, Ie Kallibolos, el moi, me sentant perdue, je priais la deesse!

Je jouai, j'ells l'Epiphenon, dIe Ie terrible coup de Khios, moi I'Amileukhos, elle Ie Trikhias, et moi Ie coup d'Aphrodite qui gagna ['amant dispute.

Mais la voyam palir, je la pris par Ie cou et j(' lui dis tout pres de I'oreille (pour qu'dle seule m'entendir): "Ne pleure pas, petite amie, nous Ie laisserons choisir enm nous."

VI. Bilius Une femme s'envcloppe de laine blanche. Une autre se vet de soie ('t d'or. Une autre se couvre d(' fleurs, de feui lles venes er des raisins.

Moi je ne saurais vlvre que nue. Mon amant, prends-moi comme je suis: sans robe ni bijoux Ili sandales. voici Bilitis toute seule.

Mes cheveux son t flairs de leur nair et mes levres rouges de leur rouge. Mes boucles floncnt autour de moi libres er rondes comme des plumes.

Prends-moi [elle que ma mere m'a bite dans une nuit d'amour lointaine, et si je te plais ainsi, n'oublie pas de me Ie dire.

VII. I.e Tombeau Sans Nom Mnasidika m'ayanr prise par]a main me mena hars des pones de la ville jusqu'a un pet it champ inculte ou il y avail une stele de marbre. Et e1le me die "Cdle-ci fut I'am ie de rna mere."

Alors je sentis un grand frisson . et sans cesser de lui tenit la main je me penchai sur son epaule,

V. The Knucklebone Contest As we both loved the same man, we played knucklebo nes for him. The contest was famous. M;lny girls were present.

Her first throw was a Cyclops, I parried with a Solon. Then she produced a Kallibolos and I, fea ring defeat, prayed to (he goddess.

I threw, got the Epiphenon, but she landed a Chios, then I [he Antieuchos, ;lnd she the Trikhias, and I an Aphrodite (hat won me the disputed lover.

Bur seeing her so wan, I ('mbraced her neck and said close to her ('lr (so that she alone could hear): "Weep not, little friend, w(' shall let him choose between us.

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VI. Bilius One woman drapes herself in white wool. Another wears silk and gold.

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Another dresses in flowers, green leaves and grapes.

I can only live naked. Lover of mine, take me as I am: no robe, no jewels, no sandals jusl Bili(i5.

My hair is black with its own black hue, my lips are red with [heif own redness. My locks swi rl around me as loose and curly as feathers.

Take me as my mother made me in some distant nighl of love, and if I please you thus, remember to say so.

VII. The Nameless Tomb Mnasidika, taking me by the hand, I('d me out through the ciry gates to an untended plot where a marble column stood. And told m(':

"Here lies my mother's friend.n

At this I shivered ~nd still holding her hal1d leaned over her shoulder

afln de lire 1cs qU:'Irre vcrs entf(' b coupe creusc CI Ie serpent:

~Ce n'est pas ]a mOrt qui m'J enlev':e, mais les Nymphes des fom3incs. Je repose ici SOliS une terre Irgere avec Ia chcvc1 ure coupee de Xanrhu. Qu'dle sClIle me "Ieure. Je ne dis pas mon nom."

Longtcm ps nous sommes resrees deboLH , et Haus l1'avons pas verse b libarion . Car COll1me!lt appelcr II IlC ame inCor1n llC d'entre Its faub de I 'Hades~

VIII. Les Courtisancs Egyptie nncs Jc s ui~ alice avec Pbngon chez Ics counis.1.nes egypticlllles. [Qui en hatH de b vicille ville. EJles onl des :ul1phores de rem" des plateaux de cuivre el des n:mcs jaunes OU e1les s'accroupissellt sallS effort.

Leurs chambrcs SOil! si lencieuses, sans angles et sans encoignu rcs, lall( Irs couches succcssivcs de chaux bleue on emousse les chapite:mx et arrondi Ie pied des murs.

Elles se tienncilt illlJ11obilcs, Ics mains poseces sur Ics gcnoux. Quand dies offrellt hi boui ll ie, d ies murmurem : "Bonhcur. n

Et quand Oil les remercie, dies disent: "Gdce j tOi."

Elks comprellJlem Ie hellene el reigncm de ]a parler m:tl pour se rire de nous dans leur langue: m::lis nous, dent pou r dem, nous paIlons Irdien et el les s'inqu iereIH (Qut j coup.

lx. L'eau Pure du Bassin "Eau pure du bas.~in, miroir immobile, (I is-moi ma l>cJtHC. -Bilitis, au qui que tll SOlS, Thetys peut-etre ou Am phi trite, II! es belle, sache-Ie.

"Ton visage se pencht, SOliS ta dlevelu rc cpaisse, gonflee de tlems et de p~rlil111 S. ''res poupicres molles s'ouvrelll it peine et res flan c.~ SOl1l las de~ mouvernCrHS de rarnour.

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and read the fo ur lines of verse between the hollow cup :'Iud the snake:

"It is not death th:u took me, but the rountain Nymphs. I rest here benearh a light covering or eanh wirn the hair they cut rrom Xantho's head. She alone may mourn me. I tell nOI my nall1e. ~

We long rcmained standillg, and poured no libation. How can one ca ll ;m unknown soul rrom the throngs in Hades?

VIII. The Egyptian Whores I went with I' langon to see the Egyptian whores, at the top of the old town. They h:l\'e earthenware amphoras, copper trays, and tawny mats on which they squat effortlessly.

Their rooms arc silent, wilh no corners or ridges, because successive laycrs of blue lime have blulllcd the mouldings and rounded the feet of thc walls.

They squat mot ionless, wi th thei r hands on their knees. When offcring porridge, they mum ble "Happiness ." In answer to thanks, they S:l.y 'Thank5 be to YOll ."

They understand Helleni:ln and pre[CJld they spe:l.k it badly, so as to mock us in their rongue; bllt we, tooth ror toolh, start speaking Lydian and at once make them fed uneasy.

IX. The Pure Water in the Pool "Pure water in the pool, immobile mirror

rell me Ill}' beauty. -Bilitis, or whoe ... er ),ou may be, Thetys perhaps or Amphitrite, you arc beautiful, know that.

"Your face kans forward under your thick hair swollen with flowers and perfumes. "Your limp eyelids droop :l.nd your flanks are weary with the movements of love.

"Tall corps f.1liguc dll poids de tCS seins porte les n1:lf(lues fines de [,ongle et les taches b!cues du b:'liser. "Tes bras sont rougis par l'etrcime. "Ch:tque ligne de ta pe:tu fut aim&.

-Eau cbire du bassin, la fraicheur repose. Re~ois-moi, qui suis lasse de eet eFfet. Emporte Ie fard de mes joues, et la sueur de mon ventrc cr It' souven ir de 13. nuiL"

X. La Danseuse :tux Crotales Tu att:l.ches j tes mains legeres res crotales rctcntissant s, Myrrhinidion rna cherie, er j peine nue hors de ]a robe, III etifes tes membres nervellX. Que tu es jolie, les bras en I':lir, les reins • \rquCs el les seins rouges!

Tu commences: res picds I'un de\'ant J'autre se posent, h6ilent, et glissent mollement. TOil corps se plie comme une echarpe, tu caresses ta pC3U qui frissonne, et la voluple inonde tes longs yeux evanouis.

Toul 11 coup, III claques des crotalcs! Cambre-toi sur tes pieds dresses, secoue Jes reins, lance Its jambes et que res mains "Icines de fracas appellent touS les d6irs en bandc ::lu(Qur de ton corps tournoyant.

Nous, app!audisso ns 11 grands eris, soit que, SOuri:l.IH sur I'epaule, [U agites d'un frt missement t:l croupe convulsive et musclce, soit que ru ondulcs presque etendue, au rythme de res souvenirs.

XI, Le Souvcnir de Mnasidica Elles dansaienr l'une devant I'autre, d' un mOIl\'ement T:lpide el fuyant; dIes semblaient toujours \'Ouloir s'enlacer, er pounalll ne se lOuchaielll point, si ce n'est du bout des Icvrcs.

Quand d Ies rollrn~ i enr Ie dos en dansaJl[, db se regardaieJl[, !a rete sur I'epaule, ct la sueur brillair sous leurs bras 1cvCs, elleurs chevc:!ures fi nes passaiellt deva nt leurs sei ns.

"Your body lired by the weight or yOUT bfl~lsts be:l.TS 1ll:lrk5 of fingernails and blue stains of kisses. "Your arms arc reddened byembr.J.ces. "Every frJction of an inch of your skin wa~ loved.

-Clear w~lIer in the pool, your chill is resrful. Receive me, I am weary or giving. Remove thl' p:lim from my checks ;\I1d the sweal from 01)' loins :l.nd che remcmbrance of the night."

X. The Crolala Dancer You ric to your ligh t hands your clear-sounding crot:lb, M)'rrhin idio n Illy love, and once bare of you I' robe you mcreh YOltT slender arms. How pretty YOll :lre, arms in the air, back :lrched and bre:ls{s red .

You begi n: your feet step fonvard, pause, and limply slide. Your body bends like a scarf, you caress your shivering skin, and volupwousncss bathes your long swooning ey{'s.

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Suddenly, )'ou catrle your cTotala! Bend ba.ckwards on your raised fett , shake your loins. throw out your legs and let your noisy hands call up all desires in a throng around your spinning body.

We clap and cry Ollt :l.S, smi ling over your shoulder, YOll quiver your (aUr and muscular but tocks, or. almost lying down , undulate in rhythm with your memories.

