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THE NATIONAL ASSOCIATION OF COMPOSERS/U.S.A.

Program Notes by Robert Stewart

JOHN VINCENT was born i n Birmtngham, Alabama I n 1902. He s tud ied a t t he New England Conservatory, George Peabody College, t he Ecole Normale de Musique, Harvard U n t v e r s i t y and Corne l l U n i v e r s i t y . He taught composit ion a t UCLA from 1946 u n t i l h i s re t i rement t n 1969. From 1953 t o 1975 he was d i r e c t o r o f t he Huntington H a r t f o r d Foundatton a r t i s t colony, and served as p res iden t o f t h e Nat iona l Associat ion f o r American Composers and Conductors, now NAC/USA.

This w i l l be the wor ld premiere o f t h e two p iano vers ton 1 o f John V incent 's Consort which was made by D o l l y Kessner , under t h e superv ts ion o f t h e composer, who i nd i ca ted t h a t

the second movement could be excerpted as a separate ptece.

ALFRED CARLSON s tud ied w i t h E i s l e r , Krenek, Toch, and Schoenberg. He w r i t e s most ly f o r chamber groups. The Su i te f o r C l a r i n e t and Piano was w r i t t e n tn 1958, and -- -- somewhat rev ised I n 1975. The work t s based on a tone row, and borrows some formal ideas from the Baroque s u i t e model.

ROBERT STEWART i s an Associate Professor o f Music and Co- o r d i n a t o r o f Theory and Compositton a t C a l i f o r n t a Sta te Un ive rs i t y , F u l l e r t o n . H is educat ional background includes degrees from Suny Fredonia, B u t l e r U n i v e r s i t y , and the

, U n i v e r s i t y o f Iowa w i t h add i t t ona l study a t Eastman and UCLA.

Symphysis I f o r Trumpet and Tape was w r i t t e n f o r W i l l i am -- - Cole who was, a t t h a t t ime, complet ing a t graduate degree i n performance a t CSUF. The work i s m u l t i - s e c t i o n a l , i s based on a d i a t o n i c theme which i s t r e a t e d more I n t h e manner o f a cantus f i rmus, and e x p l o i t s many o f t he s t y l i s t i c and techn ica l c h a r a c t e r i s t t c s assoc ia ted w i t h

* the trumpet. The use o f prerecorded p a r t s o f f e r e d the I oppo r tun i t y t o record i n several d i f f e r e n t l oca t i ons and I t o use c e r t a i n sound mod i f i ca t i ons a v a t l a b l e through tape

manipulat ion.

ELLIS 8. KOHS i s Professor o f Music and former chairman o f t he Theory Department, School o f Music, USC, and a

former t reasu re r , v ice-pres ident , and pres ident o f NAACC, the predecessor of NACUSA. He has w r i t t e n numerous chamber works, two symphonic, and two texts--"Music Theory" and "Musical Form". For two years he headed t h e MENC Ford Foundation sponsored Western Regional I n s t i t u t e s f o r Music i n Contemporary Education o f t he Contemporary Music P r o j e c t .

The Sonata f o r Snare Drum and Piano, probably t h e f i r s t ----- sonata f o r t h i s unusual combination, was composed i n 1968 a t t h e MacDowel l Colony when ~ r . Kohs was a t . work on h i s opera "Amerika" ( a f t e r t h e novel by Franz Kafka) and i s der ived i n p a r t f rom elements abs t rac ted from t h a t work.

The sho r t p re lude i s i n b ina ry form; the second movement, a m i r r o r form, features h i g h l y c o n t r a s t i n g dynamics and a1 t e r n a t i n g meters o f 7/8 and 3/4.

The l a s t movement i s a quasi-baroque b ina ry form, w i t h each h a l f repeated. The c o n t r a s t i n g dynamics here suggest whimsy and mordant humor, i n con t ras t t o t h e sch i zo id h a l l u c i n a t i o n s o f the second o r t h e r e l a t i v e l y abs t rac t con t ras ts o f t he f i r s t movement.

DONAL MICHALSKY, u n t i l h i s unt imely death, was Professor o f Music and head o f composit ional s tud ies a t C a l i f o r n i a Sta te U n i v e r s i t y , F u l l e r t o n . His educat ional background inc luded degrees from USC w i t h a d d i t i o n a l s tudy a t t he Sta te Academy o f Music i n Fre iberg. He served f o r many years on the Board o f D i rec to rs and as v ice-pres ident o f NAACC and was founder o f the i n t e r c o l l e g i a t e s tudent composers forums o f NAACC.

A n a t i v e o f Los Angeles, DANIEL KESSNER was born i n 1946. He s tud ied composit ion w i t h Henri Lazarof a t UCLA, where he received h i s Ph.D. w i t h D i s t i n c t i o n i n 1971. He has been the r e c i p i e n t o f two BMI Awards, the Queen Mar ie- Jose I n t e r n a t i o n a l Composition P r i z e i n Geneva, and a. Composers Fe l lowsh ip Grant . f rom the Nat iona l Endowment f o r the A r t s . Since 1970, he has been on t h e music

f a c u l t y a t C a l i f o r n i a S ta te U n i v e r s i t y Nor th r idge, where he teaches theory and composi t ion and d i r e c t s t h e New Music Ensemble.

T r i form was commi ss ioned by John Gates, Carol i ne Worthington, and Delores Stevens, who premiered t h e work i n Stockholm i n January. Three c o n t r a s t i n g musical sec t ions a re presented toward t h e beg inn ing o f t h e p iece: (A) f a s t and rhythmic, w i t h ex tens ive use o f q u a r t e r tones; (B) emphasizing long, susta ined sounds; (C) a v i r t u o s o cadenza f o r a l l t h r e e p laye rs . A l l succeeding sec t ions a re v a r i a t i o n s o f these th ree .

The complete form o f t h e p iece i s as fo l l ows :

A - o r i g i n a l statement; a1 l e g r o B - o r i g i n a l statement; sus ta ined A - f i r s t p o r t i o n o n l y , r h y t h m i c a l l y v a r i e d C - o r i g i n a l statement; simultaneous

t r i p l e cadenza; a1 l e g r o f u r i o s o B - played backwards C - w i t h the t h r e e p a r t s segmented and

heard i n d i v i d u a l l y ins tead o f a l l together

B - played as f a s t as p o s s i b l e A - p layed extremely s low ly and r h y t h m i c a l l y

var i ed b r i e f t r a n s i t i o n - f r e e A - f i r s t p o r t i o n ; f u r t h e r v a r i a t i o n s o f

tempo and dynamics C - l i k e the o r i g i n a l statement, bu t beg inn ing

i n p ian iss imo A - l a s t p o r t i o n ; v i r t u a l l y a 1 i t e r a l repeat

o f t h e end o f t h e o r i g i n a l statement

A New Yorker by . b i r t h , a Southern Cal i fo rn ian by choice, FRANK CAMP0 i s c u r r e n t 1 y Cha i rman o f Compos i t i on-Theory a t Cal i f o r n i a Sta te U n i v e r s i t y Nor th r idge. Souveni r s , completed i n D&cember o f 1975, i s e s s e n t i a l l y a b r i e f , evocat ive moment o f reminiscence. The taped p iano sounds - o n l y occas iona l l y modi f ied - serve as coun te rpo in t and . con t ras t t o t h e 1 i v e performer.

3; SONATA FOR PIANO Michael Mitacek

I. - d = 72 11. - Mesto

111. - d + d,= 72-76

Andrea Anderson Swem - piano

NOTES

The sona t a by Michael Mitacek f i n d s a spec t s of i t s s t y l i s t i c o r i g i n s i n t h e Baroque and C l a s s i c p e r i o d s by way of S t r av in sky and o t h e r 20 th cen tu ry mas te r s who have r e t u r n e d t o t h e mus ica l we l l sp r i ngs of t h e 1 8 t h cen tu ry . The f i r s t movement i s motor ic , r hy thmica l l y i n s i s t e n t , w i t h i n a framework i n which one may d i s c e r n t h e i n f l u e n c e s of C l a s s i c sona t a form. Movement two i s i n t h r e e - p a r t form, t h e o u t e r s e c t i o n s o f which i n i t i a l l y resemble a f o u r - p a r t c h o r a l e and t h e middle s e c t i o n of which u t i l i z e s t h e t remelo e f f e c t . The f i n a l movement i s pe r cus s ive and d r ama t i c , a l t e r n a t i n g pe r i ods of rhythmic s t a b i l i t y . S h o r t l y be fo r e t h e conc lus ion of t h e p i e c e t h e m a t e r i a l con- n e c t i o n s between t h i s and t h e o t h e r movements a r e made c l e a r .

L.W.S.

Music Performance Se rv i ce s S t a f f ... N e i l Barclay ...................... Manager Kymrn B a r r e t t ...................... Adminis t ra t ive

A s s i s t a n t

The D e m m e n t of Music of The College of Fine and Communication Arts

Loyola Marymount Universi ty and

The National Association of Composers, U.S.A. present

A COPCWT OF PaTSIC BY LOS ANGELES COMPOSERS

E4UALI IV Daniel Kessner The Composers' Brass Quintet

Steve Charpie - trumpet Craig Parker - t m p e t James Thatcher - horn Roy Main - t enor trombone Robert Sanders - bass trombone

CAECR IZAPIS (1976 ) Leroy 1.1. Southers, Jr. Anthony Plog - trumpet Lloyd Lippert - trumpet

DUFT FOR EQUAL TRUMPETS Anthony Plog - trumpet Lloyd Lippert - trumpet

INTERM IS S ION

Frank Campo

FANFARE FOR TWO TRUMPETS Anthony Plog Anthony Plog - trumpet Lloyd Lippert . -. trumpet *

DUET FOR 'CEUO AHTI PIANO Alfred . Carlson Ken I s h i i - violoncel lo Chet Swiatkarski - pianoforte

MOMOPHONIUM I Ted Sh re f f l e r f o r Trumpet and Four Pre-Recorded Trumpets

Craig Parker - trumpet

S t . 3oberts Auditorium, February 18, 197P., 8:30

* Addit ion t o t h e program. Page 4

D U E 2 FOR 'CELLO AND PIAKO Alfred Carlson EQUAL.1 IV Daniel Kessner

Q u a l i I V w a s commissioned by t h e Spoleto F e s t i v a l U.S.A. f o r premiere by t h e Spoleto Fes t iva l B r a s s Quinte t a t t h e 1977 f e s t i v a l i n Charleston, South Carolina. It is c a s t i n a s i n g l e movement which is divid.ed i n t o f o u r sec t ions . The first sec t ion is i n t e rna ry form, t h e second is cadenza - l ike i n c h a r a c t e r , t h e t h i r d uses pr imar i ly c o l o r i s t i c t e x t u r e s , and t h e f o u r t h , f ea tu r ing long sustained tones , has t h e form of a pyramid.

D , 1.; . CANCIIIZAP:S FOR TWO TRUMPETS (1976) Leroy IsT. Southers, J r .

A s is t r u e of t h e o the r trumpet due t s on t h i s program, CAP1Z9IZATrS was wr i t t en espec ia l ly f o r a f o l i o of trum- pe t d u e t s compiled by Anthony Plog and published by 1.limbledon Iiusic Inc. In cha rac te r t h i s is a " j u s t f o r fun" p iece , sounding r a t h e r l i k e a d-issonant r a g i n t e r - nary form. Close inspection w i l l r evea l t h a t t h e piece would sound t h e same played backward, t h e two p a r t s a r e interchangeable, and various more obvious canonic devices appear dur ing t h e course 'of t h e piece.

L.I.!.S.

DUTT FOR R U A L TRUMPETS b a n k Campo

The piece c o n t r a s t s and develops two musical ideas - one fanfa re - l ike , t h e o the r more rhapsodic. Additional con- trast i s provided by t h e juxtaposed metered. and non-metered segments wherein t h e l a t t e r allows t h e performer a degree of freedom from s t r i c t rhythmic re l a t ionsh ips . Motivic ma te r i a l is divided between t h e p layers s o t h a t equal conceptual and technica l a b i l i t y is required .

F.C.

FANFARE FOR T1JO TRUMFETS Anthony Plog

A s t h e t i t l e impl ies , t h e p iece is primari ly declamatory i n affect, though not without l y r i c a l q u a l i t i e s . The plas- t i c t reatment of meter and rhythm and t h e range of dynamics emp1oyed"'combine t o r a i s e t h i s s h o r t piece above t h e realm of perfunctory introductions.

.L.l!.S* 2

The Duet -- f o r 'Cello and Piano w a s w r i t t e n i n 19'75. This one movement work is based on a twelve-tone row, and u t i - l i z e s a fused v a r i a t i o n and sonata f o n . M r . Car lson 's most r ecen t works inc lude a t h r e e movement work f o r v i o l i n and piano, and a s e t of p ieces f o r s o l o horn.

A. C.

MOKOPHOMIUM I Ted S h r e f f l e r f o r Trumpet and Four be - recorded Trumpets

The term "IIomophonium" is my own and has two d i s t i n c t meanings t o me. The first meaning,, " l i k e o r same sound", is r e f l e c t e d i n t h e instrumentat ion of t h e ensemble. The second meaning, "sound of man o r one", i l l u s - t r a t e s a metaphysical g o a l t o be achieved by t h e s o l o i s t , i n t h i s case f ind ing a separa te i d e n t i t y wi th in a very compatible group.

The s t r u c t u r e is pr imar i ly based upon t h r e e aspec t s : t h e opening f ive -pa r t chord ( a s p e c i f i c sonor i ty without func t iona l impl ica t ions ) , a f r e e , f ive-part- twelve-tone canon which has a d i s i n t e g r a t i n g e f f e c t upon t h e opening chord, and t h e s o l o l i n e a r i s i n g from t h e in t roduc to ry sec t ion . Though c e r t a i n row techniques are employed, it is not a twezve-tone work. However one row-quote each from works by Schoenberg, Berg, and Webern is used.

The work is w r i t t e n f o r and dedica ted t o Craig Parker. T.S. (ed. L.IJ.S.)

The Hational Association of composers/ USA is a non- p r o f i t organizat ion dedica ted t o t h e suppor t , dissemina- t i o n and pe r fonance of works by composers i n t h e United S t a t e s . Conceived and founded by t h e l a t e D r . John Vincent, NACUSA is t h e successor t o t h e I h t i o n a l Associa- t i o n of American Composers and Conductors. The Los Angeles Chapter sponsors concer t s on t h e campuses of s e v e r a l uni- v e r s i t i e s i n t h e area, t h e next of which w i l l be a t C a l . S t a t e Universi ty a t Fu l l e r ton on Apr i l 8.

PROGRAM MOTES

Chamber Concerto No. 2 was commissioned by the Indiana State University, Terre Haute, Percussion Ensemble, Neal Fluegel, director. In the manner of a concerto grosso, three instrumental forces are pined against one another: the solo marimba, a trio concertino of glockenspiel, vibraphone, and chimes, and a ripieno ensemble of six players with various percussion instruments. There are no clearly audible sectional divisions in the work - the listener should be carried smoothly from the quiet opening, gradually to a frantic climax beginning in the solo marimba and eventually joined by the entire ensemble, and finally to a pieceful conclusion.

D.K.

, The Trio for Flute, Oboe, and Clarinet, in one continuous movement divided into uninterrupted sections, was wi t ten in 1960. It is, with the Woodwind Quintet of 1959, my most "academic" twelve-tone work - one of those strictly controlled pieces that pay tribute to the Vienna of Herr Schoenberg, in which every single note is accounted for. I t i s dedicated to Ernst Krenek, who, at that time, was also concerned with the same type of hommage.

A. de la V.

These five brief Preludes were written in 1978 and are the result of a renewed interest in the piano's potential as an expressive medium. They are dedicated to those fine keyboard artists whose friendship I value and whose musicianship has provided such great pleasure for so many years.

F.C.

Concert Music for Oboe and Strings was composed in 1971, and was slightly revised earlier this year. The piece is composed of numerous sections alternating between oboe solo or feature, and string groupings of various sorts: tutti, viola quartet, cello and contrabass trio, et cetera. Because of the soloistic prominence of the oboe, and the interaction between it and the strings, this work could be viewed as a small concerto.

M.K.

Homophonium I1 i s the second of a series of projected works featuring a solo instrument in a variety of contexts. Homophonium 1 for solo trumpet and four prerecorded trumpets explores the relationship of a solo instrument to a totally compatible instrumental group. In the case of Homophonium I1 the solo instrument i s contrasted by a totally incompatible tutt i group devoid of any strings, and utilizing winds, brass, percussion and piano. Homophonium is the composer's own term meaning the sound of one or of Man.

T.S.

The Painting was inspired by the fi lm "Edvard Munch" by Peter Watkins, portraying the work, creative process and life of the abstract expressionist painter. The Painting i s composed in the style of abstract expressionism to parallel what Munch has created in his work.

B.H.

Peregrinations was composed during the summer of 1979. Its musical material consists of three cells which are combined to form several melodic and harmonic ideas. The chamber orchestra i s divided into four groups which present these ideas in both metered and non-metered contexts. The four groups often play

CALIFORNIA STATE UNIVERSITY, NORTHRIDGE

DEPARTMENT q F MUSIC

completely independently of each other. The piece concludes with an ostinato pattern played simultaneously in four different tempi, which gradually merge into one.

W.T

The CSUN Music Department Presents Works by

Members of the Los Angeles Chapter of the INTERMISSION

. . . . . . . . HOMOPHONIUM II FOR SOLO VIOLA TED SHREFFLER AND TWELVE MUSICIANS

National Association of Composers/USA Pamela Goldsmith, Viola World Premiere

. . . . . . . . . . . . . . . . THE PAINTING BROOKE HALPIN

World Premiere

with soloists:

Francoise Regnat, Pamela Goldsmith, Karen Ervin, John Heitman, Michael Kibbe, and Frank Campo

and

The CSUN New Music Ensemble

and

CSUN Percussion Ensemble

. . . . . . . . . . . . PEREGRINATIONS Wl LLl AM TOUTANT

World Premiere

conducted by Daniel Kessner

CSUN New Music Ensemble Daniel Kessner, Director Tuesday, November 27, 1979 8:00 p.m. - Little Theatre

Richard Lee, flute Jeff Rona, flute, piccolo Cindy Whitman, flute Gordon Lazarus, oboe Lisa Kaub, oboe Kim Titmus, clarinet Robert Payne, clarinet, bass clarinet Dana Miller, bassoon David Campbell, baritone saxophone David Hoover, horn Gregg Hutchison, horn Robin Lee, trumpet Grant Nissen, percussion Clint Freeman, percussion

Ellen Sinatra, percussion Brian Kilgore, percussion

PROGRAM

. . . . . . . . . . CHAMBER CONCERTO NO. 2 .DANIEL KESSNER

Karen Ervin, Marimba Los Angeles Premiere

Barbara Like, piano Eric Hosler, violin Lillian Otani, violin Ann Mize, violin Victoria Greenbaum, violin John Riley, viola Richard Elegino, viola

TRIO FOR FLUTE, OBOE AND CLARINET (1960). .AURELIO DE LA VEGA

John Heitman, Flute Michael Kibbe, Oboe

Frank Campo, Clarinet

Kerry Fennema, viola Katy Wreede, viola Barbara Ruhala, cello David Leahy, cello. . . . . . . . . . . . . . PRELUDES FOR PIANO .FRANK CAMP0 Diane Adams, contrabass

Francoise Regnat, Piano World Premiere

I Vivace I I Moltoflessibile I I I Egualmente e legato IV Gentilmente V Precisamente

CSUN Percussion Ensemble Joel Leach, Director

Marie Matson, glockenspiel Nonda Trimis, percussion Joe Greco, vibraphone Tom Volk, percussion Mark Converse, chimes Brian Rubin, percussion Grant Nissen, percussion Dave Renick, percussion Ron Ziebart, percussion

. . . . . CONCERT MUSIC FOR OBOE AND STRINGS MICHAEL KlBBE

Michael Kibbe, Oboe

Chronym I1 Donald R. Davis

G l o r i a Cheng, Piano

S o l e n n i t & (1975) D a n i e l Kessner f o r b a s s f l u t e , v i o l a , and p e r c u s s i o n

L i s a E d e l s t e i n , Bass F l u t e Pamela Goldsmith, Viola

S c o t t Shepherd, Percuss ion

The Shaman: An Elegy f o r Lenny ~ r u c e Rober t Moore

. . - I N T E R M 1 . s . s . 1 0 . N

V o c a l i s e (1980) Rober t S t e w a r t

Michele Friedman, Soprano *Robert S t e w a r t , Piano

P r e l u d e s f o r P iano Frank Campo I. Vivace ,

11. Molto f l e s s i b i l e 111. Equalmente e l e g a t o

I V . Gent i l m e n t e V. Precismente

F r a n s o i s e Regnat, 'Piano . '

Buccina I. S e g n a l i

11. Buccina 111. P u n t i

I V . Scoccobrino V. Canto

V I . Dialogo V I I . Allontanamento

Anthony Vazzana

The NAC/USA and CSUF School of the Arts are well

in to their second decade o f fhitfil coZZaboration i n

co-sponsoring th i s unique concert series featuring the

music o f Southern CaZifornia composers. These concerts

are given throughout the Los AngeZes and Orange County

areas for the purpose of acquainting the public trith

the music of our mmty total composers as performed by

conununity ar t i s t s .

The membership of NAC/USA wishes t o extend i t s

sincerest thanks to Dean Jerry SamueZson and President

Shields' Partners - i n ExceZZence Program for their

interest and support i n helping us t o continue th i s ,

important community series.

Acknow Zedgements

Jerry SamueZson, Dean of the SchooZ o f the Arts Benton Minor, Chairman of the Department o f &sic

Steve Hinton, Technical Staff Director: Robert Stewart

J e f f von d e r Schmidt, Horn

*CSUF F a c u l t y I

Aurelio de la Vega, born in La Habana, Cuba, on November 28, 1925, became an Americancitizen in 1966. After studieswith Ernst Toch (1947- 1948) and extended visits to Los Angeles (1953,1954,1957-1958) he has been a resident of the city since 1959. Currently Professor of Music at California State University, Northridge, and Director of its Electronic Music Studio, he has composed for all media except opera, and his extensive catalogue of works includes many commissioned, published and recorded compositions. Recipient of numerous awards and distinc- tionsfor his contributions to contemporary music in general, and to Latin American and American music in particular, he is also a well known essayist on new music subjects.

Undici Colori ("Eleven Colors"), for solo bassoon, with or without slide projections, was written in Cincinnati in April of 1981. The work was commissioned by The Klimt Foundation (Sidney) for bassoonist Don Christlieb, to whom it is dedicated. The graphic projections are by the composer.

A virtuoso work for the bassoon, Undici Colori comprises eleven separate fragments which, although originally written in a certain order, could conceivably be combined in various other diverse sequences. The piece explores the extreme ranges of the instrument employing various coloristic devices (multiphonics, use of mute, diverse tongue attacks, trills, tremolos, flutter-tonguing, etc.), developing in rapid and cantabile passages, and also using intense variation of vibrato and special fingerings. The changing moods of the eleven sections cover a wide expressive range, where the character of a given fragment is dictated by its particular speed and by the gesture which underlines its structure.

Linda Bouchard, the winner of the 1981 Young Composers Competition given annually by NACUSA, was born in Montreal in 1957 and graduated from Bennington College in 1979. Active on the new music scene in New York as a flutist, composer, and conductor, she studied composition with Henry Brant, Vivian Fine, Ursula Mamlock, and Elias Tanenbaum, conducting with Henry Brant, Neely Bruce, and Arthur Weisberg, and flute with Alain Marion, Samuel Baron, Ransom Wilson, Linda Chesis, Sue Ann Kahn, and Harvey Sollberger. She has composed works for solo instruments, chamber ensembles, orchestra, electronic music, collages, and dance, and has won numerous awards and grants.

Ma Lune Maligne (My Mischievous Moon) was composed with the help of a Fellowship from the Edna St. Vincent Millay Colony for the Arts. The two movements are structurally related, with most of the harmonic material centered around unison and octave doublings. Embellishment of the main pitches is achieved with dissonant intervals, quarter tones and textural events. This work is dedicated to Jacob Glick, violist. It was premiered February 4,1981, at Manhattan School of Music in New York City, and has also been performed at the American Microtonal Music Festival last October.

CALIFORNIA STATE UNIVERSITY, NORTHRIDGE

DEPARTMENT

THE LOS ANGELES CHAPTER OF THE NATIONAL ASSOCIATION OF COMPOSERS, U.S.A., THE MUSICIANS UNION, LOCAL 47, AND THE C.S.U.N.

MUSIC DEPARTMENT PRESENT

A PROGRAM OF CONTEMPORARY SOLO AND CHAMBER WORKS:

Friday, February 5, 1982 Little Theater 8:00 p.m.

PROGRAM

ALCHEMY, Op. 60 for solo oboe and monaural tape. . . . . . . . . . . . . . . . . . . . . GEORGE HEUSSENSTAMM

(b. 1926)

Allan Vogel, oboe

FANTASY FOR VIOLIN AND PIANO. . . . . . . . . . . . . FRANK CAMP0 (b. 1928)

Darius Campo, violin Shari Rhoads, piano

SOLENNITE, for bass flute, viola, and percussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DANIEL KESSNER

Gretel Shanley, bass flute (b. 1946)

Nancy Roth, viola Mark Zimosk j percussion Daniel Kessner, conductor

INTERMISSION

UNDICI COLOR1 (1981) for solo bassoon . . . . . AURELIO DE LA VEGA (b. 1925)

Don Christlieb, bassoon

MA LUNE MALIGNE, for flute, viola harp and percussion. . . . . . . . . . . . . . . . . . . . . . . LINDA BOUCHARD in two movements (b. 1957)

Gretel Shanley, flute Amy Shulman, harp Nancy Roth, viola Mark Zimoski, percussion

Daniel Kessner, conductor

West Coast Premiere - Winner of the NACUSA Young Composers Competition, 1981.

Reception following the concert in Music 100, Courtesy of Sigma Alpha Iota.

PROGRAM NOTES

George Heussenstamm, author of over 70 published compositions, is a National Vice President of NACUSA. He is also a member of ASUC, ISCM, ASCAP, and the Western Alliance of Arts Administrators. In addition to his activities as a composer, he is both a teacher (Cal State Los Angeles) and concert manager of the Coleman Chamber Music Associa- tion in Pasadena - the nation's oldest continuing chamber music series. Winner of numerous national and international composition competitions, Heussenstamm recently completed his Brass Quintet No. 5 under a Fellowship Grant from the National Endowment for the Arts.

Alchemy, Op. 60, was completed in the spring of 1976. In 1977 it was chosen as winner of the Composition Competition of the International Double Reed Society and was given its official premiere at the IDRS Convention in August, 1977, in Evansville, Indiana. Scored for solo oboe and monaural tape (solo oboe on the tape), the work's form is revealed through the amalgamation of two single strands of music which are first heard alone, then later combined as a duo between live and pre-recorded oboe. A short cadenza, presenting fresh material, closes the piece.

Frank Campo, born in New York City, studied composition with Ingolf Dahl and Leon Kirchner in Los Angeles, Arthur Honegger in Paris, and with Goffredo Petrassi in Rome. His compositions include an opera, 3 cantatas, music for orchestra, band, chorus, piano, voice, and a widely varied assortment of chamber music. He is currentIy Professor of Music and Chairman of Composition and Theory at CSUN.

The Fantasy for Violin and Piano, composed in 1980, is based entirely on a single motivic fragment which is stated initially by the violin and is then subjected to continuous permutation and development. The work was written expressly for the composer's son, Darius, who gave its premiere performance.

Daniel Kessner was born in Los Angeles in 1946. He studied composition with Henri Lazarof at UCLA, where he received his Ph.D. with Distinction in 1971. Winner of the Queen ~arie-JOS; International Composition Prize (Geneva, 1972) and numerous other prizes, commissions, and grants, he is currently Professor of Musicat CSUN, where he has taught theory and composition and directed the New Music Ensemble since 1970. He also serves as a National Vice President and Los Angeles Chapter President of NACUSA.

solennit; (1975) was conceived as a very delicate and solemn ceremony. There are no specific details attached to this, only a generalized sort of ritualistic feeling. It is a quiet piece in terms of decibels, but the expressive range of the instruments is broad. The work employs microtones freely, and features vaguely Eastern-sounding percussion sonorities and melodic lines.

