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					Orchestral Training Association Orchestra in 1952. From 1954 to 1956, hehmpleted the Teachers
Certijication Program at Teachers College, Columbia University. From 1960 to 1961, he taught music
theory and composition at the University of Alabama. He taught music theory and composition at Western
Illinois University from 1966-1968, at Paterson State College from 1968 to 1970 and from 1977 to 1978,
and at Herbert H. Lehman, CUNY from 1970 to 1977. Allan is Professor Emeritus of Virginia
Commonwealth University, where. he taught from 1978 to 1996:Allan1s works are published by Boosey &
Hawkes, Associated Music Publishers, Carl Fischer & Company, Seesaw Music Corporation, Music For
Percussion, Roncorp Incorporated, Falls House Press, and others. His music is recorded on CRI, Orion,
Advance, Open Loop, Centaur, Contemporary Record Society, Titanic, Pro Viva, and North/South labels.
Allan's composition prizes include awards from the George Eastman Competition (1983), the National
Endowment for the Arts (1983), the Virginia Music Teachers Association (1979, 1988, and 1991), the Eric
Satie Mostly Tonal Award, the Chautauqua Annual Choral Competition Award, the Lind Solo Song
Competition (l989), and the Flute Choir Competition at the University of-Toledo (1994). Allan is listed
in a number of references including the New ,Groves Dictionary of Music and Musicians.
Willia Estelle Daughtrey, Hamiton University Professor Emeritus of music, is a native of Portsmouth.
She received her Bachelor of Science degree in music education and piano from Hampton Institute, the
Master of Music and Doctor of Philosophy degrees in interdisciplii~aryhumanities-musicologyfrom
Syracuse University, New York. Willia served on the Hampton University music faculty from 1958 to
1997.

Adolphus Hailstork is Professor of Music at Norfolk State University. He received his doctorate in
composition from Michigan State University, where he studied with H. Owen Reed. Previously, he had
studied at the Manhattan School of Music with Vittorio Giannini and David Diamond, at the American
Institute at Fontainbleau with Nadia Boulanger, and at Howard University with Mark Fax. Dolph has
written many works for chorus, solo voice, various chamber ensenibles, band, and orchestra. Among his
compositions are Celebrahon,which was recorded by the Detroit Symphony Orchestra; the award-winning
band compositions, Out ofthe Depths and Amencan Guernica, and the award-winning choral and chamber
works, Mourn not the Dead and Consort Prece. In 1990, a consortium of orchestras commissioned the
Piano Concerto, which was premiered in 1992. Other coinmissioned works include Festrval Musrc for the
Baltimore Symphony and the opera Paul Laurence Dunbar: Comnron Ground for the Dayton Opera
Company. Recent perfoimances of Dolph's works have been led by Daniel Barenboim with the Chicago
Symphony, Lorin Maezel with the Pittsburgh Symphony, and Kurt Masur with the New York
Philharmonic.

Bmce Hammel received his Doctor of Music degree in bassoon performance at Florida State University,
where. he studied with William Winstead. At the University of Mchigan (Master of Music degree in wind
instruments), he studied with Hugh Cooper. He earned a Bachelor of Music Education degree from the
Crane School of Music and a Bachelor of Arts degree in biology from Hamilton College. He is Associate
Professor of Music at Virginia Commonwealth University, has extensive performance experience. He has
served as principal bassoonist with the Amarillo, Tallahassee, and Charlottesville symphonies, and
frequently performs with the hchmond Symphony on bassoon and contra-bassoon. He has been an amve
performer of chamber music as well and is currently a member of the VCU Woodwind Qwntet, Currents,
the University of hchmond's new music ensemble, and the Albermarle Ensemble at the University of
Virgirua. He has recorded with the National Wind Players on Klavier records and with Currents on the
Centaur label. He recently traveled to Poland to record Allan Blank's Concertinofor Bassoon and Strrng
Ensemble with the Polish National Radio Symphony Orchestra. In 1992, he performed as a guest artist at
the Shanghai Conservatory in China.

 James Preston Herbison, a native of Oklahoma City, Oklahoma, is Associate Professor of Music at
 Norfolk State University, where he teaches music theory, literature, and appreciation and conducts the
\UniversityOrchestra He earned the Bachelor of Music Education degree from the University of Oklahoma,
 the Master of Music degree from the University of Michigan, and the Doctor of Musical Arts degree fiom
 the Catholic University of America. After his appointment to the faculty at Hampton University in 1970, he
 taught music theory, coached chamber music, directed the Hampton University combined student and
 community orchestra, and taught humanities. In addition, he taught and directed orchestra in the Newport
 News public schools and taught private cello andlor chamber music at the Governor's School for the Arts,
 Christopher Newport University, and the College of William and Mary. Jim is currently assistant principal
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           .             . , -:. : - . .Jeanette is listed the 21st idition of.\yho's y o of @eriwWomeni'.Sheis-pBst president of the-.                             -. . - . ..               .      -
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                                        ~id'ter Music ~ A c h e r~ o w ' a q prekldent-elect of the Virginia:Misic Teachers AssocSOC&ition: . . - :, .: . . .
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                                                                                                  GGld Notes: She.is -z adjunct, faculty-m m . . .06 ...; . - . .....%,. . . . . .
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    .                  %                Orchestra and composition iviih'John-&ehart:and,J~s,~rs. received a Bachelor of Music degree . -"-1 ' . . . .
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                                        from H&delbeig'Collegea d a' ~ a s t & Arts,;degr&.in.
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     '                                                                            of                 m'usictheoryfrom Kent state'uriiversik He.has . . . . . . 1'.: .. . .. . .
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        - . . .: . . . . . . i has also taughtcliijriet, -musictheory, and composition at t h e - v i r g i ~Governor's School,f+ the' Arts. - . . .. . . . . . .
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                         . . . . . John's &mposition priies iriclude,the , l P 9 2 - ~ e Vocal Category &yard, the1995 DeliuS ~eybbard' . . . . . . . . .
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                                 : . :- ~a@g6ry    A&&' a .tbl.992-and .199+,VMTA Con@ssioned Composer Competitions. In addition:tq..'1'' . . .- .. - -. . . . - . -
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                  ~. . . .many N ~ ~ ~ ~ ~ p e r f o r m & c ethe U,+ted,States,.h$ w o r b . k r e rkntly!selected forpeerforhnceat ..: * . . :. . . .. . . . .. .
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                    . I .. - ~.. :. : the,l998'Southea$em ComposepLeagueFestival and .the'1998 SCI Region',IKConferen&.
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                                      - * e ~ e d . ~ r a n t s the A m e i i d Music Center and f r o m . ~ &t&e Composer, 1nc:Since ,1992,he'has
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                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                 \
                         The Fourth Vianne Webb Memorial Lecture
                                       in Musicology       .           .


                               .   .                                                                                                    .    .   .                       ,. .

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.   ,


                                           ,       '       The American Music cent&                                                                  ,   ,       .       .

                                                                                   Dr.Thomas Warburton
                                                       Universitycof North Carolina at Chapel Hill



        Dr. Thomas Warburton has been a member of the music faculty at the University of
        North Carolina at Chapel Hill since the fall of 1969. His courses cover topics in music
        history and music thkory. From 1994-97 Warburton was named the Bowman and Gordon
        Gray Professor of Music, in recognition of excellence in teaching undergraduates. He has
        published articles on a variety of topics, including sixteenth-century organ tablature,
        American opera, and ragtime in the music of Charles Ives. As a pianist, he has regularly
        given recitals that feature contemporary American music. He'has performed all the works
        for solo piano by Elliott Carter, one with the composer in the audience. His 'compact disc
        of the piano music of William Albright features the composer's Grand Sonata in Rag and
        the Five Chromatic Dances, which he conirnissioned in 1976.


                                       .               -
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                                   . .
                                                                                              -   .   Intermission
                                                                                                      , .   ,




                                   Second Season Opening Concert

        Evening'           '       .               .                                                                                '       Floyd Carleton Barnes
                                                                                                                            .   .

        .,           .
                                                                                                  i
                                                                                           ~ e r rHanson, alto  ,       ,                                    .       .
             .   .                                                                         Suzanne Schreck, violin
                                               ,               .
                                                                   .       '   .           James Herbison, cello .. ,           ,




                                                                                           Jeanette Winsor, piano
                            .   t
                                             The sun filters through the mackerel clouds. .                 ,
                                                                                                                                            ,       . .
                                             Sun that is &most set.leaves way for the dew.
                                             The . passes intb another.hemisphere
                                               .
                                                    - out of my world'    .   -
                    .   -                      ,                                            ,   '



                                                   . andintoanother.        .,              .           ,               ,       .

                                                          .        ,                                                                                             . .
                                    '         The lret grass licks my fAt as I ruk                                                                           .   .
                                              The trees settle their leaves for the night,                                                           .       .
                                                       very so often a rustle,             .        ,
                                                                                                                                                                 .   .
                                        '.   .   ,   '-as if a bird reaqnging its feathers.
                                             The wind is gone.
                                             The world is silent.

                                             The moon watches as I run.
                                             The fiiendly air caresses me
                                                      and breathes its sweet warm breath upon me.
                                             The clouds are gone,
                                                       the stars take up watch with the moon.

                                             The night orchestra begins:
                                                     crickets tuning up for a serenade,
                                                      a night bird giggles,
                                                      a bat fiolics in the air.
                                                                           ,
                                                                           .   ..   I   ,



                                              he &watches as the stars wihk at the &n.                              ,

                                             I lie on the soft, sweet b s , .
                                                          while night ldls me to sleep.
                                                              -.       I   .                                .   .           .       .
                                             The moon winks, the stars twinkle, the bats whisper.
                                             My dreams mngle with the night air.


        The Ethnic Sonata for oboe and piano features certain micro-elements which were~to     be
        part of a fimk tune (in the style of early works composed by James Johnson, Rogers
        Nelson, and Larry Blackrnon). Both outer movements are in traditional sonata form, and
        an arch form is used for the slow movement. Pitch materials are obtained fiom the use of
        thk dodecaphonic scale: the outer movements are on E, while the slow movement is on B..                                                 .        .
    *   A special feature of the work is the cyclic return of the principal theme of the first .                                        '


        movement during the coda of the third movement.


        Trio Fare (1998) is Teresa M. Cobarrubia Yoder's first attempt of writing a chamber
        string piece incorporating contemporary string techniques. Her original idea was to write a
-       flute, violin and cello trio, however, while working on it, she realized that two violins
        would add so much vitality and energy to the sound she was trying to create. The fast and
        frenzied sections contrast the lyrical imitative counterpoint sections. Yoder -ncourages
        independence of spirit in the performers' playing while asking them to see how-it all
        blends and fits together like a jigsaw puzzle.
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                                J m e s ~r&toh  ,~erbi&n,a'.hti"eof Oklahoma City7Oklahoma, is Associate Professor of Musicat
                                                                            .
                                                                            ,                           .                                 .:,          -        ".      ,                                                                                                                                                                                                                                                                                   ,                                                                     '                   '.

                     :. . . ,~krfolk University,.where he teaches m-ic he0ry: literiture, aqd appreciation and wndudsthe . . . . .
                                         State
          , . .              - university Orchestia. He earned .the ,BachelorofMusic Education;degree from the Uniiersity of Oklahoma,                   . :: .
    . - . . . . . . . the Master .of Music degee from the'U@versitjof .Mchigan,'and.theDdctor of Musical Arts degree from"', . . . . . . . . . . . . "                                                                                                                                                                                                                                                                                                                                                                                                             ,




    . .
                                the Catholic University-ofAmerica. After his;appointment to the faculty at Hamptonuniversity in 1970, he                   ..          -                                                                                                                                                                                                                                                                                                                                          ^                                        '



                                taught music.theory, coached chamber music; directed the Hampton Uqiversity combined student.md. '
                              .                             -           ,
            ..                                                                                                                                           .                                                                                                                                                                                                                                                                                                                                                ,
                   . .
                              .co&imity orchestra, and taught huma&ia'. 1rraddition;-hetaught and direct@ orchestra in the, N e m r t . .             '.        . -.
                  ,         . ~ e %    public schools and taughtprivate Cello and/or chamber music at the Governor's School for.the Arts, .: , .... .,; . . . .
                                                                                                                                                           .
                           . ~ h r i s t o ~ hN&pcirt University, h d the College.of William ahd Mary. Jim is currentlj.assistant principal:
                                              er                                                                                                    :, .:.                                                                                                                                                                                                                                                                                                                                    ,                           ,               ,                        '
     . . .                                                              ,

                                cellist-ofthe Virginia Symphony ahd principal cellist of the ~illiamsburg  Symphonia. He has-also been a .. . . ,
                                                                                                                                                                  . .. .
                                                                                                                                                                                                                                                                                                                                                                                                                                        ,   -:
                       .        member oft& Oklahoma City'Symphony, the Flint (M~chighn)
                                                                                    '           Symphony, the!Virginia Opera Orchestra,
                                                                                                    ,
                                                                                                                                                                    ..
                .                                                                                                                             , : . .         .     .,
            ..           . and the Nova Trio. .He hai performed in recitals, chamber ensembles, and with orchestras throughout the
                                                                                                ,
                                                                                                                                                                          .                                                                                                                                                                                                                                                                                 '            '                    '                                   ,


                    ; : . United S t a k and Canada. Notable                theseqerformandeswere his recital atthe, Cathedral of ~ t . ~ o h n .'. -
             . . ..
      . .                       the Divine in New York Ciw, h s performance of.Jer$dine'Herbison's compositions for.cello at thi
                                                                                                                                                            .     .
                           . Kennedy Centerfor the.l?erforming Arts in Washington, D.,C.,,the Nova Trio's performance and coaching . .                      . .                                                                                                                                                                                                                                                                     ,                           ,


                                session with'~enahem:~resslei.the ~ e a u Arts Trio at the ~ a n fcenter I Alberta, Canada, and'his . . . . . . .. . . . . .
                                                                of            x                    f
                          . .,  perfonpancewith the.Nova Trio on the ampact disc,' "An American Port of W l , " music of Adolph*


            . .
                                                                '
                                                                    ~eiddke'  Herbison received a h ache lor of Science de'gre,,from~irginiaState
                                                                                                    *                                                 University 1963. she has                    . . :.
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                                                    . . . . . also done po& gradete study in violjn, kilo, rhusic'th&@,ahd compbsition at Virginia State University;
                                                        ,                               -'
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                                                                                                                                                                                                                 .
                                                                                              h
                                                              . the University of ~ i c h i g Division at.Interl'heq 'Hampton university,'the University of Alaska at
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                                                          .. ' . Fairbanks, Christopher NewpoqUpiversity, and East Central State:University. Her teachers include
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                                                       .       . .Thomas C. Bridge, Percy Kalt, Wgter Swede, ~ a y .      Montoni; cello with L i n e Rosknthal, Alex Segal, .and         - . . . .
                                              .                                                                                                                                                                                                                                                                                                                                                                                                                                                               ;
                                                                . ' James P. Herbison, &d theory and composition with ~ n d i n e    S:Mhre, Buckner Gamby, George Wilson, :. . . .                                                                                                                                                                                                                                                                                                       'I




                                                      .
                                                    , .             and ~ho&s,Clirk. Jeraldine was honor~.ccimposer.at      Interlochen in 1979..In 1980, James Hertiison . . . . ' . . -., . . ,                                                                                                                                                                                                                        ?'.

                                            . . ' .. . . performed' her cello pieces.on the Composeri Forum of the National lack CompoiersC.olloquemat the. -
                                            .       '                                                                                                                  . .                  . .
                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                          1           .




                    .       .                      . . : . . Kennedy Center for the Perfo&ing-Arts. In'J993, ,theAfro-Aniencan Chamber ~ u s i Society . I  c                            . (. . , . . . . . . .
                                                                                                                                                                                                         .                                                                                                                                                                                          '                                   ~   ~




                                            .       %   .
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                                                                                                                                                     was
                                                                 . 'commissioned,andperformed her,Cello Concerto No. 1. Dawn ~ost&-~odson the cellist. Her
                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                  ~
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                                                                                                                                                                                       . . . . . .-
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                    .               .         . . . .               Conchtino for yiola'ghd chamberorchestra'wasperformed by Beverly Baker and the Richmond . . :
                                                                                                                ',                                                                                                                                                                                                                                                                                      ,                          .'
                                                             ...                                                                                                                                          . .
                                                                    Philharmonic irf1996. In 1997; Jeraldine was the featured composer on a symi>osiurnof black women . -                       .                                                                                                                                                                                                                                           -,


                                                                    composers at Hawton Universit4;. F e r a l of her works were performed,:-including ~ r i No. . 3, which was . . . . . I
                                                               . . -commissioned
                                                                                                                                                              o
                                                                                  by the Nova Trio, Jeraldine, who fornierly taught and directed middle.schoo1orchestra in                -: . . . . .
                                                                                                                                                                                                                                                                                                                                                                                                                                                                    :
                                                       .'. ,. '     the Newport News Public Schools, retired in 1998: Her string orchestra pieces have been performed by the ;                 .         . _, . _
                                                                                                                                                                                                              ..                                                                                                                                                                                                                                                '                         ,



                                                           ,
                                                                                                                                                     and
                                                                . by or ahd Senior Regional orchestras, by Newport N e e All~Cityorche.ds, by individual school, .
                                                                                                ~     r                                                          e
                                                . . . . . . orchestras in Newport,Ne~. 6 uof her pieies for .string orchestra are published by ~ e l k Publishing ,
                                                                                                                   . . .                     . .                                   . .                . . . - .                                                                                                                       ,                                                                                                                                 ,
                                                  . . .             Company in Maryland. :              . .. - . .      . .   .. . ,
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                                        '          . .,         ,        Kyong Jarrell has W* ~ o f & s dof Plan0 at Hampton ~qiGcrsity
                                                                                                         r           ,U
                                                                                                                      E.               since 1.995.'she received the : ;,. - . ', . .
                                                                                                                                                                              ,                                                                                                                                                                                                                                                                                                  ,                            ,.


            .               .                   .
                                                     .        . Master of Music in Piano Performance and-theBachelorof Music,inPiario Performance from Yeungnam . . . - ..
                                                                                ',
                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                          ,       .               .                   .                .
                                                  . .          . University in South Korea, where she won the ~eethovenSonataComp'etition 1987. She is the pianist
                                                                                            '                                                 in                               . ' ..                                                                                                                                                                                                                                                               ,'      '
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                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                      . . .                       .

                        .                       .        ' .     f i r the Hampton.Uhive&ityWind Symphony and a pianist/conductor/firstsynthesizer player for the. . -
                                                                                                            ,
                                                                                                                                                                          -        .                                                                                                                                                                                                                                                                                        ',       ,

                                                    . . , HamptonPlayers Company.' In: 1997 she was a-soloistat thefirq.Black Women's ~ ~ p o s i l l m ,       hosted by       ', . . .
                                                        ,    .   Hampton Unjversity, and.in 1992 she peiformed gn'Aid- Honors Sdlo Recital at the Yeungnam Music .                                                                                                                                                                                                                                                                                                  ,
                            .
                                                             . Schobl. She alsq appeared as a soloist with .the Ye.ungnam Orchestia in 1988. . . . . . . . . . . . . . . .. ..
                                                ,


                                            ,               . .
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                                                                                                                                                                                                                                                                                                                                                                                                                                                .
                                        'Mary whews&c+ived a            :.   of ~ u s i dewee,
                                                                                        c   ,      labde from ~ucknell,lJniversity a Master i f :: .
                                                                                                            -                       and                                              ache lor                                                                                                                                                                                                                                                                           ,

                                                                                                                                                                                                                                                                                                                                                                                                                                                                                              .                       '               ,
.       ,
                                       . MuSlc,degrkein vocal performance from,~orfok     State,UniVerslty.Shetaught.voice at.Christ0pher Newport       . .                                                                                                                                                                                                                                                                                                                              . . . -

                         ._.
                            ,  - :, University for N t k y e . . She also direct* the Opera Workshop t h e r e : W has performed with the . :.- . .. .. .
                                            ,


                          . . . . .. . . Virginia Opera,.Light Opera of Virginia, and asa;c&umed krforihei at Colo+al Williamsburg; Sheis,            .
                    . .          '
                                       :currently under contract with the Virginia Chorale, Virginia's sole prof&sional:chorus. Shelis well known .'I   . :
                                         throughout ~idewater asd1ois.t and recitalist For fifteen years, she sang a t Temple Sinai as cantor h d :
                                                                as                                                                                                                                                                                                                                                                                                                                                                                                                        .                           .   .               .
    .       ,        , .        ~

                                         for the past threeyears shehas.seped as Directorof Choral Music at the First United Meth0diq:Church in .
                                                                                                                                         .   .                                                                                                                                                                                                                                                                                                                  '




                                   ... .Newpart News. She resides in I-Iaplpton,.where she nqintains @.active private teaching studio. . . "                                                                                                                                                                                                                                                                                                                            ,,                .                   .
                .     .     .               ,                                                                                                                                                                                   .
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                                                         ..                                                                                                                                                                                                                                                                                                                                                          ,         '            ,
                                                        .                                                       "    C h r i s t i n i ~ Morton received a degre in,Music.Eaucationfrom ~orth&ste+ Univepity 6 1983, qnd
                                                                                                                                         .                                                                                                                                                                                                                                                                                                                                   . .                      ,



                                                        ,
                                                                        ,
                                                                                .,                  , .
                                                                                                                     then came to teach violinin Norfolk,,Virginiawith the TwinkleIsto Sizzlers..:Suzuki Violin sti~dio:  At                                                                                                                                                                                                                    ,




                                                                                                                     that time she also joined'the Virginia Symphony,as a violinist..Since,then she-hastaughttmusic in the - .
                                                                                                                                                              . . . .                                                                                                                                                                                                                                                                               -.                  '            .                        .               ,



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                 Teresa M. Cobarmbia Yiider is the highschool music teacher at ~ a l s i n ~ ~ ck d e &in
                                                                                                  h a
                 Williamsburg, the pastoral music director for Immaculate Conception Catholic Church in Hampton, a
                 piano teacher of an independent music studio in Norfolk, and a founding member of Musica Intima, a
                 chamber trio. In 1988, she graduated fiom Old Dominion University with a Bachelor of Science degree in
                 music composition. Teresa studied composition with John Davye and piano with Elizabeth Pappas and
                 Frieda Vogan. During a summer M t u t e , she studied conducting and sang under the direction of Paul
                 ~alamunohch.   ~eresa's                                      at
                                         compositions have been p e r f o ~ e d the Viginia Music Educators Conference,
                 Old Dominion University, Scherzo Music Club, Tidewater Music Teachers Forum and various churches
                 and schools in Virginia, Ohio, Washington, D.C., Baltimore, Philadelphia and New York. She has
                 conducted choral workshops and assisted with the music for various Diocese of Richmond functions. In
                 1995, Teresa was awarded a grant from the Williamsburg Chamber of Commerce for a study with her
                 students on implementing music technology with colonial tavern music. She was also awarded a grant
                 from NASA for study with the Virginia Institute of Technology. Teresa is the Virginia representative for
                ,National Association of Pastoral Musicians and Music Educators, the vice president for the Sigma Alpha
                 Iota Norfolk Alumni Chapter and the treasurer for the National Association of Composers, USA,-Tidewater
                 Chapter.




               The National Association of Composers, USA (NACUSA) was formed in 1933. It is
                ,


               one of the,oldest organizations dedicated to the promotion ,and performance of music by  .           .


               Americans. NACUSA haschapters i n . ~ &Angelis, New ~ork,'~hiladel-bhia, 1 :
                                  .                        s         ,                                 San
               Francisco, Boston, at on Rouge and Tidewater. Charter members of the Tidewater
               chapter include Jennifer Margaret Baiker (President), Floyd Carleton Barnes, Leigh                                                                                                                                                                   ,

              ,Baxter(Secretary), Allan B l e Jerayine Herbison,'Adolphus ~aiistork,              kdain Olenn,
                                                                                                  e n-t. .
                                                                                                         Teresa ,
            . Walter Ross, Justin Stalls, Haryey Stokes, John ~ i n s o r ( ~ i c e ~ ~ r e s i d . a d ) ,
                .                                                                                                                                                                                                           .

               Yoder (Treasurer). Erich stem joined the chapter for the 1998-99.season.
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                                                            pres.e*t'eii e
            . During the 1997-98 season ~ ~ ~ ~ s ~ l ~ i d e w a ttwor concerts of new music at
              .
            : Old ~ominion  Universityand the. Uni~ersityofkchmond re&pectively. his season the
                    concert at Christopher Newport University will be followed by a second concert,
                    featuring the works of Leigh'Baxter, Allan Blank, Adolphus Hailstork, Jeraldine Herbison,
                    Erich Stem and Walter Ross, at the Richmond Public Library - Gkllman Room on
                    Saturday 13th February at 2.00pm. On October 30th 1998 the chapter hosted a reception
                                                            ~e          donference,held at' Christopher.
                    for the 1998 Society of ~omposer's,~Inc. ~ i o. n 1 1 ' 1
                     ~,                                                                                     .
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'       ,           Newpoit University;                                                                                                                           .                ,

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                         '                                                                     home.
                                     ~ ~ ~ ~ . ~ A / T i d eWeb page: www.thebook.corn/harwic~ntw. htm
                                                 .          &ater                         ..
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            .        .       .                                                                                                                                                                         .           :.
    .       >            .                                                                                                                                                                                                          ,       .       .
                                                    .            ,NACUSA/National Web Site: &.thebook.corn/nacusa
                                                                 .                .
                                                                                                                b
                                                                                                                                            .   .
MARK ALBURGER is an eclectic American composer of postminimal, postpopular, and postcomedic sensibilities. He is
Editor-Publisher of IOrh-Centuty Music Journal, an award-winning ASCAP composer of concert music published by New Music,
oboist, pianist, vocalist, recordmg artist, musicologist, author, and music critic. Dr. Alburger began playing the oboe and
composing with Dorothy and James Freeman, George Crumb, and Richard Wernick. He studied with Karl Kohn at Pomona
College; Joan Panetti and Gerald Levinson at Swarthmore College (B.A.); Jules Langert at Dominican College (M.A.); Roland
Jackson at Claremont Graduate School (Ph.D.), and Terry Riley. Dr. Alburger's recent performances have included the Chicago
premiere of Orpheus Cycle and the premiere of a new chamber orchestra version of the same work with the Sounds New
ensemble. His Business as Usual will be performed yet again by Tuolumne Brass in June. Two CDs are currently in production:
Business As Usual [New Music]- with Molly Axtmann, Elizabeth Lee, and Jeana Ogren - and The Twelve Fingers [North/South
Consonance] with Max Lifchitz. He recently completed Animal Fann: Grand Zoological Fanmsy-Variations and is cwently at
work on his Symphony No. 4 ("Sequence Music'j).

         SYMPHONY NO. 1 IN C MAJOR, OP. 21 ("It wasnt classical, it was symphonic..." "It wasn't a symphony, because it
         did not have a sonata allegro...") (1998) is the first of a projected series of nine "grid" symphonies based on
         correspoilding numbered works by older composers. The magic book for this composition is that of Beethoven's
         Symphony No. 1, from which is taken form and spirit (including exact number of measures, tempo markings, key, and
         even opus number), but little content The lengthy subtitle refers to overheard comments which form the melodic bases
         of two themes in the opening movement. The third-movement Menuetto e Trio, actually a scheno in the Beethoven
         model, is a manic and melancholy gallop through sardonic classical and minimalist material. The music was written in
         two days of February 1998: the first sunny (a bright Menuetto), the second cloudy (a dark Trio). Philip Glass and
         Beethoven's Fur Elise commiserate in the latter section's sour snap rhythms.

JOANNE D. CAREY holds a Bachelor's Degree and Mastds Degree in Music Composition from San Jose State University,
where she studied with Allen Strange and Lou Harrison. A guest composer at the Center for Computer Research in Music and
Acoustics (CCRMA, Stanford University) since 1983, she lives in Palo Alto with her husband and two children. In addition to
composing, she has collaborated H;ith composer-inventor Max Mathews on the development of new improvisation programs for
his radio-baton. Ms. Carey has composed three computer-generated tape pieces at CCRMA. Two of these, Zntonatim of the
Wind (1990) and Clouds'Lament (1988) are based on FM synthesis of singing tones and represent an intense exploration of this
medium. Her recent work has focused on pieces using the Radio-Baton with a live soloist These include a song cycle, Three
Spanish Songs and Adventures on a Themefor Flute and Radio-Baton, which uses improvisation programs she developed with
the help of Max Mathews. The Three Spanish Songs have been performed in Guanajuato, Mexico (19%), in San Jose, California
(1995), at the 1995 SEAMUS (Society of Electro Acoustic Music in the United States) conference in Ithaca, New York and in
Warsaw and Krakow (1993).

         AQUI (1993) along with its companions La soledad (1992) and Gmcias (1994), were inspired and influenced by
         Spanish Flamenco and indigenous South American music, and the later poetry of Chilean poet Pablo Neruda. The
         spirituality and humanity of this great poet continues to impress me deeply. In the process of blending Neruda's poetry
         with the rhythms, flourishes and instrumental sound of these Spanish and South American musical traditions, I drew
         mainly from strains of solitary meditation and deep sorrow buoyed by irrepressible exuberance and hope. The score of
         the electronic accompaniment was created on a Macintosh IIfx using a composition program called DMM that was
         developed by Stanford graduate Daniel Oppenheim, DMA. The sound material was generated on a Yamaha SY77.
         Most of the voices are presets, with the exception of the bell sounds and a couple of hybrid sounds that I constructed
         and a sound that might be described as a "sliding sigh" that was made by Dr. Oppenheim.

NANCY BLOOMER DEUSSEN is well known throughout the San Francisco Bay Area as a composer, performer, arts organizer
and music educator. She is a leader in the growing movement for more melodic, tonally oriented contemporary music and is co-
founder of the SF Bay Chapter of the National Association of Composers, USA. Her works have been performed throughout the
US and Canada and she has received numerous commissions both locally and nationally from such performers and ensembles as
The Oakland Chamber Orchestra, The Walnut Street Chamber Ensemble, The Baton Rouge Concert Band, The Bresquan Trio,
The Santa Clara Chorale, The Women's Caucus in the Arts, OPUS 90 Chamber Ensemble, Richard Nunemaker, clarinetist, the
Tanana High School Band, the Gabrieli Brass, Soundmoves, the Mission Chamber Orchestra, the Semper V i r m environmental
group, and The Sandusky Music Festival. The 98-99 season will bring a performance of her orchestral work Ascent to Victory by
The California State Hayward Symphony Orchestra, this work just having been released on a BMS CD. Performances of her
Pegasus Suite will take place in the Bay Area, England, Sweden, Mexico and Greece; a performance of Parisian Caper will take
place at The National Saxophone Convention in Atlanta, GA.

         PARISIAN CAPER was a commissioned work for SOUNDMOVES,an ensemble from Western Oregon University. It
         was premiered in January 1998 at the university with the composer in residence. It was one of the featured works at
         this y&s National Saxophone Conference held in Atlanta, GA. It depicts a whirlwind tour of Paris with the espresso
         houses, jazz clubs and walks along the Seine.
                  I held a good position
               All through the Inquisition.
 I get so much enjoyment from continuous employment

             Except when s i l l y Henxy Thoreau
             Called the Better Business Bureau.
             Do you know what it's like to lieth
               With both David and Goliath!