XI. Remembrance of Mnasidica The), danced face (O r.1ce, with swift fleeti ng movcments; tl1{'Y seemed fo rever to walll to entwine, ),et the), touched nor, S:l.ve wich brushing lips.

When they turned dancing, they watched one :lllolher with heads askance, and the swe:l! shone under cheir raised arms, and their fine h:lir swayed in rront of their bre:l.sts.

La langueur de leurs yeux, Ie feu de leurs joues, la gravi tc de leurs visages, etaiem trois chansons ardemes. Elles se Frolaienr furtivemem, dI es pliaient leurs corps sur les hanches.

Er lOut 11 coup, dIes som rombees, pour achever 11 t{' rrc ]a danse molle .. Souveni r de Mnasidika, c'est alors que ru m'apparus, et [Qut, hors la chere image, me fur imporlun .

XII. La Pluie au Matin l..:J nuit s'efface. Les eroiles s'eloignenL Voic! que les dernicres counisal1es SO IH rentrees avec les amants. EI moi, dans la pluis du mal in, j'ccris ces vers su r Ie sable.

us feu illes sam chargees d'eau brillame. Des ruisseaux it travers les semi res entrainenr la terre el les feui l!es mones. La pluie, gOlHle 11 goune, t.1it des trous dans ma chanson.

Oh! Que je suis triste et seule iei! Les plus jeunes ne me regardem pas; Its plus ages m'on! oubliee. C'est bien. lis apprendront mcs vers, el les enflms de leurs enfants.

Voila ce que ni Mynale, ni Thais, oi Glikcra ne se dirol1t, Ie jour 011 leurs belles joues scrom creuses. Ccux qui aimerom aprh moi chanteront mes mophes ensemble.

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The languor in ,heir eyes, the lire in their cheeks, rhe gravi ty in their faces were three ardent songs. The), touched li ghtly, swaying from the hips.

And suddenly they fel l, to finish their lim p dance on the ground .. Remembrance of Mnasidica, it was then you came to me, and everything, save your dear image, was a bu rden 10 me.

XII. Rain in the Morning The night is dissolving. The stars are retre;ning. The last whores have returned home with their lovcrs. And I, in the morn ing rain, am wri ting these lines in the .~and .

The leaves are laden with glitteri ng water. Streams 3re mewing rhe footpaths with eanh and dcad lea\'cs. !he rain is, drop by drop, making holes m my song.

Oh! How sad and alone I am here! The you nger men ignore me; the older men have fo rgotten me. So be il. They will learn my poems, like their children's chi ldren.

That is sonmhing which Mynale, Thais and Glikcra will not tell themselves when their lovely cheeks have turned hollow. They who love when I am gone wi!! si ng my poems IOgether.

P''"Y by .. 1894 Pi"" ['''if (1870-1925) Translntrd by Rogrr Grt'tWts

PROGRAM NOTES Inn .. Sky David Felder

This composition was commissioned by the Koussevitzky Foundation for SONOR, New Millennium Ensemble, and [he Ind iana Un iversity New Music. Ensemble and first com­pose<1 in 1993-94. The work is scored for flu tist doubl ing piccolo, rutO ;md bass fl utcs, wi lh per­cussion, piano. string ensemble, with four-chan­nels of compu ter processed flute, and occasionru· Iy percussion sounds.

Over ,he past number of years my music has used poetic imagery as a vehicle for formal and expressive abstraction in the making of pieces. Meyer Schapiro, writing in the \ 950's, described painting as being "in fected with the lit· crary"; in my work Illller Sky I sought a personal cure. In moving pa.<;1 coneroe imagery triggered by en emal poetic sources, I worked only with materials springingcnti rdy from me sound of the flute itself. The ovcrall Sh:lpe of me work suggestS an experience of progress ive distancing from the rushing Aow of thoughts and their attendant sense of time (normally considered 'waking' can· sciousness) , toward an ever-deepening focus upon the finely detai led sOllnd world available 'microscopically'. The details of [his small world r~uire another treat ment and experience of [JOle.

Realiz.1.tion of the compmer portion of [he work requi red considerable assisrance from Rick Bidlack, Scon Thomas, and Frank Lockwood, and was accomplishcd at the Com purer Music Smdio at the Universi ty at BufI.1.Io, and rhe Media Studios at lhe B;mO' Centre. Funding ror lilis ponion of the work came from the National Endowment fo r the Arts, and the Banff Centre. Substantial revision to rhe electronic portion was undertaken in WiTHer, 1 999~2000. I am vcry grateful (0 David Boylc. Ron Parh, and the University at Bu ffu lo Hiller Computer Music Studios (Con Lippe, Director) for their sUPPOrl and technical expertise in making the new mare· rials, and re~working the old. - David Felder

El Salon Mexico AIlroll Copkmd

During my first visit ro Mexico, in the f:lll of 1932, I conceived the idea of writi ng a piece based on Mexican Ihemes ... Any composer who [ravels outside his native land wants to return bearing musical souven irs .. . the idea of wri ting a work based on popular Mexican melodies was connected in my mind with a popular dance hall in Mexico cruled Sa16n Mexico ... in that "hot

SpOl" one fdt, in a very natural and unaffected way, a close co man with the Mexican people .. .I t wasn't the music th at I hea.rd, but the spiri t that I fel t rhere, which attracted me. Something of that spiri t is what I hope to have put in to my music. ~AarOIl Coplaud

Aaron Copland, considered a dean among American composers, is (.J"tdiled with creating a distinctly "American" style, and played a serious role nurruring the growth and im ponance of music in the 20th cen tury America n culture. Copland aspiR-d to :lffi rm a relationship between his music and the world immediately at hand -exploring jazz, blue!., and folk music.'i of the Ame ricas as well as the trad itional European mas­terworks in the process. ~(lllollymo lls

Chanson de Bilitis Clnude Debussy

Claude Debussy is considered one of dlC

th ree pi llars of modern ism along wi(h French compatriots artisr Cezanne and wri cer Mallarmc; his musical workings reflcct his highly original aesthetic and taste for the inddl nire, mysterious and esoleric. Debussy sought new genres and explored timbre and color, often striving to paint a scene or musicruize poetry. In 190 1, he explored musical cri ticism as an alternate venue ror developi ng his less than orthodox ideas, wri t­ing a column a.~ "Monsieur Croche".

In hi s own words: " Beaut)' must appeal to the senses ... providc us wi th immediate enjoy· Il1cm ... insinuate or impress ... widlout any effort on our pan." In ( IJaI/SOIlS de Bi/itis, Debussy takes French song to a place where melody is given over cmirdy to declamatory insinuations of poetry. ~lInonymoltJ

Starry Wisdom Jeffrey Stadell1UlII

Sffll7)' Wisdom (1999/200 \ ) is scored fo r a chamber orchc.ma consisting of wind quartet, brass trio and strings, and withollt percussion or piano. The title or the piece is taken from a story by the American writer of supcrnanJral fiction , H.P Lovecrarr. T he Story d~l l s with experiences following !rom the protagonist's unhealthy filSCi­nation with a nineteenth cenrUT}' Providence cult which had discovered an odd jewel-like gateway open ing into another di mension. O ne prevailing (bul by no means exclusive) extra-musical image in composing the piece was of a hypothetical 'instrumental liturgy' employed by the Starry Wisdom cu lt worshipers.

13

The piece is in tWO unequal pam, wri tten :;1

bit over a year apart . ~jtfJ1ry St(/delm(/ll

Tuesday, June 5 JIB Brown Bag: "Pianos!" Second Floor Gallery, Center for the Arts, 12:00 pm

PROGRAM

Jangle Bugallo/\Xlilliams Piano Duo

Elevator Music for Sp;lces

JIBRASSWORKS 51ee Concert HaIl, Sprn

Helen:l Bugallo. piano Amy \'Villiams, piano Michael Orland, piano

John Gibson

Miguel Galper in

The tr:ldirion of band music has long flourished in me United Stalcs; by 1901. the American musical public stirred ro rhe milirary marches of John Philip SOllsa and his imitators ~ Sousa's Invincible Eagle Marth was, in [1([, commissiollC(.j for Buff.tlo's Pan-American Exposition. 'The music is conceived in a spi rit of high manial zest It is proud and gay and fierce, rhrilk'(] and thrilling wirh triumph," wrote Rupert Hughes in his book F({mollS Amerirrlll Composers. Marching brass bands played for h.lIlcrals, parades and picnics; "hor" dance bands llshered a melting-pot public through ragtime and inro the er.1 of jazz as America cbmored for a free and un ique voice with which to express itSCl(

June in Buff.tlo's 200 1 JIBRASSWORKS programs present me brass band as it travels rhe 'serious' music of rhe 20(h cemul), from Babbj( and Ruggles (0 Xenakis. Felder and Lamome Young on sragc in Sice Concert Hall June 5th at 8 pm. On June 9th JIBRASSWORKS bursrs outdoors at 7 pm for a concert of a more populist spirit, driven by the eth llic traditions alive and well in the Americas of 190 1 and 200 1.