THE C. S.U.N. MUSIC DEPARTMENT AND THE

NATIONAL ASSOCIATION OF COMPOSERS, U.S.A. JOINTLY PRESENT A PROGRAM OF WORKS

BY MEMBERS OF THE LOS ANGELES CHAPTER OF N.A.C.U.S.A.

Saturday, September 17, 1983 Little Theatre 8:00 p.m.

PROGRAM

IMPROVISATION I .......................... DOUGLAS OVENS

Douglas Ovens, marimba Los Angeles Premiere

................................... CIRCLING DANIEL KESSNER

Kalman Bloch, clarinet Dolly Kessner, piano

LABDANUM.. ........................... AURELIO DE LA VEGA

David Shostac, flute Pamela Goldsmith, viola

Scott Higgins, vibraphone

INTERMISSION

PENSIERI ...................................... FRANKCAMPO

Frank Campo, clarinet Francoise Regnat piano

Scott Higgins, percussion World Premiere Petformance

.................................... FREE SATZ.. GLENN WEST

Pamela Goldsmith, viola Janice Foy, cello

Dolly Kessner, piano West Coast Premiere

...................................... SERENADE. ROBERT LINN

David Shostac, flute Kalman Bloch, clarinet

Janice Foy, cello James Smith, guitar

There will be a reception immediately following the concert in Music 100.

PROGRAM

Music after Rimbaud.. ......................... Matthew Harris

I - premiere soiree I1 - Ophelia

I11 - The Seekers of Lice IV - Dawn V -0phelia (11)

Members of the CSUN New Music Ensemble Anne Bell - flute David Johnson - clarinet David Michie - violin Peter Herreshoff - cello

Daniel Kessner - conductor

West Coast Premiere

Adramante (1985), for soprano and piano ..... Aurelio. de la Vega (on a poem by Octavio Armand)

Anne Marie Ketchum, soprano Adam Stem, piano

Los Angeles Premiere

Divertimento for Two Violins. .................... Halsey Stevens

I - Allegro giusto I1 - Adagio

I11 - Moderato con mot0 IV - Allegro sbalzando

Myron Sandler and Florence Titmus - violins

Arabesque. .................................... Daniel Kessner

Michael Kibbe - alto saxophone, Scott Babcock - vibraphone

U.S. Premiere

Samuel Pellman was born in 1953 in Sidney, Ohio. His teachers of composition have included David Cope (at Miami University in Oxford, Ohio) and Karel Husa and Robert Palmer (at Cornell, where Pellman received a D.M.A. in 1979). Among his awards in composition are the second prize in the 1978 Student Composer Competition of the American Society of University Composers and the second prize in the 1983 Composers Competition of the National Association of Composers, USA. He has received numerous commissions and has made several recent appearances as a guest composer at colleges and universities around the United States. Some of his works may be heard on recordings by Redwood Records, the Musical Heritage Society and the Comell University Wind Ensemble, and most of his music is published by ABI/Alexander Broude, Inc., Dom Publications, and the Music Graphics Press. Presently he is an associate professor of music at Hamilton college, in Clinton, New York where he teaches theory and composition and is director of the Studio for Electronic Music.

... in that hour when whirlwinds. . . was inspired by the Edward Markham poem, "The Man with the Hoe." This poem, first published in 1899, concerns itself with the stultification of the laborer as a consequence of the burdens of exploitation and alienation. The final verse is representative of the poet's point of view:

0 masters, lords and rulers in all lands, How will the future reckon with this Man? How answer his brute question in that hour When whirlwinds of rebellion shake all shores? How will it be with kindgoms and with kings- With those who shaped him to the thing he is- When this dumb Terror shall rise to judge the world, After the silence of the centuries?

The composition is formed of five parts, each a variation of a group of four phrases. Each phrase, and the corresponding phrase in each of the other four variations, can be identified by its unique shape, delineated by prominent glissandi (particularly in variations one, three and five), or general textural contours (as, for example, is the case with the directed pointillism of variation two).

This work received the second prize in the 1983 Composers Competition of the National Association of Composers, USA.

Information for the program notes supplied'by the composers.

TEXT

Shakti 11 for Soprano and Computer Music Instrument

Demons. . . Surround me, Ensnare me, Eat at my soul, Devour my being.

Demons . . . With beastial eyes burning, Evil with burning intent. Lightless, flameless burning, Searing to destroy.

Insidious, heinous grin, Screaming mouth roaring, Flaying claw and fang, Tear at my soul Devour my being, My golden being.

I I. 4 - . . . Oh- shining One

Summon me from the darkness

I Into Your light, Your Divine Light. . c .

. .

INTERMISSION

...................... . . . and then there were six Frank Campo

Members of the CSUN Percussion Ensemble

Billy Hulting Brian Frable Mark Griskey Troy King David Meyer Tom Volk

Joel Leach - conductor

................ Shatki 11 for Soprano and CMI.. Beverly Grigsby

Deborah Kavasch - soprano

in that hour when whirlwinds Samuel Pellman . . . . . . . . . . . . . . . . Members of the CSUN New Music Ensemble

Todd Miller - flute Sarah Dodd - violin Alison Chesley - cello Eric Kinsley - piano

Daniel Kessner - conductor

West Coast Premiere

. . . Oh Shakti, Shakti Guide me to the fount of wisdom And eternal blessedness.

From this doom, Lift me to the light.

There will be a reception following the concert in Music 103.

PROGRAM NOTES

Matthew Harris has studied at The Juilliard School and New England Conservatory with Elliott Carter, Milton Babbitt, Roger Sessions and Donald Martino. He has received grants and awards from the NEA, ASCAP, BMI, Society for New Music, American New Music Consortium, Musicians' Accord, Meet The Composer, as well as first prize in the 1984 NACUSA contest for the work being performed tonight. Fellowships he has held include those from Yaddo, The MacDowell Colony, Tanglewood, and conferences at Long Beach, Wellesley and The Ives Center. His music has been performed throughout the country and abroad by such organizations as the New York New Music Ensemble at Carnegie Recital Hall and Musica nel Nostro Tempo in Milan. Having taught at Fordham University and Kingsborough College in New York City, Mr. Harris is currently pursuing a Ph.D. in composition at Harvard University under Earl Kim.

Music After Rimbaud is a set of five short tone-poems on the poetry of Rimbaud, written at various times between 1982 and 1984. Instead of just using the poems to establish a general character, the music actually corresponds to the verses line by line, sometimes even word by word, more in the manner of vocal music. This work represents a transition frcm the composefs earlier 12- tone writing to his current, freer style.

Aurelio de la Vega's Adramante, commissioned by the University of California at San Diego, was written in the Summer of 1985 in honor of Ernst Krenek on his 85th birthday. The work is the setting of a text (Poema con anochecer- Poem with dusk) by the Cuban poet Octavio Armand (b. 1948). Cuban melo- rhythmic cells, expressed in the present post-serial harmonic palette of the composer, underline at times the expressive lyrical vocal lines. Poema con anochecer Poem with dusk

~iento,,solo viento Wind, only wind en la Facil corteaz del olmo. , in the elm's docile bark. La pequena pregunta de 10s pajaros The small question of the birds -quietos, redondos -still round as they are- en una semilla, hoja entre hojas. in a seed, leaf among leaves.

Quedan pocos colores: uno, ninguno. Few colors remain: (one, none Falta el tamano de las cosas. / The size of thing? is missing.

Miro mas, veo menos. Los ojos sobran. I look more, see less. The eyes are superfluous.

La ventana, abierta, no pertenece. The window; open, does not belong. Sobre la distancia, Falta, Over the distance, it falls short, apretada en la noche del pulmon. tightly p a ~ k e d in the night's lung.

Basta ver, o mirar. To see is:enough, or to look. Es viento mi cuerpo borrado, My erased body is wind, el nombre disperso, the name dispersed, la respira,cion que crece. the breathing growing. Viento, solo viento. Wind, only wind.

A native of New York and alumnus of Syracuse University, where he received an Honorary Doctorate of Humane Letters in 1966, Halsey Stevens, Professor Emeritus at the University of Southern California and Composition Depart- ment Chairman for over thirty years, has composed a prodigious amount of music. His further achievements include numerous commissions and awards: two Guggenheim Fellowships, the Mellon Chair for the Humanities at USC, a Citation of Honor on the occasion of the universitfs Centennial in 1980, and a Distinguished Emeriti Award in 1985. His biography of Bela Bartok remains the definitive work on the subject. Richard Swift, in the New Groves Dictionary ofMusic, describes Stevens' style as". . . vigorous rhythms, firm control of tonal centers, brilliant instrumental and vocal writing, fine command of texture and proportion."

Divertimento for Two Violins was composed between 1958 and 1966. Stylistically it derives from tonality, though it is a very free tonality which depends mainly on thirds, fourths, and fifths for stability. Overall forms derive from classical :. sources.

Daniel Kessnefs Arabesque was written for the Duo Contemporain, Henri Bok and Evert LeMair, who gave its premiere in Rotterdam in 1984. The work is very much concerned with melodic ornamentation, weaving elaborate groups ofirapidly executed grace-notes around otherwise fairly simple and straight- forward rhythms. There are no separate movements-rather, a smooth flowing from one tempo or rhythmic motion into the next

Frank Campo's Percussion Sextet ". . . and then there were six" was composed in 1985 at the request of Mitchell Peters, principal percussionist of the Los Angeles Philharmonic Orchestra and was first performed by an ensemble under his direction that same year. The performers are arranged so that those on the right side, to a large extent, duplicate the instrumentsplayed by those on the left side. This lends itself well to the concept of antiphonal and responsorial writing for the two Trios, and is one of the iktportant ionstructive elements of the work. The comuosition is in one continuous movement with clearly defined sub-sections.

Shakti I1 for Soprano and CMI In the Indian religous tome, Bhagavad-Gita, Shakti represents the Divine Light and the female energy or principle. SHAKTlIIis in one movement but divided into three sections representing Demonic Forces, The Call to Shakti, and the Rapture of the Divine Light. Commissioned by the soloist Deborah Kavasch, a specialist in extended vocal techniques, the work utilizes some of these techniques, such a vocal fry. Further use of vocal extension is created by processing Dr. Kavasch's voice through the computer and modifying it to become most of the instrumental and all of the choral voices (i.e., the sound source of the accompaniment). Aside from the bells, oboe, harp and sitar sounds, all other instrumental and vocal sounds are modifications of her voice. Slides are of details from the paintings of Hieronyrnus Bosch.

NATIONAL ASSOCIATION OF COMPOSERS, U. S. A: I New York Chapter: 133 West 69th Street, New York, N . Y . 10023 (212) 874-3360

a t Christ and St. Stephen's Church

120 West 69th S t r ee t February 23, '86

3 PM

PROGRAM I RON MAZUREIC t8Malogues" f o r solo trumpet (1981) I

Richard Gradone, trumpet I RICHARD NANES "Fantasy and Impromptu No. 3" (1981 )

Richard Nanes. ~ i a n o

I8Variations Electronic

Veronica Kadlubkiewicz, v io l i n Nadine Shenk, piano

Intermission

FLJZABETH BELL "Songs of Here and Forever" (1970)'

Constance Cooper, soprano Loretta Goldberg, piano

.. . . I.&n KRJu?T 8 " P a r t i b NO. 4" (19'75)

Lisa Maron, f l u t e s John Sadak , c l a r i ne t s Ellen Heth, v i o U Glenn Rubin, double bass Eyomi Masaki, piano fso Kraft, conductor

Admission $5 Students and SC $3 TDF Vouchers Accepted

Program made possible in par t through a grant from HEET THE COMPOSER, Inc.

. ---- - - - -- NATIONAL ASSOCIATION OF COMPOSERS, U. S. A. New 'l'0l.k Chapter: 133 West 69th Street, N e w YorL, N. Y . ,0023 (212) 874-3360

S e p t e m b e r 22, 1 9 8 6

Dear Col league:

It is a g r e a t p l e a s u r e t o i n f o r m you t h a t t h e fo l lowing com p o s e r s w i l l b e p e r f o r m e d as p a r t o f o u r 1986-87 season :

NOVEMBER 9 J o s e f Alexander "Three by T w o f f Dana Richardson "Sonata f o r c e l l o a n d piano"

I rwin Baze lon "Suite f o r Young People" Max L i f c h i t z "Yellow Ribbons No. 27"

R u t h Schoenthal . "Epiphanies" Irwin S w a c k "Profiles"

J A N U A R Y 18 Glenn Rubin I 'M at ins-Lauds" I

MARCH 29

E r i c Manda t "Folk Songs" D e l o u s Husband "Four W o men" F r a n k S t e m p e r "Cla r ine t P iece" R o b e r t C a r l "Roundabout" P a u l B e t j e m a n "String T r i o a n d Tape"

Noam Elk ies I ? D i ~ o n S I 1

E l e a n o r Cory "Ehre" J e f f r e y Briggs "Two L o v e Songs" Mary J e a n n e Van Appledorn "Sonic M u ta t ion" G e o r g e Boziwick "Suspensions in A u t u m n"

I P e t e r S u s s e r I1Q u a t r e s Bet ises"

G u e s t Com p o s e r t o b e Announced

T h e t h r e e c o n c e r t s w i l l t a k e p l a c e a t C h r i s t a n d S t . S t e p h e n ' s C h u r c h (120 West 6 9 t h S t ) in N e w York Ci ty . C o n c e r t t i m e i s 3 PM.

T h e Program Com mittee w a n t s t o t h a n k all c o m p o s e r s who s u b m i t t e d music. T h e c o m pos i t ions c o s i d e r e d w h e r e o f o u t s t a n d i n g qua l i ty . Your c o n t i n u e d s u p p o r t is v e r y m uch

M a x L i f c h i t z V P r o g r a m Com mittee C h a i r

N~\\--l~(iorl< C11:lptel': 133 West 69th Street, N e w York , N. Y . 10023 (21 2 ) 874 -3360


, . . 120 W e s t 69th ' Street

November 9,1986 3 PM

I R W I N BAZELON . . . " S u i t e f o r Young Peop1.e" ( 1 9 5 0 ) '

M A X LIFCHITZ . " Y e l l o w R i b b o n s N o s . 2 6 , 2 7 , 2 8 a n d 2 9 " ' ( 1 9 8 6 ) 3 k

RUTH SCrIOENTHAL . " E p i p h a n i e s " ( 1 9 7 6 ) '

. , GLENN RUBIN " M a t i n s - L a u d s " ( 1 9 8 6 ) "

Performers w i l l include

Pad. Doktor, v<o!s l>arry Wolf, piano Matthew Good m an ,c lar inet Gregor Kitzis, violin Blanche A brams, piano . Nancy Ives, cello -

ADMISSION $ 7 , S t u d e n t s and SC $3. TDF Accepted.

Program made p o s s i b l e througli a g r a n t from Meet t h e Composer, I n c .

l ' h i s c o n c e r t is p a r t of t h e American Music Week c e l e b r a t i o n .

National Association of Composers, USA

Alpheus Music ~ o ~ ~ y w o o d . Calif SP-451

The National Association of Composers, USA

in conjunction with

the CSULB New Music Ensemble Samuel Magrill, 'director

National Association of Composers, USA presents :

MUSIC OF NOW: COMPOSITIONS BY NACUSA COMPOSERS

Tuesday, March 17, 1987, at 8:00 p.m. in the Gerald R. Daniel Recital Hall University Music Center California State University, Long Beach

PROGRAM :

.................. SIDEREAL LIASONS...... KEVIN HIATT

......... INSTABILITIES.......... GEORGE HEUSSENSTAMM

....................... CONTINUUM..... DANIEL KESSNER 0

A COLLECTION OF CLICHES..............SAMUEL MAGRILL

SWAN SONG..........................MICHELLE EKIZIAN

MEDUSA.......................,.......THOMAS DEDOBAY

....................... KINETIC FUSIC R i C i I k 2 0 GREYSON

Performers will include Michael Carney, marimba; Noreen Harris, trombone; Jordana Kronen, percussion; Andrea Lepay, piano; Clyde Mitchell, conductor; Janice Molendyk, flute; Mark Nicolai, marimba; Elizabeth Pehlivanian, soprano; Peter Perez, oboe; John Ryther, horn; Anders Swanson, bass; Dwayne Van Wyhe, clarinet; Ron Wakefield, bass clarinet.

Tickets: $5 general, $3 students and seniors

For further information, call (213) 498-4280 or 498-4781.

All New Music Events are supported in part by Instructionally-Related Activities (I.R.A.).

- :OMPOSE

IA STATE

USA


.... .............. ..... .......... "" """ ".. ...... m.......... ........ -.. .." ..... .......... """" .... ............ "..".... ....... "" .."""-. ......... ........ ........ ."" """. ......... ...... .......... .""" "". ......... ....... ........ ."""" .." "" .................... " ......................... """ .... " .... " .......... ............ ".."" ...... " .... " ........ ......... .............. ....... ".. .......... ......... .... ...... ".."........ ......... .. .... " ..... ................. ..... ." " ................ "... ............. ......... "" " ". .... .".......,.""..-.. ." ". .............. """.. "- " ........... .... .." " ..-- "...a,......"" ...... """" ........ "...." ........ ...... ........... ..... " .." ............. ..... " " ... -......a*..... ".. ..... " ............. "

A CONCERT OF

CHAMBER MUSIC

..................... ...................... ............ " ....... ..................... ." ................... ..................... ...................... ...................... ..................... ...................... ..................... .............. "..... ................................................ ...................... ................................................. ............. " ...... ................................................... ...................... ......................... ......................... ...................... ...................................... .......... ...................... ......................................... ............ " ...................... ......................................................... *..... ........ " ........... ........................................... ............ " ...................... ............................................................ ...................... .............................................................. " " ..................... ................................................................ ...................... ................................................................. ..................... ................................................................... ...................... ........................... ...................................... ..................... ........................ " ................. " ......................... ........................................................................ ".. .............................. ............... ................. ........... ........... "...... " .............................................................. ............ "" ............................................... ............................................................................. " ................................................................. ............ ................... ........................................................... " .... " .... .............................. .......................................... " ............................................................................ .................................................... ................. ............ " ".." ....... ............. ................................ ............................. " " ......................................................................................... " " " ................................................ ........... ........................... ................ ............................ ............................................ " " ................. .......... ......... ................. ......................... " " .................................... ......... ............. ......... .............. " .".." "" " .................................. ......... ................. ......... .............. " "".." .. .. ".... " "" ..

Presented by: California State University, Dominguez Hills

in conjunction with The National Association of Composers/USA

University Theatre

PROGRAM - P l , SOMTA 1 (1 987) .............................. Daniel Kessner

I. Allegro lmpetuoso II. Chaconne

Ill. Sdfeggieto

Dolly Kessner, piano

FRAGMENTS (1 987) .................................... Marshall Bialosky

Christoper French, bass clarinet Deborah Schwartz, vibraphone

IN COM7M (1 986) ...................................... Samuel Mag rill

(for trumpet and two-channel tape)

Richard Birkemeier, trumpet

SIMURGH (1 987) ........................................ Kevin Hiatt

Peter Scott, oboe William Steed, clarinet Charles Gould, bassoon

INTERMISSION

FANTASY ...................................................... Donald Martino

(Movement 9 from Fantasies and Impromptus - 1981)

Delores Stevens, piano

DUO FOR CLARINET AND CELLO (1 959) .. Robert Linn

Christie Lundquist, clarinet Tom Flaherty, cello

SIX LOG4 R M M S (1 983) ...................... Robert Pollock

Delores Stevens, Piano

NOTES

Daniel Kessner is a professor of music at California State University, Northridge where he has conducted the New Music Ensemble for the past several years.

Marshall Bialosky is a professor of music at California State University, Dominguez Hills. Fragments was written in response to a request from the Duo Contemperain, a Dutch-based group interested in creating a special literature for their ensemble.

Samuel Magriil is now in his second year at California State University, Long Beach where he gave, performed in, or directed an incredible number of concerts by a single faculty member. He writes about In Contra, "This work is not about Nicaragua. It is, however, about differ- ences and distinctions. Originally a soprano aria without accompaniment, In Contra became a tape study without soprano. The trumpet picked up the lost words and was told to 'enunciate clearly.' While the tape gurgles and shrieks, the trumpet sings using the diction of contradiction. Two songs: but do they notice each other."

Kevin Hiatt recently received his doctorate in composition from the University of Miami in Coral Gables, Florida, and was the winner in the 1986 National Composition Contest sponsored by NACUSA.

Donald Martino, the 1974 winner of the Pulitzer Prize and a recent first prize winner in the Kennedy Center Friedheim competition, is a professor of music at Haward University. Andrew Porter, quite possibly the best music critic now at work, recently devoted his entire New Yorker magazine column to Martino's work.

Robert Linn is a professor of music at the University of Southern Califor- nia where he heads the theory and composition departments. Com- memorating his many years of service at the university, a 60th birthday concert of his work was held there in 1985. Tonight's Duo was originally written for William 0. Smith and Gabor Rejto.

Robert Pollock is president of the New Jersey Guild of Composers and frequently has his music performed in the New York area.

This program has been funded, in part, by a contribution to NACUSA from BMI.

A panel discussion featuring composers Daniel Kessner, Robert Linn and Samuel Magrill will follow the concert. A reception sponsored by Mu Phi Epsilon will take place in the foyer of the lobby immediately following the discussion. Special thanks to Dave Yamarnoto and Lisa Choeros for the refreshments.

-

NATIONAL ASSOCIATION OF COMPOSERS, U. S. A. New York Chapter: 133 west 69th street, New yolk, N . Y . 10023 (212) 874-3360 1


120 West 69th Street I November 1, 1987

3 P.M.

PROGRAM I N CELEBRATION OF AMERICAN MUSIC WEEK I

R O N M A Z U R E K "The Voice With in" f o r p i a n o and t a p e (1986)

Robert Pollock, piano

ELIZABETH BELL " S o l i l o q u y " f o r c e l l o ( 1 9 8 0 ) '

EDWARD SMALDONE "Diptych" f o r guitar ( 1 9 8 5 ) '

I R W I N SWACK "Four B u r l e s q u e s " f o r f l u t e and c l a r i n e t ( 1 9 7 7 ) '

Mitchell h, flute Mindy Stark Karw, cladnet

LEO KRAFT

Intermission

"Sec.ond Fan tasy" f o r f l u t e and p i a n o (1980)

Susan bblz, flute

ALLENBRINGS "Concert P i e c e f o r C l a r i n e t Q u a r t e t q ' ( 1 9 8 6 ) *

Admission $7. Students and Senior Citizens $3. TDF Vouchers Accepted.

55th Anniversaty Season (1933-88)

' N Y Premiere +' First Performance

PROGRAM

MARSHALL BIALOSKY ............... "Tetra Music" for . Clarinet and Piano*

Meryl Abt Greenfield, clarinet Max Lifchitz, piano

MAX LIFCHITZ ...:.......... 'Winter Counterpoint" for Flute, Oboe, Bassoon, Viola and Piano*

Dominique Soucy, flute Jennifer Graham, oboe Diana Jaensch, bassoon

Rachel Evans, viola Max Lifchitz, piano

JOHN CORIGLIANO ........ "Etude Fantasy" for Piano

Etude No. 1 : For the Left Hand Alone Etude No. 2 : Legato

Etude No. 3 : Fifths to Thirds Etude No. 4 : Ornaments

Etude No. 5 : Melody John Atkins, Piano

INTERMISSION

'NY Premiere "World Premiere

........ JOSEF ALEXANDER "Hexagon" for Wind Quintet and Piano**

I . Allegro agitato 2. Theme and Variations 3. Allegro scherzoso

Vox Nova Quintet Dominique Soucy, flute Jennifer Graham, oboe

Meryl Abt Greenfield, clarinet Diana Jaensch, bassoon Alexandra Cook, horn

Max Lifchitz, piano

WILLIAM MAYER .......... "Abandoned Bells" for Piano

Steven Mayer, piano

IRWIN BAZELON ........................ "Fourscore" for Percussion Quartet

Aaron Kimura, percussion Peter Kates, percussion

Jonathan Haas, vibraphone John Hostetter, marimba

William Moersch, Conductor

Program made possible in part from a grant from MEET THE COMPOSER, INC.

Max Lifchitz (b. 1948, Mexico City) is active as performer, educator and composer. A graduate of The Juilliard School and Harvard University, he has received grants from the ASCAP, Ford and Guggenheim Foundations; Meet the Composer, Inc.; New York's CAPS Program and from the NEA. His works are performed throughout the US, Latin America and Europe and are available on the CRI, Finnadar and Opus One record labels. He has taught at the Manhattan School of Music and Columbia University. He recently joined the faculty of the State University of New York at Albany, where he also directs the yearly New Music Festival.

Winter Counterpoint is in five movements performed without pause. The first movement is scored for bassoon and viola; the second, for flute, viola and piano; the third, for flute, oboe and viola; the fourth is scored for the entire ensemble; and the last movement is for viola and piano.,.The work was completed at the Composers Cottage of Wolf Trap Farm Park in Vienna,Virginia during the winter of 1979.

A native New Yorker, William Mayer studied at Yale University, Mannes and The Juilliard School. His teachers included Roger Sessions and Otto Luening. He has received awards from the NEA, the New York and Michigan Arts Councils, the Guggenheim Foundation, and many other organizations. He is best known for his operatic and vocal creations. His compositions are available on the CRI label and have been widely performed here and abroad.

Abandoned Bells was commissioned by the US Information Agency's Artistic Ambassador Series. Pianist David Brunell performed the work throughout Latin America during his 1985 tour. The composer's son, pianist Steven Mayer, recorded the work for the NET network. The work is very pianistic, not suitable for orchestral transcription! Moods and textures shift without warning. Accents interrup lyrical lines, bell sounds abound, but they often seem to emanate from the past remembered rather than heard. The work is dedicated to William.Masselos.

Meet Tonight's Performers

Pianist John Atkins studied with Rudolph Ganz and Adele Marcus. He has performed premieres of many XX Century works and has toured throughout the US, Europe and Africa. He is active as a chamber music participant and as a vocal accompanist, having collaborated with numerous well known artists. He has recorded for Angel, Columbia, CRI and Mercury Records and is currently working on a series of albums featuring the works of John Corigliano.

Violis Rachel Evans is a busy free-lancer in New York. She recently returned from' Germany where she recorded Morton Feldman's The Viola in my Life and toured with the group Continuum.

Pianist Steven Mayer won the International Rockefeller Competition for Performers of American Music in 1986. A Professor of Music at the Manhattan School of Music, he has recently appeared throughout Europe and the US and has performed with many major orchestras and chamber ensembles.

Percussionist/conductor William bersch is well known for his pioneering work on the marimba. He has commissioned many composers and has performed throughout the US. He ahs also recorded for several labels. He is an active free-lancer in New York.

The Vox Nova Quintet recently won the Yellow Springs Chamber Music Competition and the Artist International Young Musicians Competition. Founded in 1983, it will be making its official debut at the Weill Recital Hall on February 7, 1988.

Aaron Kimura, Peter Kates, Jonathan Haas and Paul Hostetter are well known for their work with many first rate ensembles and orchestras throughout New York.

The public is cordially invited to attend the third concert of the current season sponsored by the National Assoc. of Composers, USA. The event will take place on April 17 (Sunday) at 3 PM at St. Stephen's Church (120 West 69th St). Music by Clair Pollin, Robert Lynn, Raoul Pleskow, Mary Inwood, Paul Gaugin and George Haussenstam will be performed. We hope to see you there !

Program Notes

A native of Boston, MA. Josef Alexander was educated at The New England Conservatory and Harvard University. His teachers included Walter Piston and Edward Burlingame Hill. As a recipient of.the Paine Fellowship he traveled to Paris to work under Nadia Boulanger. A Professor of. Music at CUNY1s Brooklyn College, his music has been widely performed throughout the US and abroad. The New York Philharmonic, the Dallas Symphony and the St. Louis Symphony are some of the major orchestras that have performed his works. He has received several ASCAP awards and grants from the National Endowment for the Arts and the Ford Foundation. His works are available on the RCA, Serenus, CRI and Orion labels.

Hexagon exhibits qualities of a piano concerto with wind quintet,-. The second movement is based on the .old English tune "Sweet Kitty", a melody that "haunted" the composer for many years. The work was written at the request of Samuel Baron and the American Wind Quintet, and is to be performed by this group$ widely during the 1988-89 season.

Irwin Bazelon was born in Chicago in 1922. He graduated from DePaul University and later studied with Darius Milhaud. Since 1948 he has lived in New York. He has received many commissions and grants including the Ford Foundation, the Koussevitzky Foundation and the National Endowment for the Arts. Many orchestras in the US and abroad have performed his works. His most' recent score, Motivations for trombone and orchestra is scheduled to be performed by the Orchestra National de Lille (France) later in the season. His book Knowing the Score-Notes on Film Music is widely used on college campuses where he also lectures.