                              -
                Joanne Carey AQUI (Pablo Neruda)


                Aqui

                Me vine aqui a contar las campanas
                que viven en el mar,
                que suenan en el mar
                dentro del mar.

                Por eso vivo aqui.


                Here

                I came to this place to count bells
                the bells that live in the sea
                that sound in the sea
                under the sea.

                That is why I live here.




Carolyn Hawley - THREE VIGNETTES (Joe Smith)


Galilee

I will go before you into Galilee,
like one risen from the dead by your touch,
my heart pounding wildly at the miracle of its own wild pounding.
Meet me there, where olives are ever ripe and sweet,
on the shore watered by the sea called Galilee.


Rain on the Roof

1 lie, lost in the slush of rain on my roof,
Rain the almond tree uses to fashion pink fireworks of flowers.
Then it stops and clouds part to make way for the moon,
Slipping past, hastening to fill my bed with the missing feel of you.


Your Hands

Your hands are the wind that lies in wait all spring
to shake rivers of golden light
from just opened tassels of wheat.
At night you hear a dance when the moon with her bracelets of hammered silver passes by,
and your hips move east and west.
    BRUCE HAMILL has a Bachelor of Music Degrke in Composition from the Berkelee College of Music in Boston, an Associate




              LYRITA is a romantic Andantino in ~ o b d o     form (AABACA). Written in 1996 in a personal pandiatonic modal style,
              the piece is just moderately difficult to play. A flute and piano version is also available.
                                                     I
    CAROLYN HAWLEY is a pianistcomposerconductor with a MasMs Degree from Mills College, former Lmy College Music
    Instructor, and ten-year Conductor of the Ukiah Symphony. She resides in Half Moon Bay where she teaches privately and
    performs as pianist with the Coast Classics Trio. 1 Hawley is also a Church Organist / Choir Director in San Francisco. The


    numerous awards for composition and piano pedonnance. Her "Rwian River Mass" was premiered in 1989 by the Ukiah



              The THREE VIGNETTES, for Tenor a h Piano, were composed to a cycle of poems written by Mendocino County
                                                      n
              poet Joe Smith. The first song is dedicat& to Hawley's friend and companion Ludwig, who died this past December 1,
              and whose name is called throughout.

t
    A graduate of Oberlin Conservatory, WARNER JEPSON has been composing in San Francisco for theatre (A.C.T.), film (The
    Bed), dance (San Francisco Ballet's Totentanzl. museum and gallery openings (music made on the then-new Buchla synthesizer),


    played in Chicago in '971.
                                                      I
              I'VE BEEN AROUND was written for a dusical, Humpry D!, and was originally intended to be sung by a woman with
              a rather ti-isky reputation...

    MICHAEL A. KIMBELL (b. 1946) studied with
                                                      I
                                                     J~P  Davison and Alfred Swan at Haverford College, and with Robert Palmer
    and Karel Husa at Cornell University, where he reyived his DMA in composition in 1973. He studied clarinet with Donald
    Montanaro of the Philadelvhia Orchestra. and is currently clarinetist with Trio Arcadia and with the San Francisco Community


    Kirnbell's compositions include chamber. choral. and orchestral works. as weli as short oDeras and children's theatre music. He




    HELENA MICHELSON was born in Moscow. ~ u s d a and was raised in Riga. Latvia where she beean her music studies at the
                                                   .                                                                                  I



i   sym6sium held at Newporf Oregon.                     I   '




    ENRIC ZAPPA studied composition with Louis Martb, Donald Lyybert, and Anthony Braxton He founded the Oakland Civic
    Orchestra and was conductor from 1991-1997. Mr. Zappa currently teaches at the Head Royce School in Oakland.
You are invited to stay after the concert and speak with the composers.

The National Association of Composers USA (NACUSA) is a non-profit organization whose goal is to
foster the .composition and performance of new music. Founded in 1932 and now with branches in Los
Angeles, New York, Philadelphia, and San Francisco, NACUSA continues to be an active and most vital
outlet for composers throughout the country. Inquires regarding membership may be addressed to I'lana
Cotton at (650) 367-1683. General inquires may be directed to Nancy Bloomer Deussen, (650) 858-0172.


NACUSA San Francisco is a non-profit organization in need of support.
                                                                                        ...
Taxdeductible contributions may be sent to:

THE NATIONAL ASSOCIATION OF COMPOSERS
San Francisco Bay Area Chapter
3065 Greer Road
Palo Alto, CA 94303


Acknowledgements

The Members of NACUSA San Francisco would like to recognize with heartfelt thanks the following
contributors to the 1998-99 concert season:

Dr. Mark Alburger
Ms. Annette Axtmann
Music Library, University of California at Berkeley
Ms. Ilse Calabi
Mano Murthy
NEW MUSIC Publications and Recordings
Ms. Jeana Ogren
The City of Palo Alto, Division of Arts and Culture
Mr. Robert and Ms. Carla Schenk
Mr. and Mrs. Michael Scofield
Ms. Emily I. Ward

This concert is presented by the National Association of Composers, USA, San Francisco Bay Area
Chapter, in cooperation with the City of Palo Alto, Division of Arts and Culture.


Committee for tonight's concert:

Concert Production: Owen Lee
Publicity: John Beeman, Carolyn Hawley, Marilyn Hudson
Program: Mark Alburger, NEW MUSIC Publications
Programming: John Beeman, Carolyn Hawley, Kathleen Nitz
        PROGRAM NOTES -- Compiled a n Edited by Max Lifchitz

                  Mary Jeanne van Appledorn wak educated at the Eastman School of Music where her mentors included
        composers Bernard Rogers and Alan ~ovhankss.Her oeuvre includes works for orchestra, band, chamber and choral
        ensembles, solo instruments and electro-acousticImeans. Her compositions are published by among others, Arsis Press, Carl
        Fischer, Gaudia Publications and Oxford ~ n i v k r s i tPress. They are available on the Capstone, CRS, Century, Crest,
                                                                  ~
                                                              a
        Northeastern, NortWSouth. Opus One and ~ i e n n Modern Masters record labels. Her works have been performed throughout
        the Europe, Japan and the US in concerts sponsoded by the Inoue Chamber Ensemble, NortWSouth Consonance, the Society
        of Composers, the Women Band Directors ~ a j i o n a lAssociation and the National Association of Composers, USA. A
        recipient of annual ASCAP Awards since 1980, Dr. van Appledorn is the Paul Wtfield Horn Professor of Music at Texas
                                                            I
        Tech University. She provided the following program note for her work:
             ~ n c a n t a t i o n s ,a four movement work f6r oboe and piano was commissioned by Amy Anderson for the 1998
        International Double Reed Society Conference. In Memoriam is an intense musical statement reflective of the emotion
        experienced in the loss of a loved one. This is expressed at times by quarter-tones or multipohonics sounded against prolonged
                                                            I
        vertical structures in the piano. Bacchanal suggests a Roman Festival honoring Bacchus with its frenzied dancing, singing and
        revelry. The dancing oboe lines are accompanikd by ever-moving rhythms and arpeggio figures in the piano. Ambience
        introduces a mesmeric event for 'the listener id which the oboe has very active melodic lines rising against ambient
        "sostenuto" effects in the piano. Ritual expressks energetic ceremonial concepts by the oboe against the constant triplet
        division of the quadruple eighth-note beat in the $iano.
                                                          I
             Based in Arlington, MA Kenneth Girard received his B.M. (1977) and M.M. with Honors (1979) degrees in
        composition from The New England conservatody of Music in Boston. He has produced a significant body of work including
        a symphony, a work for piano and orchestra, a biolin concerto, numerous works for various chamber ensembles and solo
        pieces, in addition to a variety of works in progre!ss (among which are several symphonic pieces, chamber works, and a string
                                                            o
        quartet). Mr. Girard's music has been performed d critical acclaim in the United States and Canada. Concerning his work, the
        composer writes:
             "My Suite for Piano, Op. 20 was begun in July of 1995 and completed in June of 1998, although the 4th
        movement of the work was originally begun in1 1993 as the 2nd movement of an unfinished second harpsichord sonata. It
        consists of seven relatively short movements with a total duration of approximately 10 minutes. The work is conceived
        primarily melodically/polyphonicallyand its landuage is that of free-pantonality.
             The first movement begins quietly with a shbrt section of 3-voice polyphony culminating in a loud arpeggio. The second
        movement is in sharp contrast to the texture and ideas of the first. It is virtuosic and begins with three string, clarion chords.
        Movement 3 is homophonic, commencing with1 the repetition of a single pitch that emerges into a progression of chords

I       which expands the range outward, and conveys a quality of inevitability building to a loud climax. The fourth and central
        movement of the suite is a 4-voice motet. This ~dngest
                                                            1 -
                                                                             .          an
                                                                   movement ~roiects im~elline
                                                                                  .,              d
                                                                                                  .
                                                                                                      character as voices enter in. de~art.
        and return while progressing in a relatively simple rhythmic texture. Movement 5 is a single melody that traverses much of
        the range of the instrument. The action is fast, brief (a total of nine measures), and toccata-like conveying a sense of urgency
                                                                                                                  -  -               -  -




I
        that alternates with an occasional lyrical sweep. I~ sharp contrast, the sixth movement begins quietly. Its texture is that of a
        two-part invention in which the two voices are bcupied in a very lyrical and expressive dialogue. The seventh and final
        movement unfolds in a serene manner via a slowly ascending arpeggio that transforms into polyphonic areas of ever-
    '   increasing intensity and impassioned declarnatiod which attain fruition in a series of robust arpeggiations."
                                                           I
             Jeremy Beck (b. 1960) holds degrees in composition from Yale University, Duke University and the Mannes College
        of Music. His catalog includes a number of litekary compositions. Three such works are Black Water, a monodrama for
        soprano and piano (from the novel by Joyce ~ & o Oates), Death of a Little Girl with Dove, for soprano and orchestra
                                                                l
                                                            I
        (inspired by the life of sculptor Camille Claudel) and Laughter in Jencho, a chamber opera based on the final confrontation at
        Ruby Ridge between white supremacists and ~edekal     agents. Dr. Beck has received awards and fellowships from the American
        Composers Orchestra, American Music Center, Civic Orchestra of Chicago, Millay Colony for the Arts, Mary Duke Biddle
        Foundation, Wellesley Composers Conference, O!egon Bach Festival, American Music Center and the American Council of
        Teachers of Russian. He has published articles Ad reviews in "Notes" (Music Library Association), "Essays in American
        Music" (Garland Press) and "Composer USA", an!d has taught at the St. Petersburg Conservatory and Herzen University (St.
        Petersburg. Russia) and the Kopeyia-Bloomfield school (Ghana) His music may be heard on the ERM, CRS, heng hau, and
        Living Artist labels. Currently, he is teaching at Fhatham College in Pittsburgh, PA.
             Dr. Beck provided the following information for his piece:
             " Since the cello was my first instrument, my sonatas for 'cello and piano are becoming touchstones for my work and

                                                          4
        reflect my evolution as a composer. I've given subtitle to this sonata: "Moon." As well, each of the three movements
                                                                                                                                     '4
canies both a heading and an ending title. The headings are classical references, suggesting historical derivations and structural
nuances; the endings are poetic, all of which are connected to the primary image of the sonata. These poetic ideas are meant to
open emotional windows into the interior of the piece, rather than suggest specific visual cues. "Aria da Capo (...sings upon
waking.)" begin* with a lyrical aria for the 'cello, accompanied by a simple ostinato in the piano. However, this ostinato is
deceptively simple, for within it one may find the seeds for the other two movements of the piece. The middle section of this
movement becomes much more rhythmic, with a jazz-like interplay between the instruments. This "middle section" actually
ends the movement, and the expectation of a da capo aria is unfulfilled (for the moment). "Pavane (...receives a Princess.)" is
also in a suggested ternary form. Here, the A sections demonstrate a reinterpretation of the first movement's texture, with
another melody in the 'cello supported by an ostinato accompaniment. The B section continues the opening flow of the
music, but at twice the tempo, giving the music a sense of almost boundless rushing. There is a brief coda which brings
back the opening tempo but, again, like the first movement, there is no true return. The last movement, "Galliard
(...observes the precious foibles of the Earth.)", begins with a fast, chromatic figure in the piano. This chromatic figure is
varied as it unfolds and, simultaneously in augmentation, it becomes the 'cello's principal melody. The form of this
movement is rhapsodic, suggesting something like a "developing rondo" with interludes. The first interlude is a brief
digression' for the solo 'cello, an unaccompanied meditation on the principal figure. After this, the fast music continues, until
we reach a moment which suggests the next interlude. Instead, the final statement of the second movement unfolds, and this
is then followed by the da capo aria of the first movement, which had been left unfulfilled. It is as if the final movement's fast
music had continued on, spinning into silence, while the musicians at hand revisited unfinished thoughts."

     Candace Wheeler is currently a candidate for the Doctorate of Musical Arts with a major in Music Theory and
Composition at the University of Miami in Coral Gables Florida. Ms. Wheeler has been active as a free-lance artist in New
York City for over a decade. Her original compositions and arrangements have been recorded on Mitad del Mundo Records,
Orfeon Records, Marola Records, TLM Records. her works have been published by One Hot Note Music Inc., a subsidiary of
BMG Music Publishing and CBS Records. One of her latest works, Woodwind Quartet for Five Soloists has been released by
a University of Miami C D entitled UMSCI 11. Most recently, she has been teaching Music Theory and Ear Training at the
University of Miami and at various other educational institutions in Dade County, Florida. The composer states:
     "Breakdown Spectra For String Quartet is a work inspired by the American Bluegrass fiddle style and Bluegrass
fiddle champion Mark O'Conner. It was composed using tones derived from the frequency spectrum of a cello's low D string.
The harmonic spectrum of the cello's low D was identified up to the thirty second partial using digital FFT analysis. The
harmonic partials were then grouped according to instrument ranges and remoteness of the tones to the fundamental, and
arranged so that there is a movement toward the more remote tones as the work progresses. This creates the effect of a gradual
increase in harmonic dissonance and chromaticism. The increase in harmonic tension is reinforced with a ,simultaneous
increase in rhythmic density, dissonance, and syncopation."

      A native New Yorker, Maurice Gardner (b. 1909) received his musical training at the Juilliard School where he
studied composition with Leopold Mannes. He was founding Conductor and Music Director of the Great Neck, N.Y.
Symphony, and is the recipient of commissions from Meet The Composer, The Barlow Foundation, Chamber Music
America, the State of Florida, The William Primrose Archives, as well as awards and honors from the American Viola
Society. He has authored The Choral Reader, the Orchestrator's Handbook and has several hundred published works to his
credit. After a career spanning four decades as a composer/arranger for films, radio and television, Mr. Gardner moved to
Miami Beach, Florida in 1970 where he resumed composing for the concert stage. His compositions have been performed
throughout the United States, Canada, Europe, Asia, Australia and South America.
      Concerning his Quartet No. 3, Mr. Gardner writes:
      "Examining the score of this quartet, one observes the total absence of key or time signatures as well as the
unconventional opening of the first movement marked Moderato. A cryptic, animated mood marks the second movement
Vivo. This is accentuated by a spirited fugato returning to the first statement to end the section on an enigmatic note. The
serene Larghetto is in traditional A B A form features the cello in a flowing cantilena melody. Although transient dissonances
appear from time to time, the tranquil mood prevails. The fourth movement marked Tempo rubato is actually a short bridge
that builds gradually in intensity, setting the stage for the fifth movement which follows without pause. This movement Con
brio starts clamorously, the rhythms shifting almost bar by bar. Short jazz figurations sound when least expected. The
movement finally loses momentum and appears to end on an unanticipated "blues" note but is instantly dispelled by a short,
boisterous chord. The sixth and last movement Improvise marks a terse cadenza by the first violin. Recalling motifs from the
first movement, the quartet reveals a series of variations ranging from the serious to the sardonic - from the graceful to the
humorous. Now the viola leads off with a rapid ostinato four note figure anticipating that the end of the work is soon at hand.
There are a series of sharp sweeping chords, a broad crescendo and two fortissimos for a dramatic finish."
1'                                               1
             Gordon W. Bowie resides in Washington, DC, where he performs with the National Concert Band of America, the                       I
         as a music educator at all levels. His many compositions include works for band, string orchestra, brass ensembles, flute
         ensembles, and many other chamber ensembles. '/'hecomposer writes:
              "The Sonata Duegale for Cello and Bass Trombone is subtitled "The Voyage of BA" a reference to the thematic
     :   elements derived from the English folk song "~a!bara Allen." The work has four movements:
         I. Allegro Moderato : "Jolly Journey Out"
         11. Marcia Serioso: "Bones of the Ancients"




                                                                                                                                               I
             It was composed especially for cellist ~ i a b e  Roscetti in response to a conversation about the ranges of the Bass
         Trombone and the Cello which are similar, though the techniques and timbres are very different. The entire work consists of
         passages where the roles of the duet partners are! traded or swapped. In each section the cello will have the melody and the
         trombone the support; then the trombone has the same or similar melody and the cello has the support; then they change
         again. There are deliberate technical challenges add special effects for both instruments planned throughout the piece. The first
         movement is in sonata-allegro form; the secondlis a march; the third, a theme and variations; and the fourth a rondo that




                                                                                                                                               I
              Joshua Penman was born in Brookline, kassachusetts in 1979. He began playing piano when he was five, and
         composing when he was sixteen. His compositidn teachers have included Kathryn Alexander and Sebastian Currier. He has
         attended the Bowdoin and Music Ninety-Eight suhmer music festivals. His piece The Structure and Function of Pointwise
                                                       I
         Periodic Homeomorphisms won the 1998 BMI S~udent   Composers Awards. His piece 'till I found you was played in Alice




                                                                                                                                               I
         activity in and of itself. If a train leaves Topeka, ahd another leaves Kansas City, traveling towards the first on the same track,
                                                               I
         they will inevitably crash. This piece is not con~emed       with the wreck, but rather the minutes before, and the algebra of
         expectation that describes them. The work was written in 1998 for today's performers."
                                                             I

             Oboist Amy Anderson is Assistant ~rofessok Music at Texas Tech University. The principal oboist of the Lubbock
                                                             of
         Symphony and the Breckenridge Chamber Orchesda she has recorded for the Albany and Living Artists lables. She received
                                                              h
         her Doctor of Musical Arts degree from the ~ a s t m School of Music.
                                                             I
              Pianist/composer Max Lifchitz recently r e b e d from Pueno Rico where he participated in the New Music Festival
         sponsored by the Puerto Rico Conservatory. The American Record Guide commented as follows on Mr. Lifchitz's most
         recent release The American Collection (NorthISouth Recordings NO. 1014): "sufJice it to say that it would be hard to find a
                                                             I
         better snapshot of what American composers have been writing for the piano in the past decade than this collection. Lifchitz
                                                             I
         plays everything with sensitiviy and force, where appropriate; and recorded sound is vivid and natural. "
                                                                 I
             Pianist Edward Wood holds degrees from ~ h Eastman School of Music and The New England Conservatory of Music,
                                                            k
                                                          I
         where hestudied with Russell Sherman. Long known as the only pianist playing Pianississimo by Donald Martino, Mr.
                                                          I
         .Wood performed this work in concerts sponsored by The Group for Contemporary Music at The Manhattan School of Music


         series of recitals at Jordan Hall in Boston.
              Cellist Grace Lin is a versatile performer of contemporary and chamber music. Ms. Lin appeared as soloist performing
         Tan Dun's cello concerto with the Juilliard Percussion Ensemble in Lincoln Center's Alice Tully Hall. She has also appeared
                                                             I
         as soloist with the Yonkers Philharmonic Orchestra and with Harvard University's Bach Society Orchestra. Ms. Lin was a
                                                                     I
featured young artist on New York's classical radio station WQXR, and was chosen by the National Czech Foundation to
perform for the former Czech Republic president Vaclav Havel. After earning her Bachelor's degree in Psychology from
Harvard University, where Ms. Lin graduated with honors and was awarded the Horblit and Braverman prizes for the arts, she
earned her Master of Music degree from the Juilliard School. Her teachers have included Jerome Carrington and Fred Sherry.

     Pianist Steven Huter (b. 1965), has traveled throughout the world as soloist and chamber musician, giving concerts in
the major cities of the United States, including Carnegie Recital Hall in New York, and Bosendorfer Saal in Vienna. He made
his debut at age 18 with the Columbus Symphony playing Chopin's E minor Concerto. He studied with Menahem Pressler
at Indiana University. and at the Manhattan School of Music with Constance Keene. He was chosen by Yehudi Menuhin to
perform as chamber musician throughout Europe as part of the Menuhin Foundation based in Paris. He has made recordings
in France, Switzerland, Austria, and for WQXR's Young Performers Showcase. He is a former faculty member at Indiana
University, Manhattan School of Music, and also taught in Lille, France, and in Neuchatel, Switzerland, Currently, he is a
professor at the Mannes College of Music and director of the Larchmont Music Academy (New York).

    The Alborada String Quartet is made up of much sought-after New York free-lancers. Todd Reynolds is an
improvising composer and a solo interpreter of new music who works extensively with the Bang On A Can organization and
countless other composers and artists. English-born violinist and composer Kurt Briggs studied Violin and Conducting at
the Guildhall School of Music and Drama in London before moving to New York to work with Itzhak Perlman at Brooklyn
College. Joel Rudin, former violist of the Laurentian String Quartet, has toured the United States, Canada, Asia, and
Algeria and can be heard on chamber recordings for the Musical Heritage Society, Newport Classics, and Soundspells
Productions. Francesca Vanasco was inspired by her tenure as soloist and principal cellist with the Orquesta Sinfonica ck
Maracaibo in Venezuela to form Alborada Latina The Chamber Ensemble for Latin American Music. Her fascination with,
and virtuosity in performing all styles of music has led to a multi-faceted artistic collaboration with her husband Thad
Wheeler.

     Since its formation in 1995 at the Oberlin Conservatory of Music, the Mir6 String Quartet has rapidly established
itself as one of the most sought after young American ensembles. In April of 1996, the Quartet sprang to national attention,
winning the First Prize in the 50th Annual Coleman Chamber Music Competition, and within a month capturing both the
First and Grand Prizes at the Fischoff National Chamber Music Competition. Harris Goldsmith of The Strad described them
as "captivating audiences with their wonderfully communicative accounts of Beethoven, Dvorak and Shostakovich". Daniel
Ching studied with Roland Vamos and Donald Weilerstein. He has been heard in concert at the Banff, Bowdoin, Norfolk,
Meadowmount, and Tanglewood festivals and was the founder and co-music director of the Oberlin Chamber Players. Sandy
Yamamoto, studied violin with David Cerone and Donald Weilerstein and has performed to critical acclaim in such venues
as Avery Fisher and Carnegie Halls as well as the Kennedy Center for the Performing Arts. John Largess, viola, studied
with Michael Tree at the Curtis Institute of Music and has since held positions with the Colorado String Quartet and as
principal viola with the Charleston Symphony. Cellist, Joshua Gindele, has performed extensively throughout Europe and
the United States both as soloist and as a member of the Mir6 Quartet.

     Cellist Avron Coleman has performed with the Minneapolis Symphony, and the New York Philharmonic under
Leonard Bernstein. As principal cellist of the Robert Shaw Chorale and Orchestra, the American Ballet Theatre, and the
National Ballet of Canada, Mr. Coleman has traveled extensively, performing in North America, Europe and the Far East. An
infatuation with classical and contemporary chamber music led to his playing in numerous ensembles, including the Trio
Canteilena, Degen Quartet, Princeton String Quartet and the Berkshire Chamber Players. He has also performed as soloist in
concerto and duo-sonata programs.

          The Elision Saxophone Quartet was founded in 1996 and all four of its members are undergraduates at Yale
 University. They have premiered quartets by Josh Penman, Matt Croasmun, Cantey, and Freeman, and have frequently
 performed as guests on concerts of the Yale College Group for New Music. Their recitals feature a wide variety of music,
 from arrangements of music by Mozart and Bach to standard quartet repertoire by Francaix and Dubois to recent works by
 Torke, Ticheli, Carl, Goldstein, and Peck. This spring, Elision will perform the Dubois Concertino with Yale's Pierson
 ....................
.Camerata....................................................................................................................................................................................................................................................
                       The public is kindly reminded that the use of recording equipment of any kind is strictly forbidden.
                        Please turn-offyour watch alaim or any other noise-producing device before the program starts.
                                                                    Make sure to know where the auditorium exits are.
                      PLEASE REFRAIN FROM SMOKING and/or EATING WHILE IN AUDITORIUM.
                                                                                                                                                                                                                                      PROGRAM NOTES (CON'T.)
                                                                                                                                                                                                                           The French film "Tous les matins du monde" served as the inspiration for
                                                                                                                                                                                                                           the first movement of this work, which was written specifically to take          '
                                                                                                                                                                                                                           advantage of the unique sonority of the bass flute. The outer movements are
                  Angel Songs'(1994) ...................... .
                                                         ;........~..................................Scott                      :
                                                                                                                                                                                                    Robbins'               generally slow and meditative, while the central Dance provides most of the
                 . . .   I ....powerfulpresence                                                          .                                                                             .
                                                                                                                                                                                                                           contrast. All three movements are deeply involved with ornamentation, and
                         I1 ...almost-deadly birds of the.sou1 . .                                                                                                                                                         the finale shows the influence of my deepening interest in Japanese
                        ,111... ungraspable
                                                                                                                                                                                                                           shakuhachi music. The premiere took place in Padua (Italy) last year, and it
            .   .
                                   .    .                                                                                                                                                                                  has since been performed in Weybridge (England), Kromeriz (Czech
                                          Anne MarieKetchum, soprano                                   .                                                          '
                                                                                                                                                                                                                           Republic), Baton Rouge, Zurich (Switzerland),and Honolulu.            - DK
.    .                                ,                  a
                                                . ~ n Seranian, violin             ,          .                                                       '               '




                                                                 .             .                                 violoncello
                                                                                              Sebastian ~oettcher,                                                                                                         Daniel Kessner was born in Los Angeles in 1946. He studied composition
                                                                                             . Wendy Prober, pianolcelesta                                                                                                 with Henri Lazarof at UCLA, where he received his Ph.D. with Distinction
    . ...
                                                                                                                                                                                                                           in 1971. He has taught composition/theory and directed the New Music
    ..                             .         -                                                                                                                              .      .   -.       .   .
                                                                                                                                                                                                                           Ensemble at CSUN since 1970. Recent activities have included performances
                ..                                                                          West coast Pre.miere
                                                                                       .         .        -
                                                                                                                                                                                                                           by the Orquesta Sinfonica de El Salvador, the Black Sea Philharmonic
                                                         .       .         .                                                                                                                                               (Constanta, Romania), andthe Jugendorchester "Nota Bene" (Zurich),as
                             ..
                                        .            .       .
                                                                                           . -.      .
                                                                                                                    .       .
                                                                                                                                             ..               .
                                                                                                                                                              .           . _                                              well as flute recitals in Italy, England, the Czech Republic, and El Salvador.
                        . .
                                   .         .               .
                                                                                                                                    .                                           ., . .
                                                                                                              . .
                .        .
                                                                                                                                                                                                                           Canciones Transparentes is a song cycle based on poems by "theCuban patriot
            .       k t Ends (1996) ......;..;.............. 1....                                                  ;...:...:. ...........
                                                                                                                        .   .
                                                                                                                                        .
                                                                                                                                                                ree
                                                                                                                                                  ~ i c h e l l e en-~illner .                                             and poet Jose Marti (1853-1895). The central song, Dos Patrias, is the most
                                                                                                                                                                                                                           dramatic of the set. The first and fourth are very lyrical and expressive. The
                                   . . . .                       . . .                                    Isabella Lippi, violin -- .                                             .         .                      .   .   second and fifth are the shortest, simplest and most direct of the cycle, and
                                             - .                         - .                                                                                                                                               convey an extroverted, albeit tender message. As the title implies,
                                                                                                                                                                                                                           Canciones Transparentes is a diaphanous work which is expressed in a pan-
                                                                                                                                                                                                                           tonal, uncomplicated harmonic language, and exhibits a sound pallette
                                                                 .         .
                                                                                                                                                                                                                           clearly related to Cuban melo-rhythms. This work was commissioned by
                                                                                                     ..                                           .       .                                          . .
                                                                                                                                                                                                                           Florida International University for the commemoration of the 100th
                                                                                                                                .   ,                                                                                      anniversary of Marti's death, and was premiered in Miami on October 27,
                    Bagatelle I1 (1997) ......................;..A..........................                                                                  ........ William Toutant                                     1995.                                                               -ADLV
                                                                                                                                                                                                     .     .. ..               - Translation of song cycle Canaones Transparentes on back of program -
                             ' .                                                                                                                                                                    - .
                                                                                       ..                 -Daniel Kessner, flute '
                                                         .           ,         .                          Frank Camplo, clarinet                                                                                                                          a
                                                                                                                                                                                                                           Aurelio de la Vega, born in L Habana, Cuba, in 1925, became an American
                              .         .                                                                 Michael Kibbe, bassqn                                                                                            citizen in 1966.After occupying several important positions in his native
                    -    .                                                                                                                                ...                                                              country, he joined the musi6faculty at CSUN in 1959, becoming Distin-
                                                                                                                                             .        .       .
                                                                                                                                                                                                                           guished Professor Emeritus in 1993. One of the best known twentieth
                                                 .   .. .                              .     '            U. S . Premiere                                                                                                  century composers from Latin America, his list of works (many published
                                                                                                                                                                                                                           and commercially recorded, almost all commissioned since 1962)includes
                                                                                                                                                                                                                           symphonic pieces, chamber music, piano, solo instruments with tape, song
                                                                                                                                                                                                                           c cles, cantatas, ballet music, guitar and electronic music. The composer is
                                                                                                                                                                                                                           d e recipient of numerous prizes, commissions, awards, and distinctions
                                                                                                                                                                                                                           (having twice received the Friedheim Award of the Kennedy Center for the
                                                                                                                                                                                                                           Performing Arts), as well as honors and decorations from various foreign
                                                                                                                                                                                                                           governments for his contributions to North American and Latin American
                                                                                                                                                                                                                           music. He is also a well-known essayist on the pictorial art of LatinAmerica.
                                                       PROGRAM                                NOTES

        Angel Songs received its material inspiration from my wish to write an .           At Ends sets up a pair of themes that are at ends with each other, that is, which
        ensemble work featuring celesta: The musical/spiritual inspiration for this        contrast each other by their unique use of register, tempo, thematic and pitch
.       work is from the depictions of angels in the Duino Elegies of Rainer Maria         materials. In a type of rondo format, the "C" section of the piece brings
        Rilke, which provide an almost-antithetical inage to current, New Age-             together various elements of the two themes.
-       influenced portrayals of angels as benign spirits seeking to cooperate with        At Ends was written in July of 1996 while I was a fellow of the CSU summer
        human beings. It's important to remember, though, that our record of past          Arts Composers Workshop held at Cal State Long Beach. Written specifically
        angelic visits often has them bringing frightening and unfortunate news:           as a virtuoso solo for Curt Macomber, a member of Speculum Musicae, the
        angels bearing flaming swords protect the tree of the knowledge of good *          title of the work also describes the limited time I had to get the piece-done!
    -   and evil in the Garden of Eden from further tampering by mankind, an
                                                                                           I'd like to take this opportunity to extend a large thank you to Isabella Li pi
        angel is sent to tell Lot of his city's imminent destruction: in Revelation,
        angels pour out God's judgments on the earth. Even when angels bring to            for so elegantly performing this work tonight. At Ends is approximately ve
                                                                                           minutes in duration.                                                  -MGW
                                                                                                                                                                     R
        shepherds the good news about the birth of Jesus, the shepherds are "sore
        afraid."