PROGRAM

Khalperr

For Brass

Inccndio

Doubl e Sexrerr

Insomnia

14

Iannis Xenakis (b. 1922)

Lamonre Young (b. 1935)

David Felder (b. 1953)

a,.,: by JOII Nelson

Milton Babbitt (b. 1916)

Jon Nelson (b. 1966)

From the Steeples to the Mountains I Gyp rhe Blood ... Charles Ives ( 1874- 1954)

Music for a Solemn Occasion

Shredder

Sofa

RaYlllond My Friend

Meralofonico

JIBRASSWORKS Jon Nelson, Artistic Direcrion Magnus Miirrensson, conductor Erik Ona, conductor

Trumpet LOll Hanzlik Jeffrey Luke Jon Nelson Hi ro Noguch i

Hom Greg Eva ns Dan Grabois Seth O rgel Jeff Seorr

Trombone Miles Anderson John Faieta Jim Miller Stefan Sanders

Tuba John Man ning Ray Stewan

IJltermiss;OI1

15

Guitar Ken Pasciak

Saxophone Co lin Renick

Percussion Craig Birrerman Anrhony Miranda Rin Ozaki Satoshi Takagi

To m Pierson (b. 1949)

David Felder

Fran k Zappa (1940- 1993)

an: by j on Nelson

Diemas Sedicias

Diemas Scdicias

Andrew Wendzikowski Jan \X1illiams

5)'Jlthesizer Michael Orland

r

,

Wednesday, June 6 Cassatt String Quartet Slee Quartet-in-Residence

Muneko Otani, violin Jennifer Leshnower, violin Tawnya Popoff, viola Cacoline Stinson, cello

Baird Recital Hall, 8pm

PROGRAM

Quarter No. I , South of the Yangtze text from aucient Chinese poetry

Seprember, 1999 I. September 5 II. La aimare III. September 16

Man Fang

Mark Alan Taggert

Eastland Jeffrey Stadel man

Ellstkmd was wrinen late ,in 2000 f,?f rhe C~ssatr Suing Quarre r. Ir is in one unbro­k~n movem~nr 0f.app'roxln.larely rlllrreen mmur~s duration , and among miler things picks lip ~n Ideas Initiated !Il a shorr com purer pIece from 1999 called brother. Most of the D:J. s l ~ runes, h ~rl1l0nleS and ge~(Ures for rllc piece are presented, in cO Il1.pressed for,lll over ItS first minute or so, and III regu lar phrases of equa l duration. Aher that r.01nt the work becomes more dcveiopmclHai and var iolls In its un fo lding . .... Jeffi·ey Stadelmall

Intermission

II Violino Spagnolo (U.S. Premiere, wrinen 1988) ImprovviSllziolle Pemiero Scherzo

Eric Rynes , vio lin

Four Songs on Texts by Donald justice Dora O hrensrcin, sopra no

Stephen Manes, piano

Luis de r ablo

Kar i Bccharsc

The Evil Female Bass Playe r Dilem mas Mau ri cio Gomez Zamboni And rew Wendzikowski, percussion

minI!" for soprano, flutes, cello and percussion Lorena Gui ll en , soprano

Eryk Anspach , flures justin Kagan , cel lo

Rin Ozaki , percussion Saroshi Takagi, percuss ion

Alejandro Rutty, conductor

16

Mara Gibson

Thursday, June 7 Baird Recital Hall, 9:00 am

Pictures in rhe Fire rehearsed readi ng by the Cassarr St ring Quartet

"Emerging Composers" Baird Recital Hall, 4:30 pm

PROGRAM

H Olan (based on an excerpt fiwn Ch'oyollg) Patti Monson, alto & bass flutes

Trond Saeverud , vio lin Joshua Gordon , cello Steve G ilewski, bass

Craig Bitterman, percussion Magnus Marrensson, conducror

The Raven Luminescence

Ins igh t ilHo Nonself for solo cello

Michael Orland , solo piano

Jusrin Kagan, ce llo

Suire: Eighr Haiku by Richard Wrigh r for marimba & Iliolin

Lazara Nelson, viol in Rin Ozaki, percussion

Intermission

Gregory J. Hutter

!-lye-Jeong Lee

John Bower

Sabang Cho

Judah Adashi

One More Momenr, for string pio Philip T. Schucsler "the terrible th ing about waking up is realizing that nothing wi iJ change today ... "

Lazara N elson, violin jusrin Kagan , ce llo

Michael Orland, piano

" ... for e.e. cumm ings ... "

Quinter Stephen Manes, solo p iano

forflute, clarinet, violill, cello, and marimba Patti Monson, flute

Ben Freimuth, clarinet Trend Saeverud, vio li n

Justin Kagan , cel lo Rin Ozaki, marimba

Magnus Martensson, conductor

17

Greg Davis

Robert Thomas

, ---------------------------~-----

Friday, June 8 Faculty and Emerging Composers Drama Theatre, Center for the Arts, 4pm

Deja Vu

PROGRAM

Greg Evans, horn John Faicr3, t rombone Helena Bugallo, piano Isabelle Bonini, cel lo

Corrado Canonici, bass 4 computers

Erik Ona, conductor

Erik ana

Perception for flute 6- computer

Mirsuyo H asida

Cheryl Gobberri H offman, Aute

Whirlpoo l for trombone & computer

John Faiera, n ombone

Intermission

Music for Com pute r and Concrabass Corrado Canonici, contrabass

ISTIKLAL Susan Fancher, alto and baritone saxophones Cheryl Gobberri Hoffman, amplified piccolo

Stephen Man es, ampli fied piano

Tomoko Nakai

Cort Lippe

Alan Tormey

Gleam Chikashi Miyama for nlto saxophone and multi-media interactive system

Susan Fancher, al to saxophone

Chamber Music Slee Concert Hail, 8pm

Afrerbonanza

Distances

PROGRAM

Jeffrey Luke, fl'lImper Greg Evans, fren ch horn John Faieta, trombone

Susan Fancher, soprano saxophone Greg Evans, french horn

Corrado Canonici, conrrabass

18

Bill Sack

Career Williams

'[ t

Notes More No

Frictions

PET

Quatuor Bozzini

Quaruor Bozzini

Intermission

Isabelle Bozzini , cello Steve Gilewski, contrabass

Sam Mirelman

Pedro Rivadenera

Er ik O iia

T iffany Nicely & Andrew Wendzikowski, percussionists Erik On a, conductor

Music for Five Players II Pani Monson, flute

Ben Freimuth, clar inet Clemens Merkel, violin

Isabelle Bozzini, cello Helena Bugallo, piano Erik Ona, conducror

Cort Lippe

Mwic for Fiv( PIa,fTJ 11 (I989) was written for [he Tenth Anniversary Concert of Irina PrizeWinners, is dedicated to Reiko Irina, and received its premiere in Tokyo in 1989. Originally, [he piece was inrendcd ro be a revised version of Mlisie for Five Players which was premiered in 1987 in Paris. The revisions took on a life of their own, so to speak, and thus the piece now deserves a separate [ide ~ although irs roots clearly lie in the earl ier piece.

If one purpose of program notes is an arrempt to offer listeners somethi ng to listen to/for in a piece, then the following could be read in that comext: Exploration of various relationships berween and among inStruments in an ensemble constitutes a central activiry in defining musical organization and crearing musical structure. Each of th is work's four main senions explores the (lualiry of sololruni relationships. The first section begins with somewhat convenrional sololrurri playing. In the second seerion soli stan [Q superimpose ~ thereby producing a group comprised of soloists. Conventional sololrurri relationships are reversed in section three: soh are extremely sim ple, wh ile tutti are of a more complex "soloisric" nature. In the final section soli transform and develop into turri. In general, sections rend to elide, nansform ing from one to another. "Cort Lippe

Ce Jour de L'an Alejandro Rutty Patti Monson, flure Eryk Anspach, Aute

Ben Freimuth, clarinet Pauli ne Farrugia, clarinet Michael Orland, piano

Tom McCluskey, percuss ion Tiff.1ny Nicely, percllssion

Clemens Merkel, violin Elise LaVoi e, viol in

Isabelle Bozzin i, cello Justin Kagan, cello

Corrado Canonici, contrabass Steve Gilewski, contrabass

OFFSTAGE GROU P: Mari Mizurani, vio lin

Carter Williams, viola d'amore Mark McConnell , bass

Alejandro Rutry, conductor

19

Saturday, June 9 " 1901-2001, The Pan-American Exposition and Beyond, in Music"

Lecture: "The Yankee Doodle Dandies" , Michael Lasser Slee Concert Hall, 9:30 am

Popular Songs from the Time of the Pan-American Exposition AI the rurn of the new cenrury, it fel t as if all America was singi ng. Tin Pan Alley - rhe music pub­lishers' hcadquancrs in Lower Manhattan - was in irs heyday. Vaudevi ll e performers sang the new songs from coast to coast and peo ple bought the sheer music lO play i,n thei r padors. The songs were especially interested in what was going on around us. In the gtllsc of love songs, the), sang about our moving from the farm CO the big city, our f?scinarion with technology and how it affect­ed our lives, the arrival of millions of immigrants tram Ccnrral Eu rope, and rhe emergence of women from Victorian rcsrrainrs. Michael bs.ser's talk uses period recordings to show how pop­ular Illlls ic opens an enterraining window on America, circa 1900.

Kevin Bowyer, organ Slee Concert Hall, 11:00 am Welcome by Kerry S. Grant, Vice Provost of Academic Affairs and Dean of the Graduate School

PROGRAM

Symphonic Fantasia and Fugue, O p. 57 ("The Inferno")

Messc de la Penrecote

Intermission

Fanrasia COll rrappunrisri ca

"Afros 0 Tafos Then Mbori Name Horessi"

M:lX Reger (1873-19 16)

O livie r Messiaen ( 1908- 1992)

Fcrrucio Buson i (1866-1924)

Emil Harnas (This Tomb Can not Con fi ne Me) for organ, brass, & percussion

H iro Noguch i. trum pet jon Nelson, trumpet jeffrey Luke, trumpet Lou Hanzlik, crumpe[

An thony Miranda, percussion Magnus M <irtensson, conducror

Lunchtime with the "Outer Circle Orchestra" VB Commons, 1:15 - 2:15 pm

20

(.

(.