Fourscore is being heard in New York for the first time.

Marshall Bialosky is the current President of the National Association for Composers, USA. A Professor of Music at California State University Dominguez Hills in Los Angeles, he has served on various governing boards of composers' organizations. He has recently launched the Sanio Music Co. .for the ~ublication of his own works. -

Tetra-Music derives its name from its opening motive: the pitches C-C#-D-G. These notes are transposed twice to make a kind of a twelve-tone row. This row and subsequent transformations are piaced in a kind of sonata-allegro form giving each of the instruments a cadenza-like '

passage: slow for the piano, fast for the clarinet. The music is like a "fantastic" conversation between the two featured instruments. ,

John Corigliano is a composer whose first priority is to be understood by those for whom he is writing his music, to give his audience a feeling of having received something which makes sense. His works have been acclaimed by performers and critics alike. A Distinguished Professor of Music at CUNY1s Lehman College, he has received commissions from many internationally reknowned organizations including New York Philharmonic, the Boston Symphony, the Van Cliburn Foundation, James Galway, and many more. His works are available on various record labels and are published by G. Schirmer, Inc.

Etude Fantasy is a set of five studies combined into the episodic form and character of a fantasy. The interval of a second (and its inversion adn expansion to sevenths and ninths) is used melodically and harmonically. The first etude is for the left hand alone-a bold, often ferocious statement which ends as the right hand enters playing a slow chromatic descending figure which introduces the next etude-a study of legato playing. The th%rd etuce, a study on a two-note figure, climaxes on a highly chromatic passage with many virtuosic outbursts, after which the opening melody returns to end the etude as it began. The fourth etude is a study in ornaments: trills, grace notes, tremolos, glissandi and roulades embellish the opening material (Etude I) and then develop the first four notes of the third etude into a frenetically charged scherzando where the four fingers of the left hand play a low cluster (like a distant drum) as the thumb alternates with the right hand in rapid barbaric thrusts. The final etude is a study of melody. Here the atmosphere is desolate and non-climactic, and the material is based on the melodic implications of the first etude with slight references to the second (legato) study. The work ends quietly with the opening motto heard in retrograde accompanying a mournful two-note ostinato. Etude Fantasy was premiered at the Kennedy Center of Washington DC on October 9, 1976.

SATIOXAL ASSOCIATION OF COMPOSERS, U. 8. A. New Pbrk Cllapter: I33 west 69th street, N e w Y O ~ L , N. Y . 10023 (21 2) 874 -3360

a t Chr i s t and S t . Stephen's Church

120 West 69th S t r e e t Apri l 17, 1988

3 PM

MARY INWOOD "Trumpet and Piano Sonata" Op. 40 (1980)'

Robert Lanaghan, piano John Malazzo, trumpet

PAUL BEAUDOIN "Stanzas" fo r v i o l i n (1987)*

Gregor K i t h , violin

JEANNE SINGER 11 Nocturne" f o r c l a r i n e t and piano (1976)'

Joseph DePalo, dari.net Jeanne Singer, piano

RAOUL PLESKOV "Three Songs on Texts of Oscar Wilde" (1988)*

Jeanette W alters, soprano Phillip Tillotson , piano

Intermission

CHARLES BESTOR "Pathways from t h e Dream Spel l Series" f o r t ape (1987)'

CLAIRE POLIN "Fre l t i c Sonata" f o r v i o l i n and piano (1985)'

Gabriel Schaff, violin Nancy M c D i l l , piano

GEORGE HEUSSENSTAM "Trio Philhar m onia" 0 p. 44 (1 973)'

Gregor Kitzis, violin Nancy Ives, cello Max Lifchitz, piano

Admission $7. Students and Senior Ci t i zens $4. TDF Vouchers Accepted.

Program made p o s s i b l e , i n p a r t , t h r 0 u g h . a g r a n t f r o m MEET THE COMPOSER, I n c .

5 5 t h A n n i v e r s a r y S e a s o n (1933-1988)

' New Y ork Premiere +! First Performance

Program

Wind Quartet Slow Slowly Fast

Robert Shulgold, flute Electra Reed, oboe William Steed, clarinet Charles Gould, bassoon

Fantasia for solo bassoon Marshall Bialosky Charles Gould, bassoon

Howard Quilling

Promenade Richard Grayson James Nightingale, accordion

Transformaciones 2 para violin solo[1982] Max Lifchitz Toni Marcus, violin

Berceuse Tyler White (dream sequence with flashbacks) [I9851

Richard G:iayson, piano

The Pupil of Your Eye Jeong W. Jin Kwi-Im Lee, soprano Jeong W. :;in, piano

INTERMISSION

Onute Yuskaite [ 1 9 8 61 John Faverman* Liberamente-piacevole-~~~assionata- Largamente-Spiritos'o

William Steed, clarinet Marilyn Baker, violin Jan Kelly, cello

*second prize,1986 NACUSA young composers' competition

The Pupil of your Eye

For those who walk througli the night, the heart's light carries hope of dawn.

When it lights the pupil of your eye, a song of love is heard.

Wisdom .to survive till tomorrow, Courage to endure today .....,

Both spring from the pure ,pupil of your eye and flow quietly intci' my heart.

Ah! let us unite in a flame of life, let us sing a song of rebirth!

For those who endure sadness, your light of love shows the eternal land

When that great light of love comes to my heart, a song of hope springs up.

Translated by Jeong W. Jin

. .

A panel discussion between some of the compokrs and the . a

audience will be held immediately -following the concert. -

For further informatiin regarding events spohsored by the - California State university Dominguez Hills Music Depar,tment

call: (2 13) 51 6-3543. . .

. -

. .

IJpcomin~ Events For .October . -

- October 9, Sunday, all day Jr. Bach f e s t i 4 i n A-103,.Ai202, A-204

October 15. Sunday, 7:00 p;m. Carson Dominguet Hill8 Symphony Orchestra University Theatre Concert

< .

October 18. Tuesday. 8:00 p.m. Salvatore Hartirano Mew Music Concert HFA Lcital Hall A 1 03

Dctober 29. Saturday, 8:00 p.m. Marshall Bialosky's Birthday Concert University Theatre

The ~K?t/in~?f, J .mwbtri?n 01 c?~rnp?.w.r~~~~1LC.J

in Conjunction with

The Music Department of

California S h t e University Dominguez Hills

presents:

Saturday Evening

Cktober 8, 1988

University Theatre 8:00 p.m.

. Intermission

Program

Four Pieces from Signs of the Zodiac ......................j oseph Alexander

I. Aries (The Ram) I I. Aquarius (The Waterbearer)

I I I. Libra(The Balance)


Intersonata ( 1987) for guitar ........................................ D a n e Kessner

Ronald Borczon, guitar

Conversation for Flute and Piano ........................ :...Marshall lal lo sky

~ i & Cheoros, flute Deloros Stevens, piano

. . To the Children of War: A Song Cycle .................................. Den Price

on poems of Angelous Maya -

. -

-

I. Life Doesn't Frighten Me. -

I I. We Saw Beyond Our Seeming - 111. Tears

IV. Alone V. Give Me Your Hand.

VI. Ships?

Darryl Taylor, tenor Deon Price, piano

Sonata for Flute and Piano ............................................... Alfred Carlson . '

Allegro .. Adagio

Vivace

Robert 'Shulgold, flute . .

Gloria Cheng, piano

Three Preludes . : . . ........ Tapestry .............. L.. ................ ............. ............................ e v i l Hiatt -

- : Erika Zador, hatpsicord

Ten Smidgeons for Bassoons and Piano.. ........................ Jol111 Webber . .

11. Prelude . .

-I I. Molto meno I I I. Allegretto . .

EV. Alla marcia V. Meno . -

. . -. Interlude . . ' . .

. - . VI. Piumosso

-.

VI I. . hholto meno . .

VI I I . ~1le~rett.o. IX. Alla .marcia

X. Meno Postlude -

. . .

. .

Charles Gould, bassoon . . . . Phil Young, piano :

. . . Capncclo ................................................ ................. Anthony Vazzana - - .

- Anna aria Baeza, clarinet. ~1111 Young, piano . .

1970 and 1971. and grants from the National Endowment for the Arts in 1974 and 1977. He has had works performed all over the U.S. and Europe by such organizations as the Los Angeles Philharmonic, the Polish Natlonal Orchestra of Poznan. the Netherlands Radlo Chamber Orchestra, lndlanapolls Symphony, and the Utrecht Symphony and Netherlands Opera, who jolntly presented seven performances of his monodrama, The Telltale Heart, at the 1982 Holland Festival. Recent activities include four appearances as guest conductor of the Los Angeles Philharmonic New Music Group, and frequent lecturing engagements on the Philharmonic's 'Upbeat Llve' series at the Muslc Center.

pronina was composed at the beginnlng of thls past summer for the Almont Ensemble. The title refers to the use of sustalning or repeating tones throughout much of the work. The opening Adaglo begins quietly, but gradually builds In intensity while maintaining a double pedal point on D and G virtually throughout. Next, a brlef Andante features descending arpegglos, and serves as a transition. The Allegro whlch follows Is the most extended and developed section of the work. The piece closes kith another brief Andante, related to the earlier one, but this time presenting ascendlng arpeggios which bring the work to a close.

A New Yorker by birth and a long tlme Southern Californian by adoption. Frank Campo received his education as composer in Los Angeles with lngolf Dahl, in Paris with Arthur Honegger and in Rome with Goffredo Petrassi. His many compositions include an opera, The Mirror, three secular cantatas, three concertos including one each for violin, trumpet. and bassoon. a large body of orchestral music. works for band, music for piano, for volce and a wide variety of chamber music for dlverse combinations of instruments. Professor Campo is currently Chair of Music Composition and Theory at CSUN.

Following a long standing family custom, the final day of 1987 was celebrated in the Frank Campo home with a marathon chamber music session. The culmination of the evening was reached with a performance of the well known Clarinet Trio of Brahms, after which many comments were made regarding the dearth of material for thls fascinating instrumental combination. In response to these comments. the composer has written the Trio that is being premiered this evening.

UPCOMING MUSIC DEPARTMENT EVENTS

Oct. 1 FAS: Joseph Genwldl. Vblin; Michael Fbksmn, Cello; & Francoise Regnat, Piano

I Od. 7 CSU Long Beach Studlo Jan Ensemble No. 1 (John Prince, Director) & CSUN Jan 'A' Band (Joel Leach, Director) I

Oct. 8 New Directions Composers Group (works by CSUN student composers)

I Oct. 14 Jan B & C Bands (Ladd Mclntosh &Gary Prd, Directors)

I Oct. 15 CSUN Symphony Davld Aks, Conductor I I FOR FURTHER INFORMAllON, CALL 818-885-3180. I

I The California State University, Norfhridge

1 Department 0% Music Presents

I I

A Program of Works by Members of i The Los Angeles Chapter sf !

: THE NATIONAL ASSOClABOOM OF COMPOSERS, USA

Saturday, September 24, 1988 CSUN Recital Hall 8:00 P.M.

A Program of Works by Members of The Los Angeles Chapter of

The National Association of Composers, USA

Saturday, September 24,1988 . CSUN Recital Hall 8 p.m.

PROGRAM

................................. Impromptu, Music for Solo Cello R o d Stewart

Tom Flaherty - Violoncello

Homenagem ("In Memoriam Heitor Villa Lobos") (1 987) ........................ Aurelio de la Vega

Betty Oberacker - Plano

West Coast Premiere

Cuatro Canciones Sobre Poesias de Federico Garcia Lorca (1 98 1) ..................... Morten Lauridsen

Claro de ReloJ La Luna Asoma Noche Despedida

Llsa Stldham - Soprano Tom Flaherty - Cello Al Rice - Clarinet Joseph Lawson - Piano

INTERMISSION

Droning (1 988) .............................................................. Dane Kessner

Al Rice - Clarlnet Cynthla Fogg - Vlola

......................... Trio (1 988) for clarinet, 'cello and piano Frank Campo

I - ben ritmico II - con estrema dolcena Ill - allegro

Frank Campo - Clarlnet Jerome Kessler - cello Francoise Regnat - Piano

World Premlere

There wlll be a reception following the concert In Room 101.

Program Notes

Robert Stewart Is Professor of Muslc Theory. History, and Composltion at Callfornla State Unlversi-ty. Fullerton. HIS educational background Includes degrees from SUNY Fredonia, Butler Unlverslty and the Unlverslty of Iowa, wlth addltional study in muslc hlstory and composition at the Eastman School of Music and UCIA.

mwrom~tu. Muslc for Solo cell^ was written In 1975. Formally. the work conslsts of a set of six varlations on the openlng material. Because traditional variation techniques are not really discernible in the plece, It is suggested that the work Is best understood if attention Is directed toward the overall gestural lmplicatlons and. lmprovlsational nature of each phrase.

Aurello de la Vega, born In Cuba in 1925, occupied important positions In his native land before becomlng a resldent of Los Angeles In 1959, and a member of the Muslc Faculty of CSUN the same year. His catalog of composltlons covers all medla except opera. A recipient of numerous commlsslons, prizes. honors and decorations by various governments for his contributions to the music of our time, many of his works are published and recorded. His A d i 6 ~ for orchestra (1976) received one of the flrst Frledheim Awards of the Kennedy Center for the Performing Arts. He is also the author of many artlcles and essays on contemporary music (with an emphasls on Latin Amerlcan art music of the twentieth century), on art, and on Ilterature.

Homenaaem was commlssloned by Brazllian pianist Jose Eduardo Martlns to celebrate the centennial of Heitor Villa Lobos (1887-1959). Nine other piano works (slx by prominent Brazllian composers and three by composers from Spain, Portugal and Austria) were also commlssloned for the same purpose. All ten works were published in an album by the University of SClo Paolo).and premiered by Martlns on August 23, 1987. (Goethe institut. SClo Paulo), and subsequentiy played on August 27 durlng the XXlll Festival of New Muslc. Santos. Homenaaem has been heard in various Brazilian and European cities, and recehed Its U.S. Premiere on April 16 of this year. played by pianist Mlguel Salvador. The work. written In the pan-tonal, post-serlal and lyrical style which characterizes the muslcal vocabulary of the composer at present, Is formally slmple and evidently thematic. Cuban. Argentinlan, Brazllian and North Arnerlcan rhythmic elements are mixed together to produce a sonic tapestry suggestive of a general dance.

A recipient of numerous grants, prizes and commissions, Morten Lauridsen Is currently Professor of Muslc Theory-Composition at the Unlverslty of Southern Callfornia. His many published vocal works are regularly featured by leading recitalists and choruses throughout the Unlted States and abroad. most recently at the Kennedy Center and Alice Tuiiy Hail. A native of the Pacific Northwest, he dlvides his time between hls teaching at USC and his summer home on a remote Island off the northern coast of Washlngton State.

Jhe Cuatro Canclones Sobre Poeslas de Federico Garcla Lorcg was commlssloned by the Yoav Chamber Ensemble, which has performed the work on numerous occasions including concerts at Merkln and Carnegle Recital Halls in New York. lt is based on the composer's earlier plano/vocai version premlered in 1979 by tenor Michael Sells and planlst Dolly Kessner. In keeplng with the generally introspectlve and thoughtful nature of the text, the vocal part Is prlmarliy reflective and expressive while the instruments provide color and commentary and emphasize the iyrlc quality of the work. The muslcal materials are mainly derived from a threenote cell consisting of a half-step and a mlnor third. The work is published by Peer-Southern, New York.

Daniel Kessner was born In Los Angeies In 1946. He studled with Henrl Lazarof at UCIA, where he recelved his Ph.D, with Distinction in 1971. Major awards include the Queen MarleJos4 International Composltion Prhe In Geneva In 1972, BMI Awards In

CUATRO CANCIONES SOBRE P O E S ~ S DE FEDERICO G A R C ~ LORCA

Tmnskrtfons

CLARO DE RELOJ (PAUSE OF THE CLOCK)

l sat down In a space of time. It was a backwater of silence, a whlte sllence. a formldable rlng wherein the stars collided with the twelve fioating black numerals.

Stanley Read

NOCHE (NIGhl)

Candle, lamp. lantern and firefly.

h e constellation of the dart.

ume windows of gold trembling,

and cross upon cross rocking In the dawn.

Candle. lamp. lantern and firefly.

MnemArgb

LA LUNA ASOMA (THE MOON RISING)

When the moon rises, the bells hang silent, and Impenetrable footpaths appear.

When the moon rlses. the sea covers the land. and the heart feels llke an Island In Infinity.

r l de. leave the balcony open.

Nobody eats oranges under the full moon. One must eat fwtt that Is green and cold.

When the moon rises, moon of a hundred equal faces. the silver colnage sobs In the pocket.

LysanderKenip

DESPEDIDA (FAREWELL)

The reaper Is harvesting the wheat. (From my balcony I can see hlm.)

h e lMe boy Is eating oranges. If I die, (hom my balcony I can see hlm.) leave the balcony open.

W . S h h h

Copyright 1955 by New Dlreclions Publishing Corpomlon. Used with perrnisslon of the publkher, New Dlreclions PubJkhlng Cocporatbn.

NAC USA NATIONAL ASSOCIATION OF COMPOSERS, U. S.A. New York Chapter: 133 west 69th street, New Y O ~ L , N . Y . 10023 (212) 874-3360

C h r i s t and S t . S t e p h e n ' s Church 120 West 6 9 t h S t r e e t

November 6 , 1988 3 PM

In Celebration of American Music Week

DAVID I R V I N G "Spec t ra 2" f o r horn and p i a n o (1988)

MARY INWOOD "Verses" f o r s o p r a n o and f l u t e (1984) '

DANIEL KESSNER "Five P r e l u d e s " f o r p i a n o (1987) '

MAX LIFCHITZ l 'Transformat ions No. 1" f o r c e l l o (1979)

JEANNE SINGER "From P e t r a r c h " f o r v o i c e , c l a r i n e t and p i a n o (1978) '

ROBERT CARL " R i t r a t t o d e i G i o r n i e d e l l e N o t t i s u Lago d i Como" f o r p i a n o and t a p e (1987) '

MARILYN BLISS "Flocks" f o r f l u t e q u a r t e t (1988) '

Per fo rmers w i l l i n c l u d e

F r a n c i s Orva l . f r e n c h horn Rober t C a r l . ~ i a n o . - -

Max L i f c h i t z , p i a n o F l o r e n c e Hech t , soprano Yari Bond, c e l l o

Admission $8 S t u d e n t s and SC $4

TDF Vouchers Accepted

. J e a n n e S i n g e r , p i a n o J u l i e Nishirnura, p i a n o The Powel l F l u t e Q u a r t e t

5 6 t h Season (1933-89)

' N Y P r e m i e r e

NAC X4TIONAL ASSOCIATION OF COMPOSERS, U. S. A. New York Chal~ter: 133 west 69th Street, New ~ o r k , N . Y . 10023 (21 2 ) 874 -3360

a t

C h r i s t and S t . S tephen ' s Church 120 West 69 th S t r e e t

New York C i t y November 6 , 1988

3 PM

I n C e l e b r a t i o n o f A m e r i c a n M u s i c Week

Francis Orval, horn Julie Nishimuara, piano I MARY INWOOD "Verses from t h e Song of Songs" f o r soprano and

f l u t e (1983)

Victoria Sokoloff, soprano J a m e s Schlefer, Elute I DANIEL KESSNER "Five Preludes" f o r p iano (1987) ' I

Max Lifchitz, piano I JEANNE SINGER "From Pe t r a r ch" f o r v o i c e , , c l a r i n e t and p iano (1978) I

MAX LIFCHITZ

ROBERT CARL

Florence Hechtel, soprano Joseph DePalo, c lar inet Jeanne Singer, piano

In t e rmi s s ion ' I

"Transformat ions No. 1" f o r c e l l o (1979)

Y a r i Bond, cello

" R i t r a t t o d e i G i o r n i e d e l l e N o t t i s u Lago d i Como" f o r p iano and e l e c t r o n i c sounds (1987) ' I

Robert Carl, piano I MARILYN BLISS "Flocks" f o r f l u t e q u a r t e t (1988) I

The Powell Quar te t Steven Belenko, Elute M agdalena G onzalez, Elute

I Barbara Eddy Hart, Elute J a m e s Schlefer, f lu te

Admission $8. S t u d e n t s and Sen io r C i t i z e n s $4. TDF Vouchers Accepted. I ' N Y Premiere

Because of the convictions and labors of the found-. er of the Department of Music at Loyola Marymount University, Mr. Walter Arlen, 20th century music.

.'has always had a presence on campus, in performance and in the curriculum.

Because of the dedication and earnest efforts by the last President of the National Association of kierfcan C~rnposera and Condtiztozs, whe was a1ac.t.h.e first President of its successor organization, the National Association of Composers, USA, the late Dr. John Vincent, several of the universities in the greater Los Angeles area give annual concerts featuring works by member composers.

In addition to helping fund concerts of modern Amer- ican music, NACUSA also sponsors competitions for young composers, and for young performers who include new American music in their repertoires. As a part of NACUSA's continuing policy of expressing appreciation to those having a national presence who have furthered the cause of American music, we have honored and given awards to such notables as Martin Bookspan, Lawrence Morton and.Leonard Slatkin.

By your attendance at this event you are aiding the local composers who will represent yoG,. your time and your locale to Future listeners. For this we applaud you, and hope you will be interested in our future concerts and other activities. If you would like to be on our mailing list, or desire additional information about our organization, or per-. haps would.like to become a member or a sponsor, please write..to:

National Association of Composers, USA P.O. Box 49652 .._ . Barrington Station -Lo8 Angeles, Calif. 90049

Leroy W. Southers, Jr. National Secretary

Car i lynae

1 = 52 A l l e g r o

Barbara Benne t t

Earbara Benne t t , p i ano Deborah Schwartz, marimba

"Baroque" Sona tas I1 and V I James N i g h t i n g a l e

V a r i a t i o n s on ''Comment Q u ' a Poy" ( A V i r e l a i by ~ : a c h a u t ) Dona1 Michalsky

James N igh t inga l e , a cco rd ion

Vec t o r a l Rhapsody Deon Nie l s en P r i c e

Paul S t e w a r t , saxophone Deon Nie l s en P r i c e , p i ano

Sona t ina f o r G u i t a r Stephan Dick

Grave A l l e g r o Ri tmico

Stephen Dick, g u i t a r

arch 31, 1986 - For t h e V i c t i m s o f t h e Mexican A i r l i n e s F l i g h t 940 John Grane t

Ron Wakef ie ld , b a s s c l a r i n e t J o e Lawson, p iano

Anthony Vazzana ~ u l o d i e '

Eisaqog l Apa;os K e l adimp Askaulos ~ n 6 r o s

Linda G i l b e r t , oboe

3 W i l l i a m A lves , Yamaha DX-7 Synthe- s i z e r

'1 A B l a c k b i r d Canzona (Wal lace S t e v e n s ) f o r

High Voice , Bb C l a r i n e t and Marimba (1986) A l f r e d C a r l s o n

P a u l a Rasmussen, mezzo soprano C h r i s t o p h e r French , c l a r i n e t Deborah Schwar tz , marimba

(Tex t s are Enc losed )

NAC USA XATIONAL ASSOCIATION OF COMPOSERS, U. S. A. New York Chapter: I33 welt 69th Street, NW yak, N .Y . 10023 (21 2) 874 -3360

a t C h r i s t and S t . S t e p h e n ' s Church

120 West 6 9 t h S t r e e t March 1 2 , 1989

3 PM

GEORGE SELBST . "Concer t ina" f o r v i o l i n and p i a n o (1986)'

TINA DAVIDSON . " S t a r Myths" f o r p i a n o (1987) '

MARY JEANNE van APPLEDORN . "Liquid Gold" f o r saxophone and p i a n o (1987) '

I R W I N SWACK . "Four Duos" f o r v i o l i n and v i o l a (1979)

PAUL BEAUDOIN 1' . Twinsong" f o r f l u t e and e l e c t r o n i c s (1988)'

JOSEF ALEXANDER . . . "Music f o r G u i t a r " (1981)*

p e r f o r m e r s w i l l i n c l u d e :

James Kass, g u i t a r George S e l b s t , v i o l i n Dale Underwood, saxophone T i n a Davidson, p i a n o

Ron C h i l e s , p i a n o P a u l Beaudoin , f l u t e

Admission $8. Students and Senior C i t i zens $4. TDF Vouchers Accepted.

' New York P r e m i e r e * F i r s t Pe r fo rmance

5 6 t h Season (1933-1989)

Paul Pisk, a native of Vienna and a former member of the Schoenberg circle there, is now in his 96th year and a resident of Los Angeles. He has been in the United States since the mid-30's where he has taught at the Universities of Redlands and Texas, and Washington University in Saint Louis. A prolific composer, he is also the author of several books on music theory '

and style.

Nicolas slonimsky, now in his 93rd year and also a Los Angeles resident, is world-famous as a composer, conductor, pianist, teacher, maker of musical dictionaries, biographer, autobiographer, and indefatigable champion of modern music. He conducted many of the first performances of the music of Charles Ives, Carl Ruggles, Wallingford Riegger, and other American pioneer composers of the 20th century. He has made several trips in recent years to his native Russia where he has participated in important musicological meetings.

Elie Siegmeister celebrated his 80th birthday a few weeks ago in New York City, where he was born, with two concerts of his own compositions. In addition to a huge catalogue of symphonies, operas, sonatas, chamber and vocal music, he has also written and edited several books on American folk songs as well as treatises on music theory. He was for many years composer-in-residence at Hofstra University on Long Island, NY.

Clare Shore is a young composer currently residing in Virginia. , Many of her new compositions have been commissions, and the list of her recent performances includes concerts in Germany at the International Congress on Women in Music as well as many in the Washington and Virginia areas.

Marshall Bialosky recently half-retired from the Music Department at Cal State Dominguez Hills where he was the founding chair of the music and art departments. A concert of his own music marking twenty-five years at the university and his 65th birthday was held at Dominguez Hills on October 29, 1989.

The Almont Ensemble, formed in 1981, is currently in residence at Pasadena Conservatory of Music.

Acknowledgements: Loyola Marymount University

Dr. Arthur Bloom, Dean

~r.'Albert Vinci, Chairman, Music Department

Bogidar Avramov , Gertrude kivers Robinson Paul Salamunovich - Music Faculty Joel Howard, Facility Director, Murphy Hall

This concert supported,by the LMU Visiting Artists and Lectures Series and The National Endowment for the Arts

THE COLLEGE OF COMMUNICATION AND FINE ARTS The Department of Music

and The National Association of Composers, USA

Present

THE ALMONT ENSEMBLE

IN

A CONCERT OF CHAMBER WORKS BY AMERICAN COMPOSERS

FEBRUARY 17, 1989 - 8:00 P.M.

MURPHY RECITAL HALL, BURNS CENTER

LOYOLA MARYMOUNT UNIVERSITY

! I))onal Association of : Composers, USA

PROGRAM In ages past proud monarchs and churches supported high artistic endeavor, providing the livelihoods for composers and the means for performing new music. In our own times the more enlightened democracies and Eastern bloc countries recognize the importance of the creative artist to the maintaining of vigorous national cultural life, and spend significant amounts of money on the performance and broadcast of new works by their composers. In the United States only a miniscule portion of federal and state budgets is to devoted to all the arts together, while private philanthropy generally supports traditional performance organizations devoted to performing over-familiar works from Europe's increasingly distant past. Thus the music which best represents the combination of high aspiration and the kinds of thinking responsive to what is artistically germane to our place and time is seldom heard in our own concert halls.

In these conditions American composers, except for a fortunate very few, have had to seek alternative means and venues for being heard. And in these conditions composers' organizations and intitutions of higher learning assume roles of special importance. Through collective sponsorship at least some new music can be heard, and by banding together composers help to ameliorate their own individual feelings of being isolated. In addition to providing instruction concerned with developing understanding of our contemporary musical vocabularies, universities and conservatories provide natural venues for the performing of new music, doing an educational service for students and the general community.

The present concert is one instance of co-sponsorship by a composers' organization and a university, a cooperative effort which has been repeated at annual intervals at Loyola Marpount University since the 1960's. Though such efforts will never accomplish what would be possible given an enlightened governmental policy on the arts, they do at least represent small steps taken in the right direction.