        The angels of Rilke's elegies appear as awe-inspiring, overwhelming                Michelle Green-Willner received her B.M. degree from the University of
        supernatural agents, more akin to their traditional Judeo-Chr$tian and             Toronto and her M.A. and D.M.A. degrees from Columbia University New
        Muslim incarnations, and the poetic fragments which provide the texts              York. Dr. Green-Willnerhas received numerous awards, most recently four
        for the first two movements of Angel Songs concern the impact of such              ASCAP Annual Awards, two ASCAP Foundation Grants to Young Composers,                -
                                                                                           The Brian Israel Prize from the Society for New Music, and the Serge Garant
        visitations upon mortal human beings. In the reflective final song, the            Award from the Society of Composers, Authors and Music Publishers of -
        focus shifts from the impact of angelic encounters to the paradoxical              Canada.
        human situation of longing to woo the angels and at the same time
        realizing their essentially ungraspable nature.                  -SR               Her teachers have included Mario Davidovsky, Steven Mackey, David
                                                                                           Rakowski and Marc Kopytman at the Rubin Academy of Music in Jerusalem.
                                                                                           She has taught composition and theory at UC Irvine, CSU Long Beach, and
        Scott Robbins has recently been appointed Assistant Professor of T e r
                                                                          hoy              has founded and conducted the University of Judaism Chamber Players. She
                                                                                           is currently taking the year off to compose and spend time with her two very
        and Composition at the Converse College School of Music, following a               little sons, Moshe and Asher.
        three-year term as Composer-in-Residence at Southwestern Oklahoma
        State University. He holds degrees from Wake Forest, Duke, and Florida    '

        State Universities. His works have adueved recognition through the
        ASCAP Foundation Grants to Young Composers and Standard Awards,
        Composers Guild Award of Excellence, NACUSA Young Composers                    ,
        Award, Second hternational Sergei Prokofiev Composition Competition,
        and the Dale Warland Singers New Choral Works Commission.                                         - Program Ndtes are continued, next page -
               ABOUT THE COMPOSERS                                          THE MUSIC DEPARTMENT OF CHAFFEY COLLEGE

                                                                                    IN CONJUNCTION WITH THE
C h r i s t o p h e r Scinto is pursuing his doctoral degree at
Arizona State University where he is closely involved                       NATIONAL ASSOCIATION OF COMPOSERS 1 USA
with the ASU Contemporary Music Society. His E v o k i n ~
the Dream won the second prize in the 1996 NACUSA
                                                                                            presents
Young Composers* Competition.                                       I
                                                                    I



Marshall Bialoskv is an Emeritus Professor of Music at
California State University Dominguez Hills where h e was
the founding c h a i r o f both t h e music and art
                                                                                 A CONCERT OF
departments in 1964. He has been president of NACUSA                           NEW AND RECENT
for the last 22 years.
                                                                            AMERICAN CHAMBER MUSIC
RobertLinn-has-been-retired-for-several-years-from-the
University of Southern California where he chaired the              I
music composition and theory program for many years.
A much-commissioned composer, h e was a finalist in the
Kennedy Center Friedheim Award Competition in 1991.

Stan Gibb is a longtime member of the music faculty at              1
the California State Polytechnic University in Pomona               I
where he is in charge of the electronic music program.              ,

M i c h a e l Karmon was a first level winner in the 1997
NACUSA Young Composers* Competition. Residing
currently in Minneapolis, h e is a graduate of the
University of California a t Riverside where h e studied
with Barbara Bennett,         member of the Executive
Committee of NACUSA.

Hosting this concert, Thomas d e Dobav is a longtime
member of the music fac.llty at              Chaffey College. His
                                                                              SATURDAY EVENING, MAY 8, 1999
piece C l a i r e - v o y a n c e was written and named for his                     COLLEGE THEATRE
niece Claire Rifelj who premiered it at her high school                                 8:00 P.M.
senior recital last year in Middlebury Vermont.



                                                                        1

                                                                        I
             THE PROGRAM                                            - INTERMISSION -
                                                       Four Tales: A Chamber Concerto for Guitar
Evoking the Dream                Christopher Scinto
                                                                                     Michael Karmon
              Chelsea Czuchra, flute                     I.   Introduction
              Kyle Champion, cello                      11. Song
              Genevieve Lee, piano                      111. Windows
           Steven Schmidt, percussion                   IV. Farewell
            Eric Lindholm, conductor
                                                                   Peter Yates, guitar

                                                                  Albert Rice, clarinet
Eleven Jewish Melodies for Solo Viola
                                Marshall Bialosky                  Tom Flaherty, cello
             Carole Mukogawa, viola                           Theresa Dimond, percussion


Piano Variations                        Robert Linn    Claire-voyance               Thomas de Dobay
             Delores Stevens, piano                            Alexei Takenouchi, piano


Technology (Jennifer Olds)                Stan Gibb
            Dave Cahueque, Baritone                   Music is courtesy of the Recording Industries
                                                           Music Performance Trust Fund.
          digital dela,y accompaniment
lNCERT
lRFORMIANCE ENSEMBLE




oon



tural Center, 13 13 Newel1 Road, Palo Alto, CA



uee Odd Meters (W.W. Quintet)

by Rhino (Ob., Cl., Hn. Bsn.)

vlovements from Wendling Farm:
st Up the Road & Labor Day (Fl. & Pno.)

;ongs from set: Palabras and Tomatoes
oprano, Fl., Maracas, Pno.)

ntasy for Winds (W.W. Quintet)



lannels (Fl., Cl., Hn., Bsn.)

u-ee Songs (Sop., Cl., Hn.)

~ntrapuntus(Fl., Cl., Hn., Bsn.)

.W. Quintet #2
DAN ADAMSON began playing guitar at age 11 and has performed in a number of blues and rock bands in San Diego. He is
currently a recording engineer studying piano with Adam Domash.

          BABY RHINO (for Oboe. Clarinet, Bassoon and French Horn) is an imaginary character created by the person closest
          to me in life, Justine Lo. Justine has always been there to be the first to hear my compositions and encourage me with
          my work. She has inspired a sense of emotion in my music that would otherwise not be there. For her, I dedicate what
          I have written with love and thanks.

JOHN BEEMAN studied composition with Peter Fricker, and later with William Bergsma at the University of Washington,
where he received his Master's degree. I-Iis first opera, The Great American Dinner Table. was produced on National Public
Radio. Orchestral works have been performed by the Fremont-Newark Philharmonic, Prometheus Symphony, and Santa Rosa
Symphony. Desert Sketches, a chamher work, was released in 1996 on the Classic Sketches CD by the Violeto Trio. Chamber
music compositions such as Six Etlr[les/or Sfring Quattet, Elegy /or Solo Cello, and The Five G f i o/Li/e were performed on
recent NACUSA concerts. The composer's second opera, Law Oflces, premiered in San Francisco in 1996 and was performed
again in 1998 at the San Mateo Countv Courthouse, through a grant from Philanthropic Ventures Foundation. Channels, an
electronic music composition, was crcal~dfor an art installation at the Aspen (Colorado) Art Museum from October 15 -
November 29, 1998. Beernan has also rcccivcd an 1998 ASCAP standard a    .
                                                                         *

         CHANNELS, is a musical expression of John Beeman of "Folly Wall" by artist Malinda Beeman.

MALINDA BEEMAN artist, is a two-time winner of the National Endowment's "Visual Artist Award" She received her
training at San Diego State University and the San Francisco Art Institute where she earned her M.F.A. She also studied at the
Santa Reparta Graphic Art Center In Florence, Italy and at the prestigious Print Workshop in London, England Her work has
been exhibited at Anderson Ranch Art Center, The Boulder Museum of Contemporary Art, the Lynn Goode and Harris
Galleries in Houston, Texas, and in numcrous galleries and museums internationally and throughout the United States. Her art is
in the collections of Reader's Digest, 113M Corporation, Chemical Bank and Apple Corporation.

         FOLLY WALL deals with rclative isolation contrasted with overflow of media information seen through the safe
         vantagepoint of a solari~unroom. The installation was shown in the Aspen Art Museum from October 15 to November
         29, 1998. Special thanks to Richard Lohmann and Ricardo Flores for multi-media presentation. Made possible in part
         by a grant from Philanthropic Ventures Foundation.

SONDRA CLARK is a graduate of the Juilliard School (B.M.), San Jose State University (M.A.), and Stanford University
(PhD.). A long-time Bay Area music critic and member of the music faculty at San Jose State University, she is an
internationally recognized musicologist/specialist on the music of Charles Ives. Since retiring seven years ago, Dr. Clark has
published a piano method and a guidc for beginning composers that was featured in her lecture on composing at the 1994 W A C
State Convention. Her Requiem /or Lost Clrildren, written for the San Jose Symphonic Choir and Orchestra, benefiting the Kevin
Collins Foundation for Missing Children, was premiered to critical acclaim. Her Three Scenesfrom New Orleans was published
by Neil A. Kjos Music Publishers in July 1998. During the last eight years, 1 1 of her compositions have won awards. In June
1999, Clark's music will be the subject of an hour-long cable television program, on the award-winning Grand Piano Show,
which is aired in 450 cities and three countries. She is currently working under multiple grants with the National Opera
                                          r
Association's 1997 1st Prize librettist, D . Sally M. Gall, to compose an opera which incorporates music from her Native
American heritage.

         About THREE ODD METERS (I. 3+3+2, 1 . Pentatempo Waltz, I I Two-Timing), she says: "I love Bartbk's folk
                                                      1                     I.
         dances and wanted to do a set of pieces that would make players and listeners more at ease with unusual meters. The
         first piece bounces along in somcwhatjazzy groups of 3,3, and 2. I was surprised at how delightful it was to write in a
         518 meter when I began "I'c~itatanpowaltz" - the groupings offer lots of choices. "Two-timing" pits 314 against 618."
         THREE ODD METERS won I:irst Prize in the 1999 California State Composers today Contest.

NANCY BLOOMER DEUSSEN is well know1 throughout the San Francisco Bay Area as a composer, performer, arts organizer
and music educator. She is a leader h the growing movement for more melodic, tonally oriented contemporary music and is co-
founder of the SF Bay Chapter of the National Association of Composers, USA. Her works have been performed throughout the
US and Canada and she has received numerous commissions both.locally and nationally from sdch performers and ensembles as
The Oakland Chamber Orchestra, The Walnut Street Chamber Ensemble, The Baton Rouge Concert Band, The Bresquan Trio,
The Santa Clara Chorale, The Women's Caucus in the Arts, OPUS 90 Chamber Ensemble, Richard Nunemaker, clarinetist, the
Tanana High School Band, the Gabrieli Ijrass, Soundrnoves, the Mission Chamber Orchestra, the Semper Virens environmental
group, and The Sandusky Music Festival. The 98-99 season will bring a performance of her orchestral work Ascent to Victory by
The California State Hayward Symphony Orchestra, this work just having been released on a BMS CD. Paformances of her
Pegasus Suite will take place in thc l3ay Arca, England, Sweden, Mexico and Greece; a performance of Parisian Caper will take
place at The National Swophonc Convention in Atlanta, GA.
You are invited to stay after the concert and speak with the composers.

The National Association of Composers USA (NACUSA) is a non-profit organization whose goal is to
foster the composition and performance of new music. Founded in 1932 and now with branches in Los
Angeles, New York, Philadelphia, and San Francisco, NACUSA continues to be an active and most vital
outlet for composers throughout the country. Inquires regarding membership may be addressed to I'lana
Cotton at (650) 367- 1683. General inquires may be directed to Nancy Bloomer Deussen, (650) 858-0 172.


NACUSA San Francisco is a non-profit organization in need of support.
Taxdeductible contributions may be sent to:

THE NATIONAL ASSOClATlON OF COMPOSERS
San Francisco Bay Area Chapter
3065 Greer Road
Palo Alto, CA 94303


Acknowledgements

The Members of NACUSA San Francisco would like to recognize with heartfelt thanks the following
contributors to the 1998-99 concert season:

Dr. Mark Alburger
Ms. Annette Axtrnann
Music Library, University of California at Berkeley
Ms. Ilse Calabi
Mr. Brian Holmes
Dr. Michael Kimbell
Mano Murthy
Ms. Jeana Ogren
The City of Palo Alto, Division of Arts and Culture
Mr. Robert and Ms. Carla Schenk
Mr. and Mrs. Michael Scofield
Ms. Emily I. Ward

This concert is presented by the National Association of Composers, USA, San Francisco Bay Area
Chapter, in cooperation with the City of Palo Alto, Division of A r t . and Culture.


Committee for tonight's concert:

Concert Production: Owen Lee
Publicity: John Beeman, Carolyn Hawley, Marilyn Hudson
Programming: John Beeman, Carolyn Hawley, Kathleen Nitz
 About the Performers                    ...
 Leigh Ann Reech is currently flute instructor at Nicholls State University, and director of
 the Greater Baton Rouge Flute Choir. She holds a Bachelor of Music and a Master of Music
 degree, both in flute performance, from Louisiana State University. While studying at LSU,
 Ms. Reech performed with the LSU Wind Ensemble, the LSU Symphony Orchestra, and
 the Acadiana Symphony Orchestra. In addition, she has been a winner in events such as the
 Louisiana MTNA Collegiate Woodwinds competition and the Monroe Symphony Concerto
 competition.

 Chiho Sugo received her Bachelor of Music Education from Tokyo Gakugei University in
                                                                                                       o f MUSIC
                                                                                                       J
 Japan, and her Master of Music degree from Morehead State University. She is currently                    Presents
 pursuing her Doctor of Musical Arts in clarinet performance at LSU where she studies with
 Steven Cohen. At LSU, she teaches undergraduate clarinet and performs in various en-
 sembles, including the LSU Wind Ensemble and the LSU Symphony. She is the winner of
 the 1996 Kentucky Music-EducatorsAssociation Solo Competition and semi-finalist for the
                                                                                                                      NACUSA Mid-South Chapter
 ICA 1997 Young h i s t Competition.                                                                                          Summer Concert
  Kevin Bums is currently a candidate for the Doctor of Musical Arts degree at Louisiana
                                                                                                                                                  .     .
~State~University~where-he-studies-with-Griff1n-~ampbell~Most-recently     -he-was-a-semi-                                                        ..;
                                                                                                                                                        > ,.
                                                                                                                                            .,.         7.: :
  finalist inthe Concert Artists Guild Competition in New York City. As a winner in the LSU
                                                                                               '
                                                                                                   .
                                                                                                   '
                                                                                                                                                   &     ,
                                                                                                                                                         :
                                                                                                                                                         .   :

  concerto competition, he performed the Concerto for Alto Saxophone and Wind Orchestra
  by Ingolf Dahl with the LSU Philharmonia. At the Fischoff National Chamber Music Com-
  petition he was a semi-finalist with the LSU Saxophone Quartet. He has performed with :
  the Baton Rouge Symphony, theLouisiana State University Symphony, Philhmonia, Wind
  Ensemble, Jazz Ensemble, New Music Ensemble, Chamber Winds, and Saxophone Quai-
  tet, as well as with numerous other ensembles in his native Massachusetts. He has per- I
  formed on the LSU Festival of Contemporary Music and as a guest artist with composers :
  Dinu Ghezzo and David Ward-Steinman, and at the Northeast and South Central meetings
  of the North American Saxophone Alliance. Mr. Bums received the bachelor of music
  education degree, cum laude, from the University of Massachusetts where he studied with
                                                                                       '
 Lynn Klock. His Master of Music degree in saxophone performance is from LSU.

 Chris Rettie is currently a doctoral candidate fellow in saxophone performance at Louisiana
 State University. He holds a Bachelor of Music degree from Murray State University and a
 Master of Music degree from Louisiana State University, both in saxophone performance.
 His teachers include Scott Erickson and Dr. Griffin Campbell. A native of Hopkinsville,
 Kentucky, Chris has won MTNA solo competitions in Kentucky and Louisiana and, in
 1995, was named a Yamaha Young Perfo'ming Artist. In addition, Chris is the altolbaritone
 saxophonist and arranger for the local salsa band, Los Calientes del Son, with performances
 at major events such as the New Orleans Jazz and Heritage Festival and City Stages Festi-
 val in Birmingham, Alabama. As a member of the Red Stick Quartet, Chris has been a prize
 winner in the Fischoff Chamber Music Competition and a national finalist in the MTNA
 Chamber Music Competitions. In addition to frequent chamber performances in Baton
 Rouge, the quartet has given recitals in Indiana, Kentucky, and Chicago and has performed
 as soloists with the LSU Wind Ensemble and the LSU Symphony.
                                                                                                                 lbesday, July 20,1999
                                                                                                               8:00 p.m.  .  Recital Hall
About the Music ...                                                                                                                                    Program
Fanfare for Trumpet                                                                   Peter Blauvelt
The Fanfare for Trumpet was written in response to the many anniversaries - whatever their nature                 Metamorphosis I (1999)*                                                         Mikel LeDee
may be - of the 1990's. The piece itself makes no pretense of being very sophisticated: It is simply a                1                            The Kitchen Sink Ensemble:
celebratory fanfare and not much more.                                                                                                              Yuri Murata, Kheng Yoay,
                                                                                                                                                  William Price and Mikel LeDee
Metamorphosis I                                                                             Mike1 LeDee
This is a variation of a composition originally written and performed by several groups of children.                                                                                         Bradley E. DeBow
The performers were approximately ten years old and had little or no musical training. As in the
                                                                                                                  I Shall Not Want (1998)*
original work, the performers of this piece were given a mission. The mission was to find or create an                                                Leigh Ann Reecti, flute
instrument or instruments on which to perform (recycled or discovered around the home). This situ-
ation makes an exciting first rehearsal. There is no limit to the number of players required to realize                                                                                         Peter Blauvelt
this composition. Tonight's performance will include piano, pans, pots, juice cans, rice, bottles, marbles,
                                                                                                                  Fanfare (1994)*
                                                                                                                                                       Pahick Tuck. trumpet
coffee cans, etc.
Impulse                                                                              Dawn K. Williams             Impulse (1995)                                                             Dawn K. Williams
Impulse, for Five to Fifty Participants, is an interactive, audience participation piece. Each audience
member wil1,select a different percussive sound (snap fingers, stomp, slam book closed, knock over                                                   Dawn K. Williams, leader
chair. etc.). Participants are encouraged to select as unique and unusual a sound as possible, and may
produce their sounds at any dynamic level desired. The "leader" begins the piece by producing his1                l b o Movements for Clarinet and Piano                                            Ryan Ellis
her sound at regular intervals. This continues as the second participant begins hisher sound, and so on
until all audience members are producing their sounds simultaneously. When signaled by the leader,                      I. Triste
everyone crescendos slowly to as loud as possible, sustaining this dynamic level until signaled to cut                  II. Esperer
off. The piece is designed to surround each audience member with an aural atmosphere of percussive                                                      Chiho Sugo. clarinet
sounds.                                                                                                                                                  Ryan Ellis, piano

The Bucket                                                                                  Bill Kelley .     .
The Bucket is program music in 3 continuous sections: Birth. Humanity. Utopia. The piece is a form
of structured improvisation and requires an adherence to the order in which each sound is introduced.
                                                                                                                                                    Intermission
The improvisational parameter is time, allowing the performers, individually and as a group, to de- .             .
cide the moment when each sound enters, and when changes occur. The Bucket is scored for (in order                The Bucket (1991)                                                                 Bill Kelley
of presentation): bell, (2)wind-wands, string-can-board, tambourine, keyboard, wood block, copper                                          Trip Fuchs, Kelli Scott Kelley, and Bill Kelley
pipe, voice, tape, whirlies, zube tube, mouth sirens, bucket, percussion tube, spirit catcher.
The Bucket was written for the opening of The Arlington Museum of Art in Arlington, Texas.
                                                                                                                  Three Short Pieces For Tape
Three Short Pieces for Tape                                                                                                 (Based on the Poem "Alone" by James Joyce)
Three Short Pieces for Tape is a collaboration of short individual works by Christopher Watts, Will-                      greygolden ( 1 999)*                                               Christopher Watts
iam Price and Jonathan Peters. Each one minute piece was created using Csound at LSU's MAD
Studio and was based on James Joyce's poem Alone. The sounds of certain words contained in the                            Swoon (1999)*                                                       Jonathan Peters
poem were often used as source material in the production of these works.                                                 A Crime of Passion (1999)*                                             William Price
Alone                                                                                       -James Joyce
                                                                                                                  Six Barefoot Dances                                                        John David Lamb
The moon's greygolden meshes make
      -
All night a veil.                                                                                                      I. Firm
The shorelamps in the sleeping lake                                                                                    II. Swinging
Laburnum tendrils trail.                                                                                               III. Walking
The sly reeds whisper to the night                                                                                     IV: Lively
A name-her name-                                                                                                       V. Jaunty
And all my soul is a delight,
A swoon of shame.                                                                                                      VI. Brisk
                                                                                                                                                  Kevin Bums. alto saxophone
                                                                                                                                                Christopher Rettie, alto saxophone
1   5. Paul Stouffercontinues a long career as a composer, arranger, and teather. His
    arrangements and compositions, published in the U.SA and England, includes
1                                                                   i
    works for band, orchestra, voice, and instrumental enwmbles. Hs forty y u n of
    tea*     experience has included faculty positions at the Philadelphia Musical
1   Academy and several private schools in Pennslyvania and Maryland. He now
    spends his retirement increasing performances and output of his compositions.
                                                                                                   Perm State Abington
I
    6. Stephen S ~ c is associate professor of music and integrative arts at Penn State
                      e
                                                                                                           and the
    Abington. He has received degrees in composition from Miami University of
    Ohio, Penn State, and Temple University and has studied composition with              National Association of Composers USA
    Cliiord Taylor, Maurice Wnght, Burt Fenner, Barbara Kolb, Jere Hutcheson,
1   and Martin Mailman. His compositions have been performed throughout New                                 aly
                                                                                                 Delaware V t e Chapter
    York, Texas, Wyoming, Pennsylvania, V         i West Virginia, Ohio, and
I   Miclugan, and are published by Noxth/South Editions, AugsberglFortress
    Publishers and Mobart Music Publications.




                                                                                                The Fall 1999
                                                                                             Composers' Concert




                                                                                               Sunday,October xo at 2:30 p.m.
                                                                                                   SatherlandA n d i t o b
THE COMPOSERS
                                                                                                                 PROGRAM.
1. Leonard Klein - 7 h e Variations on a 7heme o f Tartini were written to the
memory of my father. A violinist, he played this work in the realization of Fritz
Kreisler. I have known this music for most of my life and, being influenced by        Variations on a theme of Tartini (1988)                      Leonard Klein
                                 to
other composers, was a ~ a c t e d try something similar for piano."                          Leonard Klein, Piano
   Dr. Klein, retired music professor, is now able to devote himself more to
composing. He works with computers, synthesizers, and music notation software.        Five Little Counterpoints for String Trio (1996)            James Marshall
Dr. Klein and his wife live in southern New Jersey, rather close to the ocean, with
                                                                                               Members of the Cheltenham Quartet
their two dogs. Besides composing, he likes cooking and going to concerts, plays,
and the opera.
                                                                                      Trio for Flute, Clarinet, and Piano (1999)                  Joseph Nocella
2. James Marshall studied cello at the New School of Music in Philadelphia, and               Flute: Josephine Jones
earned an M.A. in music theory and composition at the University of Pennsylva-                Clarinet: Lisa Shiota
nia. He plays cello with the Wayne Coterie Shing Orchestra, which performed his               Piano: Stephen Campitelli
Avian Suite in May, 1999. An avid listener to jazz performers more accomplished
than himself, he recently enjoyed hearing his arrangement of 'Skylark" sung by an
ad hoc vocal ensemble, the Chromatose Cuartet, at the Jazz Concert of the
Western W i d Vocal Ensemble Workshop at Smith College.                               Duo Sonata #2 for Violin and Viola-Four Nocturnes (1998)
                                                                                      (WORLD PREMIER PERFORMANCE)                              Peter Nocella
3. Joseph NoceUa studied composition with Romeo Cascarino and received his
master of music degree from Temple University. He studied piano with Temple
                                                                                      I - Nightscape
Painter and Tom Lawton, and jazz improvisation with A1 Stauffer. His music has        I1 - Di Notie in Napoli
been performed widely by such organizations as the Concerto Soloists, Stockton        111- Eire:Loverls Nightwalk
Chamber Orchestra, Composer Services Inc., Crissey Concerts, and NACUSA.              IV- La Nuit des Chats
Many commissions include the Pennsylvania Music Teachers Assoc., Interboro                     Members of the Cheltenham Quartet
Ecumenical Chorus, the Rowan Jazz Festival with Orchesh 2001, most recently a
film score for the Franklin Institute, and the present work by the Suburban Music     String Quartet #l (1991)                                      Paul StoufTer
School. Nocella teaches music for Delaware County Community College; piano,           I - AUegro
jazz, and composition for Suburban Music School and is director of music for S t      I1 - Moderato
Gabriel's Church in Nonvood, PA.
                                                                                      I11 -Rondo
4. Peter NoceUa studied composition with hlichael White, Joseph Castaldo, and
                                                                                              The Cheltenham Quartet
Clifford Taylor and studied viola with Leonard Mogill. He also attended seminars
with Vincent Persichem, George Rochberg, Gunther Schder, and Andrew                   First String Quartet (1975)                                  Stephen Stace
Rudin. Studies at Temple University yielded the M.M. and D.M.A. in composi-           I - (1/4note= 100)
tion. Dr. Nocella has been very active as a professional composer, conductor, and                   -
                                                                                      11 - (112 note 48)
violist For 15 years (1974-1989) he composed and arranged major ballet scores                       -
                                                                                      I11 - (114 note 132)
for the American Ballet Theater (with Baryshnikov),Pennsylvania Ballet, Milwau-                The Cheltenham Quartet
kee Ballet, Cinncinnati Ballet, and the Malmo (Sweden)State Theater Ballet
More recently, he was commissioned by the Philadelphia Swedish Historical                               THE CHELTENHAM QUARTET
Museum and the international sisterhood of the Holy Family of Nazareth to
compose new works for the year 2000. Currently, he teaches music at Penn State             Florence Rosensweig - %olin I           Millie Bai - V~olin
                                                                                                                                                     I1
Abington and Nazareth Academy while maintaining an active composing and                    Peter Nocella - Viola                   David Szepessy - Violoncello
performing schedule.
    NACUSA OONCERT
            I
    with the COMPOSERS PERFORMANCE ENSEMBLE
I           Joe Messler, Baritone
                                           I
            Diana Tucker, Flute
            Michael Kimbell, Clarinet
            JAB, Trumpet
            Brian Holmes, French Horn
            Jeanna Ogren, Piano
            Virginia Smedberg, Violin
            Sue Bates, Viola
            John Beeman, Bass
            Mark Alburger, Conductor


I   Saturday, October 30, 1999,8pm, cultural Center, 1313 Newell Road, Palo Alto, CA
                                               I

I   I'lana Cotton                           for
                                   PLAYT~INGS viola and ~ i a n o




I   Brian Holmes                   SIX LU&LABIES for baritone and piano (Mark Van Doren)



    John Beeman                    CRYSTAL NOCTURNE for viola and piano

I   Sondra Clark                   MASTIFFO'S ARIA for baritone and piano



I    ak
    M r Alburger

                    Intermission
                                   ANDA~TE       CANTABILE("IT WASNT CLASSICAL...")
                                   for flute, clarinet, trumpet, horn, piano, violin., viola, and double bass



    Paul M. Stouffer               PHIZZOG for baritone and piano

I   Owen J. Lee                    CREDO /forbaritone and piano


I   Bruce Hamill
                                                   I
                                   THE LONG GOODBYE for violin and piano
                                                   I
I   Nancy Bloomer Deussen          RONDO for violin, clarinet, and piano
MARK ALBURGER is an eclectic American composer of postminimal, postpopular, and postcomedic sensibilities. He is
Editor-Publisherof 20thCentury Music Journal, an award-winning ASCAP composer of concert music published by New Music.
oboist, pianist, vocalist, recording artist, musicologist, author, and music critic. Dr. Albutga began playing t e oboe and
                                                                                                                h
composing with Dorothy and James Freeman, George Crumb, and Richard Wernick. He studied with Karl Kohn at Pomona
College; Joan Panetti and Gerald Levinson at Swadunore College (BA.); Jules Langert at Dominican College (MA.); Roland
Jackson at Claranont Graduate School (Ph.D.1 and Terry Riley. Dr. Alburgds upcoming perfionnances include Blue Boat for
musical boats with Marilyn Hudson on November 11, the p e i r of excerpts from his Sideuwlks ofNew Yonk: Henry Miller in
                                                             rmee
Bnwkly. for an ACF Forum on December 5 at Noe Valley Muusby, and a piece at the Moscow Altenutiva Festival in Russia
during Apnl2000. He has been commissioned to write a work for woodwind quintet, string quartet, and piano for Max Lifchitz's
NorthISouth Consonance Ensemble, to be premiered in New York in the 2000-2001 season.

         ANDANTE CLIMilBILE, OP. 21 rIt ~vlsn't       classical it was symphonic..." "Itwasn't a symphony. because it did not
         have a sonata allegm.7 (1 998) is the first of a projected series of nine "gridn musics based on works by older
         composers. The magic hook for this composition is that of the second movement of Beethoven's Symphony No. 1,
         from which is taken form and spirit (including exact number of measures, tempo markings, keys, and even opus
         number), but little content. The lengthy subtitle refas to overheard comments which form the melodic bases of two
         themes. The Andante Cantabile Con Moto is a solemn and stately procession through stubbornly contrapuntal
         processes. The music is based on sketches notated in Nevada deserts.

JOHN BEEMAN studied composition with Peter Fricker and later with William Bagsma at the University of Washington where
he received his Master's degree. His first opera, The Greot American Dinner Table was produced on National Public Radio.
Orchestral works have been performed by the Fremont-Newark Phihamonic, Prometheus Symphony, and Santa Rosa
Symphony. Desert Sketches, a chamber work, was released in 19% on the Classic Sketches CD by the Violeto Trio. The
composer's second opera, Lmv Ofices, premiered in San Francisco in 1996 and was performed again in 1998 at the San Mateo
County Courthouse through a grant from Philanthropic Ventures Foundation. Channeh, an electronic music composition, was
created for an art installation at the Aspen (Colorado) Art Museum from October 1 5-November 29. 1998. Mr. Beeman received
ASCAP special awards in 1998 and I999 and also attended the Ernest Bloch Composers' Symposium in Newport, Oregon. In
August 1999 he received an individual artist grant from the Peninsula Community Foundation for production of a new opera, The
A m r i n g Machine.