"PANAMERICANA"

Manes Piano Duo Frieda Manes Stephen Manes

Amherst Saxophone Quartet, VB Artists-in-Residence Susan Fancher, soprano saxophone Russ Carere, alto saxophone Stephen Rosenthal, tenor saxophone Harry Fackelman, baritone saxophone

Slce Hall Lobby, 2:30 pm

PROGRAM

Panarncricana, for solo piano (commiJsioned for the Pan-American &position 190 J)

Stephen Manes, plano

Victor Herbert ( 1859-1924)

Summer Drea ms, Op. 47 fo r piano duet I. The Brownies 2. Robin Redbreast

Mrs. H . H .A. Beach (1867- 1944)

3. Twilight 4. fG~-dids 5. 1:.1.111 Tarantelle 6 ood Night

Frieda and Stephen Manes, piano

Elire Syncoparions (1902) Scort Joplin (1868- 1917)

(In: by H. Fackeiman

Scherzo (1903) Charl es I yes ( 1874-1954)

an: by S. Fancber for saxopholU' octet ASQ wirh gues[s

The WSPV Saxophone Q uarter: Colleen Luckman, soprano saxophone

Colin Renick, ah a saxophone Sreve Hu nte r, renor saxophone

Lacey Golaszewski, bari tone saxophone

Closely Relared Fungi (1996)

Concerto (1995) movements I and IV

jonatha n Colove

Philip Glass (b. 1937)

Cha rleston (1899) Eubie Blake ( 1883- 1983)

arranted by H. Fackelman for saxophone octet ASQ with guests

T he WSPV Saxophone Quarter

21

PROGRAM NOTES

Panamericana Victor Herberl

Victor Herbert helped fou nd rhe American Society of Composers, Authors, and Publishers in 1914. He wa~ appoi nted cond uctor for (he fUlled 22nd Regiment Band in 1893. and led the Pi nsburgh Symphony OrChCSlr.l. from 1898-1904. Nored /01' his morc (ha n forty highly pop­ub r opcrcll;ls (i ncl udi11g Ntlllghry Milriel/tl and Hltbi'S;1I 7QylllIl(~ , he also saT prin cipal cel list fo r the Merropolit :m Opera Orchestra in the late 1880's.

Slmuuer Oreams Mrs. H.H.A. Bellcb

Amy March Cheney, b ier Mrs. H.HA Beach, was the most promincnr woman compos­er of her day. something or a Bos[Q1l classicist. Nurruroo by a long-serded New England family tha t pa. ... ~cd culruml ed ucation from generation {Q

generation, Mrs. BcolCh was an accomplished pianiS[ as well a'i composer. She n:ceived official commissions from the Chicago World's Fair (1893) as well as lhe Panama- Pacific Exposition (San Francisco, 1915) con fi rming her career suc­cess, and is probably best rcmembercd fo r sllch songs as Ah, Love, Bill fl Dlry and The Yeflrs At the Spring.

Elite Syncopations Scott j oplill, nr/"lfuger/ by H. FflckefmnJl

!:life SyltcopllfiollS is 3. good example of "classic" ragt ime, which has come to be consid­ered America's firs t influential art music. At the (U rn of the 20th cCIHury ragtime was thought of as low music, as jazz and rock were to be in their ti mes, and 1>yncopation W:t5 accuscd of causing social ills of the era. Searr Joplin, who wamed ragtime to Ix: given the rcspca of classical art fo rms, g.lVC Eliit' SyncopllfiollS Ics.'i rhythmic com­plexity than m OSI of his compositions. It is a nmvelolls eX:lm plc of his art.

Scherw Chnrles "lei, nrrnnged by S. FlI1Jcberfor saxophone octet

Charles Ives wrOte this short SdR'l'zo for suing quartet in 1903 and rcvised if in 1914. It was arranged for saxophone octet by Susan Fancher fo r this performance. T he ASQ is pleased to welcome to the stage rhe \x/SPV saxo­phone quanet, saxophone snK\Cnts of lhe mem­bers of tbe ASQ in the Music Depanment at UB. The piece has a simple ABA form and features Ives' characteristic use or quores from Etmil iar mUS1c.

Closely Related Fungi jOllntbnll Golove

Closely Relnfl'tl Fllngi takes as its poim of departure rhe strong simi lariries in lOne color between the instruillents of the saxophone F.uni­Iy (especially the case wilh the members of the wonderfu lly blendcd ASQ, who inspired the work's composi tion). A~ rhe piece develops, dif­fe rence> in rhe playing styles of (he individual players are made increasingly app:l. rem to the lis­tener. This proc('Ss of differentia tion mirrors that which the amateur mushroom hunter must undergo in learning to distinguish go<Xl. edible species fi·om poisonous relatives or look-a-likcs! Additionally, dIe work was in fl uenced by jazz improvisers' (in particular, Charli e Parker's) predilection fo r cre:ll ing ex tended melodies on tbe basis of a fairly limited group of melod ic motives. I am Gsci nated by dIe immense and subdc variety of rh)'"thillic approaches to the sa me musical m;neria l taken by jazz musicians, and have sought [0 incorporate a si mi larly kaleido­scopic view of rhe basic rhythmic figures L1sed in my composition. Closely Relilled Fllllgi is dedi­cated ( 0 the Amherst Saxophone Quanet, who premiered the work in Februa ry 1997. ~ jOllntbnn GoIO/It.,

22

Concerto (movements I and lV) Philip Gll1ss

-n e Amherst Saxophone Quartet's JIB 2000 performance of Philip Glass' stunning Concerro for StlXophol1fl was one of (he highlighL'i of last year's fesli\'ai. The work is part of a series of picces commissioned by the Rascher Sa.xophone Q uarrel, all of which exist in two ver­sions, one with orchestra and anarher for quartet. alone. Toda)"s performance presenrs lhe first and laSt movement$ of this work.

23

Charleston Eubie Blllke, nrmllged for s(u:opbone octet by H. Fnckelnlll1l

Chnrles/QII Rng is an example of Eubie Blake's classic Ragti me style. It was originall}' enti tled 501ll1(/s of Afrim by \Xli II Marion Cook, an inAucntiaJ condllctor of rhe time. In 1921 it was renamed and promptly sold a million records. Though Eubie Blake was only sixteen whm he composed the work, a fully developed style W:t5 already exhibited, with the presence of a ver)' characteristic 'wobbly' bass line.

~ASQ Progl"lllll noleS /;)1 SlIsan NlIIciJeJ"

"The String Quartet, Then and Now" Quatuor Bozzini

Clemens Merkel, violin Elise LaVoie, violin Stephanie Bozzini, viola Isabelle Bozzini, cello

Slee Concert HaU 3:45 - 4:00 pm

PROGRAM

"E.Q." for electric string quartet (1993)

Q uarter No. 2 I . Discussions 2. A rgumeuts 3. Call of the MOllJltt li1l5

PROGRAM NOTES

E.Q. jOlllllbalJ Golove

EQ. was wrinen in the spri ng of 1993 and pe rformed on a matChed set of electr ic string instrumen ts designed and bu ilt by violist Adam 1-Ioo l"lm ra, then a fe llow student at The C leveland Institure of Music. Taking my expe­rience as a performer in rradit ional Siring quar­tel'S as a starring point, I set out [Q demonstrate some of th e new possibil i (ic.~ ofFered by the extension of this time-honored ensemble through the addi tion of modern technology. In pa rticula r, I felt th:n 'classical' musici:ms had cut themselves o ff from the enormous so urce of expres.<;ive power which the electric gu irn r pre­senL~ [Q even the m OS t rud imentary beginn er, gifted only wi th the d esire to make glo rious no ise. As a composi tional principle. I have anempted co correlate the musical materia ls and (heir development Wilh the d iffcrem sound pro­cessing effects. ~jollnlb(11I Co/mit'

Quartet No.2 a lar/es lves

Jonathan Golove

C harl es lves (I874- 1954)

"Ivcs' music was not o nly the mo~t unusu­al bod y of !l1 usic ever composed by an American, it was probably rhe mOSt unusual body of music composed by any m ll ~ i c i an in history." writes H arold Schoen berg. Considered by many the fi rst important America n compos­er of rhe 20th centu ry, Charles Ives dcveloped his innovative style in alm ost complete isolation; most of his worb wai ted m:my years post-<om­pbion for performance.

"Ghosts in Black and White" BugallolWilIiams Piano Duo

Helena Bugallo, piano Amy Williams, piano Robert Berkman, pianola

Baird Recital Hall 4:30 - 5:20 pm

This program combin es music for piano and pianola. The pianola, the chief Illcdium for musical reproduction at {he ru m of the last cemu ry, serves as vehicle fo r visitation of, among orhers. George Gershwin, Igor Stravinsky, and ArrTarum as composers and perform ers of music. Tribute (0 these figures. and ro [he pianola itself, is paid through li ve performan ce: transcriptions of Conlon Nancarrow's mechanical music, the premiere of Amy Williams's homage ro Art Tarum, music of Stravinsky, and a selection of tangos spann ing the twentieth century alternate with pianola sclee. rions. At the pianola is QRS's Robert Berkman; at [he piano, The BugallolWiliiarns Duo.

PROGRAM

Furni rure Music Ercetera

Clap Yo' Hands

Studies for Player Piano #9 and #3B

Get Happy

AbStracred Art (2001 )

lnvierno Porre-o

Verano POfre-o

Tango Jalousie

Tango?