In addition to helping fund concerts of modern American music, NACUSA also sponsors competitions for young composers, and for young performers who include new American music in their repertoires. As a part of NACUSAts continuing policy of expressing appreciation to those having a national presence who have furthered the cause of American music, we have honored and given awards to such notables as Martin Bookspan, Lawrence Morton and Leonard Slatkin.

By your attendance at this event you are aiding the local composers who will represent you, your time and your locale to future listeners. For this we applaud you, and hope you will be interested in our future concerts and other activities. If you would like to be on our mailing list, or desire additional information about our organization, or perhaps would like to become a member or a sponsor, please write to:

National Association of Composers, USA P.O. Box 49652 Barrington station Tan Ananlnn. CA 90069

. . . . . . . . . . . . . . . . . Moresca Figures Paul Pisk

. . . Fool

Queen of May and Her Lover

Rich Peasant

Poor Peasant

Hobby Horse Rider

The King's Jester

David Stenske, Violin

A1 Rice, Clarinet

Charlotte Zelka, Piano

Four Russian Melodies . . . . . . . . . . . Nicolas Slonimsk' A1 Rice, Clarinet


Prelude, Blues, and Finale . . . . . . . . . .Elie Siegmeister A1 Rice, Clarinet Cynthia Fogg, Viola Charlotte Zelka, Piano

I T E R M I S S I O N

Canonic Polemic . . . . . . . . . . . . . . Clare Shore A1 Rice, Clarinet

Tom Flaherty, Cello

Charlotte Zelka, piano

Two Movements for String Trio, Clarinet, and Pinao - Marshall Bialosky David Stenske, Violin

Cynthia Fogg, Viola

Tom Flaherty, Cello

~l Rice, Clarinet


. . . . . . . . .

- Presents -

A Concert o f New Music

By Previous Winners o f

The NACUSA

Young Performers' Competition

Rachel Rudich, Flutist, (1 986 winner)

and

Jennifer Cable, Soprano, (1 98 7 winner)

The Choral Room

University o f Southern California

8100 RM.

Friday evening, May 19, 1989

Ltj 6 Q, S 6 $ 3

S @ , 8 32: .d

. P z X L E Z I p 'g U 2 . S

5 3 s p 32'3 829: m S E E

SECOND CONCERT OF THE 1989-1990 SEASON!!

The Nations-l Association of Composers 1 USA

in conjunction with

The Music Department of The University of California at Riverside

Presents

A Concert of Chamber Music by NACUSA Composers Saturday Evening, March 3, 1990 Watkins Recital Hall 8:00 PM.

The Concert will include music by . . . . . . . . . . . Irwin Bazelon John Crawford Morton Lauridsen Craig Naylor Deon Nielsen Price Margaret Meier Shelton.

Performers will include. . . . . . . . . . . . . . . . . . . . . Delores Stevens - Piano Albert Rice - Clarinet Tom Flaherty - Cello Craig Naylor - Piano Deon Price - Piano Margaret Shelton Meier - Piano Ayke Aguz - Violin and others.

At Z30 !? M. Marshall Bialosky, President of NACUSA, will offer a short talk on the history of the organization.

' CONTEMPORARY MUSIC SERIES

P 'FHE UNIVERSITY OF CALIFORNIA, RIVERSIDE MUSIC DEPARTMENT

and

'FHE NATIONAL ASSOCIATION OF COMPOSERS, USA

present

A concert of works by member composers

A pre-concert talk by Marshall Bialosky, President of NACUSA

SATURDAY 7:30 PM MARCH 3,1990 Watkins Recital Hall

PROGRAM

Trio for clarinet, cello and piano . . . . . . . . . . . . . John Crawford

Larghetto Vivo

A1 Rice, clarinet Tom Flaherty, cello


THREE FACES OF KIM, The Napalm Girl . . . . . . . . Deon Nielsen-Price

Soulful Playful Fearful

Ayke Agus, violin Deon Nielsen-Price, piano

Imprints. .. on ivory and strings . . . . . . . . . . . . . . . Irwin Bazelon Delores Stevens, piano

INTERMISSION

Sonata for cello and piano . . . . . . . . . . . . . . . . . Craig Naylor

slow/fast mysterios majestic

Tom Flaherty, cello Craig Naylor, piano

Canticle . . . . . . . . . . . . . . . . . . . . Morten Lauridsen A1 Rice, clarinet

TRIO for viola, violoncello and piano . . . . Margaret Shelton Meier

declamatory, with passion from a place of calm with spontaneity

Lucille Taylo~, viola Jeff Kaatz, violoncello

Margaret Shelton Meier, piario

UPCOMING EVENTS

Sunday March 11 2:00 PM

Friday March 16 8:00 PM

Wednesday April 4 8:00 PM

Tower Mall Carillon Recital. David Christensen, UCR Carillonneur, will perform.

University The University Band and Jazz Ensemble, Theatre under the direction of Bill Helms, will

present a joint concert.

University The Los Angeles Chamber Orchestra Winds Theatre will perform a benefit concert. Proceeds to

go to music scholarships. Admission: $8 General/$3 Students & Seniors.

Doors open one-half hour before performance times noted. Free admission to all'events. Parking provided in Lots #5 and #6.

FOR FLTRTHER INFORMATION CALL THE DEPARTMENT OF MUSIC AT (714) 787-3138.

NOTE: All dates are subject to change. Please call the Department of Music to c o n f i i .

Program Notes

A native of Philadelphia, John Crawford received much of his musical training at the Yale School of Music, where he studied with Paul Hindemith and Quincy Porter. Further studies with Nadia Boulanger and Arthur Honegger in Paris were followed by graduate work at Harvard, where his composition teachers were Walter Piston and Randall Thompson. After receiving his doctorate from Harvard, Crawford taught at Amherst and Wellesley Colleges. He is currently a Professor in the Department of Music at UC Riverside. Crawford's instrumental music has been played by the Buffalo Philharmonic Orchestra, the Sequoia, Brandeis and Cavani String Quartets, the Hartt Chamber Players and the Almont Ensemble. His choral works have been performed by such groups as the New England Conservatory Chorus, the Harvard Glee Club and Harvard-Radcliffe Choral Society, the Chorus Pro Musica (Boston), Incarnation Concerts (New York), the USC Concert Choir, the UCLA A Cappella Choir and Madrigal Singers, and the UCR Choral Society and Madrigal Singers. His music is published by E. C. Schirmer, Oxford University Press and Galaxy Music.

The TRIO for Clarinet, Cello and Piano is in three movements, of which the last two will be performed at this concert. The slow movement (Larghetto) is ternary in form, and opens with a long-lined melody given initially to the cello. The middle section of the movement, which is more intense and climactic, is followed by a return of the opening melody with added figuration and important new interludes between phrases. The final movement (Vivo) is a lively rondo witb many meter changes. There are playful parodies of themes presented earlier, and even a quotation from a popular song of the 1920's.

Composer/pianist Deon Nielsen-Price received the Doctor of Musical Arts Degree with Honors from the University of Southern California. Her previous training was with Academia Pro Arte in Germany, at Brigham Young University, and at the University of Michigan. Price has received grants from the Meet the Composer Program, the Barlow Endowment, and the American Society of Composers, Authors, and Publishers (ASCAP). She was the winner of the 1989 California Composers Today Competition. Her compositions are available on Cambria, Creative, and TownHall labels, and from Dorn and Culver Crest publishing companies. As a member of the touring duo ECHOSPHERE, she has presented critically acclaimed recitals and residencies nationally and internationally. Price is currently on the faculties of El Camino College and California State University, Northridge.

THREE FACES OF KIM, The Napalm Girl, originally composed for alto saxophone and piano, was recently rewritten for violin and piano. Ayke Agus edited the violin part. This is the premiere performance of the violin-piano version.

Irwin Bazelon graduated from DePaul University of Chicago and pursued further studies with Darius Milhaud and Ernest Bloch. He went to New York in 1948 where he remains. His style of composition is marked by imaginative eclecticism; he regards music as a practical art.

IMPRINTS.. . on ivory and strings is an unusual utilization of the entire keyboard range as well as the piano strings. The use of spatial rhythmic notation and performing on the strings (including cluster notes played with the palm of the hand) are not intended to merely be "effects," but are interpolated into the score as logical expansions of musical ideas: an alternate way to perform and alter pitches, convey color, accent individual notes and/or bring out harmonic overtones. This is the first Californiaperformance of IMPRINTS.

Craig Naylor attended Humboldt State University originally to gain expertise in the study of wildlife behavior. The difficulty of maintaining a science career and simultaneous music studies encouraged a decision to devote himself exclusively to music. In 1978 Craig was the first person to present a recital of all twentieth-century piano music at Humboldt State. His early compositions were in the experimental jazz idiom. After graduating from Humboldt State, he taught elementary and junior high school music, was an assistant in theory and electronic music at h e Aspen Music School, and is currently nearing the end of his doctoral studies at the UniverGty of Southern California where he is a teaching assistant in the theory program. The past year has included the.New York premiere of his brass quintet "Notes to my Friends" by the American Brass Quintet and compositiops for the mountain climbing section of the recent IMAX "To the Limit."

., , . a . . . , .

The SONATA for Cello and Piano is the last work from Naylor's "self taught" stage. The theme that unfolds at the beginning returns in the final movement .but the intervals of this theme spawn the harmonic structure for the entire work. The slow movement contrasts as much in the.techniques of sound production as it does in rhythmic and harmonic development. '

Morten Lauridsen is Professor of Music Theory-Composition at the University of Southern California. He is most noted for his many published art songs and choral works which are widely performed in the United States and abroad.

The brief (under four minutes) CANTICLE for clarinet solo is dedicated to the memory of my friend and colleague at the University of Southern California, Halsey Stevens, who was particularly fond of the instrument. The piece, composed in 1989 and premiered at the Schoenberg Institute, is bipartite, with the second half being a variation of the first.

Margaret Shelton Meier has received numerous awards for her compositions, including the Atwater-Kent award, nine annual fust-place prizes from the Music Teachers' Association of California, an Axel Stordahl Scholarship/Commission and the fust prize in a CSULA orchestral composition competition. Two movements of her TRIO for viola, violoncello and piano were premiered at the International Viola Congress in June of 1989. (The third movement is being premiered tonight.) Meier received her training at UCLA and the Eastman School of Music. She is an instructor at Mount San Antonio Community College and maintains a private studio of instruction in piano and theory.

The first movement of the TRIO is derived entirely from its opening chords (first two measures). The fourths featured in the recurring theme of the second movement are a reordering and transposition of the first movement's opening chords. The delicate textures are produced by string harmonics and plucking of the piano strings, both as glissandi and as discrete pitches. The third movement opens with a mood of improvisation and features the half-steps present in the opening chords of the first movement. This is interrupted by a brief chorale on the second movement theme. The improvisatory style returns and builds until this same theme bursts forth in octaves on the piano. The contrapuntal section which follows joins this theme with a fust movement theme in a new rhythm and moves to the climax of the movement. After a pause, the chorale is restated and the movement ends with a return to the mood of improvisation. Hence, the composition unfolds from the first two measures. And why the first two measures? "I love the sounds!" saith the composer!

THIRD CONCERT OF THE 1989-1990 SEASON!!

The California State University Northridge Distinguished Visitor Program

in conjunction with

The National Association of Composers / USA

Presents

A Concert of Recent Chamber Music by NACUSA Composers Friday Evening, April 6, 1990 CSUN Recital Hall 8:00 R M.

Program

Duo for Alto Saxophone and Percussion . . . . . . . . . . . . . . . . . . George Heussenstamm ~xospheres for Oboe and Piano . . . . . . . . . . . . . . . . . . . . . . . . Aurelio de la Vega Duo # 2 for Cello and Piano (World Premiere) . . . . . . . . . . . . . Frank Campo Rondo for Two Guitars and Harpsichord (World Premiere) . . . . Daniel Kessner Antipasto for Violin and Clarinet. . . . . . . . . . . . . . . . . . . . . . . . . Robert Linn

Yellow Ribbons # 2 (West Coast Premiere) . . . ..:. . . . . . . . . . . . Max Lifchitz

T h e C S U N Dis t inp i shed Visitor Program and

The Los Angeles Chapter of the

National Association of Composers, U.S.A.

present

A PROGRAM OF CONTEMPORARY CHAMBER MUSIC

Friday, April 6, 1990 Recital Hall - 8 PM

PROGRAM

Duo for Alto Saxophone and Percussion (1981) .................... George Heussenstamm William Wilson - alto saxophone

John Magnussen - percussion

Exospheres, for Oboe and Piano (1966) ............................................ Aurelio de la Vega Michael Kibbe - oboe Dolly Kessner - piano

Duo No. 2 (1989 )...., ............... , ..... , .... ,, . . ......................... Frank Campo Dennis Karmazyn - violoncello

Franqoise Regnat - piano

World Premiere

INTERMISSION

Rondo for Two Guitam and Harpsichord (1989) .................................. Daniel Kessner Brian Head - guitar

Mark Simons - guitar Dolly Kessner - harpsichord

World Premiere

Antipasto .............................. .. ....................... ..,,... .... .., ...........- .. ............... Robert Linn Frank Campo - clarinet

Nancy Roth - violin

Yellow Ribbons No. 2 (1981) .............................................................................. Max Lifchitz Frank Campo - clarinet

Nancy Roth - violin Dolly Kessner - piano

West Coast Premiere

PROGRAM N O T E S

Completed in July, 1981, th Duo /or Alfo Saxo hone and Percussion was commissioned by Brian Sparks, a member of the U.S. Coast guard Band, and premiered in New Lon- don, Connecticut, in the fall of the same year. Challenging for both players, the work is in one continuous movement and is sectional in form. Although a twelve-tone row provides much of the pitch material, its treatment is very free. Vertical sonorities reflective of tonality play an im ortant role. Among the numerous devices frequently found in modern scores whicl find their place in the piece: flutter-tongue, slaptongue, buzztone, rattling of the keys, humming, and double trills. Double trills are extremely fast trills available on some notes of the saxophone and require the use of both hands to execute.

Exosphmes was completed late in 1966, and premiered in Los Angeles a t the Monday Evening Concerts in November of 1968. The work, which has received innumerable performances in the United States and abroad, consists of five short sections for oboe and piano which are inter-exchangeable, and one Module (primarily for oboe alone) which is always placed after the third section, no matter which one occupies this position. It is a virtuoso work for the oboe, which is called upon to produce timbral changes, use of detached reed, very high notes, flutter tones, tremolos, key clicks, muted p a s sages and quarter tone nuances.

Mercedes Otero

The Duo #2 for Violoncello and Piano was completed in the winter of 1989 and is s e p arated from the composer's Duo # I by some thirty years. The work is marked by flowing lines, transparent textures and a clear, sectional form.

FC

Rondo is intended as a divertimento, light in character, taking advantage of the delicate sonorities of the combination of guitars and harpsichord. Few liberties are taken with the ex ected structure: an abbreviated first return of the rondo theme, later a false return, a n a a final statement which is interrupted by a brief harpsichord cadenza.

Antipasto, for clarinet and violin, is a light-hearted musical appetizer which utilizes familiar Italian tunes as the basis for playful variation. The material is modified through octave displacement, rhythmic and metricical misplacement, and harmonic supplantation. Occasionally, a theme will lose its sense of direction, and stray into "foreign" territory. This melange was concocted for my long-time friends, Frank and Darius Campo (father and son), who gave its first performance.

Yellow Ribbons No. 2 belongs to a series of works written as an homage to the former American hostages in Iran. These compositions are a personal way of celebrating the artistic and political freedom so often taken for granted in the West. The composition is in four movements performed without pause. Each movement is scored for a different combination of instruments. While the second and fourth employ the clarinet, violin, and piano, the first movement is scored for violin and clarinet and the third for solo violin. The melodic and harmonic material for the entire composition is derived from a series of expanding and contracting intervals. Several rhythmic motives serve as unifying elements throughout the piece. The climax of the entire work occurs towards the conclusion of the fourth movement when each instrumental part is treated with the utmost degree of independence: three different tempi are presented simultaneously as each instrumentalist plays the given melodic material a t a different speed.

A reception will follow the concert in Room 101

"Ernst Bacon , a composer known for echoing America, d i e s a t 91." sa id the headline of the composer's ob i tua ry in the New York Times concerning his death i n Orinda, California on March 16, 1990. A musician in the old style. that is , a composer , p i a n i s t , conduc to r , theor i s t , au thor , teacher . and adminis t ra tor ,he s p e n t h i s f ina l y e a r s in near seclus ion just outs ide of Berkeley where h e cont inued to compose music and wri te prose un t i l h i s very las t day. His music often echoed American folk idioms although in a highly or ig inal way reminiscent of Bartok's use of Eastern European folk sources. One of t h e f i r s t composers t o discover Emily Dickinson, he se t a geat number of he r poems in to some of t h e f ines t a r t song music, if not ac tual ly the very f i n e s t , of a n y American composer in our h is tory . His work includes operas , chora l music , symphonies, sonatas , concer tos , as well a s severa l books on mus ic a n d imag ina t ive d i a l o g u e s between historical f igures who lived i n vas t ly different eras.

Charles Rochester Young, o r i g i n a l l y from Arkansas , i s now tak ing an advanced degree in music a t the University of Michigan.

Sean MacLean. Original ly from San Francisco, has recent ly re turned from a year in Par is , and i s fu r the r ing h i s s tudies in Boston.

Marshall Bialosky, the founding c h a i r of the music and a r t departments a t CSUDH, has recent ly been made Professor Emeritus of Music.

Charles Dvorak, a r e c e n t " immigran t " from Boston, i s the ed i to r of the NACUSA newsle t ter . Comeoser/USA. and is a professional music c o p y i s t and p r i n t e r working on some new add i t ions of t h e work of Arnold Sc hoenberg.

John Anthony Lennon, a n i n c r e a s i n g l y p rominen t composer on the American scene, i s a professor of music at the University of Tennessee and was recent ly composer-in-residence a t the Brevard Summer Music Camp in North Carolina. His work i s being played a l l over the United States and elsewhere these days .

. ,

The National Association of Composers/USA and The Music Department of California State University

Dominguez Hills present:

National Association of. Composers, USA . .

A Concert of New American Chamber Music Given in Memory of Ernst Bacon (1898-1990)

Saturday Evening, December 15, 1990 Humanities and Fine Arts Recital Hall A 103

8:30pm Stan Gibb i s a veteran member of t h e music faculty of Cal Poly Pomona, and I

r ecen t ly p resen ted a l ec tu re on t h e h i s to ry of e lect ronic music a t the national meeting of t h e Society of Composers, Inc.

PROGRAM

.................... Sonata for Viola and Piano A ............... E r s t Bacon

1 . Lento - Andante 1. a . With dignity

1 1. Moderately lively 1 11. Tranquillo Andante

IV. Allegro Moderato

Milton Thomas,viola Delores Stevens, piano

................................... Saxophone Quartet Charles Rochester Young*"

Fantasia Ritual

Incantations ,

The Pacific Saxophone Quartet Kenneth Foerch, soprano saxophone Kelley Hart- Jenkins, alto saxophone Debra McKim, tenor saxophone Amy Fortune, baritone saxophone

The Mirror of Cold (Wallace Stevens) ......................... Sean MacLean*

Valley Candle Gubbinal

Gallant Chataeu Debris of Life and Mind

Metamorphosis The Dwarf

Katherine Peters, soprano Joanne Pearce, piano

Tral~sformations ......................................................... Marshall Bialosky

Meditations of a Silent Mind Seeking Replacement of Con temporary Being by Anticipating the Return of Ecstasy.. ............................................................................ .Charles Dvorak

Kirsten Fife, violin Tr ina Dye, piano

Four Songs.. .......................................................................... ,Ernst Bacon

A Brighter Morning (Helena Carus) The Imperial Heart (Emily Dickinson)

A Spider (Emily Dickinson) Eden (Emily Dickinson)

Katherine Peters, soprano Joanne Pearce, piano

Death Angel (Metamorphosis) ..................... John Anthony Lennon


Flash ( for electronic tape, dancers, & speakers). . ............. .Stan Gibb

James White Amy Noriel David Cahuequi

A video on the life of Ernst Bacon will be shown a t 7:45 P.M. in the Recital Hall i n the Humanities and Fine Arts Building.

"First prize w i n n e r i n t h e 1989 NACUSA Young Composers' Competition.

""Second prize w i n n e r in the NACUSA Young Composers Competition.

Bill Steed, clarinet l

Charles Gou Id, bassoon

INTERMISSION

Campus Map

10 Freeway

CAL POLY

1 57 / Soulh I r ' c c

I

Temple Ave.

Freeway Map

3801 W n l Ttmplt Avenue Pornona. Calllornia 917W.IOSl

Music Schod of A m

NATIONAL ASSOCIATION OF COMPOSERS. USA New York Chapter

presents an afternoon concert featuring the preview of guest composer

e Duetti for 2 guitars

plus music by

PAUL BEAUDOIN, BENJAMIN BOONE, ELEANOR CORY, STEFANIA DE KENNESY and DANIEL NIGHTINGALE

Performers will include:

Sue Ann Kahn, flute Elly Spiegle, mezzo Barbara Sisle, flute Oren Fader, guitar

Steven Sensening, piano Robert Sapolsky, baritone

Jeffrey Payne, piano William Anderson, guitar

Sundav. March 17. 1991 at 3 PM Christ and St. Stephen's Church

120 West 69th Street, NYC

Admission $8. Students and SC $4. TDF Vouchers Accepted

Info: (21 2) 757-8051

Program made possible by a grant from Meet the Composer, Inc.

NATIONAL ASSOCIATION OF COMPOSERS, USA New York Chapter

PAUL BEAUDOIN Aphorisms ~eftrey Pa*, ... - piano

ELEANOR CORY Epithalamium Sue Ann Kahn, flute

STEFANIA DE KENESSEY The Monster Bed Elly Spiegel, meuosoprano

Christopher Barker, baritone Barbara Siesel, flute

Stefania de Kenessey, piano

Intermission

MILTON BABBllT Soli e Duettini William Anderson, guitar Oren Fader, guitar

DANIEL NIGHTINGALE - . ..- Nightwings I Steven Sensening, piano

BENJAMIN BOONE-- Le Pont Mirabeau Paul Kirby, tenor

Geoffery Kidde, flute Niki Mavadones, clarinet

Kathe Jarka, cello Frank Cassara, percussion

George Tsontakis, conductor

Sundav. March 17. 1991 at 3 PM ~ h r i s t and St. Stephen's Church

120 west 69th Street, NYC

. . lsslon $8. Students and Senior Clt . . lzens $4. TDF Vouchers Accer>ted.

Program made possible in part through a grant from MEET THE COMPOSER, INC

58th Season (1 933-1 991 1

- LEdited by Max Lifchitz)

Paul Beaudoin (b. 1960) received his education at the University of Miami and the New England Conservatory. He is on the music faculty of Northeastern University and is also the acquisition librarian at the New England Conservatory. He has been active as research assistant for Kalmus Music and his editions of works by Cherubini, Amy Beach and Fanny Hensel are under preparation for publication.

Aphorisms juxtaposes five different musical thoughts using a technique similar to the "cut up" technique of William Burroughs. By fragmenting these materials, the shards fly off forming new context which reshape and reform it's musical landscape.

Eleanor Cory studied at Sarah Lawrence College, New England Conservatory and Columbia University. Her mentors included Charles Wuorinen and Chou Wen-chung. She has taught at Yale University, Baruch College, the New School and at several other institutions. Her works are available on the CRI, Opus One and Advance labels and are published by Phantom Press, ACA and APNM. Her compositions have been performed by the New Jersey Symphony, the Pittsburgh New Music Ensemble, NorthISouth Consonance, the Gregg Smith Singers and many other organizations.

Epithalamium (a wedding poem) was written for the composer's wedding ceremony. Its length and complexity are antithetical to the simplicity of the single instrument which plays the piece. Yet, marriage itself is complex and hopefully long, so that the flute plays conventional lyrical lines as well as experimenting with percussive key claps, complex rhythms, extreme registral shifts and changes in vibrato.

Stefania M. de Kenessey (b. Budapest, Hungary) was educated at Yale and Princeton Universities where she studied with Milton Babbitt. Her works are performed regularly throughout New York and the US. Her clarinet quintet was recently aired on WNCN-FM. She has received several grants from Meet the Composer, Inc. and yearly ASCAP Standard Music Awards. Currently on the faculty of the Eugene Lang College of the New School for Social Research, she recently completed a work for the Mid-Atlantic Chamber Orchestra and a one-act opera for the Golden Fleece Itd. Opera Company.

The Monster Bed (1990) is a one-act opera for children of all ages. The libretto is by Billy Aronson based on a book of the same title by Jeanne Willis. The story centers around a.little monster named Dennis (baritone) who is afraid to fall asleep because of the humans that lurk in the dark, even though his mother (mezzosoprano) assures him that they only exist in books and fairy tales. In today's performance, the listener will hear the Openina Duet (No. 2)during which the mother tries to get Dennis to clean up his room and prepare for bed; the A& that follows (No. 3) in which Dennis reveals his dread of human beings; and the Lullabv (No. 4) in which the mother soothes his fears and rocks him to sleep (almost!).

The complete work will be presented by the Golden Fleece Opera Co., directed by Lou Rodgers, on March 28 and April 2 at the Greenwich House School of Music.

Milton Babbitt (b. 1916, Philadelphia) was educated at New York and Princeton Universities. His primary teacher of composition was Roger Sessions. He has taught at Princeton, Harvard and The Juilliard School and was a co-founder of the Columbia-Princeton Electronic Music Center. He has lectured and conducted seminars in Australia, Europe and Mexico and is a member of the American Academy of Arts and Letters and a fellow of the American Academy of Arts and Sciences. His works have been recorded on the Bridge, CRI, New World, Nonesuch and Harmonia Mundi labels. He is also the author of many articles dealing with music theory. Mr. Babbitt has received grants and awards from the MacArthur Foundation; the Guggenheim Foundation; the Pulitzer Prize Special Citation; Brandeis University; the New York Music Critics Circle Citation; . . and many others. Mr. Babbitt will introduce his Soli e Duett ln~

Daniel Nightingale attended the American Conservatory of Music in Chicago where he studied piano with William Browning and composition with Stella Roberts. Subsequently, he moved to Los Angeles where he worked in the film and television - industries. Currently, he is on the staff of the Edwin A. Fleischer Collection of Orchestral Music in Philadelphia and continues his composition studies under the direction of Joseph Castaldo.

Niahtwinas I, with its curious subtitle ("why is this night different from all other nights?'?, is the first in a series of similarly titled works for solo piano. The melodic and harmonic structures of this piece are both derived from the first three notes of the slow introduction: an ascending major seventh followed by a descending major third.

Benjamin Boone (b. Stasteville, NC) is active as composer and jazz saxophonist. He attended the 1987 June-in-Buffalo composer's conference and also participated in the 1988 session of the Aspen Music Festival Center for Compositional Studies. His teachers include Charles Fussell and Bernard Rands. He has received grants from the ASCAP Foundation and from the North Carolina Arts Council. Before moving to New York City in the Fall of 1990, Mr. Boone taught at Boston University where he initiated the "Basic Jazz Improvisation" course.

J-e Pont M i r w is a setting of Guillaume Apollinaire's poem (please see. enclosed translation). The work tries to combine elements of Jazz with contemporary techniques while operating within a contextural sound world reminiscent of the nineteenth century.

Mirabeua Bridae - bv Guillaume A~ollinaire

Under Mirabeau bridge runs the Seine And our loves .

Must .I remember it The joy came always after the pain Let the night come the .hour strike The days go by I remain

'

Hands in and hands let us remain face .to face While underneath The bridge of our arms passes The tired wave of our eternal glances Let the night come the hour strike The days go by I remain Love goes by like this running water love goes by How slow life is And how violent is hope Let the night come the hour strike The days go by I remain The days pass and the weeks pass Neither time past Nor loves return Under Mirabeau bridge runs the Seine Let the night come the hour strike The days go by I remain ....

PLEASE WEFWAON FROM SMOKUNG andlor EATONG WWDBE IN AUDO'POWOUM. TWANKSIII

. -

PERFORMERS' BIOGRAPHIES

WILLIAM ANDERSON, guitarist, studied with David Starobin at SUNY Purchase, where he received his BFA. He has performed in orchestral, vocal and chamber music both at the Tanglewood Festival and at its Festival of Contemporary Music. In 1985 he founded the CYGNUS Ensemble, a group devoted to contemporary music. In addition to teaching guitar at Sarah Lawrence College and SUNY Purchase, Mr. Anderson performs extensively with groups such as the New York Philharmonic, the Brooklyn Philharmonic, the Group for Contemporary Music and the New Music Consort.