         CRYSTAL NOCTURNE is a lyrical, neo-romantic composition for solo viola and piano written in September 1999.
         The HarvardDictiotraty of hIu.~ic &fines "nocturnenas a "romantic character piece...written in a somewhat melancholy
                                                                                                            -
         or languid style." Originally piano pieces, the t a m was extended by Debussy with his Nocturnes symphonic poems
         with women's voices. Crystal Nocturne would fit both defmitions: first, as a short character piece; but also, to feature
         the viola in a more expansive style. This performance is dedicated to Marcia Packard, the composer's aunf who died
         on October 5.1999.

SONDRA CLARK is a graduate of the Juilliard School (B.M). San Jose State University (MA.), and Stanford University
(PhD.) A long-time Bay Area music critic and member of the music faculty at San Jose State Univeristy. Dr. Clark is an
intemationally recognized specialist on the music of Charles Ives. Since retiring nine years ago, 12 of her compositions have
won awards. and she has published a piano method and a guide for k p n q composers. H a Three Scenes from New Orleans
was published by the Kjos Music Publishas in July, 1998. Clark's Requiem for Lost ChiUm, written for the San Jose
Symphonic Choir and Orchestra, benefiting the Kevin Collins Foundation for Missing Children, was premiered to critical acclaim
in 1996 and will be performed in March, 2000, as part of SYSC's Millenium Series. In June. 1999, the award-winning cable
television program. The Gmnd Piano Sl~ow    premiered The Wonderjiul Piano Music of Sondm Clank, an hour show which will be
aired in 450 cities.

         The aria presented here is from DALhL4TIA AND DALMATIO, a "neo-Rococo comic chamber opera" in progress, with
         libretto by Dr. Sally M. Gall. the National Opera Association's 1997 1st Prizewinning librettist. The opera's story is
         about Dalmatia and Dalmatio. a pair of Dalmatian dogs who are newcomers to a village which is ruled by the bully,
         Mastiffo. Once Mastiffo sees Dalmatia, he becomes smitten and, in this aria, vows to have h a for his mate. no matter
         what the cost.

I'LANA COlTON is a composer and pianist specializing in improvised and multi-arts performance. She has collaborated with
other musicians and artists in visual and theatrical media, and extensively with dancers and choreographers. Her work has
appeared on several Bay Area concert series, including the Dominican College NOW Music Festival, Marin Community
Playhouse Contemporary Music Series, Alea fl at Stanford University. City of Palo Alto Cultural Center, Trinity Chamber
Concerts in k k e l e y . She holds an M.A. in composition from UCLA, with undergraduate music study at San Francisco
Conservatory. She has also Indian Classical vocal technique with Faquir Pran Nath, and studied gamelan with Max Harrell.
C m U y on the music faculties of Skyline College, College of San Mateo, and San Jose City College, she also teaches in her
Menlo Park studio, specializing in lcaching improvisation, composition, and theo~y, is the author of Music of the Moment: A
                                                                                  and
Gmded Apprmch to the Art of Keyboard Impmisation, available from New Music.
 "Down Dip the Branches" and "He
 Cut One Finger"from Collected
'andNew Poems 1924-    1963 by Mark
 Van Doren. Copyright 01963 by
 Mark Van Doren. Used by
 arrangement with Hill andWang,
 a division of Fara, Straus, and
 Giroux, Inc.
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NANCY BLOOMER DEUSSEN is well know t f r r o u t the San Francisco b y Area as a composer,paformer, axts organizer
and music educator. She is a leader in the growing movement for more melodic, tonally oriented contempomy music and is co-
founder of the SF Bay Chapter of the National +istion    of Composers, USA. Her works have been performed throughout the
US and Canada and she has received numerous y i s s i o n s both locally and nationally from such paformers and ensembles as
The Oakland Chamber Orchestra. The Walnut S F Chamba Ensemble. The Baton Rouge Concert Band,The Bresquan Trio,




         has been recorded by ERM.




OWEN J. LEE is Instructor of Music Theory at Diablo Valley College in Pleasant Hill. He studied with Paul Reale, Henri
Lazorof, and Roy Travis at the University of ~alifdrnia Los Angleles, and with Andrew Imbrie at the University of California
                                                      at
at Berkeley..

         CREDO. featuring a baritone soloist. is actually one section of a larger setting of the mass ordinary entitled Missu




          PHlZZIG sets humorous philosophical        on the subject of inheriting your face and having no recourse to exchange
          it for any other.
You are invited to stay after the concert and speak with the composers.

The National Association of Composers USA (NACUSA) is a non-profit organization whose goal is to
 foster the composition and performance of new music. Founded in 1932 and now with branches in Los
 Angeles, New York, Philadelphia, and San Francisco, NACUSA continues to be an active and most vital
\
 outlet for composers throughout the country. Inquires regarding membership may be addressed to I'lana
 Cotton at (650) 367-1683. General inquires may be directed to Nancy Bloomer Deussen, (650) 858-0172.


NACUSA San Francisco is a non-profit organization in need of support.
Taxdeductible contributions may be sent to:

THE NATIONAL ASSOCIATION OF COMPOSERS
San Francisco Bay Area Chapter
3065 Greer Road
Palo Alto, CA 94303


Acknowledgements

The Members of NACUSA San Francisco would like to recognize with heartfelt thanks the following
contributors to the 1998-99 conccrt season:

Dr. Mark Alburger
Ms. Annette Axtmann
Music Library, University of California at Berkeley
Ms. Ilse Calabi
Mr. Brian Holmes
Dr. Michael Kimbell
Mano Murthy
NEW MUSIC Publications and Recordings
Ms. Jeana Ogren
The City of Pdo Alto, Division of Arts and Culture
Mr. Robert and Ms. Carla Schenk
Mr. and Mrs. Michael Scoficld
Ms. Emily I. Ward

This concert is presented by the National Association of Composers, USA, San Francisco Bay Area
Chapter, in cooperation with the City of Palo Alto, Division of Arts and Culture.


Committee for tonight's concert:

Concert Production: Robert Hall
Publicity: John Beeman, Marilyn Hudson
Program: Mark Alburger, NEW MUSIC Publications and Recordings
Programming: John Beernan, Nancy Bloomer Deussen, Diana Tucker
About the Music...                                                                                                              Program
Liduino Pitombeira                                                                 PISCES
                                                                                               Three Movements for Piano (1998)                             Melissa Pausina
Pisces is a movement from the cycle Zodiac for solo piano. The psychological aspects of
the Zodiac signs inspire this work. It employs a set of twelve tones, which is stated in the                                  Melissa Pausina, piano
very beginning. This set represents the twelve zodiac forces. Also, two modal ideas are
used which represent the duality of the world such as hot and cold, day and night, etc.
This twelve-tone set is used as a matrix for the entire cycle, which is not completed yet.     Three Short Pieces for Solo Tuba (1998-99)                 Bradley E. DeBow
The work was written in 1993 for my wife Duda Di Cavalcanti for her birthday because
her sign of birth is Pisces.
                                                                                                                               Bradley DeBow, tuba



Mickie Willis                                                           Shards o Memory
                                                                                f              Pisces (1993)                                             Liduino Pitombeira
Shards of Memory was composed as a sort of variations, in that a long series of harmonic                                     Duda Di Cavalcanti, piano
progressions are the basis for all melodic and motivic detail. The variations are not
regularly periodic, however, and serve only as pitch content for melodic figures, with the
harmonic rhythm varying considerably with the mood of the piece. Not formally divided
into discrete movements, various episodes reflect the continuous stream of our thoughts,       Charanga (1993)                                           Michael Colquhoun
in which our memories are ever-present, but often fleeting, fragmented, sometimes
disturbing; occasionally lucid, coherent, serene and comforting, and sometimes relentless                                        Sarah Berg, flute
and overwhelming.

                                                                                               Six Bagatelles forpiano (1973-77)                             Peter Blauvelt
                                                                                                    1. Scherzo - prestissimo
                                                                                                    2. Impromptu - Allegreto
                                                                                                    3. Intermezzo - Lento
                                                                                                    4. Arabeske I - con mot0
                                                                                                    5. Arabeske I1 - moderato
                                                                                                    6. Humoresque - Allegretto con rubato

                                                                                                                             Duda Di Cavalcanti, piano



                                                                                               Shards of Memory for piano trio (1999)                         Mickie Willis

                                                                                                                              'Iim Marchiafava, violin
                                                                                                                                  Ivan Lalev, cello
                                                                                                                                 Louis Wendt, piano
                          Notes about ttte Artists                           The Mid-South Chapter of
                       Red Stick Saxophone Quartet
                             Baton Rouge, LA

                      Brian Utley, soprano saxophone
                                                                                    NACUSA
                      Joshua Thomas, alto saxophone
                       John Perrine, tenor saxophone
                      Chris Rettie, baritone saxophone                                     presents

The Red Stick Saxophone Quartet was formed in 1997 by students from
the studio of Griffin Campbell at the LSU School of Music. The quartet
has performed at North American Saxophone Alliance conferences at the
University of Georgia and Northwestern Un'mrsity, and has also appeared
at St. Joseph Cathedral in Baton Rouge, Murray State Un'wrsity in Murray,    A Concert of- C ~ n k m ~ . r a . c y
W;and-StrMaqrCdlegei~S~th-=d,lN;The                quartet was a featured
ensemble at LSU's 54th Festiial of Contemporary Music, performing Philip
Glass1Concerto for Saxophone Quartet and Orchestra with the LSU
                                                                                   and Experimental
Symphony Orchestra. As a competitive ensemble, the Red Stick Saxophone
Quartet was named National 1st Runner-up at he 1998 MTNA Collegiate
                                                                                        Music
Chamber Artist Competition in Nashville, T , and received Third Prize at
                                           N
the 1999 Fischoff Chamber Music Competition in South Bend, IN.

Heather Pinson received her bachelor of music from Samford University
where she studied violin with kffrey Flaniken. She is currently working on
her masters of musicology at LSU where she continues to perform with the
LSU symphony and various other ensembles. Heather has been a member
of several orchestras including he Birmingham Symphony, the Montgomery
Orchestra, the Jackson Orchestra, and has served as concertmeister for the




I                                                                                                                    I
Jackson Symphony Camerata Strings. This past summer Heather performed
concerts throughout Italy with the Rome Festival Orchestra. She currently
studies violin with James Alexander and iau improvisation with Rex
Richardson.
                                                                              The Baton Rouge Gallery
                                                                                  Thursday, December 2,1999
                                                                                            7:30PM
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                                                                                 '   PnmSorobNo.lwaeomposed~thespringandsmmnerof1999forKyoog                                       Commoawdth University, w m he stndied with AUan Blah and Jadi Jan&i. His music,
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                                                                             Jarre!. The wort ws written under the influence of the compositional rhdoric of Beethoveq
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                                                                             Ba1i4 and Shdovich. Traditional procedures of mhikbnic form are f o l l o d in the tbree
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                                                                                                                                                                                   W q *
                               John Winsor, darinet;                         respecbvdy. 'Ihe modes in the wola h v e the muod of the diatonicplus one additid We. It is                 AllanBknb w a b o m i n N e w Y a r b C F t y i n I 9 t S . B ~ ~ ~ a t t h e
                              Jeannette Winsor, piano                        the initial two movemmls that will be performed duhg this coaeert                                     High School ofhhic and Art, Jdhard School of Muic (1W541). Hemiveda W o r of
                                                                                      Fipt Skeith 0 17,fir ViobucL4ava oi h y written in 1980for salo violin. In
                                                                                                                                     rg d                                          hdepreefromW~~Cdegem1gqSandaMaPlaofh~fmthe
P h P ~ C v ~ q I 7                                                          1 W it s bamiifk cello and vida The titles ofthe skdd~esrnh m h W                  Qw                 Univmitv offdhemhin 1950. He hadadditionalstndy at the University of Iowa AUan was a
   I. of two voim                                                            Voicesby Tennyswn,dh Rnpe 01th h h y Alexander Pope. The titles were selected after                   violinist~the~borgh~ymphon~1 9 5 0 t o l % ~ t h e ~ w i n ~ ( ~ c k a n d t h e
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   2. of this lovely gnea                                                    the sketches were written. Ibe stdcbes, while written a absolute music, create programmatic           National OrcbwtralTraining Asscdoo Chckbain 1952. h the somma of 1953,lie hdied
   3. ofdvesbyby~gllightm6ee0                                                images which evolved after the completion of the pica. Ibe titles were comtmkd from poetry            orchestral and cbamkr music at T a n g l e d 1111954, he studied &amber maPic at the M m
   4. of the variou light in silken                                                                     C,
                                                                             found in the Rap of the L& by Alexander Pop.The titles give way to images which could                 Sehwl of !hie. From 1954tol956, he coqleted the TeachersC d i d o n Rogiam at Teacbers
   5. ofsylphsinfields                                                       appear either on an d s palate,or in the motiolls of a d .   m                                        College,ColumbiaUniversity. He then taught instrmnentalmtac at New Yodr's MS 118(19%
                                                                                     I#& D m (1998) s inspired by the Eompaser's daughter who, while deep at two                   n)and~s44(19naylnthe-of1959,he~t1~~enhny~et~
                          Dr. James HertAsoq Violoncello                     we& d4 rmobviously drearmng. The music moves thmgh several dmmtatesof Merent                          TeachersCollege,Calmbia University. FKIIO 1960to 1961,he taogbt music U m y and
                                                                             d m c t u , in an aa~mpt imagine what might exkt in the subconscious of a two week old M d .
                                                                                                       to                                                                          composition at the University of Alabm. In the summa of 1961, he taught music appreciation at
hSatatnNal                                                    h e y Stokes           Five Pkccrr for C b i w l u A1993 a& of an mblike imammmt in which the
                                                                                                                                m                                                  Setw Hal University. He taught instrmneotal rmic Fmm 1961to 1962at Yodikm Heights
                                                                             central third piea -.marlred Geotly, h h i o t i o n - ismunded by two pi& of fist pieces. Each       Schoolsandfmm1%2-1%5attheffi~Sehoolof~candAR~the1%566schd
                                                                             of the four fast p presents ideas differently, but tends to . r the virtn@ic aspeas of the
                                                                                                m
                                                                                                i                                          dm                                      year, he taught in the New York aty pubhc d~ak the summer of 1%6, he wa a dodoral
                                                                                                                                                                                                                                        Drmng
                                                                             immnt                                                                                                 assistant at the University of Iowa. Re e g h t music theory and composrhon at Westem Illinois
                                                                                     P a m St& Nod 'A Welb In tbe Woodsn 'Ibis six m o v m t suite for p i m s                                                                         .
                                                                                                                                                                                   Universityfml%l968,at~S~Co~from1%8to197Oandfml9Tlto!~
                                                                             bemm in 1%7 and wmlded in 1982 The rust movement is like the                   e ?
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                                                                             ~~~m'~t~o~xhibition',andbnngsusintothewoodp~~w~v~tthe                                                 Common& University, where hetaogtd from 1978to 1996. ~llao's arc pnb&d by
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                                                                             bubbhne, m-filled sorine makim its wav throueb the forest toward the &
                                                                                                                                                  Y lake A sudden                  Boosev&Haw);es AssaiatedMuldcPnblishers.Carl~&Comnanv.SeesawMtac
ldsdIkeans                                                    Leigh Baxter   ~om~usby~d&the&iso~webearthe~eof~fa~mgdthe
                                                                                       we
                                                                             1cartx.A~ waada fartber into the f m t we anive at Looking G k Fah and beholdh nriking
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                                                                                                                                                                                    C OI       ~ p r i i ~ o r Re a ~ I . O ~             m had      others. B
                                                                                                                                                                                   mmic is recorded on CRI, Oioq Advance, OpenLoop,Cdaur,Cont~npor;oy
                                                                                                                                                                                                                                                    Ramd Society,
                      University of R i h d Guitar Ensemble                  d splashgdownwd, never stoppmg its r l m flow. ' & u p a hoge fm,
                                                                                                                   m ed               I we come                  a, -              Titanic, Ro Vivq ad No~thlSordb A h ' s ~xwmition include awards from h
                                                                                                                                                                                                                      lab&.                       pdzes                       e
                               Adam Mandell-Guitar                           fomcmpaorofdthef~nowlyingQadanddemmposn&gradllaOyrehrmingtothesoil                                    George Eatmaa Compehb'on(IW), t h e ~ a l i h & m i f o r the &(1983), the Vuginia
                                                                                                                                                                                                                                       d
                               Baron Tymas-Guitar                            from whicb it sprang. Fiaally,we fmd om way to the W u l lake at ev* and enjoy the                    M p r i c T ~ e r s ~ o n 1 1 9 7 9 . 1 9 and 19911theEiicSatie MosltvTonalAwardt!ie
                                                                                                                                                                                                                             88
                             E h IindMoomGtlitar                             mmmofhrrpphngwavesagamstthesboreinthe~gh~                  AUbrdtbe3rdand6th                          Chilaup ~nnoal      ~horal  CompCtitii~ward      lhhrtd solo song &tim           (1989), and the
                                                                             movements were premiered at a 'Friends of Floyd"      at at MResbyteriaa Cl~urcb
                                                                                                                                                            Virginia                                                                           A
                                                                                                                                                                                   Flutr ChonConmehtion at the UniversitvofTdedo(lW~. h islistedmawkrof
                                                                             Beach, on Febnq 18,lW. Today d be the h t t m it has beea played in ib w.
                                                                                                                 l              ie                                                 refereaces indud;ng the ~ e Groves Dikiwarpof h c &d MUO&.
                                                                                                                                                                                                                 w
                                                                                                                                                                                                                                                  ofW.ilahomaCity,OlrlabamaHe
                                                                                                                                                                                          James Preston Herbhq (b.~ 4 , 1 9 4 7 ) i s a n a t i v e
                                                                                                                                                                                   earned the Bacbelorof Mmic E d n h degree from the Univasity of Oklahoma,the Master of
                                  John W m r , d a k t                                                                                                                             W c degree from the University of hadigan, ad the Dodor of Mn\ical h degree from the
                                                                                                                                                                                                                         ebso
                                                                                                                                                                                   CatholicUniversitv of America Dr.Hria is Associate R o f mof hfusic at Nodolk State
                                                                                     Floyd W o n h a ,an e l h e a l engineer and oidahedminister of the United Chmcb              ~nivenitywhere b teaches theory,~              e strmg metbodq and music apprgiation He also
                                                                                                                                                                                                                                           g
                                                              Floyd Barns     ofC& althoughborn in New York State,mived mait of his education in Canah His early                   condodstheunivasityorchestraanddesrelataichambRenswbles.Hehasbccngneyt
                                                                               trarmng in music theory was at the Royal ConserPatory of h i e i n T m t o , and he later studied               a 1 adjdcator and dinitiaa for ordxsId,cbambesand d o events t h g b o u t
                                                                                                                                                                                   condo~Ior, x 4
     1.AWaBintheWoods                                                                                                                      ty.
                                                                              ~ ~ o o ~ D r . F . R S . a a r h e a t Q u m U n i v e r s iSihemovedtoV&ia,heh                     V i a n d North Carolina He is principalcellistof the W i l h b u r g Sympbonia and a h t in
     2.AttheSp1ing                                                              Btnmed c o q c d o n with J h Davye at Old DominionUniversity mNodolk Floyts works                 t h e v i a SymDbony and cellia and &h of the HICO sting &&cb                  he &hed       dde
     3. After the Rain                                                            in& anthem, carols, mtatao,song qdes, a Requiem M a ~ q       bane& a symphony, a violin         at6          nib&$. His performanu expuimu Imlndsm d p in the OUahoma City
     4.LoolangGtapsFalls                                                     amcato,olbn orchesbal war$ and inshumenlal chamber mpric. Hs Begy for Fhde and Strings
                                                                                                                                                 i                                 Symphony, the %! Symphony, the Vugiuia Opaa Or-
                                                                                                                                                                                                    J                                            and the Nova Trio. He ba
     5. How A the haghty Fallea
               n                                                             (198.5) and hada f o r b and Permion (1990) were mrded in &atislavain the~lmmerof                     performed in recitals, ch&r grcsrps,and with mbs nthrooghout the United States ad
                                                                                                                                                                                                                                       l r
                                                                                                                                                                                                                                       cet a
     6. Evening By the Lahe                                                     19WbytbeSlovakR~oSyrmphong~Theh~rmreldin19%ona(lDof                                                b d a . Notable amone b reatal and chamber mformances are his mid at the Cathcmal of St
                                                                                                                                                                                           -



                                                                              woks by 8 Amaim composers under the Makz M m i d Couedive label entitled Orcbesbal                   ~ohnthe~ivinein~ew?orh;       hispfonmce atihe~wmdy~entufarthe~af~~rtq
                              Jeanette Winsor-Piano                          ~bnes,Vol.l~C2022);theBegyistofdowonanothadiseinmid-U)OO.
                                                                                                                                  Ohrecent                                         the NovaTno's phmaw and madung session with Menahem M e r of the Beam hTrio
                                                                              woltsindodetwopianosoites,htforthe~eofImq'for~andordl~d
                                   Texts for Four Holy Songs                                                UNIVERSITY OF CALIFORNIA. RIVERSIDE
                                                                                                    1       Department of Music presents
1. Never Weather-beaten Sail                   3. The Conclusion                                    I
   by Thomas Carnpion                             by Sir Walter Raleigh




                                                                                                                                                                          I
Never weather-beaten sail more willing         Even such is Time, that takes in trust '
bent to shore,                                 Our youth, our joys, our all we have,
Never tired pilgrim's limbs affected           And pays us but with earth and dust;                 1
                                                                                                    1


slumber more,                                  Who in the dark and silent grave,
Than my wearied sprite now longs to fly        When we have wander'd all our ways,



my soul to rest!                               My God shall rase me up, 1 trust.
                                                                                                                                                           e
                                                                                                            Natic
                                                                                                    I
Ever blooming are the joys of Heaven's                                                                                             -4   A ---            - , - A   1-1,


high Paradise,                                                                                                                          -   --   -   -   - - -

Cold age deafs not there our ears nor
vapour-dims-our eyes:
Glory there the sun outshines: whose
beams the blessed only see:
                                               4. P r y to the Father of Heaven
                                                  by John Skelton                                           of Composers, USA
0 come quickly, glorious Lord, and raise
my sprite to Thee!
                                               0 radlant Luminary of light interminable,                    A Program in Honor of
                                               Celestial Father, potential God of might,
                                               o f heaven and earth, o Lord incomparable,
                                                                                                            Robert Linn (1925 -1999) and Ellis B. K O ~@. 1916)
                                                                                                                                                        S
                                               Of all perfections the Essential most Perfite!
2. Hymn
   by John Bunyan                              0 Maker, that formed day and night,
                                               Whose power comprehendeth every place!
He that is down need fear no fall,             Mine heart, my mind, my thought, my whole dehght
He that is low, no pride;                      Is, after this life, to see Thy glorious Face.
He that is humble ever shall
Have God to be his guide.                      Whose magnificence is incomprehensible,
                                               All arguments of reason which far doth exceed,
I am content with what I have,                 Whose Deity doubtless is indivisible,
Little it be or much;                          From whom all goodness and virtue doth proceed,
And, Lord, contentment still I crave,                                                                   I
                                                                                                        1
Because Thou savest such.                      Of thy support all creatures have need;
                                               Assist me, good Lord and grant me of thy grace
Fullness to such a burden is                   To live to thy pleasure in word, thought and deed,           Sunday, February 13,2000
That go on pilgrimage;                         And, after this life, to see Thy glorious Face.              4:00 P.M.
Here little and hereafter bliss,
Is best from age to age.                       Alleluia.                                                    Watkins Recital Hall
                        National Association of Composers, USA                                                                                      Intermission
                                   A Program in Honor of
                     Robert Linn (1925 -1999) and Ellis B. Kohs (b. 1916)
                                          February 13,2000
                                                                                                      Piano Variations (1999)                                                    Robert Linn (1925-1999)
                                                                                                                Peffomed in memory of the coqoser

Four                                                                  Barbara A. Bennett @. 1952)
                                                                                                                                              Delores Stevens, piano
        11. Freely (1999)

                                      Barbara A. Bennett, piano


                                                                                                      Longing Under the Moon                                            Jacqueline Jeeyoung I(lm @. 1968)
Suite from Macbeth, K. 17                                                    Ellis B. Kohs @. 1916)           [Znd Phce winner, NACUSA composers competition 1778)
           I. Prelude
                                                                                                                                                Amy Shulman, harp
           11. Processional I (Macbeth's Army)
                                                                                                                                                 Peter Kent, violin
           1.
          1 1 Processional I1 (Duncan's Army)
          N.Gavotte (for the banquet scene
           V. Intermezzo (between scenes)
         VI. Forlane (prior to the assassination of Lady Macduff and her little boy)                   . . hear sound, less ringing                                           Stephanie Johnson @. 1977)

        VII. Signals (of the opposing armies)                                                          and sonorous than the dreamers . . .
        VIII. Finale (recalling the witches' predictions)                                                      [!st Phce winner, NACUSA composers competition 1778)

                                                                                                                                               Delores Stevens, piano
                                       Abraham Fabella, piano


Four Holy Songs (1998)                                                      Byron Adams @. 1955)
            I. Never Weather-beatenSail (Thomas Campion)                                              Passacaglia for piano (1998)                                              Abraham Fabella @. 1975)
           11. Hymn (John Bunyan)
          111. The Conclusion (Sir Walter Raleigh)                                                                                             Abraham Fabella, piano
          N.Prayer to the Father of Heaven (John Skelton)

                               OnyCbuchim Aduite Chinwah, baritone
                                      Byron Adams, piano
                                     UPCOMING EVENTS
                          The 55th Festival of Contemporary Music
        Thursday, February 24                         8:00 p.m. Union Theater
              LSU Wind Ensemble- Frank Wickes, conductor $5,$6,$7
        Friday, February 25                           8:00 p.m.   Recital Hall
               Louisiana Contemporary Chamber Players
        Saturday, February 26                                        8 :00 p.m.          Recital Hall
               High Voltage- electronic Music Concert
        Sunday, February 27                                          8:00 p.m.           Recital Hall   o MUSIC
                                                                                                         f
               Faculty Artists Festival                                                                     Presents
        Monday, February 28                         8:00 p.m. Union Theater
             LSU Symphony- Michael Buttennan, conductor $5,$6,$7
        'Ibesday, February 29                                        8:00 p.m.           Recital Hall     NACUSA Mid-South Chapter Concert #3
               Guest Artist: Esther Lamneck, clarinet with the N. Y: U. Trio
        Wednesday, March 1                              8:00 p.m Union Theater
             LSU Symphonic Winds and Symphonic Band Concert
             Linda Moorhouse and Roy King, conductors $5,$6,$7
        Thursday, March 2                              8:00 pimTUni5KTheater
             LSU Jazz Ensemble - Bill Grimes, conductor $5,$6,$7
        Thursday, March 9                              8:00 p.m.   Recital Hall
I
               Chamber Singers
        Friday, March 10                                             8:00 p.m.           Recital Hall
               Chamber Winds Concert
        Monday, March 13                                             8:00 p.m.           Recital Hall
               Tuba / Euphonim and Trombone Ensembles Concert
               Larry Ccimpbell and Joe Skillen - conductors
        'Ibesday, March 14                                           8:00 p.m.           Recital Hall
               Faculty Voice Recital: Patricia O'Neill, soprano & Lori Bade,
               mezzo-soprano with Jan Grimes, piano
        Friday, March 17                                             8:00 p.m.           Recital Hall
               Louisiana Sitlfonietta - Dinos Constantinudes, conductor


                                Please Note: Event dates and times are subject to change.
                Please call the Concert Information Line at 388-3925 for up-to-the-minuteinformation.
                           Union Theater Box Office: 388-5128. Dept. of Theatre: 388-4174.

    About the school...
    Founded on the Baton Rouge campus in 1931, the LSU School of Music now boasts a
    faculty and staff numbering over sixty, and a music major concentration of nearly 450
    students. The size and scope of its curricula--comprehensive programs from the baccalau-
    reate through the doctorate--placeit in the top category of music schools nationwide. Several
    faculty have earned national and international reputations through performance and re-
    search pursuits and thus attract students from all parts of this country and all over the
    world.. Many of the School's performing ensembles enjoy wide acclaim, appearing at the
    Vatican in Rome, Carnegie Hall in New York City and the Kennedy Center in Washington,                       lhesday, February 22,2000
    D.C., among other notable venues.                                                                            8:00 p.m.    Recital Hall
                                          Meet the Performers
        Flutist Patti Monson is a graduate of the Eastman School of Music and Yale University. She
recently completed a solo recording for the CRI label featuring works by Martin Bresnick, Steve Reich
and Harold Meltzer. She is a member of Sequitur, the new music ensemble.

       Renee Jolles, violin, is an accomplished solo violinist and chamber musician with an active
performance schedule throughout Europe and the US. She has appeared as a soloist with the
Philharmonic of New Jersey, the Cape May Festival Orchestra and the Salisbury Symphony. A
frequent performer at the Marlboro, Bennington, Wellesley, Taos and Bowdoin Festivals, Ms. Jolles
also performs and records with the Orpheus Chamber Orchestra and has served as that ensemble's
concertmaster.

       Pianist/composer Max Lifchitz was awarded the first prize in the 1976 International
Gaudeamus Competition for Performers of Twentieth Century Music held in Holland. Robert
Commanday, writing for The San Francisco Chronicle described him as "a young composer of brilliant
imagination and a stunning, ultra-sensitive pianist." The American Record Guide commented as follows
on Mr. Lifchitz's most recent release The American Collection (N/S R 1014): "sufice it to say that it
would be hard to find a better snapshot of what American composers have been writing for the piano in the
past decade than this collection. Lifchitz plays everything with sensitivity and force, where appropriate; and
recorded sound is vivid and natural."
         The NorthISouth String Quartet is made up by musicians who have appeared with the
 North/South Consonance Ensemble. Its members pursue active professional carreers as soloists and
 chamber musicians.
         Deborah Buck, violin, held the Jascha Heifetz Scholarship at the University of Southern
 California. She recently appeared on the prestigious Dame Myra Hess Recital Series in Chicago.
         Adelaide Federici, violin, has appeared as soloist with the National repertory Orchestra and
t h e Atlanta Youth Symphony.
         Carolyn Baldacchini, viola, recently returned to New York City after a long European sojourn
 where she performed with Germany's Ensemble Moderne and the Toscanini Opera Orchestra in
 Parma, Italy.
          Bruce Wang, cello, graduated from the Curtis Institute and The Juilliard School. He is very
 active as a studio musician and has appeared on several television shows.

       The performers that make up the West Side String Quartet are recent graduates from the
Manhattan School of Music. All are active as performers of chamber and orchestral music.
       Eric Leong, violin, received the Musica de Camera Internazional award in Italy last year.
       Sarah Oates, violin, attended the Royal Northern College in Manchester, England before
coming to New York to study with Pinchas Zukerman.
       Maurycy Banaszek, viola, has made several radio and TV recordings in his native poland.
He has also appeared in recitals throughout Europe.
       Dana Leong, cello has performed with Richard Stoltzman, Ray Charles, Wind and Fire and
many other artists.