Thorn-torn Lips

Five Easy Pieces

Piano Rag Music

25

Er ik Satie I John Cage (1866- 1925) I (1912-1992)

G. Gershwin played by Gershwi n ( 1898- 1937)

Conlon Nancarrow (b. 1912)

Haro ld Arlen played by Art Tarum (1905- 1986) I (1910- 1956)

Amy W illia ms

Asror Piazzolla (b. 1921 )

Astor Piazzolla

Niles Gade played by Frank Milne

Conlon Nancarrow

Roberr Berkman

Igo r Stravinsky (1 882- 1971)

Stravinsky played by Srravinsky

"Miss Jane's Parlor" Jane Romanos, vocals Robert Berkman, pianola

Baird Reci tal Hall 5:30 pm

Th is program is adapted from rhe original {'Miss Jane's Parlor" as conceived and performed in Holbnd and Buffalo a decade ago by Winifred Simpson and rhe late Yvar Mi khashoff, scenario and direction by Nancy Rhodes. Mr. Berkman, playing a "vorserzer" -type pianola (c. 1912), inrerprees piano rolls he has made of rhe accompaniments to "Miss Jane" (appearing in period costume) slnglllg:

PROGRAM

The Year's at rhe Spring

Will You Remember

Pan, Pan, Pan

From the Land of the Sky-Blue Water

Always Do As People Say You Should

I'm Afrer Madame Tcrrazzini's Job

Come Down Ma Evenin' Star

Pump That Player Pi ano

Mrs. H.H.A. Beach (1867-1944)

Sylvia Romberg

Gus Edwards

C harles W Cadman (1881-1946)

Victor H erbert

Gus Edwards

John Suomberg

Bennett & White

Original rolls for this production recorded by Chrismpher T. Sierzchub, with technical assiscance from Ken Kaufman.

26

"A Concise History of Brass Bands in the Americas" JIBRASSWORKS Outside Slee Concert Hall, 7:00 pm

BegiJ.ning with the manufacturing of brass instruments during the American Civi l War, brass bands have taken on various forms within the western hemisphere. Coupled with the arrival of European wind players, brass bands have continued to be an important pan of American folk cul­ture. The program of June 9 will demonstrate the diversity of what brass bands mean to different countri es and their cultures .

This concert will include performances and discussions of music from the American Civil War, Brazil, Mexico, Cuba, New Orleans, New York , and Los Angeles. The most COlllmon thread onc can find dlroughout is that much of this music has cxisted as a reaction to the oppressive quest for domination by European colonists. In spite of the cruelties imposed by the United States and its im perialist efforts, brass bands remain the popular music of the common people, used in concert senings, fo r parties and fest ivals, and in religious services. This concert is a celebration of the per­severance of those who have suffered at the hands of industrialized nations.

PROGRAM

Concerti no

From the Steeples to the Mountains

Gyp rhe Blood ...

Huapango

Mambo #5

Use lour Brain

Sofa

Raymond My Friend

Metalofonico

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Ernst Sachse

Charles Ives (1874- 1954)

Charles I ves

J. P Mancayo

Perez Prado

Dirty Dozen Brass Band

Frank Zappa (1940-1993)

Dimas Scd icias

Dimas Sedicias

JIBRASSWORKS

Trumpets Jeffrey Luke Jon Nelson Hiro Noguchi

Horns Greg Evans

Seth Orgel Jeff Scott

Trombol/es Miles Anderson

John Faiera

Jim Mi ller

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Tuha John Man ning Ray 5rewan

Saxophone Colin Renick

Guitar Ken Pasciak

Percussion Rin Ozaki Satosh i Takagi Andrew Wcndzikowski

RES IDENT COM POSERS

David Felder is one of rhe leading American composers of his geller.nian. His works have been featured :u many of the leading imer~ narion al fes tivals for new music including Holland, H uddcrsfield, Darmstadt, Ars E1cctronica , Brussels, ISCM, Nonh American New Music. Geneva, Ravinia, Aspen, Music FaclOl)'. Bourgcs, Vienna Modern , :"Ind many mh­e!'s. His work earns conti nuing recognition through performance and commissioning pro-­grams by such organiz.ations as the New York New Music Enscmble, BSe OrchesrrJ., Ardini Quanet , America n Composers Orchestra, BufF.llo Philharmonic Orchestra, Americ.m Brass Quintet, Ensemble InrcrConremporain and many others. I~elder's work may be broadly char-3([crized by i[~ highly energetic profile, through ics frequem employment of technological exten­sion and ebborarion of musical materials, and ics lyrical qualifies.

Felder has received numerous grancs and commissions including six award.~ from rhe National Endowment of the Am, two New York Sr:lIe COlillcil Commissions, a New York FOllnd:uion for the Am Fellowship, Guggenhei m, KOllSSCVirzk)" and fWO Fromm Foundation Fellowships, two awards /Torn the Rockefeller Foundation, Meet the Composer "New Residencies" (1993-1996), a commission from the Mary Flagler Cary Tmst, and many more. Recently com pleted commissions include (/ pressll/"{' triggering drl'fllw, May, 1997 premiere by the American Composers Orchestra in C1 rt1egie Hall; III Senlleell for .~olo electronic per­cllssion and chamber orchestra for jUlle, 2000 premiere by percussionist Daniel Druckman in New York; and Inlier Sky. Current commissions include works for the Cassat( String Quanet and the New York New Music Ensemble. Additionally, he is cur.-emly completing work on his ambitious Crossfi" series - a full-length work combin ing concen video and music.

Currently, Felder is Professor of Composition at The University at Buffalo, where he also hold .~ tile Birge-C1ry Chair in Composition, and has been Artistic Director of the june in Buffalo FestivJI from 1985 to the pre­sene From 1992 to J 996 he was Meet the Composer "New Residencies" Composer-in­Residence for the Buff..tlo Philtwrmonic Orcht:'i[r::I and the GrC:ller Bufllio Opera Company. [n 1996, he tanned the profess ional chamber orchestra, the Slee Sinfo nierr:t, and has been Artisric Directo r si nce lhat time. He has [;mghr previously at the Cleveland Instimte of Music, the Universi ty of California at San Diego, and

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C llifornia Stare Un iversity at Long Beach, and he earned :1 Ph.D. from the University of Ct.!ifornia «I San Diego in 1983. His works are published by Theodore Presser, and a fUlt CD of his works was rele:l.~ ("0 imernational acclaim (including the "disc of rhe ),ear" in Ch:ulllx:r mllsic from the Americm Record Gu ide) on the Bridge label (Bridge #0049) in J 996. A second disc contain­ing orchestral work was released b), Mode Records (Mode #89) in Summer 2000, and a third disc featuring work~ widl electronics is in preparation.

Jonathan CoJove is a native of Los Angeles, California and :1 residem of Buff.1.lo, New York He currently serves as Visiting Assistant Professor in the Music Dep:mmenr of the University at Bufblo and at the Eastman School of Music. Mr. Golove's work~ have been performed in a variety of locations in North America and Europe, by such enscmbk'S as VOX NOVA, the Ensemble Court Circuit, the Am herst Saxophone Quartet, Maelstrom Perclission Ensemble, and The Insuumental r-actor. He has received commis­sions, awards and gr.lIlcs fo r his work~ from orga­niz,1.ciom including the UB Symphonic Band, the European Academy of Music/[nternational Festiva l of Lyric An of Aix-en-Provence, VOXNOVA, ASCAP, the YVlf MikhashoffTrusr ~or New Music, Meet the Composer, and the Darius Milh:llld Society. His opera (in progress) Red HarMI \vas commissioned by the Europeln Academy of Music :md received it's premiere in Festival of Lyric An of Aix-cn-Provence in jul)" 1998, directed by Pierre Srrasser. His composi­tion Hl'n' (Illd Thert! for woman's voice and per­cLlssion ensemble was released on CD by rhe Maelstrom Percussion Ensemble. One Jllove­ment of this work, a speech quartet, has received nearly one hundred performancc~ in its original version and ha.~ recently been fearu red in the SUNY f-redonia Choir's [Our of New York state in a version for speaking choir. Current commis­sions include works for solo bass trombone and band, solo violin , and piano trio.

Mr. Golove is also an accom plished cellist, a smdem of Siegfried P:llm and Ronald Leonard. In 1997 he was featured as soloist in Morton Feldman's Gllo (llld Ol1hestm wi th the Buff.tlo Philharmonic Orchestra, and performed Sofia Gubaidlilina's Dena II for cello and ensemble with rhe Slce Sinfonicna in April t 999. He is cur­rentlY:l member of the Baird Trio, made up of[1.c­LIlt)' performers :It University a( Buffulo. He is active, as welL in the field of improvised music, appearing as cleerric cel list on :t nurnber of record­ings with composer/performer Vinn), Colia.

Con Lippe h3.'i been active in lhe fidd of imcr:lcri ve compmcr music for more lhan 20 years. He studied composition with Lirry Austin in rhe USA; spent a year in Iraly. srudyi ng RCJl3issail ce mus ic; an d th ree years in T he Nctherbnds, at' the Instiruut voor Sanologic working wi th G.M. Koenig :lnd P:lul Berg in tht fields of complUcr and formalii',ed music. He also lived fo r cleven years in I:rallcc, where he spent rhree years ~u the Cemre d'Erudcs de Mathematiquc et Auco llla tiquc Musicales (C EMAMu), directed by lannis Xcnakis, while fo llowed Xenakis' course on fO rtmli'lJ.'d music at the UniversifY of Pari.~ ; and he worked for eight years at rhe lnstimt de Recherche cr Coordi nation Aco ustiquc/Musiquc ([Re AM), founded by Pierre BoulC'"l, where he developed real-rime musi­cal :l.pplications and gave courses on nt'W technol­ogy in composition. He has followed composition and analysis seminars with variou.~ composers including: Boulez, Donaroni, K. Hubcr, Messiaen , Penderccki, Stockhausen, and Xenakis, and has wrinen for most major ensemble format ions. His works havc received numerous international com­position prizes, incl udi ng: the lri no Prize UaIJan), fi rs t pr izc.~ at Bourges (France), thc El Cal ejon Del Ruido Competition (Mexico) , che Leonie Rodlschild Competition (USA), as well as prizes and honor.tble ment ions in Lile Music Today Competition U;lpan), the Prix Ars Electronica 1993 and 1995 (Austria). the Newcomp Competition (USA), and (he Kennedy Center Friedheim AW:lIUs (USA). His music has been premiered at major festivals worldwide, and is record"i by ALM, ADDA, Apollon , CBS-Sony, Cencall r, SEAM US, MIT Press, Hungaroron Classic, Harmonia tvlundi, Neullla, ISCM and EME Presently, he is an A~s istarH Professor of Compos irion and Direcro ( of rhe Hiller Computer Music Smdios of the Universi ry at Buff.tlo, New York.