Mr. Anderson will be performing a recital of solo and chamber music for the L ~ ~ ~ U ~ / I S C M which will feature the official premiere of Soli e Duettini on March 27, 1991 at Weill Hall.

CHRISTOPHER BARKER, baritone, has been working most recently with ~'0pera Francais of New York in such productions as Lakme, Les Deux Journees and Les Deux Avares. He has also appeared in Jenufa in Spoleto, Italy, and as Guglielmo in Cosi Fan Tutte at the Williams Theatre in New York City.

OREN FADER, guitarist, is a graduate of SUNY Purchase, where he studied with David Starobin. He is an active performer abroad and throughout the United States, and has appeared as the featured soloist with the Orpheus Chamber Orchestra and the North Country Chamber Players. A member of the new music ensemble CYGNUS, he has premiered many new works, and has recorded for Bridge and Soundspell Records. .

BEN HARMS, percussionist, is a member of the Metropolitan Opera Orchestra and performs regularly with the Steve Reich Ensemble., He has a strong interest in period instruments and is a. founding member of the Calliope Renaissance Band.

KATHE JARKA, cellist, was a scholarship student of Leonard Rose and Channing Robbins at the Juilliard School. A member of the Shanghai Quartet from 1986 to 1990, she has performed to critical acclaim in major concert venues across the United States and Canada. She has served as a chamber music assistant to the Juilliard Quartet and has participated in the Marlboro Music Festival. Ms. Jarke is currently a faculty member at the Peabody Institute Preparatory Division.

SUE ANN KAHN, flutist, draws consistent critical praise for her expert performances and imaginative programming. As a founding member of the Jubal Trio, she won the Walter Naumburg Chamber Music Award in 1977, and she continues to appear nationwide with the Trio, the League-ISCM Chamber Players and other ensembles. She has recorded extensively for Vox, Musical Heritage, MMG, Goldencrest, CRI, Opus One and is a faculty member of Bennington College.

GEOFFERY KIDDE, flutist, is a candidate for the DMA in composition at Columbia University, where he studies with Mario Davidovsky. He performs with the Columbia University Orchestra and co-directs the Columbia Composers concert series.

PAUL KIRBY, tenor, received his Masters of Music deqree from Boston Universitv and has a ~ ~ e a r e d in maior roles in oDeras bv Britten. Copland and Frank c art in. He performed in the US of Frank arti in's oratorio "Pilate", and was heard as the Master of Ceremonies in Tschaikovsky's "Pique ~ame" with the Boston Symphony led by Seiji Ozawa. He recently undertook the role of Tom Rakewell in ra he Rake's Prouress". and will be heard as Acis in "AEis and Galatea" in Ithaca with the Genesee Chamber Plavers,

the Bachelor of Arts Degree at the Manhattan School of Music, where 1 she studies with Charles Russo. A native of Poughkeepsie, she has also served as the principal clarinetist of the Purchase Symphony. I JEFFREY PAYNE. ~ianist. teaches on the facultv of the Franklin I School of the Performing Arts and is the music director for the I Boston Baked Theater. He studied at Boston University and recently received his Masters Degree from the New England Conservatory. A student of Stephen Drury, Mr. Payne has performed on WGBH-FM, Museum of Fine Arts and at the Enchanted Circle Concert Series.

: STEVEN SENSENIG, pianist, has.been playing the piano since the '

age of 4. He has studied with the late ~iriam'~ott1ieb and with Dr. Richard Veleta of Westchester University. Currently a senior at the Philadelphia Colleqe of Bible, Mr. Sensenis is a student I of Dr. ~amuel H ~ U .

d

BARBARA SIESEL, flutist, is rapidly gaining notice throughout the US and abroad as a soloist and chamber musician. She has performed on all of the major stages in New York and is also the Artistic Director of the Andiamo Chamber Ensemble, which has commissioned numerous works by rising young composers. A student of Samuel

I Baron. she received dearees from the Juilliard School, 1

GEORGE TSONTAKIS, conductor, directs th the Riverside Orchestra, and has premier accomplished and prolific composer, he has received commissions from Yefim Bronfman, the ~ouss%itzkv Foundation and the NEA, amonq others. I ELLY SPIEGEL, mezzosoprano, has been heard with the Michigan Opera Theater, Des Moines Metro Opera, Brooklyn College Opera Theater, Amato Opera and Aspen Music Festival in roles such as ~icklausse, Cherubino and Dorabella, among others. I PENELOPE WAYNE, violinist, attended the Roval Academy of Music in London, worked for the English National Opera before joining the London Philharmonic at the aae of 25. Currentlv a Masters Deuree I candidate at Boston university, she will appear in several recitals in the Boston area next season.

Donald Martino, Walter Bigelow Rosen Professor of Music at Harvard University, is, by all accounts, one of the most important composers now working in the American music world. Winner of every important prize in his field, the Pulitzer and the Kennedy Friedheim Award to name just a few, his work has been performed all over the United States and the world. His most rscent work, Twelve Preludes, was jointly commissioned by six outstanding pianists and is currently receiving its debut performances.

Elizabeth Faw Hayden Pizer is president of the International League of Women Composers and was the winner in 1990 of three first prizes in a competition sponsored by the National League of American Pen Women. Her music has been performed in England, Switzerland, Germany, Italy, and Mexico, as well as throughout the United States.

Alfred Carlson, a former student of Arnold Schoenberg, also worked with Ernst Toch and Hanns Eisler. Among his recent performances have been Dialogue for Oboe and. Piano at Los Angeles City College, and Strine: Trio at the Ruskin Art Club in Los Angeles.

Richard Grayson is a long-time niember of the Occidental College Music Faculty and is active as a performer as well as a composer. He is currently writing a work for electronic organ commissioned by the Yamaha Music Foundation, which he wiU perform in Tokyo this August.

Antllony Vazzana recently retired from tbk faculty at USC where he taught con~position and other allied subjects for several decades. His compositions have been played all over the United States and recently an important work for Euphonium was heard in Japan. He was recently honored by the State University of New York College of Potsdam.

The Music Department of Occidental College in conjuction with

The National Association of Composers/USA

present

A Concert of Recent American Chamber Music

8:00 p.m. April 27, 1991

Bird Studio Occidental College

The Music Department of Occidental College in conjunction with

The National Association of Composers/USA present

A Concert of Recent American Chamber Music Saturday, April 27, 1991, Bird Studio, 8:00 p.m

Nightsongs (Milton Drake) Heartbeats in Lavender Live in the Big City Park Poets Nite Unto Day

Elizabeth Faw Hayden Pizer

Elissa Johnston, soprano Grant Gershon, piano

PROGRAM INTERMISSION

Fantasies and Impromptus for solo piano Donald Matiino

Fantasy Maestoso-andante cantabile; Sempre ansioso; Maestoso giubiiante-Cadenza and Coda

Impromptu Sospeso; Tempo rubato

Impromptu (Omaggio) Andante flessibiie

pause

Fantasy Meditative-Adagietto cantat)ile-Meditativo

pause

Impromptu Tempo rubato, sempre ansioso

Impromptu (Omaggio) Vivace; Animato

Impromptu Tempo di cadenza

Fantasy Drammatico; Allegro molto-Allegretto-Allegetino- Andantinto sentimentale-Allegro molto-Allegretto- Andante sostenuto; Veloce-Ipnoticamente-Maestoso

Angel's Flight I. Andante-Allegro-Adagio-Allegro

11. Allegro-Lento-Allegro

The Lyric Trio

Laurette Carlson, violif1 Janice Foy, cello

Rita Paskowitz Rubin, piano

Homage to Debussy Richard Grayson

Richard Grayson, piano

Fantasia Concertante Anthony Vazzana

Rick Naill, cello Susan SvrEek, piano

* In anticipation of Mr. Martino's 60th birthday of May 16, 1991

Susan SvrEek, piano

FALL MUSl C DEPARTMENT EVENTS

OCTOBER 26-Saturday

National Association o f Composers USA Concert Un i ve rs i t y Theatre 8pm

NOVEMBER 6 -Wednesday

Un i ve rs i t y Chorus and Chamber Singers Concert HFA A 1 0 3 8pm

1 5- Fr iday Carson Dominguez Symphony Orchestra 1 5 t h Year Anniversary

"Bach to Broadway" featur ing Sh i r l ey Jones

Carson Community Center Admission Varies

17-Sunday Senior Recital- Loret ta Scott

H F A A 1 0 3 7 p m

DECEMBER 9-Monday

Jazz Ensemble Recital A 1 0 3 8 P m

14-Saturday Carson Dom i nguez Symphony Messiah's 2 5 0 t h Anniversary

featuring: the Un ivers i t y Chorale, Cham ber Singers and Jub i lee Choir Un i ve rs i t y Theatre 7 p m

For f u r t he r in format ion, please contact the Music Department at ( 2 1 3 ) 5 1 6 - 3 5 4 3

Please note: A l l events a r e admission f r ee unless otherwise indicated.

1 The support of our concert ser ies by you r donations i s deeply appreciated.

The Music Department of Ca l i fo rn ia S ta te Un ivers i ty Dominguez Hi 11s

i n con juc t ion w i t h The Nat ional Associat ion o f Composers/USA

presents:


A Concert o f Recent American Chamber Music Saturday Evening, October 26, 199 1

Un ivers i ty Theatre 8 o'clock

PROGRAM ABOUT THE ARTISTS

................................................................................... Black Sun Craig First* David Brooks, v io l in David Andrews, piano

Piano Concerto "2 - A Solo.. .......................................... Richard Nanes Richard Nanes, piano

Allegro con Br io Andante Solemente

A1 legr o Vivace

........................ ... And Waken Green (Douglas Worth) David Ward-Steinman When You Come I nto A Room

Marriage M use

Poem On My Thirty-Third Birthhday Affa i r

Divorce Maple

Ellen Lawson, soprano David Ward-Steinman , piano

INTERMISSION

Endymion's Dream for Bb Clarinet and Electronics.. .............. .John Naples Wi l l iam Powell, clarinet

Pastoral ( w i t h dark edges) .................................... :........Marshall Bialosky Karen Elaine, viola

Duo for Violin and Cello .....................................................Jeong Yang Park Sayuri Kawada, v io l in Byung Hee Park, cello

*First Pr ize Winner i n the 1990 NACUSA Young Composer's Competition

A short panel discussion wi th a l l of the composers w i l l be held following the concert after which,there w i l l be a reception i n the foyer sponsored

by the M u Phi Epsilon Fraternity

CRAIG FIRST is a member of the faculty of Northwestern University i n Evanston, I l l inois as well as the DePaul Universt iy i n Chicago. He has recently won several f i r s t prizes i n national composition contests, among them, the NACUSA Young Composer's Competition i n 1990.

RICHARD NANES from Newark, New Jersey, has recently presented a one-man recital- i n Moscow as wel l as playing at the United Nations under the sponsorship of the People's Republic of China. Four of his symphonies have been recorded by the London Philharmonic Orchestra and many of his piano works wi th himself at the soloist have been issued by the Delphon Recording Society.

DAVID WARD-STEI NMAN i s a veteran faculty member of San Diego State University where i n the foreseeable past he was named Statewide Outstanding Professor, a distinction given to only two faculty members a year i n the CSU system. He has recently returned from a Fulbright i n Australia where he presented many lectures on contemporary music and serveral one-man recitals of h i s own compositions.

JOHN NAPLES i s a recent graduate of Cal State Long Beach and is now working i n the Los Angeles Area as a free-lance composer.

MARSHALL BIALOSKY was the founding chairman of both the music and a r t departments at CSU Dominguez H i l l s i n 1965 and where he i s current ly Professor Emeritus of Music. He is also the president of NACUSA.

JEONG YANG PARK i s a native of Seoul, Korea and i s current ly studying music composition w i th Dr . Byong Kon Kim at Cal State Los Angeles. The cello part of h is composition tonight is being played b y h is wife, Byung Hee Park

WI LLIAM POWELL, one of the top handful of contemporary music specialists on the clarinet i n Los Angeles, is a member of the faculty at Cal Arts and is a frequent new music recitalist.

KAREN ELAINE i s the f i r s t viola wi th the San Diego Symphony and a faculty member of San Diego State University. She has appeared recently at the World Viola Congress and w i l l give a solo recital at Pasadena College on November 14th.

5 , AFFAIR 6, DIVORCE

The t a b l e c l e a r e d For y e a r s t h e bones of some animal she b r i n g s i n co f f ee l a y r o t t i n g , wedged and t o make t h e br ing ing s p e c i a l somewhere i n s i d e t h e w a l l a g inge r jar. of your smi le .

Emp t Y even of f r a g r a n c e i t ho lds up under t h e lamp

Now a l l t h a t ' s gone. The p r o f e s s i o n a l s , who can do anything have cleaned up i n t ime f o r lunch. A f i n e dus t s e t t l e s over every th ing .

a c h i l d l i k e p a t t e r n of b lue and r ed f l ower s which we en joy , imagining

n o t a meadow, b u t maybe a s i depo rch garden on a n a f t e r n o o n wi thou t wind.

Come from h e r hands f o r my d e l i g h t i t f i l l s up s lowly from i n s i d e .

W e l o o k on i n s i l e n c e , s i p p i n g a t what we c a n ' t say.

S t i l l swallowing l o o s e t h r e a d s of blood, paper r o s e s , s c r a p s of f r e s h cement, you f e e l t h e s i d e of your f a c e coming back as through a t h i n n i n g m i s t t h e p a i n l i k e an angry sun beg ins t o spread .

7, MAPLE

a s i f burning o l d l o v e l e t t e r s

one could empty t h e h e a r t of i t s weight of yellowed dreams

and s l e e p bone c l e a n and waken green

T e x t C o p y r i g h t Q Douglas Worth. "Muse" f i r s t p u b l i s h e d i n INVIS IBIL IT IES ( A p p l e - wood P r e s s ) 1977 ; "When You Come Into A Room", "Marr iage" , "Poem On My T h i r t y - T h i r d B i r t h d a y " , " A f f a i r " , "Divorce" and "Maple" f i r s t p u b l i s h e d i n ON EARTH ( W i l l i a m L . Bauhan) 1 9 7 4 ; A l l poems i n c l u d e d i n FROM DREAM, FROM CIRCUMSTANCE (Apple-wood B o o k s , Inc.) 1 9 8 3 .

4

S E V E N P O E M S B Y D O U G L A S W O R T H

1, WHEN YOU COME INTO A ROOM 3 , MUSE

The s ea son does n o t change

When you come c a r e l e s s l y naked from t h e shower p a s s i n g from room t o room shak ing ou t your h a i r

The f l o w e r s , l e a n i n g i n v a s e s do n o t suddenly r ev ive .

what can I do b u t f o l l ow

Yet, something i n t h e q u a l i t y of l i g h t

w h i l e something of t h a t c a s t -o f f r ad i ance f lows g a t h e r s , and f lows a g a i n down t h e b l ank page.

s h i f t i n g w i t h t h e eyes ' f o c u s , he igh t en ing t o new a c u t e n e s s 4 , POEM ON MY TH I RTY-TH IRD

B I RTHDAY harmony of a i r and o b j e c t , motion and r epose

Watching you d r i f t now

becomes appa ren t t h a t was n o t

f o lded i n t o me

my c r a d l i n g arm i n t h e s o f t f low of your h a i r

w h i l e you were i n t h e h a l l o r on t h e s t a i r s . b e a u t i f u l

t h e blood s t i l l blooming f a d i n g from your cheek

I cannot s l e e p . 2 , MARRIAGE

a son a house now, l and of our own

We could see i t coming on t h e ho r i zon a b r i g h t e n i n g

Liv ing i n e v i l t i m e s e v i l , a s I imagine a l l times must be e v i l , and good beyond reckoning

t h a t r o s e , f l a w l e s s p o i n t i n g toward noon

what does i t mean t o be r e s p o n s i b l e a d u l t s ? .

Lying, ou r eye s h a l f c l o s e d i n t h e meadow

my p r e s e n t s w a i t i n g i n t h e l i v i n g room i t s r a d i a n c e

was t o o g r e a t t o l ook upon. seed p a c k e t s , t o o l s

under t h e p a i n f u l g l o s s of p e r f e c t f r u i t s and f l ower s t h e f i n e mys te r ious d u s t

Veer ing , i t l e f t a r e f l e c t i o n , shav ing by which t h i n l i g h t t h e shove l

l e a n i n g h e a v i l y i n t h e da rknes s p o i n t i n g i t s b l ade t o t h e e a r t h

even t h e c l o s e t s we were go ing t o paper w i t h r o s e s fade .

BAY AREA CHAPTER

in cooperation with

The City of Palo Alto Arts and Culture Division

Presents

A CONCERT OF NEW MUSIC -

featuring works by

LOTHAR BANDERMANN, MARCIA BAUMAN; NANCY BLOOMER DEUSSEN

BRAD SLOCUM, RICHARD WAYLAND

Palo Alto Cultural Center Palo Alto, California

November 8, 1991 - 8 P.M.

National Association of Composers, U. S .A.

* * * PROGRAM * * * . . . . . . . . . . . . . . . . . . . . . . . . FLUTE SONATA Lothar Bandermann

Allegro Largo Presto

Deanna Uesugi, Flute Lothar Bandennann, Piano

. . . . . . . . . . . . . . . . . . . . . . . . . . NOCTURNE #1 .Richard Wayland Richard Wayland, Piano

. . . . . . . . . . . . *Two Songs on Poems from Gibran's "The Prophet" .Brad Slocum PAIN LOVE

Kaye DeVries, Soprano Brad Slocum, Piano

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . * D M Richard Wayland Gail Edwards, Flute, Reid Merley, Oboe

Lynee Funkhauser, Clarinet, Lawrence Rhodes, Bassoon David Benson, Horn

. . . . . . . . . . . . . . . . . . *EAST COAST TRIPTYCH Nancy Bloomer Deussen 1. City Island Channel 2. Stamford Line 3. Westchester Recollections

Nancy Bloomer Deussen, Piano

INTERMISSION

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CANYON .Marcia Bauman . ,

. . . . . . . . . . . . . . . . . . THE TWENTY-THIRD PSALM Lothar Bandermann Billie Bandermann, Soprano

Janet Momson, Oboe, Lothar Bandermann, Piano

. . . . . . . . . . . . . . . . . . . . . . . . . . NOCTURNE #2 Richard Wayland Richard Wayland, Piano

~. . . . . . . . . . . . . . . . . . . . . . . . . . . *IMPROVISATION Brad Slocum Martha Elspas, Oboe Brad Slocum, Piano

. . . . . . . . . . . . . . . . . . . WOODWIND QUINTET Nancy Bloomer Deussen Intermem Waltz Rondo

Gail Edwards, Flute, Reid Merley, Oboe Lynee Funkhauser, Clarinet, Lawrence Rhodes, Bassoon

David Benson, Horn

*Premiere performance

t

PR8GRAMNm.S

EAST COAST TRIPTYCH (1991)

This suite was inspired by the composer's impressionable years while growing up in New York City and environs. It is not a programmatic work, but rather expresses the feelings she had at that stage of her life.

Cie Island Channel.. . In the summer months, the composer and her friends from the Bronx would rent a row boat from a dock located at the northeastern tip of the Bronx. They would row out into Long Island Sound headed for City Island. Two of us would make the long swim across the channel with the others cheering us along and lending support. Each week the composer would try to swim farther, until eventually able to swim the entire distance. The view, looking back on the city, was breath-taking. The freedom and beauty of these summer days have made a lasting impression.

Stamford Line portrays the train ride from Grand Central Terroinal to Stamford, Ct. Years ago the line was operated by The New Haven m, but today the line is operated by Amtrak. Some of the loveliest East Coast scenery is located on this line. While a student at the Manhattan School of Music, the composer worked as a dance accompanist in towns located along this line, and consequently visited them often (Larchmont, New Rochelle, Port Chester, and Greenwich, etc.). These years were among the composer's happiest.

Westchester Recollections.. . Westchester County is located due north of New York City where, as a teenager, the composer would take hiking trips with a church group on Sundays. Tibbets Brook was a favorite place for swimming and picnicking during these lovely, serene summer days. In the winter these same wooded areas would be transformed into a snow-blanked landscape. The composer nostalgically remembers her early friendships as though it were yesterday.

CANYON (1985; revised 1989)

This work was composed primarily on a Synclavier XI digital synthesizer at the Eastman School of Music Computer Music Studio. To create timbres, the composer used additive synthesis techniques and features of the instrument which allowed for changes in the harmonic spectrum within the durations of held pitches. Other timbres were created through frequency modulation, by vruying indices and ratios within the duration of the pitches. The composer then sent the resulting textures and timbres through a reverb unit.

Some sounds were further processed through an Effectron digital delay unit, while other effects were produced by using traditional electroacoustic music techniques. For example, the "bass drumn (heard halfway through the piece) is really a tambourine whose sound was modified by a Bode frequency shifter as it was being played and recorded by the composer.

A four-track tape recorder was used by the composer, who "performed" each track individually while listening and adding it to previously recorded tracks. Some of the sonorities and shimmering effects are the result of the interaction between sounds being produced at the same time, and they were a welcome surprise to the composer! As the four tracks were mixed down to two tracks, the composer added spatial effects (panning), and boosted and attenuated frequencies at the mixing board. One can compare this processing of sound as it is played to the shaping of clay with one's hands as it revolves on the spindle of a potter's wheel.

The "canyon" depicted by the music is an imaginary landscape, and perhaps it is not really a canyon after all, but more a description of psychological descent, ritual and ascent.

WOODWIND OUINTET (1965)

This work received it's premier in 1966 in Los Angeles; it remained unplayed until 1985 when the composer revised it and submitted it to The Mu Phi Epsilon Original Composition Competition (winning first prize). It was performed by the Sonante Woodwind Quintet of San Francisco in 1985 and again in 1988 on cable TV. It received it's East Coast premiere in 1990 at the 6thXhternational Congress on Women in Music, held in New York City.

BIOGRAPHICAL N m S

Ldhar Bandermann is organist at the Union Church of Cupertino and currently writes mostly sacred music (including choral anthems and organ volui~taries). By profession, he is a scientist working for Lockheed, Palo Alto Research Laboratories. He was born and raised m Germany and immigrated to the States in 1960.

RICHARD WAYJAND

Richard Wayland's background includes communications satellite testing, radio station chief, church organist, Amy Top Sergeant, piano technician, and part-time cocktail pianist. Mr. Wayland wrote his fmt work while sitting under a Ponderosa Pine m the Stanislaus National Forest. His completed works are primarily for piano; he has a symphony, an opera, and an operetta currently in progress.

One of the earliest "forces" Brad Slocum remembers stirring within him was the urge to explore and "connect" with music. He is a native Californian and has spent most of his life m the Bay Area. He is a Magna Cum Laude Graduate of San Francisco State University. Although he has participated in various community ensembles all throughout his life, his fascination with composition has become more intense m the last few years. Currently, Mr. Slocum is employed in the Creative Arts Department at De Anza College as Staff AccompanistNoice Coach and Director of the De Anza Chorale.

NANCY BLOOMER DEUSSEN

Nancy Bloomer Deussen is a graduate of The Manhattan School of Music and the USC School of Music. She studied composition with Vittorio Giannini, Ingolf Dahl, Lukas Foss and Wilson Coker. She is active in the San Francisco Penhala musical scene and, more recently, has received national attention.

She is a recipient of grants for composition from The Peninsula Community Foundation, The Mu Phi Epsilon Memorial Foundation, The Contemporary Record Society, and commissions from The Oakland Chamber Orchestra, The Augustana College Band of Sioux Falls, S.D., The Walnut Street Chamber Ensemble of Philadelphia, The Santa Clara Chorale, The Peninsula Children's Chorale, and The De Anza College Chorale. Her work for c h o w entitled Canticles of our Land has just received its world premiere by The Santa Clara Chorale. Upcoming m the 91-92 concert season are performances of the following works: Three Rustic Sketches (orch) by The Contra Costa Chamber Orch-Nov. 9 1 ; S& Nowell by the Peninsula Children' s Chorale-Dec. 9 1 ; Sari Andreas Suite (flute, violin, viola, and cello) and East Coast Triptych (piano) by the Fortnightly Music Club-Jan. 92; Ci& Festival Overture (concert band) by The Treasure Valley Symphonic Band of Ontario, OR-Feb. 92 and again at the mual convention of The Assoc. of Concert Bands to be held in Dallas in April 92.

MARCIA BAUMAN

Marcia Bauman has composed music for dance, film and radio drama, as well as small ensembles and orchestra. She holds a BA degree in psychology, an MA degree in music theory and composition, and has been a radio news writer in San Francisco and a music critic for Gannett newspapers in Rochester, NY. Her present work, an operatic.oratorio based on the Old Testament Book of Job, is a major composition for orchestra; five singers, and computer-generated tape.

Currently completing the Ph.D. in composition from the Eastman School of Music, Bauman is also the Archivist/Research Associate for the International Digital ElectroAcoustic Music Archive at Stanford University's Center for Computer Research in Music and Acoustics.

* * * * * * * * We wish to gratefully acknowledge Stanford University's Center for Computer Research in Music and Acoustics for providmg the audio equipment for this evening's concert.

New Musicians at the New School presents

National Association of Composers / USA

November 26, 1991

Study in Carmine and Coral Teresa Dybvig, piano

Black Sun Davis Brooks, violin; David Andrews, piano

Two Songs (poems by Katherine Kidde) In lune September

Elizabeth Palmedo, soprano; Geoffrey Kidde, flute

Endymion's Dream William Powell, clarinet and electronics

Intimations Mutable Tides Clear Springs

Elizabeth Simkin, 'cello; Jill Dawe, piano

Intermission

Pianississimo (1970) Introduction Allegro Prest iss imo Adagio molto Allegro Coda

(the movements are played without pause)

Eliza Garth, piano

David Vayo

C.P. First

Geoffrey Kidde

John Naples

Betsy L. Schramm

Donald Martino

Four Fragments Paul Beaudoin David Santucci, violin; Shannon Wettstein, piano

Labyrinths: a Cycle of Songs on Poems of W .S. Merwin Richard Cameron-Wolfe I. Memory of the Loss of Wings - 11. The Search III . A Door

John Uhlenhopp, tenor; Deborah Yamak, 'cello; Steven Vosatka, piano

The Bernhard Mayer Auditorium 66 West 12th Street

New York, New York

Biographical Notes

David Andrews (piano) is on the piano faculty of the Chicago Academy of the Arts. He holds a Master's Degree from the American Conservatory of Music. There, as a student of Abraham Stockman, he specialized in the performance of new music.

Paul Beaudoin (composer) is currently on the music faculty at Northeastern University and is an honors graduate of the New England Conservatory. Mr. Beaudoin was recently a Composer's Fellow at the Sandpoint Music Festival where he worked with Gunther Schuller and Milton Babbitt. Four Fragments for violin and piano was commissioned by the Boston Avant-Garde Society and is performed here for the first time. Each fargment lasts just about one minute and presents shared materials in differing ways. The last fragment is like a Rothko canvas whose colors merge to form a seamless image.

Davis Brooks (violin) is on the faculty of the Baylor School of Music in Waco, Texas where he teaches violin and viola and performs with the Baylor String Quartet. He is a member of the New York Chamber Symphony as well as concertmaster of the Waco Symphony. Mr. Brooks' past associations include the Mostly Mozart Festival, the Brooklyn Philharmonic, and concertmaster of the Chamber Orchestra of New England.

Jill Dawe (piano) is currently Assistant Professor of Music at Lenoir-Rhyne College in Hickory, North Carolina, where she performs and teaches piano and theory. A native of St. John's, Newfoundland, she received her Doctorate of Musical Arts degree and the Performer's Certificate from the Eastman School fo Music in 1991, where she studied with Rebecca Penneys. Ms. Dawe has also studied at the Guildhall in London, England, the Banff Center, Music Academy of the West, the Chautauqua Institution, and at the Memorial University of Newfoundland. Her recent performances have included a concert tour of Washington State with 'cellist Elizabeth Simkin and a performance of Mozart's Piano Concerto, K. 271, conducted by Simon Streatfield.