       The National Association of Composers, USA was founded by Henry Hadley in 1933. Mr.
Hadley served as an Assocciate Conductor for the New York Philharmonic during the 1930fs, the
first American-born conductor ever appointed to the staff of that institution. To learn more about
various the activities sponsored by the National Association of Composers, USA please visit its
website at www.music-usa.org


           The public is kindly reminded that the use of recording equipment of any kind is strictly forbidden.
            Please turn-off your watch alarm or any other noise-producing device before the program starts.
                                       Make sure to know where the auditorium exits are.
          PLEASE REFRAIN FROM SMOKING and/or EATING WHILE IN AUDITORIUM.
P R I ) G R A M e d i t e d                     bv Max Lifchitz)


        Harold Meltzer (born 1966) is the Artistic Director of the new music ensemble Sequitur. His
performances in New York this season idclude Exiles, commissioned by tenor Paul Sperry to premiere
with the Da Capo Chamber Players       4  June, and Island, a dance work for Melissa Fenley that
                                        /
premiered in February at The Kitchen. Pieces for next season include a wind serenade for Paul
Dunkel and the Westchester Philharmonic, a clarinet quintet for David Krakauer, and a song cycle for
Mary Nessinger to premiere in September at England's Prussia Cove Festival. In the summers he
composes theater music for shakespearel and Company, and has also written for Off-Broadway and
Syracuse Stage. He graduated summa          laude from Amherst College, and holds degrees in music
from Yale and King's College, Cambridge, as well as a law degree from Columbia.
        The composer kindly provided thb following notes for his work:
        "Trapset transforms an alto flute into a battery of percussion. In composing this piece for
Patti, I honored her preference for ''~410chamber music" by simulating the sounds of different
instruments being played in concert, braiding strands of tongue stops, key clicks, tongue pizzicati,
and fluttertongued notes. I made most of Trapset in December 1998 at The MacDowell Colony, and
finished it shortly after retuning to New York City early in 1999. Patti recorded the work on CRI for
release in this fall."

        Composed with funding provided by a grant from the ASCAP Foundation Max Lifchitz's
Affinities was written at the request of lpianist Adolovni Acosta. It has been performed throughout
the United States, Latin America, Europ? and South Korea.
        The work is in five contrasting, self-contained movements. Each movement is built around a
single idea. While metered and non-rnktered rhythms serve as a source of contrast, a series of
expanding and contracting intervals             the melodic and harmonic materials used throughout
the work.
        The music exploits the dynamic Lnd registral possibilities inherent in the instrument. It also
provides the performer with ample opp&tunity for technical display. The moods evoked throughout
the work range from the lyrical to the dance-like to the bravura, almost heroic feeling so often
employed by the Romantic virtuosi.

         Howard Quilling was born in Enid, Oklahoma in 1935 and grew up in Napa California. His
formal training came from the University of Southern California and the University of California
Santa Barbara (Ph.D.). He studied music bmposition with Ingolf Dahl, Emma Lou Diemer, and Peter
Racine Fricker. In 1971 Mr. Quilling accepted his present position at Bakersfield College where he has
taught music theory and composition and is currently teaching reading since his retirement in 1996. He
was appointed Composer in Residence i 1981, a title he still holds. In 1988 he established the New
                                         A
Directions Concerts Series under the ausbices of the Bakersfield Symphony and is the current director.
The Bakersfield Symphony has played tvSo of Dr. Quilling's works, Mountain Streams and From Quiet
Beginnings. The later was commissioned [by the Symphony for the Bakersfied Centennial Celebration
and was premiered on January of 1998 of the birthday of the city. He has received a number of other
commissions and awards and has works published by National Music Publishers, North/South
Editions, and Howard Quilling Editions. His three Piano Sonatas have been recorded by Max Lifchitz
on the North/South Recordings Label as is the Sonata for Clarinet with Richard Goldsmith, clarinetist
and Max Lifchitz, pianist.
         The Piano Quintet was written in the spring of 1998. Following are some comments by the
composer about his work:
                                            I
         "The piece began to take shape in February of 1998. Once settling down with the material of
the work the composition proceeded at a rapid pace. The work is in three contrasting movements, the
                                          1
first is mostly in 5/8 and is dramatic. The movement itself is divided into three parts with the middle
section being less jagged and more melodf c. The second movement is choral like. The strings play the
entire opening tune by themselves eventually the piano joining with a series of variations and
development of the material. The third m b m e n t is a Gigue which has three contrasting ideas which
after being introduced are played in combination or in contrast with each other culminating in a whirl
of notes."
        A founding officer of New York Women Composers, Inc. Elizabeth Bell's music has been
performed in Australia, Brazil, Japan, Russia, and throughout the United States. Her oeuvre includes
works for solo instruments, voice, chamber ensembles and orchestra. A graduate of Wellesley College
and The Juilliard School, she perfected her compositional craft under the guidance of Vittorio
Giannini, Paul Alan Levi and Peter Mennin. Four highly successful retrospective concerts have been
dedicated to her works: in 1973 at Cornell University in Ithaca, NY; in 1985 in her native city of
Cincinnati, Ohio; in 1991 and 1998 in New York City. Her works have been recorded for the Classic
Masters, CRS, North/South and Vienna Modem Masters labels. Her chamber ensemble composition
Spectra -- written for the 10th anniversary of north/South Consonance, Inc. -- received the 1996
Grand Prize at the Utah Composers' Guild Competition. An all-Bell CD was recently released on the
MMC label.
        The title of Les Neiges D'Antan is taken from a famous poem by the 15th century French poet
Fran~ois  Villon, about the ephemeral nature of time; it closes each stanza with the query: Where are the
snows of yes teyear?
        Ms. Bell states: "Looking back on 70 years, I wrote the sonata to explore different facets of
nostalgia. The opening movement -- Snow-Dreams -- presents a montage-like frozen dream landscape
of scenes from my past life. The second movement -- Elegy -- is a lament for loved ones I have lost,
especially for my gentle father. Shadow-Dance recalls happy times with a trace of wistfulness. And
The Furies is an invocation of anger and sadness for lost opportunities, spoiled hopes. Turning my
back on the past, I dedicate the piece to Grace Cecelia Drake, my new and first grandchild, who looks
to the future!"

         Irwin Swack was born in Ohio and attended the Cleveland Institute of Music. After
graduating with a major in violin, he studied with Vittorio Giannini at Julliard. He went on to receive a
Masters Degree in composition from Northwestern University and a Doctorate from Columbia
University, where he studied under Henry Cowell. As a recipient of a Ford Fellowship Award, he
studied with Gunther Schuller at the Berkshire Music Center in Tanglewood.
         The music of eastern Europe has a special appeal for him, especially that of Bartok and
Shostakovich.Some of the characteristics revealed in his music are: polytonality, a prominent melodic
line, sudden changes in dynamics, time signatures, moods and accents. All of these are eminently
displayed in his String Quartet No. 3
         Each of Swack's compositions creates a special world, a tapestry of rhythm, harmony, and
dramatic interplay using a variety of instrumental combinations. His chamber works range from
Invocation for solo flute to Dance Episodes, a septet. Additional compositions include four string
quartets, the Visions of Isaiah for mixed chorus and piano, Psalm Eight for Tenor, Trumpet and String
Orchestra, Fantasie Concertante for string orchestra and two symphonies.
         The String Quartet No. 3 was completed in the Spring of 1978 and received its premiere
performance at Carnegie Recital Hall, New York on June 22 of that year. A recording of it is available
on the Opus One label.
         The composer kindly provided the following commentary on his work:
         "In one continuous movement, the overall structure is in a large ABCA form with each section
having a principal and subordinate theme. Introductory measures provide intervallic relationships
upon which subsequent materials are based.
A) Tranquillo et Efetuoso: the beginning theme, slow and contemplative, is imitated in all instruments
and moves toward a climax shrouded in mystery. The subordinate theme, an ABA, is direct and
expressive, leading to an agitated and restless B section. A bridge leads calmly back to A where the
cello and the first violin engage in a duet to the accompaniment of the second violin and viola. The
codetta introduces a marked change in mood and direction.
B) Brioso: vigorous, exciting and accented in a folk-like dance with ever-changing time signatures, the
themes sometimes primitive and slashing, are tossed back and forth with abandon.
C) Da Ballo: a straightfornard dance theme reflects a change of mood. The principal melody is in the
first violin. As it develops it becomes more abstracted. The contrasting theme is a waltz in which bits
of earlier materials are intertwined. With the changing tempo, the bridge leading to the A, beginning,
section becomes more searching and philosophical.
A) Tranquil10 et Efletuoso: a return to the beginning theme, the section is now much more developed
and becomes increasingly contemplative and introspective. It comes to an end in a sense of repose."
MARK ALBURGER is an eclectic American composer of postminimal postpopular, and postcomedic sensibilities. He is
Editor-Publisher of 2OthCentutyMusic Journal, an award-winning ASCAP composer of concert music published by New Music,
oboist, pianist, vocalist, recording artist musicologist, author, and music critic. Dr. Alburger began playing the oboe and
composing with Dorothy and James Freeman, George Crumb, and Richard Wernick. He studied with Karl Kohn at Pomona
College; Joan Panetti and Gerald Levinson at Swarthmore College (B.A.); Jules Langert at Dominican College (M.A.); Roland
Jackson at Claremont Graduate School (Ph.D.1 and Tary Riley. Dr. Alburgds recent performances have included the premieres
of S i d m l k s of New Yo&: Henry Miller in Brooklyn in Sen Francisco and Mice Suites at Cal State Stanislaus. He recently
completed Symphony No. 4 f'sequence Muric'l), is at work on 12 Preludes and Fugues ('Topical'l), and has been commissioned
to write a new work for woodwind quintet, stnng quartet and piano for Uax Lifchitz's NorthISouth Consonance Ensemble in
New York.

         QUADRUPLE CONCERTO ("METAL") FOR WINDS (1999) is a "grid" work based on Igor Stravinsky's Ebony
         Concerto, from which is taken form and spirit (including exact number of measures, gestural frameworks, and tempo
         markings), but comparatively little content. Other touchstones here include Glenn Milleh "In the Mood"; Stravinsky's
         Rite of Spring and Symphony of Psalms; Alburger's own Mice and Men, Sidewalks of New Yo&: Henty Miller in
         Brooklyn (a variation on the "At the Blood Bank" rap), Some Shm; and Symphony No. 4; Gustav Mahler's Symphony
         No. 1 (the "Frere Jacques" third movement); a generic snake charmer's song; Sibelius's Symphony No. 2; and the rock
         classic "Smoke on the Water." The four solo woodwind parts may be performed as a quartet or with the
         accompaniment of a metallic orchestra (flutes, woodwind keys, saxophones, brass, metal percussion, and non-gut
         strings). Quadtuple C o n c e ~ o written in three sequential days of December (3-5) and is dedicated to NACUSA
                                         was
         flutist Diana Tucker.

JOHN BEEMAN studied composition with Peter Fricker, and later with William Bergsma at the University of Washington,
where he received his Master's degree. His first opera, The Great American Dinner Table, was produced on National Public
Radio. Orchestral works have been performed by the Fremont-Newark FMhannonic, Prometheus Symphony, and Santa Rosa
Symphony. Desert Sketches, a chamber work, was released in 19% on the Classic Sketches CD by the Violeto Trio. Chamber
music compositions such as Six Etudes for String Q u a ~ e tElegy for Solo Cello, and 77ie Five GI& of Lie were performed on
                                                            ,
recent NACUSA concerts. The composer's second opera, Law Ofices, premiered in San Francisco in 1996 and was performed
again in 1998 at the San Mate0 County Courthouse, through a grant from Philanthropic Ventures Foundation. Channels, an
electronic music composition, was created for an art installation at the Aspen (Colorado) Art Museum fium October 15 -
November 29, 1998. Beeman has also received a 1998 ASCAP standard award.

         Many composers, as others in the arts, have received numerous "not interested" responses before and while emerging
         as respected artists. DEAR COMPOSER for Three Narrators, Tape, and Two Live Instruments (1999) utilizes spoken
         fragments from rejection letters set against bluesy music.

JOANNE D. CAREY holds a Bachelds Degree and Mastds Degree in Music Composition from San Jose State University,
where she studied with Allen Strange and Lou Harrison. A guest composer at the Center for Computer Research in Music end
Awustics (CCRMA, Stanford University) since 1983, she lives in Palo Alto with her husband and two children. Ms. Carey has
composed three computer-generated tape pieces at CCRMA. Two of these, Intonations of the Wind (1990) end Clouds' Lament
(1988) are based on FM synthesis of singing tones and represent an intense exploration of this medium. Her recent work has
focused on pieces using the Radio-Baton with a live soloist. These include ntree S p i s h Songs and Adventures on a Z'hemefor
Flute and RadieBaton, which uses improvisation programs she developed with the help of Uax Mathews. The Z'hme Spcmish
Songs have been performed in Guanajuato, Mexico (19%), in San Jose, California (1995), at the 1995 SEAMUS (Society of
Electro Acoustic Music in the United States) conference in Ithaca, New York and in Warsaw and Krakow (1993).

         LA SOLEDAD (1992), along with its companions "Aqui" (1993) and "Gracias" (1994), were inspired and influenced
         by Spanish Flamenco and indigenous South American music, and the later poetry of Chilean poet Pablo Neruda. The
         spirituality and humanity of this great poet continues to impress me deeply. In the process of blendmg Neruda's poetry
         with the rhythms,flourishes and instrumental sound of these Spanish end South American musical traditions, I drew
         mainly from strains of solitary meditation and deep sorrow buoyed by irrepressible exuberance and hope.     The score
         of the electronic accompaniment was created on a Macintosh IIfx using a composition program called DMIX that was
         developed by Stanford graduate Daniel Oppenheim, DMA. The sound material was generated on a Yamaha SY77.
         Most of the voices are presets, with the exception of the bell sounds and a couple of hybrid sounds that I constructed
         and a sound that might be described as a "sliding sigh" that was made by Dr. Oppenheim.
         actual performance is improvised.

NANCY BLOOMER DEUSSEN is well known v g h o u t the San Francisco Bay Area as a composer, performer, arts organizer
and music educator. She is a leader in the growing movement for more melodic, tonally4riented contemporary music, and is
co-founder of the SF Bay Chapter of the National Association of Composers, USA. Her works have been performed throughout
the US and Canada and she has received numerouslcommissionsboth laally and nationally h m such performers and ensembles
as The Oakland Chamber Orchestra, The Walnut Sfreet Chamber Ensemble, The Baton Rouge Concert Band,The Bresquan Trio,
The Santa Clara Chorale, The Women's Caucus $ the Arts, OPUS 90 Chamber Ensemble, clarinetist Richard Nunemaker, the
Tanana High School Band, the Gabrieli Brass, Soundmoves, the Mission Chamber Orchestra, flutist Angela Koregelos, the
Semper Virens environmental group, The Sandusp Music Festival, , i and Pat Watt, and Mu Phi Epsilon Some recent
                                                                         Jm
performances of her works for the 1999-2000 seaaon include Woodwind Quintet by the Stanford Woodwind Quintet and The
World is a Butterfly's Wing (song cycle) at the k e r e Guard Festival in San Francisco

         I ftrst met Allen Cohen, the poet whose words I have used for this song cycle, at a meeting of poets and composers




achieved recognition as a painter and writer.
You are invited to stay after the concert and speak with the composers.

The National Association of Composers USA (NACUSA) is a non-profit organization whose goal is to foster the composition
and performance of new music. Founded in 1932 and now with branches in Los Angeles, New York, Philadelphia, and San
Francisco, NACUSA continues to be an active and most vital outlet for composers throughout the country. Inquires regarding
membership may be addressed to Ilana Cotton at (650) 367-1683. General inquires may be directed to Nancy Bloomer Deussen,
(650) 858-0172.


NACUSA San Francisco is a non-profit organization in need of support
Taxdeductible contributions may be sent to:

THE NATIONAL ASSOCIATION OF COMPOSERS
San Francisco Bay Area Chapter
3065 Greer Road
Palo Alto, CA 94303


Acknowledgements

The Members of NACUSA San Francisco would like to recognize with heartfelt thanks the following contributors to the 1999-
2000 concert season:

Dr. Mark Alburger
Ms. Annette Axtmann
Music Library, University of California at Berkeley
Ms. Use Calabi
Mano Murthy
NEW MUSIC Publications and Recordings
Ms. Jeana Ogren
Mr. Robert and Ms. Carla Schenk
Mr. and M s Michael Scofield
         r.
Ms. Emily I. Ward

This concert is presented by the National Association of Composers, USA, San Francisco Bay Area Chapter


Committee for tonight's concert:

Concert Production: Owen Lee
Publicity: John Beeman, Carolyn Hawley, Marilyn Hudson
Program:Mark Alburger, NEW MUSIC Publications
Programming: John Beeman, Nancy Bloomer Deussen, Diana Tucker


LA SOLEDAD                                                           SOLlTUDE

Aqui                                                                 Here
no hay calle, nadie tiene puatas,                                    there is no street, no one has a door.
solo con un temblor se abre la arena,                                only with a tremor does the sand open up
Y i todo el mar,
      abre                                                           And the whole sea opens up,
todo el silencio,                                                    all of silence,
el espacio con flores amarillas;                                     the space with yellow flowers;
se abre el prefiune ciego de la tierra                               the blind perfiune of the earth opens,
y como no hay caminos                                                and because there aren't any roads
no vendra nadie, solo                                                no one will come, only
la soledad, que suena                                                solitude, which rings
con canto de campana.                                                with the song of a bell.
                             Program
Pangram                                                Dawn K . Williams
                           Chiho Sugo, clarinet
Suite for   Trumpet                                     Daniel Fullerton
       I.   Moderato
     11.    Slowly
    111.    Fast
                          Daniel Fullerton, trumpet

 Two Short Pieces for tape Alone                           William Price
     I. Ignorant Bliss #3
    11. A Crime of Passion

Poetic Discipline                                     Andrea Mitternight
      I . Disgrace
     11. Incompetent
    111. Ashamed
      Y
    J . Tradition
                        John Perrine, alto saxophone

6 Bye Six                                                 Aaron Johnson

Man for tape alone                                        Aaron Johnson

Three Diminutive Pieces for Solo Tuba                      William Price
     I. Wuorinen one, Tuba nothing
    11. Fleeting Images
   111. With Motion
                         Bradley DeBow, tuba

Poeines d 'Amour (for voice and piano)                 Dawn K. Williams

                       Dawn Williams, mezzo-contralto
                            Robert Peck, piano

 A Short Flight for tape alone                           Jonathan Peters
    a

    1
    i
         ABOUT THE COMPOSERS
         Paula Diehl received an MA h m Temple School of Music where she formed the ensemble,
    .I
     I   SOUNDS, which has performed at the Painted Bride and FM station WRTI. Her interests in                                                               .   . .

    I    dance led her to 1981. At that time, after a number of years of choregraphy. she began to feel
         the need to express her thoughts in words and found she had much to say. She is now                  NACUSA                                      .               ,


    i    providing musical settings for some of her poetry.                                                   The National Association of Composers                           ,



    .    Fred and Marie Gaertner are a creative artist husband-wife team working in the areas of
         Music Drama, Musical Theatre and Concert Hall. Within the latter category are works for
         orchestra, solo piano and piano with orchestra. The Gaertners reside in Macmurray Pa. near
         Pittsburgh. Marie is a former student of Roy and Johanna Harris and Fred studied composi-
                                                                                                              The Philadelphia ~ h a ~ t e r                          '       .'   ,



    :    tion with Harvey Gaul. Since Fred's early retirement from teaching they devote their full time                                               .           .
         to composition.
         Karel Husa. In 1996 the musical world celebrated the 75th birthday of this great Czech-                                     presents:
         American composer. Through his music and conducting he has reached a wide and ever-.
         expanding audience without compromising either his artistic or esthetic ideals.. His music
         turns,its face radiantly towards the new while extending the finest traditions of the past.
         Dr.-~nard-~ein;retired-music-professor~ow-devotes-most-of-his-time-to-compsing-and                                   F-I-F-TH-A~IYIEWSARIY
         performing. He works with computers, synthesizers and music software. Dr. Klein and his
         wife live in southern New Jersey with their two dogs. Besides composing he likes cooking
         and going to plays and the opera.
                                                                                                                                     FREE CONCERT'
         James Marshall-Mr. Marshall writes "These songs represent a shift in my interest from                                                   .    .

         choral to solo works. The Song Nocturne has an unusual genesis: The poet Louise Bogan,
         interested in her daughtds singing about dreams, was inspired to write a poem, M. Singing.
         In turn, that poem inspired me to write a similar poem and set it to my own music". Mr.
         Marshall studied cello at the new school of music, received an M.A. at the University of
         Pennsylvania and at the present time composes and plays cello in the Wayne Coterie String        '
         Orchestra which performed his Avian Suite in 1999.
         Paul Stouffer has devoted a lifetime to composition and music education. His works for
         band, orchestra; instrumental ensembles and vocal works are published by leading music
         publishers. His compositional idiom has been described as contemporary Neo-Classicism.
         The National Association of Composers1 USA is a non-profit organization. One of its
         many goals is to present professional quality performances of its member's music. More
                                                                                                          !
         information about the services of the organization c n be found on its web page at
                                                                   a
         w.music-usa.org/nacusa where you can view: CONCERT LISTINGS, ITEMS OF INTER-
         EST, MEMBER CATALOGUE, MEMBER LINKS and hear AUDIO SAMPLES of mem-
         bets compositions. Membership is not restricted to composers but is open to anyone wishmg to                               FRIENDS MEETING HOUSE
         become associated with a cultural organizationwhich has been in existence since 1933.                                       Lansdowne and Stewart Avenue
,        ~ s 'the Philadelphia Chapter of NACUSA, existent copies of programs indicate that a
           to                                                                                                                                      Lansdowne, PA
         Philadelphia Chapter ofNACUSA existed from 1944 until the musical season of 196162. In
         1995 when the National Organization sent requests to all members for volunteers interested                                    Sunday, April 30,200I) 3 P.M.
         in organizing affiliated Chapters, the Philadelphia Chapter was again established. Today
         there are LA, SF, East Coast, Mid South, Boston, Philadelphia and Virginia Chapters.
                                                        PROGRAM
Sonatafor Viola and Piano (1 990)                        Leonard Klein   Variations on a "Strut"                              The Gaertners
        I. Tempo guisto 11. Lento        I11 Con mot0                          for Piano and Orchestra                       Fred and Marie
               Peter Nocella, viola                                        I. Theme 11. Toccata
              Leonard Klein, piano                                              I11 Capriccio IV Waltz
            World Premiere Performance                                     V Romance VI Etude
                                                                                VII Reprise VIII Fugue
Phuses (2000)                                              Paula Diehl               Paul Fejko, piano soloist
               Michael Higgens, guitar                                        Symphonic accompaniment, Synthesizer
                                                                                World Premiere Performance
Sonatina for Piano (1 943)                                  Karl Husa
   Allegretto moderato Andante cantabile
               Allegretto marciale                                         ttttttttt~ttttttt~ttttttttttt~*ttttttt*tttt
              Leonard Klein, piano                                         t                                                                     t
                                                                           t                                                                     t
                                                                           t                  ACKNOWLEDGEMENTS                                   t
                                                                           t                                                                     t
Eternal Love (1 992) (Paul Stouffer)
Lullaby (1 991) (Paul Stouffer)'
                                                         Paul Stouffer
                                                                           :
                                                                           :
                                                                           t
                                                                             The Philadelphia Chapter.thanks:
                                                                           t Elizabeth Cope of the Friend's Meeting for arranging the use of the
                                                                                                                                                 t
                                                                                                                                                 t
                                                                                                                                                 t
                                                                                                                                                 a
               Barbara Nyce, soprano
               Nazoma Takashima, piano
                                                                           g FRIENDS MEETING HOUSE for today's concert.                          t
                                                                                                                                                 t
                                                                             *Paul Fejko for recording today's concert.                          t
                                                                                                                                                 t
                                                                           t Elizabeth Hewitt for preparing the program for printing.            t
                INTERMISSION                                               g Leonard Klein for consenting to perform Karel Husa's Sonatina    *  t
                                                                             Deborah Kravetz for her critique of this performance.               t
                                                                                                                                                 t
W h i p r s of Heavenly Death (1999) (Walt Whitman)     James Marshall     *
                                                                           t
                                                                                 ,                                                               t
                                                                                                                                                 t
Ajter the Dazzle of Day (1 999) (Walt Whitman)                             t       *For information on purchasing recordings of today's concert  t
Nocturne (2000) (James Marshall)                                           t                           call 610-534-1521.                        t
                                                                           t                                                                     t
               Barbara Nyce, soprano                                       t                                                                     t
                                                                           *tttttt~ttttttttttttttttttttttttt*ttttt*ttt
               Nazorni Takashima, piano
            World Premiere Performance

                                                                                            Next NACUSA Concert
                                                                                    Sunday, May 21,3:00 P.M., Princeton, NJ
       ETERNAL LOVE

Somewllere in the life-stream of Man
a Love exists like an atoll1 in time,
an emotional muceleus focused on trust,
friendship and necessity.
An a~norpllous form ever bearing seed,
A positive charge igniting the heart,
A positive current touching the soul
with Feeling!

The earth revolves upon its axis
turning day into night and night into day.
Time undefined, place unspecified
Moments stretch to years and Fears preside.
Time undefined, place unspecified
Love comes along and all doubts subside.

Humans-tossed-about;-L-overs-having   doubts.
Solnewhere within this vast world of ours
True Love finds ways to mend broken dreams.
Somewhere witllin this Life-span
 rue Love is always near,
True Love can lessen fears,
True Love will always find a way.

Words and music by the colnposer


             LULLABY

      Sleep lily baby sleep today
      Lu-la-lay, Lu-la-lay.
      Cares will come another day
      Lu-la-lu-la-lay.

      On lny breast you lay your head,
      Curley hair and cheeks so red
      I will snug you into bed
      Lu-la-lu-la lay.

     Pleasant dreams
     Pleasant dreams
     Lu-la-lu-la lay.

     Words and music by the composer.
         Concert Bon Ecouter *
        3:00PM, Sunday, May 21,2000

Sonata                                Caprice
   Paul Stouffer                         Leigh Baxter
       John Wlnsor, clarinet                     John Wlnsor, clarinet
       Jeanette Winsor, piano                    Jeanette Winsor, piano

Three Preludes                        Sonnets Nos 1 & 2
   John Wlnsor
                                          Paul Stouffer
       Jeanette Winsor, piano
                                                 Jeanette Winsor, piano
Romanza                               Sonata for Clarinet and Piano
  Walter Ross                            John Wlnsor
       John Wlnsor, clarinet                     John Wlnsor, clarinet
       Jeanette Winsor, piano                    Jeanette Winsor, piano
yes is a pleasant country
   Rob Tannen                         Sonata No 2
        Alan Naidoff, tenor              Adolphus Hailstock
        Jeanette Wlnsor, piano                   Jeanette Winsor, piano

                                      * This event sponsored by NACUSA and Concert Eon Ecouter.            For further
                                        informationor to be placed on the mailing list for future events contact: Paul
                                        Souffer for NACUSA [(610)623-62223 and Rob Tannen for Concert Eon
                                        Ecouter [(609)92479551.
y.




                                COMPOSER BIOGRAPHIES                                              JOHN WlNSOR studied clarinet with Robert Harrison, David Hams, and
                                                                                                  Robert Marcellus of the Cleveland Orchestra and composition with John
     LEIGH BAXTER teaches chorus, piano, theory and music appreciation at John Tyler              Rinehart and James Waters. He received a Bachelor of Music degree from
     and J. S. Reynolds Community Colleges. He has sewed as interim director of the               Heidelberg College and a Master of Arts degree in music theory from Kent
     V.C.U. Choral Arts Society. He holds a master of music degree in composition and         .   State University. He has taught music theory and designed bandsman
     conducting from Virginia Commonwealth Un:rersity, where he studied with Allan Blank          training materials at the Armed Forces School of Music. He has also taught
     and Jack Jarrett. His music, published by Seesaw Music, Inc. of New York, includes           clarinet, music theory, and composition at the Virginia Governds Sdrod for
     works for Sax Quartet, Clarinet and Piano, Flute, and Organ. Other works include             the Arts. He is a member of the Hardwick Chamber Ensemble. He is
     music for orchestra, band, jazz band, chorus. French hom, percussion, and guitar.            NACUSA's Membership Coordinator and Webmaster. He is also a senior
                                                                                                  computer programmer for Unisys. John's composition prizes include the
     WALTER ROSS is professor of composiion at the University of Virginia and former               1992 Delius Vocal Category Award, the 1995 Delius Keyboard Category
     chairman of the music department. His works have been performed in over 30                   Award, the 1992 and 1994 VMTA Commissioned Composer Competitions,
     countries. He is perhaps best known for his compositions featuring brass and                 and the Modem Music Festiil 2000 Film Scoring Prize. He has also
     woodwinds. Born in Lincoln, Nebraska in 1936, Walter became a professional French            received grants from the American Music Center and from Meet the
     hom player at age fourteen. He studied composition with Robert Beadell at the                Composer, Inc. and ASCAP awards. His chamber works are frequently
     University of Nebraska and then continued for his Doctor of Musical Arts degree at           performed on new music festivals, conferences, and concerts around the
     Come11 University, where his wmposition teachers were Robert Palmer and Karel                 United States. Premieres of his works during 1999 included the Virginia
     Husa. He received an Organization of American States Fellowship to study                      Beach Chorale's performance of Jabberwocky and performance of Chamber
     composition privately under Alberto Ginastera in Argentina. He also studied briefly           Symphony on the Cologne Radio Symphonfs chamber music series. The
     there with Roger Sessions and Mario Dawdovsky. Walter has Hlritten over 100 works,            Cologne performancewas broadcast on the WDR (West German Radio).
     including concertos for oboe, bassoon, flute and guitar, trombone, tuba, double bass,         Since 1992, John has received seven commissionsfrom-~arious~arts
     and.violin.-He-is currently-miting-aconcerto for-twopianos-andorchestrarHis-music             organ6tions.Articles by and about him have appeared in ComposeNSA.
     is published by Boosey 8 Hawkes, Tezak Veriag (West Germany), and Dom
     Publications(Massachusetts), among others. T w e k of his works have been recorded
     commercially on CRI, Albany, Golden Crest. Crystal, and other labels. Walter has                                  PERFORMER BIOGRAPHIES
     received a number of awards and prizes and many significant grants and fellomhips.
     Currently a resident of Chariottesville, Virginia, he has sewed as president of the          JEANElTE WINSOR studied piano with Clifford Herzer, Lois Rova
     Southeastern Composers League and as a judge at international compositionsymposia.           Ozanich, and Shirley Harrison. She received a Bachelor of Music degree
     He has been a visiting canposer at the Aspen Music Festival and a featured composer          cum laude from Heidelberg College and a Master of Music degree in piano
     at several universitiesand forums and on national and international radio broadcasts.        perlmnce from Kent State Univerdy. She has occasionally coached with
     He is currently a member of the board of the Capital Composers Alliance.                     Thomas Schumacher. She teaches piano in her studio in Chesapeake and
                                                                                                  at the Virginia Governor's School for the Arts, accompanies the Virginia
     PAUL STOUFFER has devoted a lifetime to composition and music educatiin. His                 Beach Chorale, and s e m as an adjudicator f a the National Guild of Piano
     works for band, orchestra, instrumental ensembles and vocal works are published by           Teachers. She frequentty appears as a soloist and lecturer. She is also a
     leading music publishers. His cornposittonalidiom has been d e s c n i as contemporary       member of the Hardwick Chamber Ensemble. Jeanette holds National and
     Neo Classicism.                                                                              State Professional Teaching Certificates from MTNA and VMTA as well as
                                                                                                  certifwtion through the American College of Musicians. Jeanette is listed
     ROB TANNEN obtained a Bachelor of Arts degree in Biology from NYU, with minor                in the 21st edition of Who's Who of American Women. She Is past
     concentrations in philosophy and music. He eamed h dodorate in pharmacology from
                                                           is                                     president of the Tidewater Music Teachers Forum and president of the
     the University of Michigan Medical School. Ann Arbor and makes his living as a               Virginia Music Teachers Association. Her articles on piano pedagogy have
     consultant in clinical trials research and regulatory affairs for the pharmaceutical         been published by Piano Guild Notes. She is an adjunct faculty member of
     industry. Largely self-taught in music, he draws inspirationfrom the organ music of          Tidewater Community College and Old Dominion University.
     Buxtehude, Bach and Frank and from the successful dual career of chemisthrmed
     composer Alexander Borodin; he composes music and sponsors the performance of                ALAN NAlWFF is a singercomposerattourneydentistwho sings regularty
     new music as an avocation. Rob's works have been perfamed under the auspices of              at community based theaters in central New Jersey. He is thrilledlterrified
     Crissey Concerts in Conjunction with Composer's Services at the Settlement Music             to be premiering a new song by composer Rob Tannen.
     School in Philadelphia and at the Lansdowne Public Library Chamber Music Series in
     Lansdawne, Pennsylvania. Rob's formation of Concert Bon tcouter marks the
     beginning of what he hopes will be a series of public concerts of accessible new music
     in the central New Jersey area.
         a~          pue)
 ( a ~ , aJaqM s,l!~de

           auo JaaMsAw

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                :uosea~

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             e
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                 (Jaql!a$ 0 ~ )
 JayleaM han aql s! qloq



           ayl
       ~eaA uado s,lal

                 (Alan01 Aw)

                            ~
                  h a l u !J!