The music of Jeffrey Stadelman---<>nce de.'iCribed by a Los Angeles Times reviewer as "pa imerly ... , deftly dispersed in lime and glazed wirh a (by wir" -has been perform ed in the U.S and Europe by an impress ive liS! of the leading groups active ill comeml)ora.ry music perfor­mance. This list of ensemb es, includ ing Ihc New York Ncw Music Ensemble, Boston Musica Viva, the California Ear Uni t, the San Francisco Contemporary Music Players, Het Trio, 175 East Ensemble (New z.e..J.ia.nd), Earplay, rhe New World and Cassatt String Quartets. Vicr Fakulrcit (Holland) and the June in Buff.llo and Wellesle), Confe rence Players, among others, cominucs ro grow as the composer's work atTracts increasi ng ;l\\cnriOll in the U.S. and abroad.

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Originally from Wisconsin , Stadelman smdied composition a.~ an undergr.tdu:lle with Stcphen Dembski at the University of Wisconsin­Madison, and wenr on to receive lhe Ph.D in Music fl·om Harvard Universiry, where his princi­pal teachers were Mil ton Babbin , Earl Kim, Donald Manino and Stephcn Mosko. Stadellllall has since received commissions and invil:ltions fo r compositions from, among odlers, the Frollllll Foundarion and Boston MusiCi Viva, llove Sincron ie, Concen Ar(ists Guild, Trio itali:l.l1o Conrem\)or.t neo, Phantolll Arrs, Bernhard \'(I;mlbac l, and UW-Madison. Grants :lnd awa rds include l ho.~ from Meet the Composer, Harvard Uni vers ity. Friends ;l nd Enem ies of New Music, and the Dannsradr Summer Courses.

T he composer laught at Harvard Un iversi ty during rhe 1992-93 academic year, and curren tly serves as Associ;lle Professor of Music :H the Universi l)' at Buffulo. where he tcaches composi­tion and twemiedl-centUl), music. Stadelman's music is publ ished by APNM , BMG Ariola and Soundout Digit:ll Press. Recendy completed and ongoing projocts include MOl1fluml 7ext Studies for comj>utt!r.gencmted tflpe; Eight SOl/gs, a collec­tion fo r bass-barimne and pi:lno; a new string quartet; and StfIJry Wisdom, for chamber orchcs­[ r.!. Another r(.'c(.'nt work, EI'ClIf)' I", will be rocord­ed in Ocrober of this year in Auckla.nd, N.Z. for a futufC C D relea.se.

Also activc as a writer on musical subjects, Sradd man has aUlhored a number of analytic papers since 1986, and made prcsemations on Babbin and Schoenberg at universities and festi­vals in rhe U.S . and Europe. He has also seen pub­lished a comparative analytic essay on worb by Mart ino and thc poet A. R. Ammons in Persptclives or New Music, as well as an interview wi th Brian Fel"llcyhough in the composer's Collected Writings. At the 1994 Darmstadt Sum mer Courses. Stadel man prescll(ed a compar­ative study of works by John Ashbery and Milton Babbitt , and was a panelist fO r the acsthetics col­loquium, "Analytical and Terminological Problems of Contemporary Music." Recently completed projects include a n.'V iew for the Journal of the American Musicological Sociery; an es.s.1Y fo r a Fest'iChrift documcnting d lC fiftieth :mnivtTS.1ry of dlC Darmstadt Summer Courses (Von Kranicruacin zur Gegenwart); and annotat­ed rra..nslations, for 20dl-Ccnrury Mmic and Pcrspectives of New Music, of essays by tvi:luricio Kagel and Helmut Lachenmann.

RESIDENT ENS EMBLE BIOGRAPH IES

Amherst Saxophone Q uartet Susan Fancher, sopr~lno Russ Carere. alto Stcphcn Rosenthal , lenor Harry Fackelman, baritone

The Am herst Saxophone Q uartet is a flu! · ti me professional cnscmble that divides ilS time between touring, irs residency af the Universiry at Buff.tio, and performances in Buffalo and Eric COllIllY. Group members are Susan Fancher, Russ Carere, Stephen Rosenthal , and Harry Packeln la n.

The ASQ was formed in January of 1978 and is now cdebr:.Hing its rwenry-third fllil season of concert performances. The ensemble has per­formed in the Unittd States from Maine to Hawai i, Japan, Bermuda. and the British Virgin I.sland.~. Concert highlights include appear.t nces in Carnegie Hall , Kennedy Center, Lincol n Center, Chautauqua Institu tion, and broadcastS 0 11 Narional Public Radio's All Things Considered and Pcrforw(/Il cr Today, Public Rad io Internationale's St. Palll Sum/fly. Voice oj Amaien, NBC-TV's Tollight Show, and CBS SUlldilY Mamlug.

-111e ASQ W;.IS awarded Chamber tvlusic America Residency Gra.IlIS for the 1985-86 through 1987-88 seasons. T he Ensemble received the 1993 First Prize for AdvC1l ru re..<;() rne Programming frolll CMNASCAP, and has been awarded commiss ioning pri z.es from CMA. NYSO\., and (he NEA. The Board of the Q uarrel sponsored an international composition compctition and received over 120 new work~ from around Ihe world.

The ASQ's newesl CD is ;1 recording of music b)' four living North AmeriCin composers and showcases the charm and freshness of the best of today's "classical" mus ic. The CD is called Lfl11/ellt 011 rhe DCflth oj Music and was pro­duced by Judith Sherman. In addition to this recording on the I nnova label (Alll cri c:ln Composers Forum), the ASQ has recorded four albums for MeA R(.'Cords, Musical Heritage Societ)', and Mark Records. -111ese incl ude twO recordings of new American music, an all-Bach :llbulIl, an a11-Eubie Blake disc, and a coUabor.t­lioll with Luka.~ Foss. In 1997 the ensemble rde:LK-xI a vidtorape introducing children to chamber music, cal led ASQKids. It" is believed to

he Ihc first video of its kind.

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The Amherst Quartet has been a perform­ing member of Young Audicnces of Western New York since 1979. The group also worked with young persons' progra..ms at Kennedy Center (Washington . DC), Lincoln Center (New York, NY), Aesthetic Ed ucation !nslillrte (Rochcstcr, Ny), and Art. .. in Education (Buff.t1o, NY). As the Q uartet navels, it performs mallY short-term residencies in conjunction wi dl ilS concert per­formances. T he mt rnbcrs of the ASQ arc clin i­cians fo r the Selmer Company and Vandoren Reed Produces.

T he ASQ's l o ng~ rernl goa ls include main­taining a perrnanenr repertory ensemble of the highcst international cal iber and encou raging composers to write ror saxophone quartet to cre­are a repertory tha I" compares 10 11m of the con­lempora..ry string quarret.

TIle Bugallo-Williams Piano Duo Helem Bugallo Amy Wi lliams

The Bugallo-Williams Duo has been COI11-

mi ned to presenting concertS of cOlliempor:.u)' music since 1995, and has been featured at the NUMUS Fesrival (Denmark), -Ieano San Marrin (Buenos Ai res), Ju ne in BufI.,lo. North American Ncw Music Festival (Buff.llo), Jordan Hall (BaSion), 3-2 Festival , Goet he- lnstillJl (Sweden), among others. Its repenory spans the music of the Iweru ieth cenru r)" incl udi ng Illusic by Cage, Feldman, Stravinsky, R7.ewski, Rcich, Ligeti , and Kurdg, as well as pieces by younger composcrs, many of whom have wl"i[(ell specifically for (hc Duo. Most recently. lhey have engaged in a number of Illul rimedja and trallscript"ioll pro­jt'CfS, worki ng directly with composers Jonathan Golove, Erik Ona, Ju kka TiensuII , and Lukas Foss. During the summerlf:111 of 2000. lhe Duo enjo),ed staws or artists- ill-residence at the Akadcmie Schloss SolilLlde in Srungan , Germany, and featured performers at the Musik :lllS Solimde Festival. Engagements during Ihe upcoming season include concerts in German)" Engbnd. Unlguay, Chicago, Boston, Baltimore, Bu ffa lo. a.nd S},ra..cusc, as well as tile recording of rheir debut CD of Conlon Nancarrow's music ror solo piano and piano duel. 10 be prod uc(."(j by the German Slid West Rundrunk.

C'lSsatt String Quartet MUllcko Otani, violin Jenni fer Leshnower, violin T:'1\vny" PopofC viola Glrol ine Stinson, cello

Hailed as one of America's outstanding young ensembles. the Manharran baS<.-d C ISSa({ String Quaner has per~orme<1 (hroughout North America, Emope, and the Far E:lSt, with presti­gious appearJnces at New York's Alice Tully Hall and Wei ll Recital Hall at Clrnegie Hall, the -r..l nglewood Music Theater. the Ken nedy Center, the Theatre des Champs-Elysces in Paris and Maeda Hall in Tokyo. The group has trequenrly been heard on WGBI-!, WQXR and WNYC, and has also pre.sented programs on C BC Radio and Radio France.