Teresa Dybvig (piano) holds an M.M.A. in Piano from the Yale School of Music where she studied with Peter Frank1 and Boris Berman. Her B. Mus. and M. Mus. degrees are from Indiana University where her principal teacher was James Tocco. Ms. Dybvig has performed in both solo and chamber recitals in the Midwest and throughout New England. She has played contemporary music in concert series sponsored by New Music New Haven, the Rhode Island Composers' Forum and the Underground Composers. Additionally, she can be heard in the soundtrack to the film William Carlos Williams. While continuing her solo and chamber appearances, Ms. Dybvig is also currently studying with Edna Golandsky in New York and teaching on Long Island and in Connecticut.

C.P. First (composer) received a doctorate in Composition from Northwestern University. He has received awards in composition from ASCAP, ISCM, NACUSA, and the Faricy and Padrone- Kantscheid t competitions. He recently received a commission from the University of Chicago Chamber Orchestra for a work that will be premiered in the spring. Mr. First teaches at Northwestern University and at DePaul University. Black Sun was commissioned by Davis Brooks in 1989 and was premiered at the Midwest Composers' Symposium at the University of Michigan in 1990.

Eliza Garth (piano) is well-known to new music audiences in New York: as a member of the Chamber Players of the League of ComposersIISCM; through guest appearances with the New York New Music Ensemble, Parnassus and other groups; and for recital projects she has independently initiated, organized, and performed with various guests. Ms. Garth has recorded for CRI, Opus 1, and Centaur Recordings, as well as for the BBC Radio 3. She has also been heard on Radio de la Suisse Romande, WQXR, and Vatican Radio in Rome. She recently joined the faculty of St. Mary's College of Maryland and is a member of the Tidewater Chamber Players.

Geoffrey Kidde (composer) is presently a D.M.A. candidate in Composition at Columbia University where he has studied with Mario Davidovsky, Chou Wen-Chung and George Edwards. He received a M. Mus. degree from the New England Conservatory where his teachers included John Heiss and Malcolm Peyton and a B.A. from Columbia University in Music where he studied Theory, Orchestration and Music History. Prizes include a National Collegiate Music Award in 1987 and the Basset Watts Hough Prize in Music in 1981 from Phillips Academy. He is presently a teaching assistant at Columbia's Electronic Music Center and is the Executive Director of the League of Composers/ISCM,

New York, NY. This past June he was a Fellow in Composition at the June in Buffalo New Music Festival.

Several years ago, Elizabeth Palmedo and I performed Roussel's Deux Poemes de Ronsard (two songs for soprano and flute). This experience, as well as my own wish to set some of my Aunt Kay's poems as songs, led to my writing Two Songs (poems by Katherine Kidde). My songs are dedicated to my aunt and Elizabeth Palmedo. While the musical language of Two Songs is considerably more chromatic and generally more dissonant than that of the Roussel pieces, the ethereal quality of the Deux Poemes was certainly an inspiration for me. In Iune contains many flute multiphonics (two pitches sounded together) and September uses the circle of fifths as a source of melodic material, particularly for the voice.

- Geoffrey Kidde

Donald Martino (composer), born in Plainfield, New Jersey, May 16,1931, began music lessons at nine - learning to play the clarinet, saxophone and oboe - and started composing at 15. He attended Syracuse and Princeton Universities. A member of the American Academy-Institute of Arts and Letters and the American Academy of Arts and Sciences, his many awards include two Fulbright Scholarships, three Guggenheim Awards, grants from the Massachusetts Arts Council and the National Endowment for the Arts, the 1974 Pulitzer Prize in Music for his chamber work Notturno, First Prize in the 1985 Kennedy Center Friedheim Competition for his String Quartet (19831, and most recently (1987) the Boston Symphony's Mark M. Horblit Award. He has taught at the Third Street Music School Settlement in New York, Princeton University, Yale University, the Yale Summer School of Music and Art, Tanglewood, the New England Conservatory of Music - where he was chairman of the composition department from 1%9-1979 -, Brandeis University - where he was Irving Fine Professor of Music -, and Harvard University, where he is currently Walter Bigelow Rosen Professor of Music. Commissions for new works have come from, among others, the Paderewski Fund, the Fromrn, Naumberg, Koussevitsky, and Coolidge Foundations; the Chicago, Boston, and San Francisco Symphonies, and a number of other musical societies and organizations. His music may be heard on the Advance, CRI, Crest, Crystal, FonitCetra, New World and Nonesuch record labels. Elaine Barkin, Mr. Martino's biographer in the New Grove, says "Martino's music has been characterized as expansive, dense, lucid, dramatic, romantic, all of which are applicable. But it is his abili ty... to conjure up for the listener a world of palpable presences and conceptions ... that seems most remarkable."

Pianississimo was commissioned by the eminent composer-pianist Easley Blackwood in 1966. At that time Mr. Blackwood performed only extremely demanding music and accordingly requested a work that would equal or surpass in difficulty such works as the Boulez Second Sonata and the Sessions Third Sonata which were already staples of his repertory. With Blackwood's mandate in mind, I set out unreservedly to compose a piece of Lisztian proportion and, translated into modem terms, Lisztian difficulty. Virtuosity would be my primitive technical and expressive determinant. On my creative pumey I encountered more than the usual number of angels and demons and Pianississimo, with its extremes of volume, tempo, gesture and expression, attempts to extend in every way the great virtuoso tradition of the preceding century. The work has long been labeled unplayable, but although its difficulty is undeniable, through the years pianists like Eliza Garth have cut away that difficulty so the myth of unplayability can at last be laid to rest.

Pianississimo isa continuous four movement sonata with introduction and coda. The extensive introduction, a kind of source movement, returns in very abridged form between Movements I and I1 and emblematically between I1 and 111. As the third movement attempts to find closure, material from the introduction, no longer content to announce the action, begns to disrupt it. And the process of interruption now imposes itself not just on the third movement, which will find fulfillment only after many disruptions of the coda, but on Movement IV, which, having caught the disruption virus, makes an impatient early entrance. All of this serves to set up the expectation, and I hope the need, not only for the work's most continuously passionate and uninterrupted music in Movement IV, but for the mini- drama of the codetta which effects final closure only after the entire terrain of the piano has been succinctly explored, leaving just two pitches to vie for the instrument's center of symmetry.

- Donald Martino

John Naples (composer), born in 1954 in Buffalo, New York, currently resides in Los Angeles where he is pursuing his Doctorate in Musical Arts at the University of Southern California. He has studied composition with Leonard Stein, Morten Lauridsen and Frank Ticheli. His other works for clarinet include Histrionic Suite for piano and clarinet and "luggernaut" Variations for solo clarinet which won the 1989 Freeman Competition for Composers. Mr. Naples currently holds the position of Minister of Music at the Church of Our Savior in Los Angeles and teaches theory at U.S.C. Endymion's Dream was written at the request of clarinetist William Powell. The title, after the young shepherd of Greek mythology who was cast into eternal sleep by the goddess Selene, expresses an impression of the mood of the work. In sections employing electronics, the clarinet's audio signal is sent to a Pitchrider, a pitch- MIDI interface. Prior to amplification, the signal is sent through an effects processor, enhancing it with a subtle reverb. From the same audio signal, the Pitchrider translates pitch, articulation and dynamics into a MIDI data-stream which triggers one or more synthesizers. The sounds of the natural acoustic clarinet, the amplified clarinet and the synthesizers combine to create harmonies implied in the acoustically generated single line.

Elizabeth Palmedo (soprano) is a graduate of the New England Conservatory of Music and spent two years studying with Pierre Bernac in Paris. She has performed widely throughout the United States. Ms. Palmedo has appeared on the BBC in a program of lieder, as well as on WNYC and WQXR. She was a Fellow in the first Bach Aria Festival at Stony Brook and made her debut to critical acclaim at Carnegie Recital Hall. A frequent oratorio soloist, Ms. Palmedo just returned from a concert tour in the People's Republic of China. She is a founding member of the North Shore Pro Musica. She teaches privately and is on the faculty of the Eastern Suffolk School of Music.

William Powell (clarinet and electronics) received the Artist's Diploma in Clarinet Performance from the Juilliard School where he studied with Arthur Christmann and Stanley Drucker. After additional studies in New York with Leon Russianoff, he continued graduate work with Michele Zukovsky at the California Institute of the Arts where he received the Master of Fine Arts degree in Performance in 1979. An active soloist and chamber musician, Mr. Powell has been instrumental in the commissioning of many new works for clarinet. An annual participant, since its inception, of the Contemporary Music Festival at the California Institute of the Arts, he has also performed recitals of contemporary works bv women composers at the International Congresses on Women in Music in Los Angeles, Paris, Bremen and New York. He has performed with the contemporary music ensemble SONOR, the Sierra Wind Quintet, the Naumberg Award-winning Aulos Wind Quintet, the Aspen Festival and Chamber Orchestras, as soloist with the Buffalo Philharmonic, and as principal clarinetist with the San Diego Chamber Orchestra, the Las Vegas Symphony and the Reno Philharmonic. Mr. Powell is currently on the faculty of the California Institute of the Arts where he is the clarinetist with the CalArts New Century Players, conductor of the CalArts Contemporary Music Ensemble, director of the Extended Techniques Improvisation Ensemble and Chairman of the Instrumental Music Performance Program in the School of Music. He has recorded for the Nonesuch, Vox/Turnabout, CRI and Cambria record labels.

David Santucci (violin) received his B.M. degree at the Hartt School of Music and is currently a graduate student at the New England Conservatory in Theory and Composition working with Joseph Maneri. Mr. Santucci is a frequent performer of contemporary music in the Boston area.

Betsy L. Schramm (composer) has composed in many genres including chamber, solo, vocal, and orchestral works. Ms. Schramrn was awarded a Fulbright in Music Composition for study in London, England. She is currently living there, fulfilling commissions. The Eastman Wind Ensemble commissioned a work from her, The Quickening of a Summer's Morn, which was premiered in 1990 in Rochester, New York, and also performed by the Guildhall Wind Ensemble at the Barbican Center in London in 1991. Other recent premieres include Starlight Images for solo trombone at the 1991 International Trombone Association Convention and Intimations, a 'cello sonata, on tour in Washington State, also in 1991. Her numerous awards include the Brian Israel Prize from the Society for New Music, first prize in the International Trumpet Guild 1989 Composition Contest and the Bernard Rogers Composition Award for her Songs of the Earth. She is a candidate for the Ph.D. in Composition at the Eastman School of Music where she has taught composition. Her teachers include Joseph Schwanter, Samuel Adler, and Warren Benson.

Music does not describe the physical world, yet it can transform and idealize our perceptions of "real" events. The title of this 'cello and piano sonata, Intimations, refers to the mirrored reflections of life that are given, sometimes by suggestion only, in music. Mutable Tides describes in part the

changing textures and events that cohere to form the first movement and obliquely refers to my changing views of composition as I continue to develop as a composer. In the first movement, the 'cello and both hands of the piano are involved in a continuous interplay. Clear Springs, is intended to describe the nature of the second movement, which drives forward sometimes playfully and sometimes more determinedly. In this final movement of Zntirnations, textural variation provides much of the formal progressive motion. This piece was written for 'cellist Elizabeth Simkin and pianist Jill Dawe on the occasion of their concert tour through Washington State in May, 1991, sponsored by the Washington Council for the Arts.

- Betsy L. Schramm

John Uhlenhopp (tenor) appeared recently as the drifter Martin in the Pittsburgh Opera's critically acclaimed production of Copland's The Tender Land. Other recent credits include appearances with Bronx Opera, the 92nd Street Y's "Schubertiade", and Des Moines Opera. Last year he created the role of Thomas de Quincy in Carolyn Steinberg's Cots de Chasse.

David Vayo (composer), born in 1957, recently joined the faculty of the Illinois Wesleyan University School of Music; he has also taught at Connecticut College and at the National University of Costa Rica. Mr. Vayo holds an A.Mus.D. in Composition from the University of Michigan where his principal teachers were Leslie Bassett and William Bolcom. He has received awards from ASCAP, the American Academy and Institute of Arts and Letters, and the National Association of Composers - USA. Currently, he serves as Membership Chair for the Society of Composers, Inc. Recent performances of Mr. Vayo's music have taken place in New York, Moscow, Toronto, Las Vegas and Washington. Also active as a pianist, Mr. Vayo recently premiered a major work by the American composer Arthur Farwell. His two years in Costa Rica helped ignite a lifelong enthusiasm for Latin American music; other areas of interest include jazz theory and free improvisation. Study in Carmine and Coral was commissioned by artist David Mauldin in honor of his wife, ethnobotanist Carol-Carmen Burch. The title is both a play on Ms. Burch's name and a reference to Mr. Mauldin's profession, since it might also be the title of one of his paintings. The colors in the title reflect the moods of this composition, which, in its outer sections, is fiery and intense and, in the center, is subdued and floating. As do many of Vayo's compositions, Study in Carmine and Coral draws its musical language from a variety of styles including contemporary classical music, progressive jazz, rock and funk.

Steven Vosatka (piano) is a freelance chamber musician and vocal accompanist. He performs annually at the Waterloo Festival and served as pianist for the Dutch National Ballet and other European dance companies before taking residence in New York. Of Czech descent, he is a specialist in the music of Bohemia and Czechoslovakia.

Shamon Wettstein (piano) is currently a graduate student at the New England Conservatory of Music where she is working with Stephen Drury. Ms. Wettstein is also on the faculty of the Franklin School of the Arts. She performs frequently in the Boston area.

Richard Cameron-Wolfe (composer) has had recent performances of his work in Finland, Holland, the Soviet Union, New York and Los Angeles. On December 4th his A Song Built from Fire will be performed at Columbia University by pianist Sylvia Kahan. Later this season, three new works will be premiered in New York: Lonesome Dove for tenor saxophone and dancer; "...as he seemed to appear to the beast in the distance ..." for percussionist; and a theater-piece entitled Death and Sex with (andlor by) String Quartet. Labyrinths: a Cycle of Songs on Poems of W.S. Memin was composed in 1990 and receives its world premiere this evening. Rather than being a "song cycle" per se, this work could better be designated as a piece of chamber music: a trio. On another level, it is a micro-opera, wherein the singer moves through the labyrinthine environment of instrumental sound.

Deborah Yamak ('cello) leads a varied musical life in New York, playing in the New Jersey Symphony, doing pit work on Broadway, premiering numerous Soviet and American works - including Cameron-Wolfe's 1989 Time Refracted - and being a member of the jazz-tango band HAUZANI. She recently returned from a tour of Ireland.

- notes compiled and edited by Jeremy Beck

This program is supported, in part, by Meet The Composer, Inc.

In June

This is the way the truth comes down The dawn is a tide of ligM You sleep you cannot sleep For the seeing in her eyes For the sameness of your knowing The dogwood's moon white trerr~ble The blue gray sky That 19 the bay Running with clustered stars low in the misted field.

You arb awake To the very air The day has come up

You are taken By the polsed wave The taste of roses A bracing pain a fall

of light The hmest voice that calls you home.

Kef herine Kidde

September

Just this morning Early As the north wind cleared the air to blue Nearly white the signet at full tide Wafted out of the reeds Escorted by her parents Ploughing furrows in the bay

Distant watching ready Out from the pond enclosed by sumac turning red Where her twin went under to a turtle in July Out beneath the bridge Sailing down the river Headed for the open sea

She must have reached the point Alive with goldenrod and jasmine Where the sun is flood~ng the water She must have circled to peddle north Hard Then With keening in those polished satin wings She must have risen Above the pond. the bays, the ocean To soar around the day

To light where she'll begin.

Katharine Kidde

LABYRINTHS

. . . ' I.. . .M*EM ( W . OF. Merwin)

An hou r comes t o c l o s e a door behind me

t h e whole o f n i g h t opens b e f o r e me

11.. .THE SEARCH ( W . S. Merwin)

When I l o o k f o r you e v e r y t h i n g fa l l s s i l e n t a crowd s e e i n g a ghos t

i t is t r u e

y e t I keep on t r y i n g t o come toward you l o o k i n g f o r you r o a d s havq been paved b u t many p a t h s have gone f o o t p r i n t by f o o t p r i n t t h a t l e d home t o you

wheh r o a d s a l r e a d y l e d nowhere

still I go on hoping as I l o o k f o r you one h e a r t walking i n l o n g d r y grass

on a h i l l '"

around me b i r d s van ish i n t o t h e a i r shadows f l ow i n t o t h e ground

b e f o r e me s t o n e s beg in t o go o u t l i k e c and l e s 1 g u i d i n g me

I I I . . A DOOR ( W . S . Merwin)

T h i s is a p l a c e where a doo r might be h e r e where I am s t a n d i n g

i n t h e l i g h t o u t s i d e a l l t h e walls

t h e r e would be a shadow h e r e all day l o n g

and a door i n t o it where now t h e r e is me

and somebody would come and knock on t h i s a i r l o n g a f t e r I have gone and t h e r e i n f r o n t o f me a l i f e would open

from t h e c o l l e c t i o n W r i t i n ~ s t o a n Unfinished accompaniment^

New York. Atheneum, 1973 - used w i th pe rmi s s ion o f t h e p o e t .

Second Concert of the 1991 -1992 Season

The Music Department of the University of California-Riverside

in conjunction with The National Association of Composers / USA

presents

A Concert of Recent American Chamher Music

Saturday evening, March 7,1992 The University of Calzyornia-Riverside

Watkins Hall - 8:OOp.m

The concefl will include music by Barbara Bennett, John Crawford, Nancy Bloomer Duessen, Charles Dvorak, Barney Gilmo re, Michael Kibbe, Ursula Mamlok, John Mickel, and Butch Rovan.

Performers will include Delores Stevens, piano, and the Northwind Quintet, as well as others to be named.

Saturday March 7,1992

PROGRAM

I b

i CONTEMPORARY MUSIC SERIES

THE UNIVERSITY OF CALIFORNIA, RIVERSIDE MUSIC DEPARTMENT

and the NATIONAL ASSOCIATION OF COMPOSERS/USA

present


8:00 PM Watkins Recital Mall

Woodwind Quintet (1966, revised 1985) I. Intermezzo 11. Waltz 111. Rondo

North Wind Quintet

PianoJazz (1989) Delores Stevens,piano

Wind Quintet No. 1 (1991) I. Resolute

North Wind Quintet

Two Shakespeare Sonnets (1964; revised 1968) XXIX. "When in disgrace with fortune and men's eyes" XVIII. "Shall I compare thee to a summer's day?"

Susan Roe, soprano Hae-Young Chun, piano

Woodwind Quintet (1956) I. Molto vivo 11. Andante tranquillo 111. Allegro molto

North Wind Quintet

INTERMISSION

Goddesses, Wind Quintet No. 10, Opus 107 (1990) I. Athena 11. Aphrodite V. Artemis

North Wind Quintet

Study No. 6 for Double-Bass (1990) Bertram Turetzky, double-bass

Nancy Bloomer Deussen

Bernard Gilmore

Butch Rovan

John Crawford

Ursula Mamlok

Michael Kibbe

John Mickel

Seven Bagatelles (1983) 1. Snap 2. Moderato 3. Allegretto 4. Crackle 5. Andante semplice - Swift 6. Pop 7. Presto - Adagio, with love

Leonid Gelsgat, piano

Woodwind Quintet No. 1 (1991) I. Slow/fast 11. Slow 111. Lively

North Wind Quintet

Charles Dvorak

Barbara A. Bennett

North Wind Quintet

Alice McGonigal, flute Michael Kibbe, oboe

Michael Arnold, clarinet Jenice Rosen, bassoon

Louise MacGillivray, horn

PROGRAM NOTES AND COMPOSER BIOGRAPHIES

Nancy Bloomer Deussen is a graduate of The Manhattan School of Music and the USC School of Music. She is active in the San Francisco Peninsula musical scene as a composer, organizer, performer and piano tuner. She. has received grants, awards and commissions from many societies such as Mu Phi Epsilon, The Contemporary Record Society, The Walnut Street Chamber Ensemble of Philadelphia, The Oakland Chamber Orchestra, the Delius Society and the Erich Katz Competition of The American Recorder Society. Upcoming performances include works being performed by The De Anza College Chorale and the Treasure Valley Symphonic Band as well as performances during the National Convention of the Association of Concert Bands and by The Delius Society. When Ms. Bloomer Deussen is not composing she is busy as secretary of The San Francisco Bay NACUSA chapter, which she co-founded. Woodwind Quintet No. 1 was composed in 1965 and received its World Premiere in 1966 in the Los Angeles County Museum Concert Series performed by The Los Angeles Woodwind Quintet (broadcast over WAC). After its initial performance the work was out of circulation from 1966 to 1985, at which time the composer took the work off the shelf, did some minor revisions on it and submitted it to the Mu Phi Epsilon Original Composition Contest. As a result, the work won first prize. Since its resurrection the work has been performed numerous times both in concert and over CABLE TV.

Bernard Gilrnore is Professor and Chair of the Department of Music at UC Irvine. Before coming to UCI in 1982 he taught at Cornell University and Oregon State University. He has guest conducted the Haifa (Israel) Symphony Orchestra and Baton Rouge Symphony Orchestra. He has had works performed in Israel, New York, Southern California, at the Ernest Bloch Festival in Oregon and at a number of Society of Composers, Inc. conventions. He says of "Piandazz:" "Although I am not a jazz musician, I love the style, particularly the big band music of the swing era. The principal jazz elements in 'PianoJazz' are harmonic structures based on the major-minor 'blue' chord and syncopations especially associated with swing."

Butch Rovan is a graduate of UC Riverside where he continues to teach electronic music. Professionally, he receives commissions to write music for modern dance and theater using the combination of computer- controlled electronic instruments and acoustic instruments. His most recent project has been the score for a full-length feature film. He received a Meet the Composer grant to compose a work for the Pacific Dance

*

Y Ensemble which was premiered in 1991. His music has been performed throughout California, New York, Canada and during the 1987 Montreux Jazz Festival. "Resolute," Mvt. I from Rovan's Wind Quintet No. I , combines ostinato and palindrome elements under the guise of a ternary form. The movement unfolds over the evolving ostinato pattern first presented by the clarinet; this ostinato also supplies a pitch class set from which other material in the movement is drawn.

A native of Philadelphia, John Crawford received much of his musical training at the Yale School of Music, where he studied with Paul Hindemith and Quincy Porter. Further studies with Nadia Boulanger and Arthur Honegger in Paris were followed by graduate work at Harvard, where his composition teachers were Walter Piston and Randall Thompson. After receiving his doctorate from Harvard, Crawford taught at Amherst and Wellesley Colleges. He is currently a Professor in the Department of Music at UC Riverside. Crawford's instrumental music has been played by the Buffalo Philharmonic Orchestra, the Sequoia, Brandeis and Cavani String Quartets, the Hartt Chamber Players and the Alrnont Ensemble. His choral works have been performed by such groups as the New England Conservatory Chorus, the Harvard Glee Club and Harvard-Ratcliffe Choral Society, the Chorus Pro Music (Boston), Incarnation Concerts (New York), the USC Concert Choir, and UCLA A Cappella Choir and Madrigal Singers, and the UCR Choral Society and Madrigal Singers. His music is published by E. C. Schirmer, Oxford University Press and Galaxy Music. Currently, Crawford and his wife Dorothy are in the final stages of preparing a book on expressionism for publication.

Two Shakespeare Sonnets John Crawford

XXIX. "When in disgrace with fortune and men's eyes"

When in disgrace with fortune and men's eyes, I all alone beweep my outcast state, And trouble deaf Heaven with my bootless cries, And look upon myself, and curse my fate, Wishing me like to one more rich in hope, Featur'd like him, like him with friends possess'd. Desiring this man's art, and that man's scope, With what I most enjoy contented lease; Yet in these thoughts myself almost despising, Haply I think on thee,--and then my state (Like to the lark at break of day arising From sullen earth) sings hymns at heaven's gate;

For thy sweet love remember'd such wealth brings, That then I scorn to change my state with kings.

XVIII. "Shall I compare thee to a summer's day?"

Shall I compare thee to a summer's day? Thou are more lovely and more temperate: Rough winds do shake the darling buds of May, And summer's lease hath all too short a date; Sometime too hot the eye of heaven shines, And often is his gold complexion dimm'd; And ev'ry fair from fair sometime declines, By chance, or nature's changing course, untrimm'd: But thy eternal summer shall not fade, Nor lose possession of that fair thou ow'st; Nor shall Death brag thou wanders't in his shade When in eternal lines to time thou growest;

So long as men can breathe, or eyes can see So long lives this, and this gives life to thee.

Ursula Marnlok began to compose as a child. Her musical studies started in her native Berlin, continued at the Mannes School of Music and The Manhattan School of Music where Mrs. Mamlok received her Bachelor and

Master of Music degrees. Among her teachers were Roger Sessions, George Szell and Stefan Wolpe. She has received grants from The American Institute of Arts & Letters, the City University Faculty Research Foundation, the Martha Baird Rockefeller Fund, and the National Endowment for the Arts. Her works have been performed by such groups as the ensembles at Tanglewood, the Da Capo Chamber Players, the New Music Consort, North/South Consonance, and ISCM. Her publishers include C. F. Peters, Theodore Presser and Elkan Vogel and her music has been recorded on CRI, Opus One, Leonarda Records as well as other labels. Mrs. Mamlok has taught composition at New York University, the City University of New York, and has been a faculty member of the composition department of The Manhattan School of Music since 1974. Mrs. Mamlok has received the American Composers Alliance/Opus One recording award, the "Commendation of Excellence for long and outstanding contribution to the world of concert music" from BMI, a commission from the Koussevitzky Music Foundation, the Walter Hinrichsen award from the American Academy & Institute of Arts and Letters, and a commission for a violin/piano work from the Eastman School. The Quintet for Wind Instruments was composed in 1956-57 and was premiered in New York at the concert series "Music in Our Time." "Early sketches for the beginning date back to.1946 when, living in new York City, I tried to shut out the street noise of children who played an unfamiliar (to me) game which required of them to call out a tune of two tones comprising a minor third. Having to fight against this intruding pattern daily, I had the urge to transform this raw material and used it as the opening theme of the Quintet; in fact, the entire movement is made up of minor thirds, harmonically resulting in multitonality up to the second theme, where larger intervals predominate." The songful "Andante" uses languorous melodic lines which are counterpointed by a steady pulsed background. The last movement is brisk and energetic and juxtaposes repeated chordal patterns with playful, child-like tunes. The forms of the music are comparable to music of earlier centuries. Motifs, themes and entire sections re-appear that, although varied, retain their initial identity.

Michael Kibbe, the oboist of the North Wind Quintet, is a very prolific composer with over 100 opus numbers to his credit. Goddesses, the latest quintet of Kibbe's (his Wind Quintet No. 10) was commissioned by the City of Los Angeles Cultural Affairs Department through their grant program. The composer writes of the movements of Goddesses, Op. 107, "Athena is the gray-eyed warrior maiden, daughter of Zeus, protectress of the city. Aphrodite a begder of Gods and Men alike, by her love and beauty. Arternis, the moon her sacred orb, and all the woodlands her green domain."

John Mickel, composer, theorist and violinist, received his Doctor of Music degree from Northwestern University. His interests range from electronic music to the music of Ligeti, to analysis of the organization and structure of Bruckner's Ninth Symphony. Mickel's work has been accepted for publication by North/South Editions, New York. Mickel previously was on the faculty of Cal Poly San Luis Obispo and is currently living in Indiana and studying composition as a post-doctoral student with John Eaton at the University of Chicago. Study No. 6 for Double-Bass was commissioned by Michael Hartt of the Indianapolis Symphony Orchestra and former member of Harvey Sollberger's New Music Ensemble. The work consists of a series of rhetorical motives and gestures which utilize indeterminacy, statistical procedures and proportional notation framework to create an improvisational virtuoso showpiece.

Charles Dvorak graduated from the Cleveland Institute in 1976. His mentor was Marcel Dick. Between 1978 and 1985 he worked as an editor, copyist and engraver with Gunther Schuller, John Harbison, Arthur Berger, Stephen Albert and many others. From 1986 through 1990 he worked as editor for the Arnold Schoenberg Estate. Currently he works as a computer specialist in the graphics field in Los Angeles. He also publishes Composer/USA for NACUSA. Having composed several sets of bagatelles, Beethoven, with his usual mastery, transformed the nature of the word from its original meaning "something of little importance or value; trifle" (Webster) to something more profound. As a musical thought it is more appropriate to call one "a short, musical composition faceted with a unique and complex personality." The seven bagatelles presented here embody that spirit and were written in three days in the spring of 1983 for Peter Serkin.