:hluno:, lueseald e s! saA
Presents:



               One of Nature's Majesties
               Woodwind Quintet
               Pu-Gesaenge
               The Light of Darkness




            (Embarcadero and Newell)
MARK ALBURGER is an eclectic American composer of postminimal, postpopular, and postcomedic sensibilities. He is
Editor-Publisher of 2lstCentutyMusic Journal, an award-winning ASCAP composer of concert music published by New Music,
oboist, pianist, vocalist, recording artist, musicologist, author, and music critic. Alburger began playing the oboe and composing
with Dorothy and James Freeman, George Crumb, and Richard Wernick. He studied with Karl Kohn at Pomona College; Joan
Panetti and Gerald Levinson at Swarthmore College (B.A.); Jules Langert at Dominican College (MA.); Roland Jackson at
Claremont Graduate School (Ph.D.), and Terry Riley. Alburgds recent performances have included the premieres of Sidewalkr
of New Yo&: Henty Miller in Brooklyn in San Francisco and Mice Suites at Cal State Stanislaus. He recently completed I2
                                      and
Preludes and Fugues ("Topicalr>, has been commissioned to write a new work for woodwind quintet, string quartet, and
piano for Max Lifchitz's North/South Consonance Ensemble in New York Henry Miller will be performed again at Goat Hall, in
San Francisco's Potrero Hill district, on June 17 and 18.

                                                                  is
          ADAGIO / ALLEGRO MOLT0 E V7VACE ("Casinof> the fourth and final movement of S W H O N Y NO. I, OP. 21
          ("It nwsn'l classical, it was symphonic..." "Itwasn't a symphony, because it did not have a sonau allegro...'> (1998),
          the fust of a projected series of nine "grid" symphonies based on works by older composers. The magic book for this
          composition is that of Beethoven's S'phory No. I, from which is taken form and spirit (including exact number of
          measures, tempo markings, keys, and even opus number), but little content. The lengthy subtitle refers to overheard
          comments which form the melodic bases of two themes in the opening movement. The Adagio/Allegro is based on
          Nevada casino slot-machine pulsations, the "Bed" section h m Glass's Einstein on the Beach, Alburgds "Uncertain
          Need" from ForMy Brother ForMy Brother, and notes sketched in a hot desert sun.

IZANA COTTON is a composer, improviser and pianist who has written extensively for acoustic chamber ensembles and for
electronic instruments. Her work has been performed throughout the US and has won several awards, including two awards in
1999 from the Peninsula Community Foundation: an Individual Artist Grant in support of a concert of her works CO-sponsored
by the City of Palo Alto, California, and an Emaging Arts grant supporting a commission for Pacific Sticks, a California
percussion quartet. She was also invited to create a new work for the 1999 Ernest Bloch Festival Composers' Symposium in
Newport, Oregon. Other recent awards include the Chicago Chamber Music Collective and Britten-on-the-Bay. She is an active
member of the National Association of ComposerdJSA (NACUSA), the American Composers Forum (ACF), and the
International Alliance for Women in Music (IAWM). She has also collaborated with other musicians and artists in visual and
theatrical medie, and has created several commissions for choreographers and poets. She holds an MA. in composition h m the
University of California at Las Angeles, with undergraduate music study at the San Francisco Conservatory of Music.

NANCY BLOOMER DEUSSEN is well known throughout the San Francisco Bay Area as a composer, performer, arts organizer
and music educator. She is a leader in the growing movement for more melodic, tonally oriented contemporary music and is CO-
founder of the SF Bay Chapta of the National Association of Composers, USA. Her original works have been performed
throughout the US and Canada and she has received numerous commissions both locally and nationally from such performers
and ensembles as: The Oakland Chamber Orchestra, The Walnut Street Chamber Ensemble, The Baton Rouge Concert Band,
The Bresquan Trio, The Santa Clara Chorale, The Women's Caucus in the Arts, OPUS 90 Chamber Ensemble, Richard
Nunemaker, clarinetist, the Tanana High School Band, the Gabrieli Brass, Soundmoves, the Mission Chamber Orchestra, flautist
Angela Koregelos, Semper Virens environmental group, Jim and Pat Watt, and Mu Phi Epsilon. Her works are available on CD
from North/South Records, ERM Records, Keynote Designs, and BMS Recordings. A new CD of h a orchestral music will be
released on the Arizona University Recording label in Fall 2000

          ONE OF NATURE'S h4AJESTlES was composed for OPUS 90 Chamber Ensemble in 1995. Several composers were
          selected to compose music to poems written by children who were under treatment at Lucille Packard Children's
          Hospital at Stanford. The poems were surprisingly good and I f i l y selected "One of Nature's Majesties" by Rachel
          Swan. a 13 -year-old patient. Rather than having it actually sung, I decided to have the poem printed in the program
          and compose the music for instruments only.

CAROLYN HAWLEY is a pianist-composer-conductorwith a Master's Degree from Mills College, former Lany College Music
Instructor, and ten-year Conductor of the Ukiah Symphony. She resides in Mendocino County where she teaches privately and
performs as pianist with the Coast Classics Trio. The former Berkeleyan worked as Composer-Accompanist for the UC Berkeley
Modern Dance Department, and was later awarded a grant from the institute of International Education to spend a year in Spain
composing her fmt symphony. Hawley has won numerous awards for composition and piano performance. H a Russian River
Mass was premiered in 1989 by the Ukiah Symphony and Mendocino College Chorus. Hawley's teachers included Darius
Milhaud, Leon Kirchner, Glenn Glasow, and Egan Petri. Besides h a dozens of musical compositions, she has also achieved
recognition as a painter and writer.
Constantinos Yiannoudes, a nati?e of Cyprus, has appeared with great success as
Germont in La Traviata,   scami ill lo
                                     in Carmen. Figaro in ZI Barbiere di Siviglia; Marcel lo
and Schaunard in La Boheme, ~ d l c o r e L 'Elisir d 'Amore, Malatesta in Don Pasquale,
                                         in
Dr. Falke in Die Fledemaus, the Showman in Vaughan Williams' Hugh the Drover and
Henrik in Carl Nielsen's Maskardde. He has performed with Opera San Josk, Portland
                                     Opera, Hudson Opera Theatre, St. Luke's Chamber
Opera Repertory Theatre, ~ a c o n i L
Ensemble, Dicapo Opera and othkrs.
                                    I
                                     I
Mr. Yiannoudes' operatic experience also extends to more contemporary pieces
                                                  ~s~ el.
including Kun Weill's ~ a h a ~ o n t ! ~ - ~ o n Virgil iThomson's Four Saints in Three
Acts, Robert Trefousse's Found qbjects and Menotti's Amah1 and the Night Visitors.
He has also performed the role of Drosselmeir in the world premiere of The Tale of the
Nutcracker by Craig Bohmler, theirole of Marius in the New York premiere of Robert
Starer's Apollonia and Inspector Vignon in the world premiere of Wendy Griffith's The
Quiet American.

His concert performances have inkluded Faurk's Requiem, Handel's Utrecht Jubilate
                                          al
and Vaughan Williams' Five ~ ~ s f i cSongs. Mr. Yiannoudes has introduced
audiences to much of the Greek repertoire as baritone soloist for the Metropolitan reek
                                        .
Chorale and for the Pancyprian ~ h b i rHe recently performed at Avery Fisher Hall in the
"Salute to the Hellenic Spirit" andlgave a recital at the United Nations at the invitation
  --             .  -     -
of the Ambassador fiom Cyprus.

He earned a Master's Degree jn v d c a ~     Performance from Mannes College of Music and
                                            of
is currently completing his ~ o c t o r h t e Musical Arts at the City University of New
York. Presently, Mr. Yiannoudes is a principal resident baritone at Opera San J o d .
        1. Baerenhonigliebe.
                                    I
        Was es doch nicht alles gibt.
        Seht, wie Pu den Honig liebt!
        Sum, sum. sum.
I   "
        ich Guess6 ge&, warum?
        Wenn der Baer ein Bienchen
                                  1I waer,      I
        Was eaeb' es da zu machen? 1
                   ~    -~



        Er miesste neimals kletternl mehr,
        weil sein Nest am Boden waer!
        Wie wuerde ich wohl lachen!
        3. Wolkenlied
        Wie shoen ist es, eine Wolke 4u sein,
        zu schweben ueber der Welt allein:
        zu segeln dort, wo Himmel blaut,
        d a m singt jede Wolke laut:
        Wie shoen ist es, eine Wolke zu sein.
        Zu fliegen ins Paradies hinein.
        wenn Jie Sonne uns umschw~rmt
        und mit ihren Strahlen waermt.
                                        I
        6. Polmarsch

I       Es ist ein weiter Wen zum Pol 1         I
        der hoch im ord den-liegen s .
                                     !
                                     o
        Man saert. er haette sich versteckt.
I       doch h d e n wir ihn erst entdedkt. '
                                           '    I
        dann feiern wir ein grosses ~ d s t
        auf dem man alle leben laesst:
        I-aah und Ferkel, Kaenga und Roo,
        Kaninchen und Kaninchens Freunde
        Eule un Pu.                     II
I       und ~ h r i s t 6 ~ h auch dam.
                          Robin
                                            I   I
     7. Aengstlicher Pu-gesang
    Es war einmal ein kleiner Baer
    dem fie1 das Denken ziemlich schwer,
    auch schwarnm er eigentlich nicht gut,
    doch rettet' er aus grosser Flut
    einst seinen Freund, das Schwein.
    Er sprang beherzt ins Boot hinein
    das vie1 zu eng war und nicht gross
    und trieb ouf diesem schwanken Floss
    hinaus bis an des Freundes Haus
    und holte dort Ferkel, das Schwein, heraus.
      Fragt ihr mich, wer
      war es, er Baer?
    Es war der kleine, tapfere Pu.
    Er lebe heut' und immerzu.




ONE OF NATURE'S MAJESTIES (Rachel Swan)
Under a maflcent mountain lies a brook calmly babbling
Almost hidden by trees such as Douglas Fir Saplings
Calmly flowing, through a channel so narrow
the stillness intempted by the chirp of a sparrow      - .
Towering above it a mountain so grand
With a waterfall to splash down over a rocky form of land
sending transparent ripples that &sten like a crystal,
hitting the brook's surface like the crack of a pistol
Cream& a scene in the wild so splendid,
just as nature's creator intended.


TOAD PIZZA (R Scott)

An Overcoat spoke to a Coat of Paint
He said with conviction and little restraint:
"I cover a women who wears a nice blouse."
"So what," shrugged the Pamt,
"I cover her house!"



We played some poker with some cheetahs.
Their m e explains just why they beat us!
You are invited to stay after the concert and speak with the composers.

The National Association of Composers USA (NACUSA) is a non-profit organization whose goal is to
foster the composition and performance of new music. Founded in 1932 and now with branches in Los
Angeles, New York, Philadelphia, and San Francisco, NACUSA continues to be an active and most vital
outlet for composers throughout the country. Inquires regarding membership may be addressed to I'lana
Cotton at (650) 367-1683. General inquires may be directed to Owen Lee, (408) 730-2224.


NACUSA San Francisco is a non-profit organization in need of support.
Taxdeductible contributions may be sent to:

THE NATIONAL ASSOCIATION OF COMPOSERS
San Francisco Bay Area Chapter
3065 Greer Road
Palo Alto, CA 94303


Acknowledgements

The Members of NACUSA San Francisco would like to recognize with heartfelt thanks the following
contributors to the 1999-2000 concert season:

Dr. Mark Alburger
Ms. Annette Axtmann
Music Library, University of California at Berkeley
Ms. Ilse Calabri
Ms. Kathleen Johannessen
Mano Murthy
NEW MUSIC Publications and Recordings
Ms. Jeana Ogren
Mr. Robert and Ms. carla Schenk
Mr. and Mrs. Michael Scofield
Ms. Diana Tucker
Ms. Emily I. Ward

This concert is presented by the National Association of Composers, USA, San Francisco Bay Area
Chapter


Committee for tonight's concert:

Concert Production: Owen Lee
Publicity: John Beeman, Carolyn Hawley, Marilyn Hudson, Lori Griswold
Program: Mark Alburger, NEW MUSIC Publications
Programming: John Beernan, Nancy Bloomer Deussen, Diana Tucker
                                                                                                                 o MUSIC
                                                                                                                  f
I                                   UPCOMING EVENTS                                                                                      Presents


I      Friday July 21
            Brian Woods Masters Voice Recital
       Sunday July 23
             Gospel Choir Concert
                                                    8:00 p.m.

                                                    4:00 p.m.
                                                                                        Recital Hall

                                                                                        Recital Hall
                                                                                                                                       NACUSA Mid-South Chapter                                                                                                           I
       Wednesday July 26
            Rex Richardson Masters Tkum~et  Recital
                                                    8:00 p.m.                           Recital Hall                                           Summer Concert                                                                                                             1
                                                                                                                                                                                                                                 .              . .         .
               Please call the Concert InformationLine at 388-3925 for up-to-the-minute informalion.                                                                                                                                       2
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                          Union Theater Box Office: 388-5128. Dept. of Theatre: 388-4174.
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              andresearch vursuits and thus attract students from all vahs of this coun6v -&v-.-".
    ~erformance                                                                                                         -
                                                                         About the Artists               ...
                               Program                                   Bradley E. DeBow received his Bachelor of Music Education from California State Uni-
                                                                         versity at Long Beach in 1997 and his Masters of Music in composition from Louisiana
Evocations (2000)                                                        State University where he studied with Dr. Stephen David Beck. Throughout his time at
                                                      John M. Crabtree   Long Beach, and the year after, D ~ B O Wtaught in public and private schools and performed
                                                                         with various ensembles all over Southern California. Various chamber ensembles and indi-
      I. Innocence                                                       viduals throughout Southern California and South Louisiana have commissioned and pre-
     1 . Reconciliation
      1                                                                  miered his compositions. As a tubist, DeBow has premiered many solo and chamber works
    1 1 Bliss
     1.                                                                  for the tuba, tuba ensemble, and is working with extended techniques for the instrument.
    IV. Absolution
                                                                         Ms. Di Cavalcanti received her Bachelor of Music degree from Ceara State University in
                          Pepron Pilibossian, piano                      Brazil. Di Cavalcanti began teaching piano at Ceara in 1994. She studied with Jose Albert
                                                                         Kaplan at the Paraiba Federal Universitjl in Brazil and Ernst Ueckermann at the Hochschule
There Will Be Rest For Me On That Day (2000)            Bradley DeBow    fur Musik in Wurzburg Germany. Presently, she is pursuing her Master of Music degree in
                    Bradley DeBow, tuba and piano                        piano performance at Louisiana State University, where she studies with Michael Gurt.

                                                                         Sabrina Theresa Hurst, a New Orleans native and graduate of New Orleans Center for
s WirLS... for electronic tape (1992)                 Dawn K. Williams   Creative Arts, is currently an undergraduate in flute performance and Information Systems
                                                                         Decision Sciences at Louisiana State University. She comes from the studio of Katherine
Three Diminutive Movements for Solo Tuba (2000)          William Price   Kemler and has performed in several ensembles including the LSU Symphony, LSU Sym-
                                                                         phonic Band, LSU Symphonic Winds, LSU Flute Quartet, and various chamber ensembles
      I. Wuorinen one, Tuba nothing                                      at the University. In 1997, she won the Louisiana Philharmonic's Concerto Competition
                                                                         and toured throughout Louisiana with them during their 1997 season. In 1999, she placed
     11. Fleeting Images                                                 third in MTNA's regional competition. Hurst is a recipient of the Louisiana Music Award,
    111. With Motion                                                     US Coast Guard CWO Scholarship and the LSU Honors Scholarship. Hurst is also an ac-
                         Bradley DeBow, tuba                             tive member and the former recording secretary of Sigma Alpha Iota, as well Louisiana
                                                                         Flute Society, Association of Information Technology Professionals, Youth for Understand-
Quiet Erosion                                          Jonathan Peters   ing International Exchange, Gamma Beta Phi, Phi Eta Sigma, Alpha Lambda Delta, Phi
                                                                         Kappa Phi, Omicron Delta Kappa, Beta Gamma Sigma, and the Golden Key National Honor
                            Sarah Matthys, flute                         Society.
                          Pepron Pilibossian, piano
    The third piece, ..lay like the sun upon the grass, is also a theme and varia-
    tions with the each variation becoming more complex and disguised. The
    main melodic idea is stated at the opening with block accompaniment. Each
    variation, in addition to further disguising the melody, proceeds through a
    different jazz-like style. This final piece also comes to a large, climactic                               Intermission
    ending.

  Sonata No. 2 for flute and piano was commissioned by one of the most               FORFEIT (1998)                                         John Crabtree
  important flautists of Brazil, Alexander Johnson dos Anjos (a.k.a. Sando).                 music for a film by Meredith Serota
  Johnson asked Pitombiera to write a work based on the Brazilian Northeast-
  em modal scales. This work was to be used as reference material for Johnson's           I. The Cross (Main Theme)
  masters dissertation in flute performance at Rio de Janeiro Federal Univer-            11. Towards the Altar
  sity. Pitombiera built the entire piece upon the main motive of Kaplan's Im-          111. The Interlude
  provisation for solo flute. This six-note idea integrates the three movements         IV. Inner Struggle
  and it is modified and developed to fit the character of each movement. The                       i
                                                                                         VXZon t ~t.ion
--
  whole concept of the piece is to create contrasting atmospheres representing          VI. The Cross (Reprise)
  the intense urban life of Rio de Janeiro, where the flautist was living at that
  time, and the tranquil atmosphere of his home in Northeast of Brazil.
                                                                                     Three Pieces for Piano (2000)                         Bradley D ~ B O W

                                                                                          I. Theme With A Couple Variations
                                                                                         11. As Of Yet I Have Found Nothing
                                                                                        111. ...lay like the sun upon the grass
                                                                                                               Pepron Pilibossian, piano




                                                                                                           Sabrina Theresa Hurst, flute
                                                                                                            Duda Di Cavalcanti, piano
                           Program Notes                                           Three Diminutive Movements for Solo n b a is a solo piece for tuba that
                                                                                   explores the abstract musical shapes created by opposing direction and simi-
                                                                                   lar interval content. The motivic ideas in all three movements are derived
Evocations is set in four short movements for piano. Each movement, de-
                                                                                   from the same seven-note collection. Phrases in the first movement were
picting different moods, is limited to using only five pitches to generate the
                                                                                   constructed so that they create a direct juxtaposition of opposing mate'rial in
music The second movement was later added and based loosely around a
                                                                                   style, but not in pitch content. The second and third movements use this
tonal center of E. Movements 1 and 4 use a different set in each staff.
                                                                                   same concept, but in a more fluid and intuitive manner. All three movements
                                                                                   emphasize the ideas of opposing movement, the time-point compositional
There Will Be Rest For Me On That Day is a piece for solo tuba De Bow
                                                                                   system used by Charles Wuorinen, and the concept of the "Uber-tubist."
wrote for his own performance capabilities. As in my last major work for
tuba solo, Three Pieces for Solo Tuba, De Bow took into consideration his
abilities and talents as a tubist, and wrote a piece which demonstrated both
                                                                                   Quiet Erosion is a short work for flute and piano. ,The influence of modal
                                                                                   jazz and classical Indian music can be heard throughout. The drone-like qual-
the dramatic and technical capabilities of the tuba. The piece itself is based
                                                                                   ity of the piano in the opening bars reflects the way a tambura can create a
on the idea and the figure of the Crucifix, both proportionally and dynami-
                                                                                   complex sound environment for a soloist to improvise over during a raga.
cally. The ratio of the range to the length of the piece is 3:2. In other words,
                                                                                   The pitch collections used for the melodic and harmonic material are also
there are 3 units of range for every 2 units of length creating the symbol of
                                                                                   taken from Indian ragas and are used to create an improvisational tone. The
the cross. The piece was written specifically for De Bow's composition mas-
ters degree recital in April of 2000. The piece was composed for piano and         piece is Western in that the pitch centers change progressively, there is no
tuba, but uses only one performer. The tubist plays the piano with his left        actual improvisation, and the form is a disguised ternary design.
arm and leg while playing the tuba with his right hand. The piano is added
                                                                                   The Three Pieces for Piano were each written independently and later put
for extra effect and helps to give the piece a certain quality not found in any
                                                                                   into a suite. The first piece, Theme With a Couple Variations, explores the
other works of the current tuba literature.
                                                                                   idea of modality. The beginning is based upon the Phrygian or third church
                                                                                   mode. The piece is highly chromatic, but it never seems to stray far from the
sWirLS... uses two digital synthesizers, the Yamaha SY77 and TG77, along
                                                                                   Phrygian center. The last variation moves from a duple division to a triple
with the Performer MIDI sequencing software. All sounds in the work are
                                                                                   division. The piece becomes its most chromatic at this point and the first and
synthesized and are altered by detuning, panning, and reverb. The composi-
                                                                                   third movements tie into one another. In this section, as well as the third
tion opens with low, sustained pitches in circular succession, which spiral
                                                                                   piece, De Bow tried to have the voices (or hands in piano) begin and end
progressively higher throughout the piece. Rapid cascades of notes interrupt
                                                                                   phrases in different areas creating an entirely new feel.
and temporarily replace the sustained sounds, while several loops create su-
perimposed canonic passages. Finally, the piece concludes with high scalar
                                                                                   The second piece, A s Of Yet I Have Found Nothing, is a foray into the phi-
pitches with cross over each other frequently, forming a variety of chromatic
                                                                                   losophy of ~ o t h i n ~ n e s s . piece is based upon an altered scale and small
                                                                                                                The
and microtonal sonorities.
                                                                                   pitch collec~ion Db, F, G, Ab). The beginning opens with a series of loud
                                                                                                    (C,
                                                                                   and soft phrases juxtaposed against one another. Part way through the piece,
                                                                                   the Duality of Life is symbolized by the addition of a completely different
                                                                                   pitch collection, A, C, E (or A minor). A monophonic melody, and then a
                                                                                   fragment of it, marks the last section, which also the climax of the piece.
       UPCOMING . . .
             EKENTS

      OCTOBER
      19 THURSDAY 6:00 PM              BORIANA KOJOUHAROVA DMA PIANO                      RH
      19 THURSDAY 8:00 PM              3m ANNUAL OCUBAFEST
                                      JOEL PUGH EUPHONIUM ARTIST                          RH
                                                                                                                             LSU COLLEGE OF MUSIC
      22    SUNDAY         3:00 PM     LA CHAMBER PLAYERS                                 CT                                   & DRAMiXTIC ARTS
      23    MONDAY         8:00 PM     LA CONTEMPORARY CHAMBER PLAYERS                    RH
      24    TUESDAY        6:00 PM     3m ANNUAL OCUBAFEST                                                                                                     School of Music
                                      ED DUCEY SENIOR RECITAL                             RH
      24    TUESDAY        8:00 PM    3 R D ANNUAL OCUBAFEST
                                      JOSEPH SKILLEN, TUBA                                RH
      25    WEDNESDAY      6:00 PM        D
                                      ~ R ANNUAL OCUBAFEST                                                                                                            PRE~ENTS
                                      NATHAN STREBECK SENIOR RECITAL                      RH
      25    WEDNESDAY 8:00 PM             D
                                      ~ R ANNUAL OCUBAFEST
                                      JOHN MANNING GUEST TUBA                             RH                                                                                                                                                              .              .

      26    THURSDAY       6:00 PM    3 R D ANNUAL OCUBAFEST                                                                                                                                                                                                                                             .
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     27     FRIDAY    .-   8:00 PM    RED STICK SAXOPHONE QUARTET                         RH
     28    SATURDAY        8:00 PM    OPERA - DIE FLEDERMAUS                              UT
     29    SUNDAY          3:00 PM    OPERA   - DIE FLEDERMAUS                            UT
     30    MONDAY          8:00 PM    DENNIS PARKER, CELLO                                RH




                    .
     ABOUTTHE SCHOOL. .
     FOUNDED THE BATON
               ON             ROUGE  CAMPUS I N 1931, THE LSU SCHOOL MUSIC
                                                                       OF            NOW BOASTSA
     FACUL'IYAND STAFF NUMBERJNG OVER 70, AND A MUSIC MAJOR CONCENTRATION OF NEARLY 450
     STUDENTS. THE AND SCOPE OF ITS CURRICULA<OMPREHENSIVE PROGRAMS FROM THE BACCA-
                     SIZE
     LAUREATE THROUGH THE DOCTORATE-PLACE          IT IN THE TOP CATEGORY OF MUSIC SCHOOLS
     NATIONWIDE. NUMEROUS    FACUL'IYMEMBERS  HAVE EARNED NATIONAL AND I N T E R N A ~ O N A L
                                                                                             REPUTA-
     TIONS THROUGH PERFORMANCE AND RESEARCH PURSUITS AND THUS AITRACT STUDENTS FROM ALL
     PARTS OF THIS COUNTRYAND THE WORLD. h . h a OF THE SCHOOL'S  PERFORMING ENSEMBLES ENJOY
     WIDE ACCLAIM, APPEARING AT THE BERLINCATHEDRAL,VATICAN ROME,
                                                        THE        IN          CARNEGIE I N  WL        '
                                                                                                       ,
                                                                                                                                                                     WEDNESDAY, OCTOBER18,2000
     NEWYORK C1-n AND THE KENNEDY CENTER WASHINGTON, AMONG OTHER NOTABLE
                                                 IN              D.C.,
                                                                                                                                                                      8:OO P.M.  RECITALl - k ~
     VENUES.
                                                                            JOHN PERRINE PREMIERED WORKS BY KAIUJUUSELA, AARON JOHNSON AND
                                                                                          HAS
                                                                                     PRICE
                                                                            WILLIAM AND HAS PERFORMED AT SEVERAL REGIONALAND NATIONAL
                                                        JONATHAN   PETERS   NORTH  AMERICAN   SAXOPHONE  ALLIANCE    CONFERENCES AND THE 2000 WORLD
                           FOR TAPE ALONE                                   SAXOPHONE   CONGRESS MONTREAL,
                                                                                                  IN           DN
                                                                                                            . A A AC       HEHAS WON THE STETSON
                                                                            UNIVERSITY CONCERTO    COMPETITIONTHE CENTRAL
                                                                                                                   AND              FLORIDA JAZZ
                                                                            SOCIETY'S IMPROVISATION COMPETITION. MR. PERRINE PERFORMED WITH
                                                                                                                                  HAS
                                                                            THE LOUISIANA STATE  UNIVERSITY WIND     ENSEMBLE PLAYING MICHAEL
                                                                            COLGMS' URBAN     REQUIEM AND THE LOUISIANA STATE     UNIVERSITY ORCHESTRA
       I
N u BLEU (2000)                    S EUHRAAHS E LRAHC                       PLAYING PHILIPGLASS'  CONCERTO SAXOPHONE
                                                                                                              FOR             QUARTETORCHESTRA
                                                                                                                                       AND
     I.   JAZZ                                                              WITH THE RED STICK   SAXOPHONE    QUARTET. CURRENTLY L E ~ R E OF
                                                                                                                         HEIS                     R
    11. BALLAD                                                              SAXOPHONE AND JAZZ STUDIES AT SOUTHEASTERN      LOUISIANA UNIVERSITY AND A
   111. LIVELY                                                              DOCTORAL CANDIDATE AT LOUISIANA      STATE UNIVERSITY WHERE HE STUDIES
                  JOHN   PERRINE,
                               TENOR SAXOPHONE                              SAXOPHONE WITH GRIFFIN   CAMPBELL.