Formed in 1985 with the ellcouragemenr of lhe Juilliard Quanel, [he Cassan initiated and were the inaugural participa'Hs in J llilli af(r~ Young Arrists Quartet Program. T heir nUlllerous awards include a T.lnglewood Chamber Music Fell owship, the Wardwell Chamber Music FcJ low~hip at Yale (where they se rved as teaching assi.'.t,HHs to the ' Iokyo Quanet), Firsl Prizes ,1\

the Fischoff .wd Coleman Chamber Music Competi tions, two top prizcs at the Banff In ternation,11 String Quarter Competition, the 1995 CJ\'WASCAP First Pri'le Award for Adventurous Programming, and :l 1996 record­ing grant trolll the Mary Flagler Cary Charitable -rr·USI.

2000-200 I marked [he Cassa rr Quarter's inaugura l season as arti,m-in-res idence at the Uni versit)'of Pelln.~y l vani;1 in Philadelphia. They also cominucd residencies at ooth the University at BU rF.llo, where they pertormed th(· Slee Beethoven Quarter Cycle, and Syracllse Univcrsiry, where they have created ,he louis Krasner Graduate String Quarret Program for the training of you ng, professionally oriented string quartets. In addition , [hey hold su mmer resi­dencies a[ New Yo rk's Bang O n A Can Festival, June In BuA:alo, the Seal Bay Festival in Maine, and thc Swannanoa Chamber Music Festival in Nort h Gl rolina. Upcoming record ings of new worb wrinen fo r rhe Cass.llt include a CD of SIring Q uarret<; by Daniel S. Godfrey, as well a.~ a Ba.~soon Q uintet by Lawrence Dillon.

The Cassan has recorded for rhe New World, Point Music, Albany, Tad'lik and CIU labels. T he Quartet takes irs name (i'om the cel­ebra ted American impressionisl painter Mary Cm;m.

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Quatuor Bozzini Clemens Merkel, violin Elise Lwoie, violin Stcph:lJlie Bouilli, viola Isabelle Bozzini, cello

Qu;truor Bou ini unites lour young artists deepl)' dedicated to the universal Ial1b'Uage of music, and to the scring quarret genre as one of it~ most refined mediums. Believing music essen­tial in everyday life, the quartet's mission is [Q

bring it to people ("Vefy",here: old music, new music, unknown music, f..UllOuS Illusic, srr.lnge music, huni!iar music - Illllsic rrom all times, rrom all over the world, in all places. The con­tinuous C01l1Jllunication between tour !nusicians in :1 string quarrer creates a uniquely concentrat­ed creative energy which is transmimxl to the audience renewing their response [0 (he live con­cert experience: a Quatuor Bozlini concert rakcs the audience on a jOllmey - a [rip to a world with­OUt borders of time or space. Founded in 1994, the Bozzini Quanet received awards and disti nc-60l1s sllch as 2nd Prize in the CIBC competit ion (1995) and 1st Prize for i t~ recital in the Debut serie; the group was also heard at "Young Artists", the BanA" Cen tre for che Arts, Southern Ontario's Chamber Music Institute and Dom:line Forget. In Summer 1999, QB was invi ted fo r recitals in Camrnac and Bois-des-qll3.rre-lieLL.... Qu:uuor Bozz.ini is commined to ;lchievi ng [he broadest possible repertoire and has ventured repea[(-dl), towards new music: Opening Concert of the NEM Forum (I~all 1996). concerts with Codes d'Acces in the "Rencomres de musiques ecrites et improvisees" fes tival (Spring 1998). Innova tions en Concert (Fall 1998), CBC serie in Galcric Momcalm (Onawa, Fall 1998). During these events, rhe group was performing :1 number of commissions of composers from Quebec and Canada. The quanet favors exchange and close collabor:nions with composers, and supportS the emerging co mposers of its generation. Its pro­gramming borrows frolll the comprehensive string quartet repertory as il revisit's (he estab­lisheel, questions tradiciom, and esrablishes links while highlighting contrasts. For 2000-200 I, in addition to launching it<; New MOlllrcal Series, QB has pcrtormed for and will appear a[ the fo l­lowing vcnues: "Now Hear This ~ (Christ Church Cathed '~I I , Ivlomre:ll), "Poduck Pctform:lIlccs" (Shemeld, Verrnonr), "Concens it Ia Tourelle de 1'E.~tri e ... " (St-Venant de Paqucne), ·'Concens Imimes" (Glen Sutton), "Concens en direct au Smdio 12" de Radio-Canada. ·'Concert·s :tux Beaux-Am" (S RC-Ottawa) and ~ Ltkes hore

Chamber Music Society" - often recorded by the CBC BQ toured Germany/SwirLCdand in the Spring of 200 I rot' eight concens. before travel­ing [Q the U.S. for June in Buffalo.

Sice Sinfonietta The Slee Sinfonierra was rormed in 1997

by composer David Felder and condl/eror ~agnus M1inensson. Th is ensemble, the profes­lolO l1al chamber orchesrrJ in residence al UB, per­forms a series of concerrs e:lch year devoted to lesser-known repertoi re, particuhrly that of the prc-~lassic era and the most recent contemporary mUSIc. Advanced srudent~ in performance are invited to participate along with faculty ;lITists, s?loiS(S, and regional professionals in the produc­tion of these unique concens des igned co con­tribme new pmsibi lilies for concengocrs within the Universi ty and the \'(f("S[ern New York Region.

CONDUCTOR BIOG RAPHIES

Magnus Mmenssoll , born in 1966, snrd­ied piano, voice, conducting and composicion at Malmo Musikhogskola and conducting at ehe Cleveland Institute of Music. Between 1989 and 1992 he was condunor of Opera Semplice in Malmo as well as [he Santa Cecilia Oratorio Sociery of Lund. During [his rime he also found­ed and conducted, in nllmerous performances, the Malmo Chamber Orchestra. From 1995 ro 1996 he served as ,he conduccor of the Contemporary Music Ensemble a( the Cleveland Institute of Music.

Also active a.~ a composer, his numerOllS commissions have included incidental music fo r theater plays. chamber music and songs. His lat­cst work, Before the Law, a chamber opera in one act with libretto by Henry Sussman after Franz Kafka's The Trilll, was premiered at UB in December of 1997.

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SPECIAL GUEST BIOG RAPHIES

Pierre-Yves Artaud is exemplary in the torce a.nd generosity of his temperament - one of the great nutist~ of our rime. Soloisr1c and Artistic Director for Ememble 2e2m, Mr. Arraud teaches at the Paris and Bologna Conservatories, and ha.~ been in summer residence at DaflllStad t Imernational Summer School since 1982; he plays regularly worldwide promoting both clas.~i­cal and contemporary flute repertories, and is publications di rector for the publishers Salabert and Tr.msatianriques. Since 198 1 he has been in charge of' the Acelier de Recherche Instrumeneale at [RCAM, having been awa rded a Sciences el Lertres medal in 1978 for his research work. Mr. Analld has premiered works ded ica('(xl to him by composers such as Brian Ferneyhough, Paul MdlllO, Klaus Huber, Gi lbcrt Amy. and Betsy Jolas, and favors dle propagation of contempo­rary tcchniq ues.

Robert Berkman is a producer, arranger, and editor fo r QRS, Inc. - enjoying this work for twemy-five years. He performs throughout rhe U.S. and Canada as PianoJis[ , and is presently working with rare Kbmer piano rolls for a recording project.

Kevin Bowyer was born in SOllthl'rn-on­Sea, England, in January J 961. He studied with ChristOpher Bowers-Broadbent, David Sanger and Virginia Black and has won first prizes in the interna rional organ compeli tions in Sf. Albans (1983), Dubl ;n (1990), P,;sl,y (1990), Od,me (1990) , and Cuga')' (1990). He Ius played many concens dlroUghout Europe and North Amcric.l and has become known for comemlXl­racy and unusual repertoire including picces by Bnan Ferneyhough, Peler Maxwell Davies. !annis Xenakis, Charles \XIuorinen, Jan Vriend, Ka ikhosru Sorabj i, etc. He h:tS broadcast widely and has released nearly 40 CDs (Nimbus, Un icorn-Kanchana, Coneinuu m, Alrarus, Priory, RegclH, ASV) including works by j.S. Bach, Brahms, Schumann, R.lchman inov, Reubke, Llnglais. Messiaen, Alain , Norgard, Sorabji, Maxwel l Davies, Jonathan Harvey, Malcolm \'(fi ll iamson, Cha rles Camilleri , Alkan, Schoenberg, Nielsen, etc. His diary for 1998 includes appearances in Germany, Sweden, Switzerland, Canada, USA, Ireland, and Alisual ia, solo reci tals in several major English festivals includ ing Aldeburgh and the St. Magnus rest ivai in lhe Orkeney Islands, as well as seven

filrthe r C D recordi ng~ of the organ worh of J.S. Bach and a CD recording or music by Wilfrid Mdlcrs, John l'~\'cner ;Uld Brian Ferneyhough. Kevin's other in(ercst~ include anciem history, mythology, (he history and development of reli­gions, rwenricth cClH Ury liter.Hure (in particular Joyce, Becken and the Powys f.1.m ily), obscure cinema and mall whiskies.