Barbara Bennett has been a full-time lecturer at UC Riverside since 1985 where she teaches harmony, composition, music appreciation and supervises the musicianship program. Before coming to UCR, Bennett completed her Doctor of Music degree at The Florida State University. She recently received a commission from the highly acclaimed chamber ensemble Aequalis which will be premiered during their 1992-93 season. She has also written music for modem dance b d theater productions. UCR's Theater spring production of Voipone will include music composed by Bennett. "Woodwind Quintet No. I was composed from the inside out. I started with the last harmony of the second movement and worked towards that goal. This particular harmony became the germ used to write the first movement. The work is cyclic in that ideas and the treatment of those ideas as well as the harmonic structures are used in each of the three movements. Tonight's performance is the premiere of the entire piece."

Sunday, March 15, 1992 at 3:00 PM

Stefania de Kenessey Jumping Jacks (1991) with members of Zephyrus Vocal Quintet

George Boziwick Boats Against The Current (1990) Loretta Goldberg, piano

Max Lifchitz Transformation No. 3 (1984) Frank Cassara, marimba

Jeremy Beck Joshua Garrett, horn; Sara Laimon, piano

Duo (1990)

Jeanne Singer Winter Identity Yankee Springtime

From The Green Mountains (1976)

Anne Yarrow, violin; Joseph DePalo, clarinet; Jeanne Singer, piano

Intermission

Jonathan Kramer Music for Piano, Number 5 (1980) featured guest composer

Frank Weinstock, piano

John Winsor Trio (1991) Suzanne Schreck, violin; John Winsor, clarinet; Jeanette Winsor, piano

Edward Paul Mascari Hymnody No. 1 (1991) Boston Quartet

Beth Welty and Julie McKenzie, violins; Patrick Jordan, viola; Sandy-Jo Malmon, 'cello

Christ and St. Stephen's Church 120 West 69th Street New York, New York

Admission $8 (students and Senior Citizens $4)

59th Season (1933-1992)

Campus Map

10 Freeway I

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Music Schod of Anr

NOTES ON THE COMPOSERS

LIONEL NOWAK, now celebrating his 80th year, has been a member of the faculty at Bennington College in Vermont for more than forty years. Tonight'scello sonata, one of four that he has composetl, is but a small sample of an enormous catalogue of chamber music he has created in the last fifty years.

STAN GIBB is a veteran faculty member of California State Polytechnic Univer- sity. Pomona, and has been composing with electronic sound sources since the mid- 60's. He teaches theory, composition, electronic music, recording techniques, and percussion at Cal Poly Pomona.

MARGARETSHELTONMEIER has b u n on the faculty of Mount San Antonio College for twelve years. A student of Byong-kon Kim at Cal State L.A. and Roy Travis at UCLA, she holds a Ph.D. degree in composition.

JOHN WMSOR, a resident of Virginia, was a recent winner in the Delius Competition held annually in Florida witi~ the piece you will hear tonight.

HUE1 TSAI, a native of Taiwan. is a student of Byong-kon Kim of California State University. Los Angeles, and has previously studied at USC and at Cal Poly with Stan Gibb and Philip Browne.

SAMUEL MAGRILL is on the faculty of Central Oklahoma University where he teaches music theory, electronic music, anu composition.

RICHARD GRAYSON has been assochted with Occidental College for the past twenty-three years where his annual recini; of improvisation and performance of the music of others and himself is one of h e most eagerly awaited events on the Los Angeles music calendar.

The Cal Poly Music Department is actively involved in raising money for its scholarship program. All gijts received are awarded to music mqjors who show extraordinary &ic?nt and scholarship.

If you would like to contribute to this or other Music Department programs please fill out the encloscd information sheet and return it with your contribution. Donors who contribute more than $50 will find their name appearing on future programs.

California State Polytechnic University, Pomona College of Arts and

Department of Music in conjunction with

The National Association of Composers / USA present


Friday, May 8,1992

8:00 p.m.

Recital Hall

Program

Sonata No. 2 for Cello and Piano (In honor of the composer's 80th birthyear)

Recitation Dance Aria Finale

Rick Naill, cello Susan Szrckk, piano

Concerto for Guitar and Synthesis

Dave Cahueque, guitar

Lionel Nowak

Stan Gibb

Romantic Passacaglia on a Twelve-Tone Theme Margaret Shelton Meier

Geraldine Keeling, piano

Four Songs on Texts of She1 Silverstein Wild Strawbemes Point of View Recipe for Hippopotamus Sandwich Early bird

John Winsor

- Intermission -

Variations on a Chinese Folksong

Althea Waites, piano (Cal Poly Faculty)

Huei H. Tsai

Strands of Time (for electronic tape) Samuel Magrill

Reveries for HX-1 Richard Grayson

Richard Grayson

Yamaha Electone HX- 1 courtesy of Yamaha Keyboard Division, Buena Park.

Katherine Peters, soprano Sheryl Murillo, clarinet Cindy Williams, piano

NACUSA

BAY AREA CHAPTER

in cooperation with

The City of Palo Alto Arts and Culture Division

Presents

A CONCERT OF ORIGINAL COMPOSITIONS

works by

Marcia Bauman, Nancy Bloomer Deussen, Michael Kimbell, Owen Lee, Brad Slocum

featuring the Bentley String Quartet

Saturday, May 16,1992 - 8 P.M.

Palo Alto Cultural Center 1313 Newel1 Road

Palo Alto, California

National Association of Composers, U S A

. . . . . . . . . . . . . TWO PIECES FOR VIOLIN AND PIANO Nancy Bloomer Deussen Julia's Song Jubilate

Karen Bentley, Violin


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . * QUARTET MOVEMENT Owen Lee The Bentley String Quartet

............................. QUARTET #1(2nd movement) Marcia Bauman The Bentley String Quartet

. . . . . . . . . . . . . . . . . . . . . . DIALOGUES FOR TWO CLARINETS Michael Kirnbell Allegretto Presto Lento Marcia Vivace

Randy Gorshe and Michael Kimbell, Clarinete

INTERMISSION

. . . . . . . . . . . . . . . . . . . . . . . . . IN A FIELD OF GOLDEN WAVES Marcia Bauman (electronic piece)

............... * Two Songs on Poems fiom Gibran's The P r o ~ h e t . Brad Slocum SELF-KNOWLEDGE FRIENDSHIP

Mark Adams, Baritone

Brad Sloeurn, Piano

.................. * PACIFIC CITY (A Piano Quintet) Nancy Bloomer Deussen The Bentley String Quartet


* Remiere Performance

STRING OUARTET MEMBERS

Mari Shimizu, Violin I Sachiko Tanaka, Violin 11

Trace Wax, Viola Jay Lee, Cello

TEXT TO SONGS ON POETRY BY KAHLIL GIBRAN

$ELF-Kh'o WLEDGE Your hearts know in silence the secrets of the days and the nights. But your ears thirst for the sound of your heart's knowledge. You would know in words that which you have always known in thought. You would touch with your fingers the naked body of your dream. And it is well you should. The hidden well-spring of your soul must needs rise and run murmuring to the sea; And the treasure of your infinite depth would be revealed to your eyes. But let there be no scales to weigh your unknown treasure; and seek notthe depth of your knowledge with staff or sounding line. For self is a sea boundless and measureless. Say not, "I have found the truth," but rather, "I have found a truth." Say not, "I have found the path of the soul." Say rather, "I have met the soul walking upon my path." For the soul walks upon all paths. The soul walks not upon a line, neither does it grow like a reed. The soul unfolds itself, like a lotus of countless petals.

FRIENDSHIP Your friend Is your needs answered. He is your field which you sow with love and reap with thanksgiving. And he is your board and your fireside. For you come to him with your hunger and you seek him for peace. When your friend speaks his mind you fear not the "nay" in your own mind nor do you withhold the "ay". And when he is silent your heart ceases not to listen to his heart; For without words, in friendship, all thoughts, all desires, all expectations are born and shared with joy that is unacclaimed. When you part from your friend you grieve not; for that which you love most in him may be clearer in his absence, as the mountain to the climber is clearer from the plain. And let there be no purpose in friendship save the deepening of the spirit. For love that seeks aught but the disclosure of it's own mystery Is not love but a net cast forth; and only the unprofitable is caught. And let your best be for your friend. If he must know the ebb of your tide, let him also know its flood. For what is your friend that you should seek him with hours to kill? Seek him always with hours to live. For it is his to fill your need, but not your emptiness. And in the sweetness of friendship let there be laughter, and sharing of pleasures. For in the dew of little things the heart finds its morning and is refreshed.

William Stretch, Baritone

ARTET MOVEMENT by Owen Lee

As the name implies, this is a movement from a string quartet in progress. The opening chord provides a harmonic outline for the entire movement, which otherwise resembles a traditional sonata-allegro structure. The pitches of the opening chord, C G D A (with an E), serve as progressive harmonic signposts throughout the movement, although C major remains the underpinning key. The nine-minute movement begins Adagio, gradually accelerates to Allegro, then suddenly returns to Adagio to close.

PACIFIC CITY By Nancy Bloomer Deussen

Ms. Bloomer Deussen's works often describe scenes from her childhood growing up in New York City and environs. This work represents a departure from this mcde in that it depicts the feeling of "a major American city on the Pacific Coast I not necessarily San Francisco".

Biographical Notes

Owen J. Lee

Owen J. Lee was born in Palo Alto a few months before Mahler's 100th birthday, raised in Sunny- vale in the flight path of P-3 Orion submarine hunters, and educated a t post-free-speech movement UC Berkeley and UCLA. He holds a doctorate in music composition from the latter institution. Currently, Dr. Lee spends much time composing, teaching piano and music theory privately, and planning backpacking trips to the High Sierra.

I Michael Kimbell

Michael Kimbell studied composition with John Davison a t Haverford- College and with Karel Husa and Robert Palmer a t Cornell University, where he received his Doctor of Musical Arts degree. During the 70s he taught music theory a t Johnson State College (Vermont) and the University of the Pacific, then started his own piano tuning business near San Francisco.

I The for Two Clarinets was written in 1969.

Brad Slocum

One of the earliest "forces" Brad Slocum remembers stirring within him was the urge to explore and "connect" with music. He is a native Californian and has spent most of his life in the Bay Area. He is a Magna Cum Laude Graduate of San Francisco State University. Although he has participated in various community ensembles all throughout his life, his fascination with composition has become more intense in the last few years. Currently, Mr. Slocum is employed in the Creative Arts Department a t De Anza College a s staff ~ c c o m ~ a n i s t / Voice Coach and Director of the De Anza Chorale.

Nancv Bloomer De-

Nancy Bloomer Deuseen is a graduate of The Manhattan School of Music and the USC School of Music. She studied composition with Vittorio Giannini, Ingolf Dahl, Lukas Foss and Wilson Coker. She is active in the San Francisco Peninsula musical scene and more recently, is receiving national attention.

She is a recipient of grants for composition from The Peninsula Community Foundation, The Mu Phi Epsilon Memorial Foundation, The Contemporary Record Society, and commissions from The Oakland Chamber Orchestra, The Augustana College Band of Sioux Falls, S.D., The Walnut Street Chamber Ensemble of Philadelphia, The Santa Clara Chorale, The Peninsula Children's Chorale, and The De Anza College Chorale. She has won awards for her compositions from Mu Phi Epsilon, The American Recorder Society, and The Delius Society. Recent performances of her compositions include: Woodwind performed by The Berkeley Wind Quintet and The North Wind Quintet of Los Angeles, Three (for orchestra) performed by The Contra Costa Chamber Orchestra, CIlnticles of OYLLand premiered by the Santa Clara Chorale, Festivalem (for concert band) performed by The Treasure Valley Symphonic Band of Payett, Idaho, and again a t The National Convention of Association of Concert Bands held in Texas this spring. Upcoming will be the world premiere of Flowel.s bv the by the De Anza College Chorale, and a full spectrum of works that will be performed in the 1992-93 concert season in California and throughout the country.

ama Bauman

Marcia Bauman has composed music for dance, film and radio drama, a s well as small ensembles and orchestra She holds a BA degree in psychology, an MA degree in music theory and composition, and has been a radio news writer in San Francisco and a music critic for Gannett newspapers in Rochester, NY. Her present work, an operatic oratorio based on the Old Testament Book of Job, is a d o r composition for orchestra, five singers, and computer-generated tape.

Currently completing the Ph.D. in composition from the Eastman School of Music, Ms. Bauman is also the Archivist / Research Associate for the International Digital ElectroAcoustic Music Archive a t Stanford University's Center for Computer Research in Music and Acoustics.

We wish to gratefully acknowledge Stanford University's Center for Computer Reseamh in Music and Acoustics for providing

the audio equipment for thie evening's mncert and Patricia Watt for her help in typesetting this program and our flyer.

ABOUT THE ART1 STS The Music Department of California State University Dominguez Hi 11s

Jenni fer Higdon i s c u r r e n t l y comple t ing her I , in conjuction with graduate work a t the Univers i ty of Pennsylvania where she i s a student of George Crumb

The National Association of Cornposers/USA

Robin Heifetz is a Los Angeles composer who has present: taught e lectronic music and other subjects i n l srae 1

Tom Flaherty i s a member of the music facul ty of Pomona College and a ce l l fs t w i t h the Los Angeles I

based Almont Ensemble.

Richard Wi l l is , a member o f the faculty of Baylor Univeristy in Waco, Texas recently has had some of h is work recorded on the Golden Crest label.

Marshall Bialosky i s the founding chair of both the music and a r t departments a t Cal i fornia State Univers i ty Dominguez H i l l s and i s cur rent ly the national president of NACUSA

Elizabeth Pizer, a resident of upstate New York, i s A Concert of Recent American the president of the lnternationl League of Women Chamber Music Composers. October 2, 1992

George Andrews, a former high school music B P ~

teacher in Torrance, now ret ired, i s a resident of Humanities and Fine Arts Building

San Pedro. Mawin Laser Recital Hall A183

PROGRAM

S t r i n g T r i o ................................................ Jenn i fe r Higdon* Cindy Moussas, v i o l in

Diane Reedy, v i o l i n Maurice Grants, c e l l o

Beyond Words i n Hunger Dark .................... Robin H e i f e t z tape m u s i c

S t r i n g Quar te t ............................. Andrew Rindf 1eischX*

The Jume l l e S t r i n g Quartet

Cindy Moussas, v i o l i n Ruth Johnson, v i o l i n Diane Reedy, v i o l a

Maurice Grants, 'ce l lo

..... T r i o f o r Cel lo and D i g i t a l Processor Tom Flaher ty Tom Flaherty, c e l l o

INTERMISSION

Five Dialogues f o r V io l i n and Piano ..... Richard W i l l i s Cindy Moussas, v i o l i n


Marr ied Love ....................................... Marshal 1 B ia losky Cindy Fogg, v i o l a

Tom Flaherty, ce l lo

Embryonic C l imac tus ...... Elizabe th F'aw Hayden Pizer tape music

' ,

S ib l ing Duet ........................................... George Andrews Diane Reedy, v i o l a

Maurice Grants, ce l l o

I . quar ter notes equals c. 100 II , senza ba t tu ta I l l . d o t t e d q u a r t e r e q u a l s 5 6

* f i r s t Pr ize Winner. 1 99 1 NACUSA Young Composer's Compet i t ion

**Second Pr ize Winner 1990 NACUSA Young Composer's Compet i t ion

NACUSA wtron;l h.ocrrtron o( r I r u r . USA

8:00 PM Wednesday. Nov 18, 1992 KNUfH HAU. CREATIVE ARTS BUILDING AT

SAW FRANCISCO STATE UNIVERSITY

PROGRAM

Dawn by Molly Axtmann Schrag

Beth Snellings, Cello Molly Schrag, Piano

Variatf ons On Springfield Mountain by Michael A. Kimbell

Susan Waller, flute Victoria Neve, piano

.Brief Moments for Tuba by Barton Cummings

John Evans, Tuba

Vortex Quintet by Dave Moltzen and Randy Kasten

Karen Bentley, Violin Vanessa Rutel o, Cel lo Raymond Picardo, Flute Susan Bl i nderman, Piano Donald D'Angelo French Horn

Movements for Clarinet (First Movement) by Curt Veeneman

W i l l i a m Dominik, clarinet

Three Pieces from Chamberworks I by Owen J . Lee Caroline Reutter, Flute Michael Kimbell, Clarinet Donald D 'Angel o, French Horn Vanessa Ruotol o, Cello

Trio for Violin, Clarinet. and Piano by Nancy Bloomer Deussen

Karen Bentley, Violin Michael Kimbell, Clarinet Susan Blinderrpan, Piano

Chamberworks I is a suite of short pieces for combinations of flute, clarinet, horn, violin, cello, and percussion. Presented here are three such pieces scored for flute, clarinet, horn, and cello. - .

The first, Adagio, is for clarinet with instrumental accompaniment. It serves as prelude to the suite. Highly chromatic with implied a-minor tonality, it never exceeds two voices. I

The second movement, marked Slowly, begins slowly, but successive I

subdivisions of the otherwise slow beat eventaully give rise to a sense of flowing motion. This compbsition is in d-Dorian mode, polyphonic of three-layered construction, and with a ground bass. The third piece, Allegretto, consists of a melody repeated thrice, each time harmonized differantly.

~ Trio for Violin, Clarinet. anb Piano by Nancy ~loomei -~*eussen

I Karen Bentley, Violin Michael Kinbell, Clarinet Susan Blinderman, Piano

N o n c y BCoonm D u r n is a graduate in composition from the Manhattan School of Music and hes completed extensive graduate work in composition and related subjects at USC, UCLA, San Jose State University, and Long Beach State University. She also holds a degree in music education from U.S.C. She has studied composition with Ingolf Dahl, Wilson Coker, Lukas Foss, and Vittorio Giannini.

Ms Bloomer Deussen is Secretary and cofounder of the bay area chapter of The National Association of Composers, U.S.A. She has composed for orchestra, chamber groups, solo instruments, and voice. She teaches composition at the Community School of Music in Mountain View, California and is on Staff at DeAnza College, Cupertino, California. Much of her music has been I

commissioned, and her music has achieved awards in composition competitions including the Mu Phi Epsilon Competition, Delius Society competition, and Erich Katz Competition of the American Recorder Society.

Ms Bloomer Deussen represents a return to melodic, accessible music; her compositions have been enthusiastically received by audiences and critics.

The T*io was premiered in 1989 at a Mu Phi Epsilon concert in the Palo Alto Cultural Center, and has had many performances including one at the Philadelphia summer festival of the Contemporary Record Society. This composition is nonprogramrnatic and may be considered pure music.

NACUSA gratefully acknowledges monetary support from Mr and Mrs Walter Nelson, Mrs Joe White, Pat Watt, Mrs Margaret Nichols, and Mrs Virginia Gillespie.

NACUSA National Association of Composers. USA

CONCERT OF AMERICAN MUSIC 8:00 PM Wednesday, Nov 18, 1992

KNUTH HALL, CREATIVE ARTS BUILDING AT SAN FRANCISCO STATE UNIVERSITY

Dawn by Molly Axtmann Schrag

s-4, cello MdCy sch.2og. piclno

Mdly Aztmam Sc(Llag graduated with honors from Barnard College Columbia University and received her Master's degree in piano performance from Manhattan School of Music. She began notating songs at the age of six. Her compositions have been performed in New York City and in the bay area since 1972. Mrs Schrag taught at Mannes College of Music, the San Francisco Conservatory, and the Community Music Center of San Francisco. She is both a composer and a lyricist and has recently completed the libretto for her opera, Beaut#. Mrs Schrag composes and privately teaches composition and piano.

O m w a s written in memory of a special morning in 1966. The music reflects shifting light and the powerful sunrise. The music entails isorhythms and permuta1:ions of the number seven. Dawn is one section of a larger composition entitled Changes of Light. The composition is dedicated to composer Gwendolyn Watson.

Variations on Springfield Mountain for flute and piano by Michael A. Kimbell Susan Waller, flute Victoria Neve, piano

Dr.Michae1 Kimbell received his D.M.A. from Cornell University in in 1973. He has studied composition with John Davison, Robert Palmer, and Karel Husa and, in addition to composing, has taught college-level classes, and operated a piano service organization. In 1979, his songs "Of Birds and Beasts" received first place in the Music Teachers' Association of California Composers Today competition. His vocal works, Quintet for Woodwinds, and Pastorale for Orchestra have been well-received in performance.

Springfield Mountain is an American folk song based on a true story. In 1761, Timothy Myrick of Springfield Mountain, Massachusetts, was bitten by a snake. Molly.attempts to suck the poison from his wound, but, having a rotten tooth, poisons herself; both die.

NOTA?

The basic melody is stated followed by free variations on thematic fragments. The variations describe the youth sauntering across the field, the snake slithering through the grass, the fateful encounter, flight of the panicked youth, and Molly's attempt to calm and save him as they both slowly die. Dr. Kimbel: considered a funeral march an inauspicious ending to the music; instead, he imagined an argument among the heirs.

Brief Moments for Tuba by Barton Cummings

John Evans, Tuba

Barton Cummings is recognized as a virtuoso tuba player and as a composer, educator, author, and conductor. As a musician, he has performed world-wide, and his compositions have been published and recorded on CD. Mr Cummings's multiple careers span over 30 years. Currently, he is Music Director and Conductor of both the Walnut Creek and the Golden Hills Concert Bands, and he is on the music faculty of the Richmond Unified School District

Brief Moments for Tuba conists of five movements; the titles are self-descri.ptive - Sprightly Dance, Melancholia, Crisply Clean, Waltzing, and Marching.

Vortex Quintet by Dave Moltzen and Randy Kasten

Karen Bentley, Violin Vanessa Rutelo, Cello Raymond Picardo, Flute Susan Bl inderman, Piano Donald D 'Angelo, French Horn

Dave Moltzen and Randy Kasten represent a unique mode of zreativity. This quintet is the creation of two composers working apart and coordinating their work through a computer. Vortex was started in 1991; it is the first major collaboration of the two zomposers. The methodology of composing the first movement ?xmplifies their creative technique. Mr Moltzen wrote a harpsichord composition indicating chord progressions. (For this ?erformance, a piano replaces the harpsichord.) The bass chords ~f this composition were transferred to Mr Kasten on a floppy lisk; he added violin and cello parts. This composite was returned to Mr Moltzen on a computer disk; Mr Moltzen inserted :he original melodic line from the harpsichord score. Mr Moltzen ~dded a French horn part. Subsequently, a flute was added. Though :he components were composed at differant times and the composers lad no close communication, the conipleted composition needed .ittle modification; all elements blended. This indicates unique :ompatibility of the composers' musical concepts. Computers play .ncreasingly larger roles in production and storage of music; Tortex, is the rare example, however, of a computer fusing two :reative minds in musical compositl.on.

. .

'he fourth movement of the quintet was composed at the ,ecommendation of composer Nancy Bloomer Deusen and is dedicated o her.

INTERMIISSION

Movements for Clarinet (First movement- Doors Opening Onto Night ) by Curt Veeneman

William Dominik, clarinet

Dr. Curt Veeneman teaches composition and theory at the University of the Pacific Conservatory of Music, Stockton,California. There, he is founder-director the of new- music concert series, Pacific Market: Fresh Music From Around the World. He received his Ph.D. in composition from the University of California, where he studied with Andrew Imbrie. Dr. Veeneman's works have been performed throughout the world. His awards include the ASCAP-Hubbell Award and the Nicola DeLorenzo Prize for composition, and he recently presented a paper at the Gubbio Festival in Italy.

Dr. Veeneman's works include Movements for Clarinet, Among thy Green Braes (voice and chamber orchestra), Symphony No.1: Phtongitates Malleorun, The Wiry Concord (5-string Sanjo, dulcimer-cimbalom, harp, harpsichord, piano, viola, and percussion), Essai pour les triangles (electronic tape), and Symphony No. 2: Alcuin's Riddle (orchestra and 15 soloists seated in the audience).

Movements for Clarinet, composed in 1983, represents "mobility of spirit, mind, and body" and is autobiographical in portraying the year the composer traveled across the Great Plains to Iowa as had Dvorak 100 years earlier.

This concert presents the first movement, Doors Opening Onto Night, which entails the concept of several interlocking arches of time subsumed under one great flux of waxing and waning energy. Slowly, pitch content is revealed to reflect increasing intensity. After dissipating this energy, the movement returns to its initial stasis.

Movements for Clarinet was written in 1983 for clarinetist Tom Phillips.

Three Pieces from Chamberworks I by Owen J. Lee

Carol i ne Reut ter, Flute Michael Kimbell , Clarinet Donald DfAngelo, French Horn Vanessa Ruotol o, Ce1:lo

Dr. Owen J. Lee, a native of Palo Alto, California, showed an exceptionally early aptitude for m~~sical composition and, as a young boy, spent hours at the piano in composition. He continued composing and both organizing and performing in musical events through high school.

At the University of California in Berkley, he studied under Andrew Imbrie and earned his Bachelor of Arts in music. His Ph.D. in composition was awarded at UCLA.

Dr. Lee's compositions have received favorable performances at varied academic institutions and through NACUSA. In addition to musical composition, Dr. Lee has experience in professional concert oroduction.

NACUSA

in an evening of music by composer members

with a special memorial tribute to

Allen Brings Elaine Lebenbom Harold Meltzer Andrew Rindfleisch Martin Rokeach Irwin Swack

Josef Alexander

- 3 E 1 - rn Bv Phow: You may register for non-credit courses by

telephone, with payment by MasterCard or Visa, $3 through September 11. Call (212) 229-5690, Monday-Friday, 9:30 am-5:00 prn.

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/ THE

N, Musicians at The New \ School presents

NACUSA

National Association of Composers /USA ,.+ -- East Coast Chapter

Monday, December 7,1992 at 8:00 PM

Variations for Flute and Piano (1982) Martin Rokeach

Alan Cox, flute; Jean Golan, piano

Birthday Music (1991) Andrew Rindfleisch

Lynn Baker, piano

Sonnets for a Solitary Oboe (1982) Elaine Lebenbom

Sylvia Starkman, oboe

Monody (1967) Joseph Alexander Lisa Hansen, flute

Incantation (1969) Joseph Alexander

Max Lifchitz, piano

Zntennission

String Quartet No. 5 Irwin Swack

Prelude H y m n Dances Postlude

L' Amore di Musica String Quartet Jo Margaret Fams and Hiroko Nakahara, violins;

Mildred Perlow, viola; Vivian Israel, 'cello

Pocket Sonata (1992) Harold Meltzer

Margaret A. Kampmeier, piano

Sonata for Clarinet and Piano ( 1 9 0 . - . Allen Brings -:. - -+-d

I . Allegro con brio . .

11. Adagio 111. Allegret to scherzando !-;;.= - -.--

Edward Gilmore, clarinet; Allen Brings, piano

The New School The Tishman Auditorium

66 West 12th Street New York, New York

60th Season (1933-1993)

t Biographical Notes

Josef Alexander (1988-1992) was the President of NACUSA's New York Chapter from 1980 until 1991. A native of Boston, MA, he received his training at the New England Conservatory and Harvard University. His teachers included Walter Piston and Edward Burlingame Hill. He also worked with Nadia Boulanger in Paris before settling in Npw York where he taught at Brooklyn College (CUNY) from 1943-1979. His orchestral works have been performed by the New York Philharmonic, the St. Louis Symphony and the Dallas Symphony, among many others. His Masks for chamber ensemble was recently released on the Classic Masters label in a performance by North/South Consonance.

Monody is a one-movement work full of lyricism and expressive melodic lines. The work grows out of the material heard at the b n n i n g and explores the different registers of the instrument.

Incantation is part of a large cycle of piano pieces. It uses chromatic harmonies and exploits the timbral possibilities available in the piano by using the sustain pedal. The work was selected for publication in Prostakoffs 'New Music for Piano" Album published in 1983 by Lawson-Gould.

Lynn Baker, a graduate of the Juilliard School, is currently on the staff of the Juilliard Opera Center. She has also worked as a vocal coach and accompanist for the Washington Opera and Des Moines Metro Opera.

Allen Brings was born in New York City in 1934. His major teachers include Otto Luening, Gardner Read and Roger Sessions. His works have been recorded on Centaur Records, Orion Master Recordings, Grenadilla and Contemporary Recording Studios. Brings is Professor of Music at the Aaron Copland School of Music at Queens College (CUNY) where he is the coordinator of the theory and ear-training program.

Sonata for Clarinet and Piano was originally completed in the spring of 1955 but revised several times after that until it reached its present form in 1967. This work contains many passages which are predominantly diatonic - single tones are referred to at points of structural importance. It was published in 1975 by the Seesaw Music Corporation.