T m c DR.EAMS A LOTUS
            OF      BLOSSOM
                          (2000)                                PRICE
                                                          WILLIAM           MEZZO-CONTRALTO WILLIAMSPERFORMED IN CHORUSES OF OVER
                                                                                              DAWN           HAS
                           FOR TAPE ALONE                                   TWENTY OPERA PRODUCTIONS, RANGING FROM MOZART,     ROSSINI, VERDI
                                                                                                                                       AND       TO
                                                                                       BERG,
                                                                            STRAVINSKY, AND ORREGO-SALAS.        SHEHOLDS DEGREES FROM INDIANA
                                                                            UNIVERSITY-BLOOMINGTON, STUDIED VOICE WITH DEVERA
                                                                                                     WHERE SHE                             THOMAS
                                                                            AND COLETTE RICE. WHILE  THERE, SHE APPEARED IN SIXTY PERFORMANCES BY
                                                                            THE INDIANAUNIVERSITY THEATER, AS PERFORMANCES BY VARI-
                                                                                                  OPERA           AS WELL
                                                                            OUS CHORALENSEMBLES AS A MEMBER AND SOLOIST. SHECURRENTLY SINGS WITH
FROW FOUNTAINS00)
            (20                                         RTOMBEIRA
                                                  LIDUINO                   THE LSU OPERA, WHERE SHE WILL SOON APPEAR IN DIEFLEDERMAUS.
                           FOR TAPE ALONE
                                                                            HEATHER
                                                                                 PINSON     IS A MASTERS STUDENT OF MUSICOLOGY AT   LSU. CURRENTLY
                                                                            SHE IS STUDYING CLASSICALVIOLIN WITH JAMESA
                                                                                                                      AE
                                                                                                                      LR
                                                                                                                      E
                                                                                                                      XN
                                                                                                                       D        AND JAZZ PERFOR-
                                                                            MANCE WITH    DELONY. PINSON PERFORMED WITHNUMEROUS
                                                                                      WILLIS   MS.     HAS
                                                                            SYMPHONIES THROUGHOUT         ALABAMA, TENNESSEE
                                                                                                 LOUISIANA,        AND           AND HAS
                                                                            PERFORMED IN ROME,
                                                                                             ITALY PART OF AN OPERATICCONCERT SERIES.
                                                                                                  AS
PASCIM o s r ~ m SOLO
     N         FOR            VOICE
                    UNACCOMPANIED IS A MODERN RENDERING OF A MEDI-
EVAL CHANT WHICH IS PAPX OF AN          MASS. THE
                                 FXER DAY        NOTES OF THE CHANT PROVIDE
THE PITCH AND SIRUCI-URALFRAMEWORKFORTHE PIECE.PHONEMES OCCURRING THROUGH-
OUT THE WORK ARE VARIOUS COMBINATIONS OF VOWELS AND CONSONANTS TAKEN FROM THE
                                      IMMOIATUS EST CHRISUSEUC RT
ORIGINALTEXT: "AULUIA--PASCHA N O ~ U M                   [L I- I
                                                          ALL AHS
OUR PASSOVER IS SACRIFICED]."   THEPERFORMER IS   GIVEN FREEDOM TO INTERPRET THE
MUSIC CREATIVELY THROUGH CHOICES OF TEMPO, RHYTHM, DYNAMIC LEVELS, TIMBRE, ETC.,
AND TO ELABORATE ON THE PIECE THROUGH ADDITIONS OF VOCAL SPECIAL EFFECTS.
WAVES
    (2000) IS AN EIGHT MINUTE TWO-CHANNEL       ELECTRONIC WORK.     SOURCE
                                                                          MATERIALS
USED IN THE CONSXUCTION OF THlS WORK INCLUDE SINE WAVES, A SAXOPHONE SAMPLE AND
A SOUND FILE OF THE SPOKEN WORD        "SWOON." SEVERAL
                                                      RECURRJNG       M            BE
                                                                             O CAN ~
HEARD THAT ARE BASED O N TIME MANIPULATION, CROSS SYNTHESIS AND CHANGING DENSITY
AND SPAWZATION      I N GRANULATION.   THE
                                         PIECE WAS REALIZED AT THE M A b STUDIO
                                                                              AT
LOUISIANA UNlVERSlIY USING CSOUND,
        STATE                               AND WAS INSPIRED BY THE SEEMINGLY IMPOS-
SIBLE JUXTAPOSITION OF CONTRADI(X0RY SENSATIONS THAT ONE CAN EXPERIENCE W H I M
SURFING (TERROR AND SERENITY, EXCITEMENT AND TRANQUILITY, AT THE MERCY OF AND
PROFOUND ONENESS WITH THE OCEAN, ETC.).      WAVES ALSO
                                                 CAN          BE FOUND I N COUNTLESS
OTHER BEAUTIFUL ASPECTS OF BOTH THE NATURAL AND THE DIGITAL WORLD AND ARE INSPIR-
ING IN MANY WAYS.


Nu BLEU COMBINES THE
       I                   VOCABULARY OF CONCERT MUSIC WITH THAT OF JAZZ. IN THE
FIRST MOVEMENT A MOTIVE FROM A SOLO BY THE GUITARJST JOHN     SCOFIELDUSED AS THE
                                                                     IS
CENTRAL IDEA. THESECOND MOVEMENT USES THE SAME PROCESS OF THEMATIC DEVELOP-
MENT THAT A SOLOIST MIGHT EMPLOYEE IN A BALIAD.     THETHIRD    MOVEMENT COMBINES
ELEMENTS OF BOTH THE FIRST AND SECOND MOVEMENTS AS WELL AS NEW MATERlAL.


TANTRC M S OF A LOTUS
      D                                                   MUSIC
                     BLOSSOM REALIZEDAT THE ELECTRO-ACOUSTIC
                           WAS
STUDIOS LOUISIANA UNIVERSITY USING KYMA
      AT         STATE                 SOUND SOFTWARE. THE
                                                         WORK'S
           FOCUS IS ONE OF NARRATIVE MEDITATION. ALMGLOCKEN
GENERAL~ETIC                                                              BEUS, GRANU-
LAR GUITAR STREAMS, AND TUVA
                           DRUMS WERE USED TO CREKTEA QUIET, BUT REFLECTIVE
ATMOSPHERE.


FROZEN
     FOUMAINS INSPIRED BY THE
               WAS                       HAIKU WRITEN   BY JUDITH   ANNGORGONE:
       IN WINTER MUSIC
          DOESN'T TRICKLE FROM BAMBOO FOUNTAINS
          FROZEN TIME WITHOUT BEAT


THE
  PIECE STARTS I N A TRANQUIL ATMOSPHERE, WHICH IS REPRESENTED BY TWO ELEMENTS:
A WATER SOUND AND PENTATONIC MOllVES. AFTER THlS INTRODUCTION, GONG AND BAM-
BOO FLUTE SOUNDS ANNOUNCE A SECOND SECTION IN WHICH A RIVER SOUND HAS ITS DEN-
s l n INCREASED GRADUALLY TO REPRESENT THE FROZEN ELEMENT I N THE POEM. THESEC-
OND SECTION USES PHONEMES OF THE POEM AND AT SOME POINTS THE PRONUNCIATION CAN
BE CLEARLYPERCEIVED.    THE  GONG ANNOUNCES AGAIN A CHANGE OF MOOD AND A NEW
SECTION STARTS.   IN THIS LAST SECTION, THE POEM IS RECITED IN DIFFERENT SPEEDS AND
FREQUENCIES   TO FORM A SOUND MASS. THIS    SECTION IS THE CLIMAX OF THE PIECE. THE
SOUND MASS    DISAPPEARS GRADUALLY AND A "TIBETAN   CHOIR'' STARTS SINGING MANTRAS,
WHICH ARE I    ~    R           D
                        R BY~A JAPANESE FEAST I N WHICH THE PENTATONIC ELEMENTS ARE
USED. THE
        PIECE ENDS IN THE SAME TRANQUIL ATMOSPHERE BUT NOW WITHOUT THE WATER
    NACUSA CONCERT
    with the SAN JOSE CHORAL PROJECT
           Daniel Hughes, Conductor
           Robin Dahlberg, Soprano
           Suzanne Duval, Soprano
           Cathleen Nitz, Soprano
           Carlton Lowe, Tenor
           Lilly Sclilacta, Piano

    Saturday, November 11,2000, dpm,
    Palo Alto Arts Center, ~mbarcadero Newel1
                                     and
                    hogram
    owen Lee                           SANCTUS from "Missa Academicae"

    Rosemary Bmett Byers
                                                I
                                       SHE WALKS IN BEAUTY
    Lori Griswold
                                                 I
                                       NOEL (Gabriela Mistral,trans. Doris Dana)
                                               II
    Brian Holmes                       SIX LULLABIES (Mark Van Doren)
                                              l! Chipmunk, Chipmunk
                                              2! Down Dip the Branches
                                              3! Where Did He Run To?
I                                             4) Old Ben Golliday                     I
                                              5! Sleep, randm mother
                                              6! He Cut One Finger
                                                     I
I   Nancy Bloomer Deussen              FLOWER$ BY THE SEA (William Carlos Williams)   I
                    Intermission


I
I
    Brian Holmes

    Rosemary Barrett Byers
                                       JOLLY J A ~ (anonymous, 15thcentury)

                                       TO A   CAT
                                                    N
                                                     I

I   Brian Holmes                       LET E V E b G COME (lane Kenyon)

I   Daniel Leo Simpson

    Mark Alburger
                                                         I
                                       BERCEUSE (Daniel Leo Simpson)
                                       AERIAL$EQUIEM
                                                         I
                                             Fertorium
                                             Agnus Dei
                                                         I
    Nancy Bloomer De-n             .   TWO S O N ~ S
                                             y e Long Voyage (Malcolm Cowley)
                                             T e River (A.R Ammons)
                                       HOSANNA from "MissaDe Angelisn
MARK ALBURGER (b. 1957, Upper Darby, PA) is an eclectic American composer of postminimal, postpopular, and postcomedic sensibilities.
He is Editor-Publisher of 2lst-Cenfury Music Journal, an award-winniing ASCAP composer of concert music published by New Music, oboist,
piania vocalia recording artist, musicologist, author, and music critic. A l b q e r began playing the oboe and composing with Dorothy and
                                  ,
James Freeman. George C ~ m b and Richard Wernick He studied with Karl Kohn at Pomona College; Joan Panetti and Gerald Levinson at
Swarthmore College (B.A); Jules Langert at Dominican College (h4.A); Roland Jackson at Claremont Graduate School (PhD.), and Teny Riley.
Upcoming perfbrmances include the New Yorlc premiere of his Symphony No. 1 by NorWSouth Consonance Ensemble on January 7, the
premiere of excerpts from Antigone on January 27 at Z Space in San Francisco, a nine-performance run of SidewaUu ofNew York: Henry Miller
in Brooklyn this spring by Goat Hall RoQldons, and music from Le Petit Prince at Dominican College this fall. He is currently at w d on a
setting of Chekhov's Uncle Vanya.

          AERIAL REQUIEM (1985) is dedicated to Paul Miley, lost over the plains of Wyoming. It was begun in a Utah parking-lot suns*
                                                                                 -
          and finished in a snowy Pennsylvania sunr0o.m Its 10 movements Introit, Dies h e , Tuba Mirum, Rex Tremendae, Recordare.
                                                                        --
          ConfUtatis, Lamimosa, Offertorium, Sanctus, and Agnus Dei are miniatures in the spirit, but not style, of Igor Stravinsky's Requiem
          Canticles. The composer-model evoked is hopefidly that of Hector Berlioz (one of the few composers who wrote a Requiem in his
          youth and lived to a respectable old age). The reggae Offertorium features a static build-up of forces on the words "Quam olim
          A w e " (a text usually treated fugally). The post-minimal Agnus Dei includes a simple cycle of four chords, which grow
          increasingly lost and poignant.

ROSEMARY BARRETT BYERS has enjoyed a varied career as pianist, conductor, theatrical director, teacher, composer and arranger, Since
completing a master's degree in piano performance at Indiana University, she has taught piano, music history and musical theater at various
colleges and universities in the Southeast and Midwest, conducted much of the major choral-orchestral literature, and has directed numerous
Broadway musicals and musical revues from dirmer theater to the concert stage.       As a composer. Ms. Byers has published piano teaching
compositions with Myklas Music Ress, Lee Roberts, Hal Leonard and Carl Fischer. Her RhapsodyjCor Piano won fvst place in the division of
the 2000 MTAC Composers Today State Contest, and her Animal Crackers a suite of poems and pieces for elementary piano students won fvst
place in the Teaching Piece division. Four original children's musicals have been produced by theater companies and show choirs in Tennessee
and Kentucky.

NANCY BLOOMER DEUSSEN (b. 1931, New Yorlc) is well known throughout the San Francisco Bay Area as a composer, performer, arts
organizer and music educator. She is a leader in the growing movement for more melodic, tonally oriented contemporary music and is co-
founder and Resident Emeritus of the SF Bay Chapter of the National Association of Composers, USA Her original works have been performed
throughout the US and Canada and she has received nunierous commissions both locally and nationally from such performers and ensembles as:
The Oakland Chamber Orchestra, The Walnut Street Chamber Ensemble, The Baton Rouge Concert Band, The Bresquari Trio, The Santa Clara
Chorale. The Women's Caucus in the Arts, OPUS 90 Chamber Ensemble. Richard Nunemaker, clarinetist, the Tanana High School Band,the
Gabrieli Brass, Soundmoves, the Mission Chamber Orchestra, flautist Angela Koregelos, Semper V i m environmental p u p , Jim and Pat Wag
and Mu Phi Epsilon Her works are available on CD from NorWSouth Records, ERM Records, Keynote Designs, and BMS Recordings. A new
CD of her orchestral music will be released on the Arizona University Recording label in Fall, 2000

          FU)HTRS BY THE SELi (1991), inspired by nature and the poetry of William Carlos Williams, was commissioned and premiered by
          De Anza College Choral in 1992.

          H O M A is a s e d o n of Missa de Angelis (1955), which.dates from the composer's fvst composition period (1950-1966). Only the
          Kyrie, Christe Eleison, Gloria, Qui Sedes, and Hosanna sections survive, after storage over the years in several different locations in
          old suitcases and garages, some lost, floating into the nearby creek during a flood in the 70's. This evening's perfbrmance is the world
          premiere.

          TWOAMERICAN SONGS (1988) attempt to represent the flavor of the United States.

LORE GRISWOLD writes mostly vocal music with a smattering of piano pieces from her years of teaching piano. She studied composition
with Warner Jepson

          NOEL is a setting of a 1922 text by Chilean poet Gabriela Mistral, who won the Nobel Rim for Literature in 1945.

During the last 12 months, BRIAN HOLMES has won the Amadeus Choir (Toronto) Christmas Carol Competition, the Diana Barnhart American
Song Competition, the Welcome Christmas! Carol Competition sponsored by the American Composers Forum, the Choral Composition 2000
contest of the Green Bay Chamber Choir, and an ASCAP Standard Award. He is a finalist in the Ithaca College Choral Composition
Competition, which explains why he will listen to Jolly Jankin tonight in upstate New York, instead of in Palo Alto. The Peninsula Women's
Chorus commissioned Three Songs, which premiered in April and May. Three choral compositions (including Let Evening Come) will soon
published by William Thorpe Music Publications; and two vocal pieces will be published by Thompson Edition. On December 16 and 17, Schola
Cantorum will perform Now is the Time, a cycle of carols for baritone, chorus, brass, and timpani.

          In JOLLY JANKIN (1995), a girl goes to church on Yule Day. The Latin phrases in the poem are from the mass. Jankin, the cleric
          who officiates, sings merrily in a handsome coat bought by the girl; but he ignores her except to step on her foot Alas! She is
          pregnant, and it is not hard to guess who is responsible. The text, drawn from an anonymous 15thcentw-y source, has been updated
          by the composer.

          Jane Kenyon, the author of LET EVENING COME (1998), lived in New Hampshire with her husband, the poet Donald Hall. The
          poem was her response to learning that her husband had cancer. Ironically, however, the disease claimed her instead This setting was
          a finalist in the 1998 Ithaca College Choral Composition contest, where it received its premiere (an earlier version for women's chorus
          was premiered in 1995, just two weeks after Kenyon's untimely death). Both the Stanford Chamber Chorale and the San Francisco
          Girl's Chorus have performed this piece locally and on tour.
I   Mark Alburger - AERIAL REQUIEM (texts kom the Latin Requiem Mass)
    Offertoriwn
     ..


    Domine Jesu Christe, Rex gloriae, libera animas
    omnium fidelium defunctorum de poeniS infimi,
                                                      1
                                                      i
                                                      I
                                                                               0 Lord Jesus C r s ,King of glory, deliver all
                                                                                              hit
                                                                               the souls of the faithful departed f h m the pains of hell,

    et de profilndo lacu: libera eas de ore leonis,                            and the deep pit: deliver them h m the mouth of the lion, that
    ne absorbeat eas tartarus, ne cadant in obsc-                              hell may not swallow them up, they may not fall into darkness;

    sed signifer sanctus Michael                                               but may the holy standard-bearer Michael
    repraesentet eas in lucem sanctam,                                         introduce them to the holy light,

    quam olim Abrahae promisisti, et semini eius.                              which thou didst promise of old to Abraham, and to his seed

    Amus Dei                                              I

           e.
    Agnus D i qui tollis peccata mundi, dona eis req4em                        Lamb of God, who takes away the Sin of the world, grant them rest
    Agnus Dei, qui tollis peccata mundi, dona eis requiem                      Lamb of Gad, who takes away the sin of the world, grant them rest
    Agnus Dei, qui tollis peccata mundi, dona eis req4em                       Lamb of God, who takes away the sin of the world, grant them rest
              aeternum.                                   iI                           eternal.

                                                          I
    Nancy Bloomer Dewsen - FLOWERS TO THE s ~ A
                                              (William Carlos Williams)
                                                              I            -
                                                              I
    When over the flowery, sharp pastwe's                     l
    edge, unseen, the salt ocean                              I
                                                              I
    lifts its formchicory and daisies
    tied, released, seem hardly flowers alone

    But color and the movement -or the shape
    perhaps of restlessness, whereas

    the sea is circled and sways
    peacefully upon its plantlike stem


                                                                  I
    Nancy Bloomer Dewen - TWO AMERICAN S O ~ G S

    The Long Voyage (Malcolm Cowley)                              I                      The River (AR Ammons)
                                                                  I
    Not that the pines were darker thm,                           j                      I shall go down to the deep river,
                    dogwood brighter thae,
    nor m i d - ~ a y                                             I                      to the moon waters
    nor swifts more swift in summa air,                           I                      where the silver willows are and the bay blossoms,
I   it was my own country,                                        1                      to the songs of dark birds,
                                                                                         to the great wooded silence of flowing
    having its thunder clap a spring,
                              t                                                          forever down the dark river
    its long mid-summer ripzning,
    its corn hoar stiff at harvesting,                                                   Shall I go down to the deep river,
    almost like my country                                                               to the moon waters
                                                                                         where the silver willows are and the bay blossoms
    yet being mine; its face, its speech,                             I                  to the songs of dark birds,
    its hills bent low within my reach,                               !I                 to the great wooded silence of flowing
    its river birch and upland beech                                                     forever down the dark river.
    were mine of my o& country

    Now the dark waters at the bow
    fold back like earth against the plow
    brightens the dogwood now                                          I



I   at home in my o& country.
5. Sleep, Gmndmoher                            6. He Cut One Finger

Sleep, grandmother, sleep.                     He cut one finger
The roc-     chair is ready to go,             And the other h e r bled
And harness bells are hung in a row            He cut off his head,
As once you heard them                         But he didn't have another,
In soft snow.                                  So he's dead
Sleep, grandmother, sleep.                     He shut one eye
Your sons are little and silly again;          And the other eye was gone.
Your daughters are five, and seven, and ten;   He put his glasses on;
And he that is gone                            But he couldn't see to see,
Was not gone then.                             So he's done.

Sleep, grandmother, sleep.                     The dwarf ate a giant
The sleigh comes out of the winter woods       To become a giant too.
And carries you all in boots and hoods         He grew and he grew,
To town for candy                              But he c u d ' hold h m all,
                                                        olnt         i
And white dress goods.                         So he's through.

Sleep, grandmother, sleep.                     The cot became a bed
The rocking chair is old as the floor,         And the bed became a boat
But there he nods, a the noisy door,
                    t                          But the boat couldn't float
For you to be dancing                          Being heavy; and the lights
One dance more.                                Went out.

                                               From Collected and New Poems, 1924-1963 by Mark Van
                                               Doren. 01963 by Mark Van Doren. Used by arrangement
                                               with Hill and Wang, a division of F a , Shaus, and
                                               Giroux, Inc.
           The premiere of SUI LULLABIES (1990) y by Jeanne Garson and Bryndcm Hassman in 1991. The songs are dedicated to the
           composer's son Jerry (who was three years oJd when they were written) and have been recorded by Nancy Ogle of the University of
           Maine. "Sleep, Grandmother" won this year's Diana Barnhart Ameaican Song Competition, while "He mt one fmger" received an
           honorable mention

DANIEL HUGHES. Artistic Director and founder of the San J& Choral Project, began studying piano and composition at age four. He is
ahrays in demand as an accompanist, coach and choral dtinician in the Bay Area Daniel has been a clinician and led workshops in conducting
technique and vocal pedagogy for American Musical T h h e of San Jose, the California Music Educators Association (February 200 I), Gateway
Music Festivals, Great American Music Festivals, and GALA Choruses. He is Director of Choral Activities at College of Nove Dame in Belmoat
and Directm of Choral and Vocal Studies at ~ o o d s i d e l ~ i o School, an elite college p r e p w r y school in Portola Valley, California Mr.
                                                                   ry
Hughes is the recipient of a fourth place award in the 35th M d o n a l Choral Competition in Goritia, Italy, (1996). Second Place Award in the
American Choral Directors Association National Studknt Conducting Competition (1995). the Christina Cadena Memorial Accompanying
Scholarship(1989-95). and the California Arts Scholar ~ h r d for piano and composition (1987). Mr. Hughes is completing his Master's Degree
                                                                  s
in Conducting under the mentorship of Dr. Charlene ~ r c h i b e ~ ateSan Josb State University.
                                                                   u

OWEN LEE bas been a member of NACUSA since 1 9, and now serves as the San Francisco Bay Area Chapter president. Dr. h e took his
                                                      9!
degrees &om UC Berkeley and UCLA where his teach& included Andrew Imbrie, Roy Travis, Henri Lazarof, and Paul Reale. After teaching
privately and part-time at De Anza College, he is now an/Instructor of Music and Director of Music Theory at Diablo Valley College in Pleasant
H a . His music attempts to address and express the human spirit.
                                                           I
           SANCTUS consists of three sections, an opening "Sanctus" a "Pleni surd coeli," and a f d "Hosanna" They are part of the much
           larger Missa Academicae, whose Credo was $miered at a NACUSA Concert last fall. The first section is a serious, solemn, strict
           fourpart canon on a 12-tone subject full of to@ implication, and whose hannony ends up being quite tonal, albeit quite chromatic.
           The rather playti11 "Pleni," is a short four-part fitgue, again using a 12-tone I tonal concept. The "Hosanna" returns to the music of the
           opening.

DANIEL LEO SIMPSON, an American composer with a flair for creating "contagious" music, specializes in unusual, interesting and dynamic
works of every genre. From concerti and symphonies to vmmercials and film music, he is distinguishing himself as a unique voice. Simpson
studied under Robert McBride and Robert Muczynski, and holds a Master's Degree in Theory and Composition fiom the University of Arizona
                                                                           --      er
He also studied at the Grove School of Music i Los Angeles under the tutelage of H n y Mancini, Bill Conti, Joe Hamel, and Allyn Ferguson
                                             o
-  and worked as a commissioned artist aeating music 'for featured films, television talk shows, and commercials. Simpson has received
additional recognition as a computer-music software edert, gaining the praise and confidence of such notables as Carlos Rodriquez, Tom
                                                              Mr.
'Bones" Malone, Akira Endo, and Barry Manilow. ~ d e n t l ~ , Simpson's Solrloquy for violin and piano was performed at the Jewish
community Center in Palo by concerto competition winn4 Anat Kardonchick In addition, his Polonaise was premiered in Portola Valley last
month by Palo Alto Two-Piano Club members Marge Cassingham and Eugenia Van Deinse.
                                                               I
           BERCEUSE, originally composed for violin and piano, was set to lyrics at the request of the composer's wife, Mary, and anxnged for
           soprano especially for this concert. In keeping @ the title, "Berceuse" (a French word simply meaning "lullaby"), Simpson wrote
           the text from the view of a mother to her infant son The three verses depict different periods of an individual's life: infancy,
           adolescence, and adulthood. The simple, but dkep emotion of a mother's expression of love for her child, even beyond a point after
           her death, remains as the unifyingtherne of the &a
                                                                   I
THE SAN JOSE CHORAL PROJECT was founded by Artistic Director & Conductor Daniel Hughes in September of 19% in an effort to expand
the choral m n o t only in reaching further to increase the e+ellence of high-level choral literalure, but also to stretch the concepts of presentation
and perfbunace, bridging the gap between text and music, singer and spectator. The ensemble is composed of 35 multi-talented singers fiom
various partP of the San Francisco Bay Area Already be& hailed as "one of the premiere choirs of the San Francisco Bay Area," the Choral
Project has performed throughout Northern California in +terfaith services, choral festivals and concerts in addition to being selected as the
showcase choir for the National Association of Composers of the USA Composer's Competition in November 2000.



                                        -                              I                    -
THE SAN JOSE CHORAL PROJECT Daniel Hughes. h i s t i c Director and Conductor Lilly Schlacta, accompanist


SOPRANO                                 ALTO                                    TENOR                                    BASS

Robin Dahlberg                          Annette Bronzini                        Johnahon Atwood                          Keith Byron
Carolyn Derwing                         Lucy Conley                             Kenneth Alford                           Daniel Cudworth
Suzanne Duval                           Susan Fritz                             T i Chokshi                              David Fritz
Kathleen Nitz                           Kathleen Kuebelbeck,                    Jm Jenks
                                                                                 i                                       Eric Horton
Sara Rosso                              Carlton Lowe                            Nal Johnson                              Allan Hughes
Lilly Schlachta                         Peggy M o b                             Matthew Morse                            Jacques Maitre
                                        Britta Peterson                         Michael McDonald                         Tony Mauro
                                        Sheila Sardi                            Christopher Patnoe                       Ryan Nakagawa
                                                                                                                         scon walker




                                                                           i
                                                                           I
You are invited to stay after the concert and speak with the composers.

The National Association of Composers USA (NACUSA) is a non-profit organization whose goal is to foster the
composition and performance of new music. Founded in 1932 and now with branches in Los Angeles, New York,
Philadelphia, and San Francisco, NACUSA continues to be an active and most vital outlet for composers throughout
the country. Inquires regardmg membership may be addressed to Ilana Cotton at (650) 367-1683 I
ictton@pacbell.net. General inquires may be,directed to Owen Lee, (408) 730-2224 I freeheel@earthlinknet.



NACUSA San Francisco is a non-profit organization in need of support. Donations of cash andlor appreciated stock
will be most welcome and are deductible. Contributions may be sent to:

THE NATIONAL ASSOCIATION OF COMPOSERS
San Francisco Bay Area Chapter
1653-B Belleville Way
Sunnyvale, CA 94087



Acknowledgements

The Members of NACUSA San Francisco would like to recognize with heartfelt thanks the following contributors to
the 2000-200 1concert season:

Dr. Mark Alburger
Ms. Annette Axtmann
Music Library, University of California at Berkeley
Ms. Ilse Calabri
Mano Murthy
NEW MUSIC Publications and Recordings
Ms. Jeana Ogren
Mr. Robert and Ms. Carla Schenk
Mr. and M s Michael Scofield
          r.
Ms. Diana Tucker
Ms. Emily I. Ward

This concert is presented by the National Association of Composers, USA, San Francisco Bay Area Chapter


Committee for tonight's concert:

Concert Production: Owen Lee
Publicity: John Beeman, Carolyn Hawley, Marilyn Hudson
Program: Mark Alburger, NEW MUSIC Publications
Programming: John Beeman, Nancy Bloomer Deussen, Diana Tucker


Special thanksto

Professor Elena Sharkova, Director of Choral Activities, San Jose State University, and the SJSU Concert Choir, for
the use of their choral risers.
    About NACUSA
                                                                                   The Mid-South Chapter of
            NACUSA, which was founded in 1933, is one of the oldest
    organizations devoted to the promotion and performance of music
    by Americans. Ma@ of themost distinguished composers of the
    20th Century have been NACUSA members. NACUSA sponsors several
    concerts each year which feature music by its 600 members. NACUSA,
    which has chapters in New York, Los Angeles, San Francisco, Baton Rouge,                    presents
    Philadelphia, and Tidewater, is the successor to the National Association of
    Composers and Conductors.

            NACUSA presents many concerts throughout the year in
    many locations of the US. In the year 2000 thirteen concerts have been
-presented-in-nine-different-locations-by-its-vious-chapters  from-the-&-st
    Coast to the West Coast. The Mid-South Chapter, headquartered here in
                                                                                    Mathew ~ z i e Iguitaist
                                                                                                 s,
    Baton Rouge, has continued to be one of the most active chapters in the
    organization by presenting five concerts since last November.

            The goals of the Mid-South Chapter are to promote the music of its
    membership, to contribute to the artistic and creative development of the
    community, and to give audiences an opportunity to hear, and performers the
    opportunity to play, new music. These goals are achieved by presenting
    numerous public concerts throughout the year highlighting the talents of
    both the young as well as the experienced composers in our community.




     o
    F r more information regarding NACUSA and its adivities please visit
    our website at:
                                                                                    The Baton Rouge Gallery
    Mid-South Chapter http://members.aol.com/NACUSALSU/index.htrnI                                      14,2000
                                                                                       Tuesday, ~overnber
    National Chapter h~://www.music-usa.org/nacusa
                                                                                               7:30PM
                             Notes about the Artist                                                            Program

    Mathew Daniels (b. 1971), a native of St. Louis, Missouri, began playing
    guitar at the age of eleven. He has studied many different styles of        Three Thumbnail Sketches                         Vernon Taranto, Jr.
    guitar but has concentrated on the classical repertoire since his
    undergraduate studies at the University of Texas where he received the      Six Short Pieces for Guitar                          Peter Blawelt
    Bachelor of Business Administration degree in 1993. Upon graduating                Cappricio
    he returned to St. Louis where he studied guitar for a year and a half at          Impromptu
    the St. Louis Symphony Community Music School. In 1998 Mr. Daniels                 Elegia
    graduated from Webster University, in St. Louis, with Master of Music              Umoresco
    degrees in both guitar performance and composition, the first student at           Ondine
    Webster University to graduate with both degrees. Currently Mr.                    Finale
    Daniels divides his time between his home state of Missouri and London,
    England. When in London he continues to study with the renowned             Moods for Guitar Alone                         Dinos Constantinides
    guitar teacher, Michael Lewin. He has also studied guitar with John               Impressions
    McClellan, Dan Rubright, and Peter Clemens. His composition studies               Dream
    were with Kendall Stallings. He has performed in master classes with              Madness
    Charlie Byrd and Herb Ellis, David Russell, Goran Sollcher, and the Hill-
    Wilchinsky Duo. Apart from presenting many concerts and recitals on
.   his own Mr. Daniels has been a featured performer with the Louisiana                                      Intermission
    State University New Music Ensemble, the National Association of ' '


    Composers, USA Mid-South Chapter, The Louisiana Sinfonietta, The
    Tampa Bay Composers Forum, and the Society of Composers, Inc. He
                                                                                Ashmere                                                Jeremy Beck
    has performed in London, Italy, and throughout the United States. Mr.
                                                                                Birnam Wood
    Daniels has also been in demand as a clinician for both guitar students
    and composers.
                                                                                Impromptus                                   Richard Rodney Bennett
                                                                                      Recitativo
                                                                                      Agitato
                                                                                      Elegiaco
                                                                                      Con fuoco
                                                                                      Arioso


                                                                                Prelude and Dance                                   Aaron Johnson
                          Notes about h e Artists                             The Mid-South Chapter of
                        Red Stick Saxophone Quartet
                              Baton Rouge, LA

                      Brian Utley, soprano saxophone
                                                                                    NACUSA
                      Joshua Thomas, alto saxophone
                       John Perrine, tenor saxophone
                      Chris Rettie, baritone saxophone                                     presents
The Red Stick Saxophone Quartet was formed in 1997 by students from
the studio of Griffin Campbell at the LSU School of Music. The quartet
has performed at North American Saxophone Alliance conferences at the
University of Georgia and Northwestern University, and has also appeared
at St. Joseph Cathedral in Baton Rouge, Murray State Universiiy in Murray,    A Concert of Contemporary
KYrand-St.-Mads-ColIeg~i~SoutkBne N r T h i t e t m f m t u ~ d
                                         d;I
ensemble at LSU's 54th Festival of Contemporary Music, performing Philip
Glass' Concerto for Saxophone Quartet and Orchestra with the LSU
                                                                                  and Experimental
Symphony Orchestra. As a competitive ensemble, the Red Stick Saxophone
Quartet was named National 1st Runner-up at the 1998 MTNA Collegiate                   Music
Chamber Artist Competition in Nashville, TN, and received Third Prize at
the 1999 Fischoff Chamber Music Competition in South Bend, IN.