Cheryl Gobbctti Hoffinan , flutist and JIB Awxiate Direcror, is a member of the Un iversity al Buff.'llo's Music Perrormance r:acuhy, adminis­ters the '\vhooosh" r:l ute Resource Fund (her cre­arion), writes eul tur";11 pieces for B/{Jfolo Spree magaz.i ne, and plays her New York debut perfor­mance in March 2002 ;H rhe invitation of MidAmeriea Produ clions' Concerr Series at C1.rncgie H:III 's Weill RL"Ciml Hal l.

Michaellasser is a lecturer, writer, broad­caster, critic, and {(.'acher. Since 1980, he has been the host of the n:Hionally-syndicated public r:tdio show, Fascillluil1' Rhythm, winner of a 1994 George r:oster PC<lbody Award ror lening "our trc:u.ury or popular lunes speak (and sing) for it<;elr widl sparkling cOlllmemary tracing the con­Iribmions of the composers and performers to

American society." He also spent twemy years as theater crit ic ror The Rochester Democrat & Chronicle. He speaks frequently at museums, universit ies, and thearers, :tnd :tppe:lrs with sym­phony orchestras in concens he designs and nar­rates. His appearances incl ude Albright-Knox An Gall ery, (he Buffalo and Erie County Histori cal Sociery, The Shaw Festival, The Stratford Festi val, the Museum of the C ity or New York. the Phibdclph i<l Museum of Art, the Rochesler Philharmonic O rchestra, the C hamauqua lnstimlion, University of Miami , Valparaiso Un iversity, Eastman School of Music, Asolo T heatre (£I rasma), me San Diego Museum of An. ;lIld the Orbndo Art Museum, among many mheno. He has rauglu :tr the Un iversity of Rochester and Rurgcl'S University, and h,15 been a /T~clance writer for a wide range of n:ttional mag­a1.lIles.

Frieda and Stephen Manes have enjoyed over thirty years or performing piano. fOll r hands; touring the Unitcd States and Puerto Rico, as well as Austr.llia in addition [Q appearances in New York City. Bullilo, and Sebago L1.ke, Maine - where they are residents of the Seb:tgo-Long L1ke Region C hamber Music Festiva l. Frieda Manes is a native of Melbourne, Australia; she

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Clme [Q the U.S. in 1958 to pursue music smd­ies at the Juilliard School. In addition to per­forming wi th her husband in the Manes duo, she is an active solo ist and chamber musician in much demand as a te;lcher and performer in \'(/cstern ew York. Stephen M:lI1es. Ch:tirman ofUB's Mtl~ic Department and Ziegele Professor or Music, is a native o r Vermont. He has soloed with the Ph ilharmon ic O rchestras of New York and Buffalo, as well as ,he Symphonies of Pirtsburgh. Detro it . Denver, Baltimore. and Bos[On's Esplanade. Recital appeara nces have taken him to most major U.S. C ities in addition [0 European centers sLlch as London, \Xlesr Berlin , Amsterdam. the Hague, and Vienna. His ch:lmber music appear.U1ces with ,he C leveland, Kronos, CassatT and Rowe String QuartetS, and at rhe Marlboro and C hautau'lua Festivals, along with the recem revival of the Baird "Ii-io, represent hi., .mong affinity for chamber music.

Internationally recognized a..' a player, com­poser and arranger, Jon Nelson's diverse experi­ences include performances with the Metropolimn O pera Orchestra, the Chamber tvlusic Society of Lincoln Ccmer, the STX­Xenakis Enscmble, and ,he British rock group Duran Du r:m. As ;I rounding member of the Meridian Arts Ensemble, he was instrumemal in the commiss ioning of over thirr)' new works far the Ensemble, fre<ILlently venturing into jazz, rock. ;llId expcrimenral id ioms. With lhe Meridians, he collabof<lt'cd with Milton Babbitt and Frank Zappa, as well as with numero us fo lk and ethnic artists frolll around the world, and appe:lred at over thiny-live int ernarional festivals in Europe, A,ia, (emral and 50mh America, and rhe Uni te<l St<ltes. As :tn arranger, he has tran­scribed :tnd adapted works by J.S. Bach, Jimi Hendrix, Don van Vliet, King C rimson, and Frank Z1ppa. His arrangementS have been per­fo rmed and recorded by the Cologne Stadt Ballet, the Ethos Percussion Group. and Dweezil Zappa; his compositions and arrangements are published by The Zappa Fami ly Trust and ManduGi Music. He has recorded For C hannel Cla..~sics Records, Barking Pumpki n, BMG/ RCA, Bridge, Cuneirorm, Peer, New World RL'Cords, Vandenburg, and C RI. He ha..~ served as adjunct faculty al rbe Ham School of Music, Middlebury College, and Bosro n Uni vers ity. He is currently all the (,cu lty of SUNY Bufttio. Mr. Nelson entered The Juilliard School at rhe age of seven~ teen where he studied trumpet with Mark Gould; he holds a B.M. rrom lh:tt insti tution.

Soprano Dora Ohrcnstem has been wide­ly hai led as a gifted in terpreter of an song, vocal ( h.lmbe r works and contemporary music. For over :1 decade she was solo vocalist of the Philip (;las..~ Ensemble, appearing internationally ar I1I:l jor halls and festivals. Her one-woman pro­duction em irled Urball DiU/I, feam ring new works by Anthony Davis, SCott Johnson. Ben Johnston and other notable composers, pre­miered in Amsterdam and at Dance Theatre Workshop in New York ~1J1d was preselHed at the \X/:Ilker Arts Cenrcr, th e C1.brillo Festival, the 5pole1O Festival USA, and was released on C Rl 's Emergency Music series to high praise.

An ard ent champion of Anlerican an song. Ms. Ohrenslc in was Execlltive Producer of a rour-disc set' released in 1994 by Albany Records or the Com plete Songs of Charles ives, critically lu:r:tlded as an import:lIIf landmark in the record­ing of American music. She also produced and perform.~ on Nothing Dillille is MllI/{kllle, a n:cording of Virgil Thomson songs released by Al bany. Ms. Ohrensfein and her colleabrues in Ihe trio Bermuda Triangle created a program clltided The Politim/ Songbook, commissioning 20 songs, perform ing il :tt the 1993 Bang on a Can Fest ival. North American New Music Festival, and C ul tu res Can:tda in Onawa.

Ms. O hrensrein has sung dl:lmber musiC:l1 lhe Ch:lIl1bcr Music Society of Lincoln Cemer, May Music in Charlone, and with rhe Brentano Q uarter. Cassatt Quanet, Kronas Quartct , IZclachc. Essential Music, Sequirur. Modern

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Music, and Newband. among olhers. She was co­fou nder of rbe May Music ill C ha.rlotte festival, which won an award fo r :Idventurous program­ming from ASCA P and C hamber Music Alllerim, as wel l as co-founder of the Canterbury Consort, an early music ensemble.

In addi tion to her Urban Diva recording. h(-' r discogr:lpby in cl u de~ several C BS Mastcrwork~ l"L'Cordings of music by Philip Gla..<;s, Conrad C ummings' chamber opera Pboto Op on C R.!' a New World recording of music by Ben Johnston. an XI release of music of Mary Ellen C hi lds, a medieval ch:tm recording on Nonesuch, :Uld addirion al rel eases on the Privare Music, Doss ier and Opus One labels. Her newesl solo disc of soliloquics for solo vo ice by British and Arnerie'ln composers, entitl ed Restless Spirit, has just bee n released on Koch illternational Classics.

" Mjss Jane" Romanos, concert artist and opera soloist , {r.J vcl~ the United Stares and Europe extensively, perfo rmi ng 1'O acclaim at Wolf Tmp, the San Fra ncisco and Des Moines Openl Companies, and New York Gry's Music Thea{ re "Encompass", as wel l :ts with the National Symphony Orchestr:1 under [hc direc­tion of Raymond Leppard and <II thc Kennedy CCllfer at the request of co mposer Virgil Thompson, for a special evening dcvoted to his ~0Ct 1 music. "M iss Jane's Parlor" was first per­formed at [he Holland Festival af Music in col­laboration with Ihe bte Yvar Mikhashoff

ACKNOWLEDGEMENTS JUlie ill BllffoLo is made possible by tbe generous support of the following orgllJJizlltiolls:

Cameron Baird Foundation Aaron Copland Fund fo r Music

BMI Foundation Birge-Cary Chair in Music

Canadian-American Studies Conferences in the Disciplines

Alice M. Dirson Fund ofColulllbia University Graduate Students Association

Music Graduate Students Associati on Nicholas Panerson Perpe[Ual Fund

NYFA Sponsorship Program University at Buffalo Departmem of Music (Stephen Ma nes, C hai rman)

D ean's O ffice, College of Arts and Sciences (Charles Stinger, Interim Dean)

Funding from Meet the Composer, Inc. is provided with the support of NY Sr;nc Council on rhe Arts, ASCAl~ Vi rgil T homson Foundation , The Eleanor Naylo r

Dana C harirable Trus t and National Endowlllcnr fo r thc Arrs.

Festival Staff

D :1Vid Felder, Arristic Director C heryl Gobbeni Hoffman, Associate Director

Mara Gibson, Administrative Associate for Resources Eileen Gipple, Administrative Associare for Devdopmcl1c

Sandy Fairchild , Fiscal Officer JT Rinker, General Ass istan r

Bill Sack, Web master Jon Nelson, JIBRASSWORKS Coordinator

David Boylc, Technical Director G ary Shipe, Piano Technician

Phil Rehard , Concen Manager Kimberly G allagher, Assistanr Con~en Manager

A special thallk YOIl to the following: Center for tbe Arts staff, Tho1l1 flS Burrows, Director; the VB Art Callery, Sandra Olsen, Dir~ctor; Brian /Vlimnd and Corky

I3m11Skili from th~ Scima and Engilluring Nodt Services.

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