Flutist Alan Cox is currently a member of the New York Chamber Symphony and the Windsong Ensemble. A founding member of the New York New Music Ensemble, he served as principle flute of the San Francisco Symphony from 1983-1991.

Jo Margaret Farris, violin, is a member of the Long Island Philharmonic. Formerly, she was a fellow with the Bach Aria Group and the Institute at SUNY Stony Brook.

Jeanne Golan, pianist, received her BA from Yale University and her MM and DMA degrees from the Eastman School of Music. She is currently on the faculties of Queens College and the New School.

A graduate of the juilliard Schooi, Butisi: Lisa Hansen is one of New York City's = s t active free lancers. She played first flute in Mexico City's Orquesta Filannonica between 1982-86. Her recording of Rodrigo's Flute Concerto was recently released on an EMI-Angel CD.

Vivian Israel, 'cello, is a member of the New York Piano Trio and the Long Island Philharmonic. The winner of several awards, she has studied with George Ricci and Harvey Shapiro and has participated in the Edinburgh Music Festival.

Margaret A. Kampmeier, pianist, is a founding member and codirector of New Millenium, a contemporary music ensemble which is in residence at Princeton University. She performs frequently on the Columbia Composers' concerts and has also played with the New Music Consort and the ORRA Chamber Players.

Elaine Lebenbom received both her BM and MM degrees in Composition from the University of Michigan. Among other prizes, she has received a grant from the Michigan Council for the Arts to complete an opera. Her works have been performed at the Interlochen Arts Academy, the Festival of Modem Music at Bowling Green State University (OH) and the Piccolo Spoleto Festival in Charleston, SC.

. v Max Lifchitz, pianist and composer, was born in Mexico City in 1948 and was awarded the first prize in

the 1976 International Gaudeamus Competition for performers of Twentieth-Century Music held in Holland. A grsdualirof the Julliard School and Harvard University, Mr. Lifchitz has appeared on concerts and recitals throughout the U.S., Latin America, and Europe. Most recently, North/South Recordings released two CD recordings featuring Mr. Lifchitz in a recorded performance of piano music by several American composers. Additionally, Mr. Lifchitz is the founder and director of North/South Consonance.

Harold Meltzer graduated summa cum laude from Amherst College and holds graduate degrees from King's College, Cambridge and Columbia University. He has studied with Martin Boykan, Alexander Goehr, Jonathan Kramer, Tobias Picker, Lewis Spratlan and Charles Wuorinen. A recipient of a MacDowell Colony Fellowship and a Ford Foundation student scholarship, Mr. Meltzer resides in New York City.

Pocket Sonata is a work consisting of four, quite short movements. Completed in July of 1992, it was premiered by the composer at the Festival at Sandpoint this past August. Pocket Sonata is dedicated to Jonathan Kramer.

Hiroko Nakahara, violin, has appeared as soloist with t h e ~ a ~ a n Philharmonic and the Festival Orchestra at Tanglewood. He has also performed at Lincoln Center and at Carnegie Recital Hall.

Mildred Perlow, viola, has been principle violist with Opera on the Sound, the Long Island Symphony, the National Orchestral Association and the Columbus (OH) Philharmonic Orchestra.

Andrew Rindfleisch has received degrees from the University of Wisconsin at Madison and the New England Conservatory of Music; he is currently pursuing a PhD at Harvard where he is director of the Harvard Group for New Music. He has received prizes and awards from ASCAP, the American Academy of Arts and Letters and the League of Composers - ISCM, among others. His principle teachers include Arthur Berger, Andrew Imbrie, Donald Martino and Bernard Rands.

Birthday Music is essentially music of allusion. It is both a tribute to Donald Martino and musicsof the past and present. The first movement presents allusions to jazz, early American popular song and Mozart's Clarinet Concerto. The second, enroute to a melody from Martino's Triple Concerto, encounters Brahms, Berg and Bernstein.

Martin Rokeach received his Bachelor's and Master's degrees in music composition from San Francisco State University and his PhD in composition and theory from Michigan State University. His awards and honors include First Prize in the 1985 Contemporary Recording Studios Publication Competition and Grand Prize in the 1982 Delius Competition. He teaches at St. Mary's College of California and is one of the founders and artistic directors of San Francisco's Composers, Inc.

The theme of Variations for Flute and Piano consists'of three dramtic phrases which open the work. It is difficult to 'follcw through rrost ~f.thesxbjequent vsria50ns, hut , ~ s is not necessary nor even desirable. What is most important is the ebb and flow of one variati0n.a~ it moves into the next and the sharply differing moods which pour forth as a result.

Sylvia Starkman, oboe, holds BM and MM degrees in oboe and performance/wind instruments from the University of Michigan. She has also attended the Berkshire Music Center in Tanglewood and L'Ecole Pierre Monteux in Hancock, Maine.

irwin Swack graduated from the Cleveland Institute of Music with a violin performance degree. Later, he studied composition with Vittorio Giannini at the Juilliard School. He went on to receive a master's degree in composition from Northwestern University and a doctorate from Columbia University where he studied with Henry Cowell. As a recipient of a Ford Fellowship Award, he studied with Gunther Schuller at Tanglewood. His music is published by Shawnee Press, Theodore Presser, Carl Fischer and Galaxy Music, Corp.

String Quartet No. 5 was commissioned for the Valcour String Quartet of Baton Rouge, LA. The development of this composition was in large measure based on integrating certain regional expressions involving mood, melody, rhythm and accent. Thus, this work may be seen as a musical essay.

MERKIN 1 '

,?'

Concert Hall at Abraham Goodman House 129 West 67th Street, New York, N.Y. 10023

Thmrgh its hvo mapr divisions - Lucy Mmes School for Music and D a m and Merkln Concert Ha4 the Elalne Kaufman CuL turalCenteroffers a wide divenityofpmgramforall whowant topartiapatelnorlearn~mreaboutthealtn Farnded in1952as The Hebrew Arts School for Mudc and Dance, it b chartered the Board of Regentn of the Udversfty of the State of New Y 2 and Ls a non-sectah, non-profit institution.

FEBRUARY SEAT ENDOWMENT IN MERKIN CONCERT HAU

paid over a three-year period and Ls fully tax-deductible. An Mcndclswhn String Uwr tc t endowment brochure b avaUable In the lobby of the Box Office. ~ d a Levin. Ydnlas M m , uidms; Kathenine Murdock. viola.

M J ~ Rmm, cBIIo; Guest PIPSIS: Mimbers 01 lhe Emsron Elaine Kanfman Cultural Center Sting Ouarlst Lawtmce h t m . vials; Dauid RnckBI, ceUo

Leonard Goodmall, Chairman Works 01 Tchankmsky. S&antxtlg

Victor E. Smkler, President Prostnlsd by Elaine Kaulmivl Cullurd CIlnls

Dr. T z l m H. Iochsberaer, Foundha Director Lydia ~ontos , Executlv;~irector - VWd Margulies, Director, Concert Division Ellen Kazis Braclanan, Director of Public Affairs Teny Schaff. Mrector of Development Kathy Hubbard, Director of AdmMshation Cheryl Seltzer, Dilector of Young People's Program Sean Ha-, Director of Adult Division Llnda Gal, ' h a t e r Manager Marc Finkbeher, Box Office Manaaer Suzle Hahn, h g r a m ~ o o r d i n a t o ~ Melist K i n e D~~-nt Assbtant L e e M. noeEheiAr, Library Mrector Audrey Michaels, Consultant TimMartvn Audlo Engineer , . "

The house harmichord was built by Erlc Hen in 1985 and donated by Mr. l&eph Wnmker.

- The Hambu Stelnway used In the Ann G o o d m RedtaI

HallivasobtaiJthmrgh a generousgrant fiumthe Albert and Marie Stelnett Farndatlon.

T h b p e r f o m c e w a s made possible In thmrghtheNew York Ci Department of Cultural Affa icuppor t of Merkin Conce* %a".

Following the perfomnce, artistscanbe greeted In the recep tlon area adjoining the lobby.

Refreshmnb aremld In the arter lobby during Intermjssion. We ask that all food and beverages be m n s u m d there.

Our infrared Listening system for hearing-impaired peoplecan be rented fium the harse manager before concerts.

Audlencemmbersare requested to turn off watchbeepers for the duration of the concert.

Lateo~rprs wiU n u be permitted during the perforrrwcesof a work. If var m s t leave the hall before the mndusion of the I p e r f o m & , we ask yar to do so between works. I

Theae program are printed on 100% recycled paper.

I 1 WUPsDAY/erOO PW

Ncw Sounds. John Schaels. hcsl me wormaba. ha NW Easmrn h s i c ~rn6nblw Tho Sinm Shah- and F;& h&l R @ 9 d I W Y o k ~ A i a r o ) P n a ~ m d bv EWme Ksuhan WLlrd Contsr. WNYC. No* Yok

MTURDAY/8r00 PW l3 Guitar Trck

N w York Deb1

14 SUNDAY/JrOO P H Ncw York Philharmonic Ensembles Works d Spdv. Wdpe. SdXlbOTt

14 SUNDAY/asOO P M

Jill Fclber, flute Gglmev BUTbm. piano; Maria Tepzes. r o p m : Pad Bi;mbach dahnot Na* Yak proheres d Wlllam &an. Wllliam A W i L .b Ann Kuchsa-Main. Edward Harsh waks ol L m l Uebsmam m d Shiri* Kade

16 TUCIDAY/8:00 P M

James Tmco, piano woks d Benstdn and Copland

WEDMESDAY/8r00 PW I' David Tudor t4 Cactus Nccdle Projwt

vim Sam ANey. &n harm. Bca Gonralvos, anddm b b m

Future calendarsofeventswill be sent to you if you lace your name on the mall in^ List (forms are available at the f a x Office window). A currentbsue is avdable in the lobby.

The Box Office is open Monday-Thursday, 10-30 PM; Friday, 10.004a0 PM; and Sunda 12.W.00 PM. On the evening of a performance, the Box &ice will be open from one harr before concert time through intermloston. TheBoxOfftcets dosed on Jewtoh hoklays. Phone: 012) 362-8719

. , . . ,

Abraham Goodman House

About the artists: . . .

The NATIONAL ASSOCIATION OF COMPOSERS, USA was founded in 1933by the eminent composer and conductor Henry Hadley. Maestro Hadley was the first American born musician to serveas AssociateConductoroftheNew York Philharmonic. Under his leadership, the organization's efforts were devoted to promote the careers of Ameri- can composers and conductors. Mrs. Inez Hadley assumed the leadership of the organization in 1937, after her husband's untimely death. Under her direction, the activities of the organization emanated to several cities across the United States. In 1965, theLos Ange- les chapter became NACUSA's national base. Currently the organization's ac-

tivities originate primarily from two . regonal centers: the Eakt Coast chapter based in NewYork, and the West Coast chapter based in Los Angeles. . .

ZEPHYRUS isavocalensemble known for its imaginative programming and vital interpretions. The group has collaborated witht he New York Consort of Viols, the New York Cornet and Sacbut Ensemble. and the Artek En- semble, among others.

NORTHISOUTH CONSONANCE, INC. is a not-for-profit organization devoted to the performanceof music by American and Latin Americancompos- ers.

NorthlSouth Consonance Zephyrus Gregor Kitzis, violin Carol Wilson, soprano David Bursack, viola Erin Langston, soprano Yari Bond, cello David Frye, tenor Lisa Hansen, flute Peter Becker, baritone Richard Goldsmith, clarinet David Kossoff, oboe Jean Cortese, bassoon Frank Cassara, percussion Max Lifchitz, piano/director

T6nightVsapp&rance of The North/South Consonance Ensemble is made possible, in part, with public funds from the National Endowment for the Arts and the New York State Council for the Arts. . .

Monday, February 8,1993 at 8:00 P.M.

National Association of . , .. . .

. . . . ' Composers, USA . .

60TH.ANNIVERSARY PROGRAM . , . .

(1933-1993) , : . I . . . ' 1 .

Conversation (1980) MARSHALL BIALOSKY LISA HANSEN, flute; MAX LIFCHITZ, pinno

New York Premiere

, - . . Two visions (1992) DANIEL KFSNER

Lost, Carillon . . Imaginary Flight

THE NORTH/SOUTH CONSONANCE ENSEMBLE DANIEL KESSNER, conductor

World Premiere

Jumping Jacks, Op. 29 (1991) STEFANIA MARIA DE KENESSEY ZEPHYRUS VOCAL ENSEMBLE

Sound Dreams (1978) IRWIN BAZELON THE NORTH/SOUTH CONSONANCE ENSEMBLE-

IRWIN BAZELON, conductor New York Premiere

Intermission

Winter Counterpoint (1979) MAX LIFCHITZ THE NORTH/SOUTH CONSONANCE ENSEMBLE

Piano Concert0 NO. 2 A / S O ~ O (1978) RICHARD NANES Allegro con brio Andante solemente Allegro vivace

RICHARD NANES, pinno

Hamburg Steinway provided through the courtesy of Pro Piano The photographing or sound remrding of any perfonance orthe pwession of any device forsuch photographing or sound remrding inside this theater, without the written permission ofthe management, is prohibited by law.

The Music Department of California State Polytechnic University, Pomona

in conjunction with The National Association of Composers / USA

Dresents


Friday, April 23,1993

8:00 p.m.

Recital Hall

Program

Kaleidoscope Fantasy Dinos Constantinides Rick Naill, cello

Le Pont Mirabeau Benjamin Boone* Cal State Northridge New Music Ensemble

Daniel Kessner, conductor Joe Givens, tenor

Tadzio Garcia, flute Audrey Izuhara, clarinet

George Kuhr, violin Timothy Loo, percussion

Intersections

Canary

Stephen Syverud Electronic composition

Stan Gibb Eileen Broderick, soprano

Janet Noll, piano

- Intermission -

Walk in Time Barbara Bennett 1 Butch Rovan Barbara Bennett, keyboards

Butch Rovan, clarinet

Two Old English Songs Daniel Kessner 1. 0 Death 2. Lullay, Lullay, Like a Child

Katherine Peters, soprano Daniel Kessner, flute Karie Prescott, viola Greg Newton, guitar

Sonata for Piano Andante molto - Allegro molto Adagio Moderato, ma con mosso

A lthea Waites, piano

Matthew Hetz

* Second prize winner, NACUSA Young Composers' Competition, 1991

\

Notes on Two Old English Songs by Daniel Kessner

The Two Old English Songs were written as a spinoff from my earlier Ancient Song for alto recorder. viola and guitar. which also seeks to recreate the mood of ancient music. but in a new way. Among the special aims of the Engbsh songs is to create a.kind oftonality which,takes.certain basic modal,sonorities .as points of departure, moving freely, but logically from these to more dissonant sonorities, and back. The goal is not eclecticism. combining contrasting elements in the manner of a collage. but rather to achieve a consistent and limited harmonic language which admits both consonant and dissonant elements. Both songs take on the fonn of strophic variations.

0 Death Lullay, Lullay, Like a Child (Anonymous. 16th or 17th century) (John Skelton)

0 death. rock me asleep. With lullay. lullay, like a child. Bring me to quiet rest, Thou sleep'st too long. thou art beguiled.

Let pass my weary guiltless ghost Out of my careful breast. My darling dear, my daisy floure,

Toll on. thou passing bell; Let me. quod he. lie in your lap. Ring out my doleful knell; Lie still, quod she. my paramoure. Let thy sound my death tell. Lie still hardlie. and take a nap.

Death doth draw nigh; His head was heavy, such was his hap. There is no remedy. All drowsy dreaming. drowned in sleep.

That of his love he took no keep. My pains who can express? With hey lullay, lullay, like a child,

Alas, they are so smng; Thou sleep'st too long, thou art beguiled. My dolour will not suffer strength

My life for to prolong . With ba, ba, ba! and bas, bas, bas! Toll on. thou passing bell; She cherished him both cheek and chin, Ring out my doleful knell; That he wist never where he was; Let thy sound my death tell. He has forgotten all deadly sin.

Death doth draw nigh; He santed wit her love to win. There is no remedy.

He trusted her payment and lost all his pay; Alone in prison strong She left him sleeping and stole away.

I wait my destiny. With hey lullay. lullay, like a child, Woe worth this cruel hap that I Thou sleep'st too long, thou art beguiled.

should taste this misery! Toll on, thou passing bell; The rivers rough, the waters wan, Ring out my doleful knell; She spared not to wet her feet; Let thy sound.my death tell.--

-.. She waded over, she found a man Death doth draw nigh; That halsed her heartily and kissed her sweer There is no remedy. Thus after her cold she caught a heat.

My love, she said, routeth in his bed; . Farewell, my pleaures past, Ywis he hath an heavy head,

Welcome, my present pain! With hey lullay, lullay, like a child, I feel my torments so increase Thou sleep'st too long, thou art beguiled.

That life cannot remain. Cease now, thou passing bell; What dream'st thou, drunkard, drowsy pate? Rung is my doleful knell; Thy lust and liking is from thee gone;

Thou blinkard blowboll, thou wakest too late, For the sound my death doth tell. Behold thou liest, luggard, alone

Death doth draw nigh; Well may thou sigh, well may thou groan, There is no remedy. To deal with her so cowardly;

Ywis, pole hatchet, she bleared thine eye.

Notes on the Composers

Dinos Constantinides is Boyd Professor of Composition at Louisiana State Univer- sity in Baton Rouge. An eminent conductor, violinist, and composer, Constantinides is also the Director of the Louisiana State University New Music Festival, a series almost fifty years old. His opera Antigone was recently presented at LSU.

Benjamin Boone is a young composer from South Carolina where he is currently taking graduate courses at the University of South Carolina. He has studied music composition with John Anthony Lennon, Bernard Rands, George Tsontakis, Charles Fussell, and Gordon Godwin. A jazz saxophonist as well, Boone has had his music played at Aspen, Boston, and Los Angeles as part of new music series in those locations.

Stephen Syverud is an Associate Professor of Music at Northwestern University in Evanston, Illinois and director of the electronic studios in the University's School of Music. Recent commissions include music for the Arctic Brass of Norway and the Ciosoni Trio. His music has been heard at several national festivals including those of Bowling Green State, the Society of Composers' meeting in Alabama, and the Electro-Acoustic Music Festival at the University of Illinois.

Stan Gibb is a veteran faculty member of California State Polytechnic University, Pomona, and has been composing with electronic sound sources since the mid-60s. He teaches theory, composition, electronic music, recording techniques, and percussion at Cal Poly Pomona.

Daniel Kessner is a long time member of the faculty at California State University, Northridge where he directs the New Music Ensemble. His Two Visions for chamber ensemble was recently heard in New York City where he conducted it for the 60th anniversary concert of the NACUSA chapter.

Barbara Bennett is an officer of the Executive Committee of the National Associa- tion of Composers / USA and a member of the music faculty at University of California, Riverside, as well as the President of the Pacific Southern Chapter of the College Music Society.

Butch Rovan is a graduate assistant at University of California, Riverside and is about, to begin the doctoral program at University of California, Berkeley.

Matthew Hetz, a recent music graduate of Cal State Dominguez Hills, works at the Executive Life Insurance Co. and also is a violinist in the Westchester Symphony.

Program Notes

Le Pont Mirabeau is a classic French poem written by Guillaume Apollinaire. In setting this work, I uied to be m e to the natural rhythm, pitch, and inflection patterns inherent in this libretto. Thus, the melody is, for the most part, relatively narrow in range and conjunct.

I interpreted the second verse as a fleeting dream sequence, and thus set it as a scherzo. This poem, on first reading is characteristically somber. Yet, I found the reoccuring phrase "Je demeure (I remain)" to be

cast in an increasingly optimistic context. The music auempts to reflect this metamorphosis. I typically like to utilizea wide rangeof musical traditions in my work, and in this piece I combineelementsof the jazz tradition

with those of the French, all the while operating within a contextural sound world reminiscent of the nineteenth century. The primary harmony for this work is a set of three Perfect fifths, separated by a half-step:

The basic source material for Intersections is the sampling of various reed sounds. The sampled reed waveforms have been modified and the result resembles keyboard sounds. Through the use of sequencing software and various digital processors, individual lines were developed and combined. The sounds were recorded on four-channel tape and tape modification occurred during the final mix to create the composition on two-channel tape. The name Intersections was chosen to suggest the bringing together of two different methods of composition: deliberately planning all aspects and presenting events in a completely random and chaotic fashion. The pitch material is the result of a smct usage of serial procedures. The initial dynamics and durational aspects were also determined by the original series. The overtone content and attacwdecay characteristics as well as formal features of the composition were developed through random number series and chaos theory. The name Intersections suggests the point at which these seemingly opposing methods meet.

Billie Holiday's burned voice (Now you're cooking, drummer to bass, has as many shadows as lights, magic spoon, magic needle. a mournful candelabra against a sleek piano, Take all day if you have to the gardenia her signature under that ruined face. with your mirror and your bracelet of song.)

Fact is, the invention of women under seige has been to sharpen love in the service of myth.

Ifyou can't be free, be a mystery.

The text of Canary easily devides into three sections. The author spe& from the third person point of view and begins by establishing Billie Holiday as a burned out jazz singer in a night club atmosphere. The middle section speaks from the first person point of view with what seems to be Billie Holiday conversing with her accompanying musicians about their use of drugs and its influenceon theirablity to make their music "cook". The final section brings together the jazz singers plight with theroleof women in general and their part in defining love in spite of all else, concluding that i f you can't free yourself from all the trials of life, then be a mystery.

The pitch center is Eb, although sometimes questionable, and dominates the opening and closing in a non-traditional fashion. The accompanying bass, which is often clearly in Eb, is counter to the movement of parallel fourths in the piano right hand. The fourths are often voiced in a jazz style, sometimes hintingat traditional relationships but mostly quasi-modal. Short rhythmic and melodic shapes are treated as points of imitation on the word "sharpen" which is rhythmically tossed back and forth between the piano and voice. It's as though they are trying to sharpen their skills on the word "sharpen".

The vocalist uses the technique of speaking in rhythm using a general pitch contour. This occurs in the middle section for that part of the text that exemplifies her dialogue with her accompanying musicians. The rhythms used are typically found in jazz and popular styles of music. The hand clapping and finger snapping is intended to emphasize the rhythmic aspect of the music as it imitates the role of the drummer.

The vocalist on occasion slides her voice up and down between pitches. This technique is called parlando or portamentoand is used to emphasize the dramatic quality of the text. At times the technique is taken to an extreme as the voice slides the distance of intervals larger than the typical second.

There is a melodic shape that occurs several times in the vocal part throughout the piece. It is based upon the following pitch contour: Bb-A-G-A-D. Each time it occurs there is a mdfication of its rhythmic content, and the final time it occurs, it is drawn

\ out in rather lengthy note values as it supports the conluding statement "if you can't be free, be a mystery".

'4?, *.**

PROGRAMNOTES- . . - The NATIONAL ASSOCIATION OF COMPOSERS, USA is one of the oldest

organizations devoted to the promotion and performance of music by American composers. Founded in 1933 by Henry Hadley, the first American born musician to serve as Associate Conductor of the New York Philharmonic, NACUSA has counted among its members the most distinguished musicians -- composers and conductors -- of the 20th century. The organization sponsors several concerts each season featuring music by its members. It also publishes ComposerIUSA, a magazine that deals with issues relevant to the profession. Truly national in scope, NACUSA's activities not only revolve around major musical centers such as New York and Los Angeles, but have increasingly spread to other cities throughout the country.

Tonight's concert not only marks NACUSA's 60th anniversary but also honors composer Vincent Persichetti who for several years was the head of NACUSA's Philadelphia Chapter.

Brief biographical information for each composer represented on the program follows:

Nancy Bloomer Deussen is the co-founder of the San Francisco Bay Chapter of the National Association of Composers, USA. Educated at The Manhattan School of Music in New York and the University of Southern California in Los Angeles, she is the recipient of numerous awards and fellowships. Her works have been performed throughout the US and abroad and have been broadcast over several NPR and cable TV stations. Ms. Bloomer Deussen is amember of the music faculty at The Community School of Art and Music in Mountain View, CA.

The Trlo for Vlolln, Clarlnet and PIano was written at the request of Mu Phi Epsilon and the Palo Alto Cultural Center. The work was awarded a prize in the 1992 Delius Composition Competition. Highly accessible, the music is built around clear melodic lines.

Paul E. Beaudoln (b. 1960) teaches at Northeastern University in Boston while pursuing his doctorate in composition at Brandeis University. A graduate of The University of Miami and the New England Conservatory he participated in the 1991 Festival at Sandpoint where he studied with Milton Babbitt.' In 1992, he became the first American composer ever appointed composer-in-residence with the Royal Opera House Venture in Dartington, England.

Using a technique similar to the 'cut up' technique practiced by William Burroughs, Aphorlsms juxtaposes five differing musical thoughts. By fragmenting these materials, the shards fly off into new contexts, reshaping and reforming the musical landscape.

Jeremy Beck recently completed his doctoral studies in composition at Yale University. His mentors included Jacob Druckman and Lukas Foss. He has received grants from Meet the Composer, Inc., The Mary Duke Biddle Foundation, the Wellesley Composers Conference and the New Dramatists/Composer/Librettist Workshop. In 1992 he joined the faculty of the school of music at the University of Northern Iowa. His opera The Highway was recently produced in New Haven, CT.

Rhapsody, for clarinet and piano, was written during the Fall of 1992. The work is in two main sections: the first is bounded by dark, lyrical; material which is rhythmically unstable. The second section develops some of the ideas heard in the first section but is freer in its harmonic structure. A reminiscence of the first section's music leads into a wild and frenetic coda.

Vlncent Perslchettl's Twelfth PIano Sonata (Mlrror Sonata) is in four contrasting movements: Sostenuto-Risoluto; Amabile; Scherzoso and Brioso. A contrapuntal tour-de-force, the music of the sonata is built around a symmetry axis

dividing the keyboard into two levels: the music performed by the upper level (right hand) is inverted ('mirrored') note by note in the lower level (left hand). The main melodic and rhythmic ideas for the entire work are presented in the slow introduction to the first movement.

The Parable XXI belongs to a series of works for solo instruments. Persichetti's only guitar piece, the contemplative nature of the music reflects the composer's skill and craftsmanship.

Stefan Wolpe (1902-1972) is without doubt one of the most interesting musical personalities of the 20th century. Born in Germany, he studied composition with Anton Von Webern before immigrating to Palestine in 1934. He eventually settled in this country were he taught at the Settlement House in Philadelphia, Black Mountain College in North Carolina and C.W.Post College in New York. He was also a revered figure in the avant-garde circles of Darmstadt.

. Stehende Muslk (Muslc of Stasls) was written for a special event presented by the well-known radical Novembergruppe in Berlin. The music favors purely rhythmic and dynamic elements while relegating to the background traditional thematic and harmonic processes. Prophetically, the work anticipates the musical aesthetic of 'minimalism'.

Clarinetist/composer John Wlnsor was educated at Heidelberg College and Kent State University where he studied with Robert Marcellus and James Waters. A founding member of the Hardwick Chamber Ensemble, his works are performed regularly in concerts throughout Virginia and neighboring states. Mr. Winsor has received several commissions from the Virginia Music Teachers Association and is a 1992 winner of the Delius Composition Competition.

The Rhapsody for Clarlnet and Plano is in three connected movements (fast-slow-fast). The music employs melodic ideas built around the interval of the major seventh, canonic imitation and contrasting duple and rhythmic figures.

Fred Glesser's compositions have been performed throughout the US and abroad under the auspices of NorthISouth Consonance, Composers' Forum, South Florida Composers Alliance and the '91 Arts Festival in Sao Paulo, Brazil. His interest in computer applications has had occasional musical results of its use not only as a deterministic source for compositional materials, but as a source of direct sound materials.

For One was written at the request of Max Lifchitz. The music concerns itself with two issues: 'composing silence' --or composing 'space' into sounds-- and 'moving space'. The music starts high on the keyboard with slow, quiet activity, it works down the keyboard with increased activity and eventually returns again to the high end.

Paul M. Stoufler studied at the University of Pennsylvania where he won the Hilda Nitzche prize. A prolific composer, his catalogue contains over 100 different works for orchestra, band, chamber ensembles and chorus. Mr. Stouffer taught at the Philadelphia Musical Academy.

Written at the request of Ted Hegvik, Qulntet Op. 8 is in three contrasting movements: Rjsoluto, Langsam and Allegro con Brio. A strong 'neo-classical flavor permeates the composition. The music employs short motivic ideas, cadenzas, ostinati and classical shapes -- the finale is a 'rondo' movement --.

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