Heather Pinson received her bachelor of music from Samford Universiiy
where she studied violin with Jeffrey Flaniken. She is currently working on
her masters of musicology at LSU where she continues to perform with the
LSU symphony and various other ensembles. Heather has been a member
of several orchestras including the Birmingham Symphony, the Montgomery
Orchestra, the Jackson Orchestra, and has served as concertmeister for the
Jackson Symphony Camerata Strings. This past summer Heather performed
concerts throughout Italy with the Rome Festival Orchestra. She currently
studies violin with James Alexander and i a u improvisation with Rex
Richardson.
                                                                               The Baton Rouge.-Gallery
                                                                                  Thursday, December 2,1999
                                                                                            7:30PM
                              Notes about the Music                                                                             Program

_   Pau-Brasil                                                         Liduino Piimbeira
    "This piece is inspired'by the word "pau-brasil" in which Ifound associations
                                                                                                From Anoher World (1998)
                                                                                                                       Red Stick Quartet
                                                                                                                                                              Peter Blawelt

    between my native cwnhy, Brazil, and the city where I am studying since 1998,
    Baton Rouge, in the United States of America. Pcw-brasil is a redwood tree, which
    was very popular inEurope during the 16th century. When Brazil was "discoverecP                     Vierge (The Forest Primeval)
                                                                                                La ~ore^t                                            Stephen Dcrvid Beck
    by Cabral and the Portuguese fleet in 1500, they found that this tree wns abounded
                                                                                                                        Rebecca Todaro, harp
    in the new land, which was named Brasil after this redwood tree. The abbreviation
    of Brazil is BR, so is the abbreviation of Baton Rouge. Also, the Baton Rouge is a
    French ward that means red stick or red woad. To complete the chain of coincidences         Three C h a r d r Pieces                                Melissa Pausina
    this piece has been written for the Red Stick Qvartet. In this three movement piece, I             1.      Playfully
    use quotations and stylistic impressions of both        such as iau, samba, blues,                 II.     Tenderly
    and choro."
                                                                                                       Ill.    Swiftly
    Three Short P i s for Sdo Tuba                                    Bradley E. DeBaw                         Kelsey McNitt, flute; Leslie Evans, clarinet
    "A few months ago I set out to begin writing a solo tuba piece which Icould perform                                  Arnie Martin, cello
    and demonstrate the capabilities of the tuba as a solo instrument. I looked at what
    was in the standard tuba repertoire and then what Iwas capable of doing as a                Two Short BA-C-H Pieces For Solo Violin
    performer. The piece, as a whole, is based on a three-part concept, as are the                Passion fbr Maria (1997)                                 William Price
    pieces. The first piece uses a predetermined collectin of rhythms and pitches that
    slowly move to the second section, which brings out new rhythmdpitches. After the
                                                                                                 Nomenclahre (1997)                                    John M. Crabtree
    climax on one of the highest pitches in the piece, the pitches slowly evotve back to the                           Heather Pinson, violin
    original collection. The second piece is based upon a technique found in more
    modern tuba literature; that of multi-phonics (producing more than one pitch at the
    same time). Betwen k h of these multi-phonic sections, a short melody is played,            Three Short Pieces F r Solo Tuba (1999)
                                                                                                                    o                                  Bradley E. DeBow
    each tying with, but being different from one another. The third movement is
    reminiscent of the first in the sense that the pitch and structure are similar, but moves
                                                                                                       I. Clingly
    to an even more intense and challenging climax. The third piece ends, like the first,              II. Duet for One Tuba
    with the gradual evolution back to the ideas presented earlier."                                   Ill. With Great Pain and Longing
    Contrast                                                               Jonathan Pefen       Conhast (1999)                                           Jonathan Peters
    Contrast is a short twelve-tone piece for solo tuba. The main ideas for the piece were
                                                                                                                           Bradley DeBow, tuba
    composed during the summer of 1999 on the shores of Lake Erie in Pennsyivania.
    Conditions on the Great Lakes can be anywhere from serene and tranquil to violent
    and tumultuous, and can change over short periads of time. This idea of extremes in         Pau-Brasil (1999)                                     Liduino Pitombeira
    range is reflected in the piece's use of pitch, dynamics, densi?. and timbre. Contrast is          I. Allegro Moderato
    dedicated to Bradley DeBow, the "Ubertubist."                                                      II. Lento
                                                                                                       Ill. Allegro
                                                                                                                          Red Stick Quartet
                                     I




                                                     National     Association of Composers, USA
                                                                Home of Deon Nielsen Price,vice-president
                                                                       10701 Ranch Road, Culver City, CA
                                                                                     December 16, 2000

                                                      Program
                                     I
Piano Suite So. 1: The ~esonancdof Childhood (1996)                                       Alex Shapiro

       1. Variations on a ~ e m b r ~
       2. On My Mother
       3. Quiet child
       4. For My Father
       5. Older
                          Dorothy Spafard Hull, piano


Three Hobo Cadenzas (2000)               1Peter         Yates, guitar
                                                                                             Peter Yates



Suite for Violin and Piano (2000)                                                          Jeannie Pool

          1. Royal Hues
       11. Ancient Dance
       IV. Collage
                                    Brian Leonard, violin
                                    Delores Stevens, piano


NACUSA - Past                                                                           Marshall Bialosky
NACUSA - Present                                                                              Deon Price
NACUSA - Future                                                                         Everyone present


                            Interdission and Delicatessen
                                         I

When Lilacs Last in the Dooryaid Bloomod (2000)                                       Alexandra Pierce
      Carol of the Bird        1
                             Rpger Pierce, reciter
                            Alexandra Pierce, piano
                                         I

Twelve Variations on an Imagina!y Jewish FolkSong                                      Marshall Bialosky
                                             I
                                             I
                                         Peter Yates. guitar

Clariphonia (2000)           1                                                         Deon Nielsen Price
       MARCH to ~lari~hones-DANCE A-on
       Basset Horn ROMANCE^^ Soprano SCHERZG
       Eb Contrabass FINALE                  1
                          Be~keley Price, clarinet
                          Deon Nielsen Price, piano




                                                 I
This QUARTET begun in February, 1992, and completed in July,
                 was
1992. In form, if not in style, it is meant to be a "classical" work, in
three movements. It begins with a brisk Rondo, continues in a more
reflective Romanza Rubato, and concludes with a quirky two-tempoed               UCLA DEPARTMENT OF MUSIC AND THE
Scherzo-Finale.                                                   -DSL           NATIONAL A S S O C I A T I O N OF COMPOSERS, USA
TWO VISIONS
        The first movement, Lust Carillon, seeks to capture the vision of
an unexpected discovery of an old carillon, covered with webs and dust,           PRESENT:
whose bells are somewhat rusty. The finale, Imaginary Flight, is
virtually a purely melodic flight. The opening melody revolves very
clearly around A-flat, at first gradually adding other melodic materials
between appearances of this central tone, and then, more quickly,
removing them.                                                     D K                        A NACUSA CONCERT
"MY SOUL WALKS UPON ROSES ..."
        Thomas Watson (c.1620-1686); minister of St. Stephen's               -

(London), said the following about the Beatitudes from Christ's Sermon
on the Mount:                                                                     FEATURING
        This Sermon of Christ on the Mount is a piece of spiritual
        needlework, wrought about with divers colours; here is both
        usefulness and sweetness. In this portion of Holy Scripture you
        have a breviary of religion, the Bible epitomized. Here is the
        garden of delight, set with curious knots, where you may pluck                        CAMERATABRAVURA
        those flowers which will deck the hidden man of your heart.
        Here is the golden key which will open the gate of Paradise.             CATHARINE DERENZIS, FLUTE, LEASTEFFENS, CLARINET
        Here is the conduit of the Gospel, running wine to cherish such          KRISTEN AUTRY, VIOLIN, CATHERINE cAVELLA, 'CELLO
        as are poor in spirit and pure in heart. Here is the rich cabinet
        wherein the Pearl of Blessedness is locked up. Here is the                           DELORES STEVENS, PIANO, AND
        golden pot in which is that manna which will feed and refocillate                    DANIELKESSNER, CONDUCTOR
        (revive) the soul unto everlasting life. Here is a way chalked out
        to the Holy of Holies."
"My soul walks upon roses ..." is a meditation on Christ's Beatitudes.
Each of the main movements is a depiction of some aspect of one of the
eight Beatitudes-either the affection or the gift. In order to highlight
these qualities of character or blessings of reward (...or blessings of
character, qualities of reward), traditional hymns are used in diverse
fashions with the intent of alluding to the poetic ethos of its musical                                 SATURDAY, FEBRUARY 10,2001
language and text. In between the eight main movements are short                                        8:00 PM, JANPOPPER THEATER
"points of light."                                                  A D
                                                                    V. BEATITUDE 3 (HYMN: BE STILL MY SOUL)
                                                                   VI. POINTOF LIGHT     315
LE TOMBEAU DE ZAPPA                              PETER YATES       w. BEATITUDE (HYMN: MY HOPE IS BUILT ON NOTHING LESS)
                                                                                    IV
(1995, 6:307')   FOR VIOLIN, 'CELLO, AND PIANO        (B. 1953)           -POINT OF LIGHT 4
                                                                          -BEATITUDE V (NO HYMN)
                                                                   w. POINTOF LIGHT315
                                                                   Ix. BEATITUDE VI (HYMN: LETALL MORTAL FLESH KEEP SILENCE)
                                                                          -POINT OF LIGHT 216
DISINTEGRATION                                   MEI-FANGLIN        X. BEATITUDE VII (HYMN: A MIGHTY FORTRESSIS OUR GOD)
(1999, 1O:OO)           FOR PIANO SOLO                 (B.1973)    XI. POINT LIGHT 117
                                                                               OF
                                                                          -BEATITUDE VII (EPILOGUE)
       NACUSA YOUNG COMPOSERS COMPETITION,
                                                                                                     OL
                                                                       (CHORALE: "ER NAHM ALLES W H IN ACHT,"AND CELLO SOLO:
            FIRST PRIZE CO-WINNER, 2000
                                                                       "... WEINETE BITTERLICH," FROM BACH'SST. JOHNPASSION)
     (IN FIVE MOVEMENTS)

QUARTET                                 DAVIDS. LEFKOWITZ
(1992, 15')   FOR FLUTE, VIOLIN, 'CELLO, AND PIANO     (B.1964)                        RECEPTIONFOLLOWS
    I. RONDO
   11. ROMANZA RUBATO
  ru. SCHERZO-FINA LE                                             PROGRAM NOTES:

                                                                  LE TOMBEAU ZAPPA
                                                                           DE
                                                                          The tradition of composing instrumental laments, or tombeaux,
Two VISIONS                                    DANIELKESSNER      on the deaths of celebrated musicians was particularly strong among
(1991, 14')          FOR FLUTE, CLARINET,              (B.1946)   lutenists of the seventeenth century, few of whom died without tribute
                   VIOLIN, 'CELLO, AND PIANO                      from their peers. In keeping with the change of centuries, this tombeau
                                                                  concerns a passing and a tribute by guitarists, rather than lutenists; the
   I. LOST CARILLON                                               sentiment is otherwise the same, except that the music does not mourn,
  rr. IMAGINARYFLIGHT                                             but is as irreverent as its dedicatee.                              -PY

"MY SOUL WALKS UPON ROSES. ..
                                   33
                                             ANDREW DIONNE        DISINTEGRATION consists of five movements. A simple Chinese
(MEDITATIONS ON CHRIST'S BEATITUDES)                              folk song was used as the source of material for the entire piece. The
(1998, 2 1') FOR CLARINET, VIOLIN, 'CELLO, AND PIANO (B. 1973)    tune was introduced without too much distortion in the first movement.
                                                                  As the piece progresses, it disintegrates as if it is being melted and
       NACUSA YOUNG COMPOSERS COMPETITION,                        disguises itself in a variety of different shapes. The composer has also
               SECOND PRIZE CO-WINNER, 1998                       tried to combine some aspects of Chinese music other than the tune itself
                                                                  with those of western music. An example of this is the timbral imitation
   I. BEATITUDE (HYMN: ALAS! AND DID MYSA VIOR BLEED)
                1                                                 of an old Chinese instrument Zheng in the first and last movements.
  11. POINTOF LIGHT117                                                     This piece was commissioned by Ms. Jana Mason and her
 HI. BEATITUDE (HYMN: ABIDE WITH ME)
                2                                                 husband Richard Anderson through the 2 1st Century Piano
 rv. POINTOF LIGHT216                                             Commission Competition in 1999.                                 M F L
GEOFFREY KIDDE
    PROGRAM NOTES -Compiled and editbd by Max Lifchitz
            Geoffrey Kidde, composer/flutis,t, serves on the music faculties of Hofstra University and


I   the unitid States at such eGents and vehues i s the Bar Harbor Music ~estivlal,SEAMUS, th; SCI                             I


I
    recognition in the form of prizes - including one -from the NACUSA National Young Composers
    Competition -fellowships and grants, as well as critical praise from newspapers and professional
    journals. He has composed a feature film score, orchestral and choral works, chamber music, and a
    series of works for instruments and electronic tape.



    England Conservatory. The influence of      OF of my teachers from the c6nservatory, John Heiss, as well
    as the influence of my very first flute teacher, Robert Dick, can be heard throughout the set. Both Long
    Distance and Sastrugi incorporate a n u m p of extended techniques, such as multi-phonics, key slaps, .
    tongue stops, and simultaneous singing ayd playing. Furthermore, Long Distance was inspired by the
    microtonal inflections of the blues--how blues performers play and sing the pitches in between the
                                                                                                                               L
    pitches. Sastrugi is a Russian word definbd as the lines on fallen snow made by strong winds. This
    image was also an inspiration for me."        1                                                                            I
                                  Arts Festival, the Black ~ o & t a i n~ e s t i i a lthe Philadelphia Fringe Festival
    ior the Arts, the ~ t l a n t a                                                    ,
    and the Resolution 2000 Festival. He has created over 50 works in media ranging from orchestral
    compositions to electronic works for d ~ n c e .     He has received commissions from the Allentown
    Symphony, the Lehigh Valley Chamber Orchestra, the Asheville Symphony, Wall Street Danceworks                              1

I   International perforAances of his works hbve iaken pla;e at th; 1nteAational Courses for Percussidn
    in Bydgoszcz, Poland, the Edinburgh Festival Fringe in Scotland, and in Canada and Tapan. Ovens'

                                                                                                 ~~-       -   -   -


    Im&e was described h the New York ~ i m e s a work of "special appeal ... that has an aln~ost
                                                                                                                       0
                                                      as
    conversational shape and pacing and some wonderfill textural detail." Ovens is Associate Professor and
    Chair of the Music Department at Muhlenberg College in Allentown, PA.
             He provided the following statement about his composition:
             "Improvisation No. 6 continues a dine of development begun with my Inlprovisation No. 1 for
    Solo Marimba (1982). Each of these iFprovisations is for solo percussion or solo electronic
    percussion. In Improvisations 1-5, the impyovisational character is largely to be found in the rhythrmc
    language of the scores. Gestures are shown to go from fast to slow or vice versa but often in a rather
    free notation that encourages the player to find his or her own "ideal" tempi. This piece, performed as
    it is over a prerecorded tape part, does not have that degree of rhythmic freedom but I have kept true




I
                                                                                                        ~ k
    computer in live performance. ~ o n i ~ h t 'performance is t h e first one using the Alesis ~ i r efficts
                                                 ;
    controller in performance. The pre-recordkd layer consists of samples from my own CD recording,                        .
    Play Us A Tune, for soprano and orchestra. The live part is played on a MalletKat, an electronic
    controller laid out like a vibraphone.
        Larry Thomas Bell, a composer who is recognized as "a major talent" (The Chicago Tribzlne),
has been awarded the Rome Prize, fellowships from the Guggenheim and Rockefeller foundations, and
the Charles Ives Award from the American Academy of Arts and Letters. He has received grants
form the American Symphony Orchestra League, American Music Center, and Meet the Composer, a s
well as residencies at the Virginia Center for the Creative Arts and MacDowell Colony. Bell studied
with Vincent Persichetti and Roger Sessions at The Juilliard School, where he received his doctorate.
Bell's works have been commissioned and played by the Juilliard String Quartet, the Seattle
Symphony, Music Today (New York), RAI Orchestra of Rome, OENM (Austria), St. Luke's Chamber
Ensemble, and Speculum Musicae. In addition his music has been featured in festivals in Russe
(Bulgaria), Moscow Autumn (Russia), Pontino (Italy), San Salvador (El Salvador), Aspen (Colorado),
Ravinia (Chicago), Christchurch (New Zealand), and Valencia (Spain).
        As a pianist he performs regularly and has championed the music of Frederic Rzewski,
Persichetti, and other American composers. He has given recitals and concerto performances
throughout the United States, Italy, and Japan. Bell has recorded frequently for broadcast on WGBH-
FM radio in Boston, including their first live broadcast on the World Wide Web (of his trio Mahler in
Blue Light). Bell's recording of his Piano Sonata CD has been released on North/South Recordings
#1007. Reviewing this recording Fanfare Magazine called him an "exceptionally talented composer."
Bell's Piano Concerto was recorded by the Russe Philharmonic in Bulgaria and appears on Vienna
Modem Masters #3037. Sacred Symphonies was recorded by the Slovak Radio Orchestra for Vienna
Modern Masters #3016.
        Bell has taught theory and composition at The Boston Conservatory since 1980 and the New
England Conservatory of Music since 1992.

         The Immortal Beloved is a song cycle based on the three letters that Beethoven wrote in July
1812. The work was written in June of 1999 for mezzo-soprano Judy May and conceived from the
point of view of the recipient of the letters. The letters show Beethoven's extraordinary ambivalence
towards romantic commitment yet they also have an emotional immediacy and are genuinely heart-
felt. This cycle of three songs is permeated with references to Beethoven's own song cycle A n de Feme
Geliebte (To the Distant Beloved). A fragment of his cycle is quoted towards the end. The texts are
taken from a compilation of two translations, of Beethoven's three letters, written in July 1812, to a
mysterious woman historians referred to for one hundred and fifty years simply as The Immortal
Beloved. Due to research by Maynard Solomon, we now know the recipient to be Antonie Brentano.
A copy of the text that inspired the composer follows:

I. July 6,1812, in the morning
 "My angel, my all, my very self. Why this deep sorrow when necessity speaks can our love endure
except by demanding everytlung from one another; can you change the fact that you are not wholly
mine, I not wholly thine. Oh God, look out into the beauties of nature and comfort your heart. You
forget so easily that I must live for me and for you. If we were united you would feel the pain of it as
little as I.
My journey was a fearful one; I did not reach here until four o,clock in the morning. The post coach
chose an awful route; I was warned not to travel at night; I was made fearful of a forest, but that only
made me the more eager and I was wrong. The coach broke down on the wretched, bottomless mud
road. Esterhazy, traveling by the usual road here, had the same fate with eight horses that I had with
four Yet I got some pleasure out of it, as I always do when I successfully overcome difficulties
Now a quick change to things internal from things external. We shall surely see each other soon. My
heart is full of so many things to say to you ah there are moments when I feel that speech amounts to
nothing at all Cheer up remain my true, my only treasure, my all as I am yours. The gods must send
the rest, what for us must be and shall be."

11. Evening, Monday, July 6
"My dearest creature You are suffering. Ah, wherever I am you are with me. I will arrange to live with
                                                                            I
you. What a life!!!! Without youApersecutedby the goodness of manAwhich little deserve as I little
care to deserve it. Humility of man towards man it pains me and when I consider myself in relation to
the universe, what am I and what is HeAandyetAhereinlies the divine in man. Much as you love m A I
love you more. But never conceal your thoughts from me. Oh God so near! so far! Is not our love truly
a heavenly structure, firm as the vault of Heaven?"
        111. Good morning, on July 7.
         "While still in bed, my thoughts go out t i you, my Inlnzortal Beloved, will fate take pity on us. Either I
                                                     1
        must live only with you or not at all. Yes, have resolved to wander in distant lands until I can fly to
        your arms. Yes, it must be so. You know my faithfulness to you. No one else can ever possess my
I       heart never never. Oh God, whv must on&part from one wh& one so loves. Your love makes me at
        once the happiest and the unhappiest of Ken. At my age I need a steady, quiet lifeAcanthat be so in
        our connection? My angel, Be calm, only by a calm consideration of our existence can we achieve our
        aim to live together Be calm love me toddy yesterday what tearful longings for you you you my life
        my all farewell. Oh continue to love me never misjudge the most faithful heart of your beloved.
                                                     l
          ever thine
          ever mine
    .   ,
          ever ours

I       (Translation from Thayer-Forbes Briefe nb. 582, Letters no. 373).           4
                                                                                    1
                                                                                                                                I
                 Composer/pianist Max Lifchitz y a s awarded first prize in the 1976 International Gaudeamus
        Competition for Performers of Twentieth Century Music held in Holland. Robert Commanday, writing
        for f h e San Francisco Chronicle describbd               as "a young composer of brilliant inzaginatibn n,zd
        stunning, ultra-sensitive pianist." The New York Times music critic Allan Kozinn praised Mr. Lifchitz for
        his "clean, nzeasured and sensitive performankes.
                 A graduate of The Juilliard schdol and Harvard University, Mr. Lifchitz has appeared in
        concert and recital throughout the US, ~ a &      America and Europe. H& CD album devoted to-the piano
        music of MCxico elicited the following (comment from Fanfare Magazine: "After severnl listenings,
        NorthlSouth Recordings No. 1010 is recomqzended to more than jzist a specialist audience becazise of the wide
        variety of attractive and challenging music that it contains. Lifchitz is a poetic pianist with requisite pozuer to
                                                              ~
        make the many granitic clinzaxes register. ~ a i i l the, most interesting new piano disc so far in 1996."
                 The American Record Guide comented as follows on Mr. Lifchitz's most recent release The
        American Collection (N/S R 1014): "suffice it to say that it would be hard to find a better snapshot of what
        American composers have been writing for the piano in the past decade than this collection. Lifchitz plays
        everything with sensitivity and force, ulhere appropriate; and recorded sound is vivid and natural."
        The-coomposerwrites:
                 Yellow Ribbons No. 5 belongs td a series of works written as an homage to the former
        American hostages in Iran. These compqsitions are a personal way of celebrating the artistic and
        political freedom so often taken for granted in the West.
1                The melodic and harmonic Gateribls of the single movement composition are derived from a                       I
                                                                                    ic
        series of expanding and contracting intebals. ~ e v e r a r r h ~ t h mmotives' serve as unifymg elements
        throughout the piece. The climax of the er-ttire work occurs close to the end when each instrumental
        part is treated with the utmost degree of independence: three different tempi are presented
                                                           the
        bimultaneously as each instrumentalis~pl~ys gi;en melodic material at a different speed.*
                 Yellow Ribbons No. 5 was completed in the Fall of 1981 under a grant from Meet the
        Composer, Inc. It was premiered in the Spring of 1982 at the Merkin Concert Hall by clarinetists
        Stanley and Naomi Drucker accornpaniedl by pianist Miriam Brickman.

                                                     hard
I
                 The music of pianist/composer             Nanes first came to the public's attention through the
         beauty and lyricism of his exquisite keyboard recording of Nocturnes of the Celestial Seas. Nanes'
         Concerto for Brass Trio and Chamber Orchestirawas also given its first performance at this time in Alice
         Tullv Hall at Lincoln Center. International reconnition came with the European premieres of his
         poGerful Symphony No. 2 by the        ond do$symp60ny Orchestra, followed by' the gymphony No. 1,
                                                                                                                                I
         which received its initial performance        a concert telecast nationally and including a featured
I        performance by the late ~ e h u dMenuhin. soon after, the London philharmonic presenteathe premiere
                                           i                                                                                    I
         bf one of his most moving and heartfelt wbrks, the Rhapsody Pathetique for violin and orchestra, "A
         Hebraic Lament", at the Barbican. with Arther ~erformances other Euro~ean
                                                                         bv                   orchestras in Paris.
                                                                                                   --        ~~   - - - - - -




I                                   and                       Nippon sym;hony brougAt Nanes' Concerto ~ r o s s d
         Kiev, Madrid, ~ u d a ~ e s t , ~eiji&.The I ~ o m i A
         to the Tokyo public with a special broadcast on NHK Television.
                                                         I
       During the early 1990s Nanes was given the unique honor of not one but two invitations to the
former Soviet Union, first for the world premiere of his Symphony No. 4-"The Eternal Conflict" by the
Moscow Philharmonic and then the performance at the Kiev International Music Festival of the world
premiere of his Symphony No. 3 "The Holocatist ". In 1994 the Brooklyn Philharmonic presented the
American premiere of the Holocaust Symphony. Performances of this work soon followed by the
Chicago Philharmonia during a season that brought performances of Nanes' Synzphony for Strings to
Alice.Tully Hall and one week later to Camegie Hall. And it was in the fall of 1997 that Nanes was
appointed composer-in-residence to the Santa Fe Symphony Orchestra.
       The Holocaust Symphony reached its widest audience in 1998 when the BRAVO Network
presented four national telecasts of the work as played at the Kiev International Music Festival
Orchestra. One of the results of these broadcasts came in 1999 when Richard Nanes was given an
international Silver Angel award for excellent moral quality in national television by the Excellence in
Media Foundation. Richard Nanes' worldwide popularity was again highlighted late in 1999 when he
was awarded the Medal of Honor and Diploma for Achievement in Fine Arts and Science by the
Austrian Albert Schweitzer Society. The award, presented in Brussels, Belgium, was made in
recognition of Nanes' humanitarian works of music.
        The program booklet for Nanes' own recording of Grand Etude in A Major states that the
work "is a "study" on at least two levels. First, it is an exercise of technical skill that demands the
greatest virtuosity from the performer. Second, it is a comprehensive display of a wide range of
twentieth-century compositional determinants. This study opens with stentorian declamatory tone
clusters and pointillistic leaps as salient features. A change of pace suggests a more playful mood.
Then there is a subtle modulation towards a tonal focus; a somber chorale which dissolves -into a
peaceful sea of ripples. Nanes' music is always episodic, but now the episodes become markedly
shorter as myriad tiny fragments of ideas chase each other across the scene; the mood swings are
rapid and intense. Now, once again, the music returns to an area of partial tonality; suspended
mysteriously between the tonal and atonal. The end of the etude arrives unexpectedly, and is
somewhat in the spirit of Charles Ives' The Unanswered Question:, a flurry of feathery seconds, always
                                       ...
moving upward, seems to ask "why?" but the question hangs suspended; the answer never comes as
the etude ends ethereally in the upper register of the keyboard. Richard Nanes has done what many of
his contemporaries have been unable to do-create a highly appealing musical style that combines 20th
century musical values with the passion and romance of the 19th century."

       Judy May, mezzo-soprano, is a graduate of the University of Illinois and The Juilliard School.
A versatile interpreter of modem music, she has several world premieres to her credit, including Spiral
I1 by Chinery Ung and Dreanz Sequences by Arthur Weisberg. She has taught at Arizona State
University since 1986 and has also served on the faculty of the American Institute of Musical studies
in Graz, Austria.

        Clarinetists Richard Goldsmith has performed with the North/South Consonance Ensemble
since 1986. His much praised recording Clarinet Fantasy is available on the North/South Recordings
label. Meryl Abt-Greenfield is in much demand as performer of orchestral and chamber music. She
has also appeared in many performances sponsored by North/South Consonance and can be heard
on North/South Recordings No. 1004.

       The National Association of Composers, USA was founded by Henry Hadley in 1933. Mr.
Hadley served as an Associate Conductor for the New York Philharmonic during the 1930rs, the first
American-born conductor ever appointed to the staff of that institution.
       The public is kindly invited to the next concert on this series which will take place on Monday
evening March 19. The program will feature New York premieres of works by Allen Brings, Brian
Fennelly, Matthew Halper, Mary Jeanne van Appledorn and Stefan Weisman.
       To learn more about the various activities sponsored by the National Association of
Composers, USA please visit its website at www.music-usa.org

                                                                           of
          The public is kindly reminded that the use of recording eq~tipment any kind is strictly forbidden.
           Please turn-offpourwatch alarm or atty other noise-producing device before the program starts.
                                      Make sure to know where the auditorium exits are.
         PLEASE REFRAIN FROM SMOKING and/or EATING WHILE IN AUDITORIUM.
                                             Meet the Performers
         Pianist Margaret Mills combines an extensive performing career with an active commitment to
teaching and lecturing on music. The NY Times referred to her playing "as alzuays setlsitive, characterized
                                                  solind and secure passagezuork."
by big, carefiilly cotztrolled and oftetz l~istro~is

       Coloratura soprano, Kathy McNeil, was a first prize winner in the American Institute of
Music Studies in Graz, Austria Meistersitzger vocal competition. A versatile performer, she has
appeared in opera, oratorio, and recital performances throughout the United States. Ms. McNeil has
been a member of the music faculty at Texas Tech University since 1998.

             Linda McNeil, coloratura soprano, performs repertoire r a n p g from baroque oratorio to
lieder, chamber music, opera and contemporary art song. Her voice has been described in the press a s
a "big silvery itzstninletzt, rich itz overtotzes, )ill of textured sheen, like silk taffeta...her technique often
h z z l e d ..." She serves on the music faculty of Trinity University in San Antonio, Texas.

         Pianist/composer Max Lifchitz was awarded the first prize in the 1976 International
Gaudeamus Competition for Performers of Twentieth Century Music held in Holland. Robert
Commanday, writing for The San Francisco Chronicle described him as "a yoling coniposer of brilliant
it~lagitzatiotzatzd a stzintzitzg, ultra-setzsitive pianist. "
       Cellist Ted Hoyle has recorded for the Vox, Desto, CIU, Chesky and Orion labels and for
Spectrum Records and the Musical Heritage Society. He recorded the cello sonatas of Joseph
Fennimore for Albany Records and can be heard with the Capitol Chamber Artists performing works
of George Walker and James Willey on Centaur Records.

       Pianist Allison Brewster Franzetti's most recent projects include two solo CD's - "The
Unknown Piazzolla" for Chesky Records and "Scriabin, Ravel and de Falla" for Amapola Records.
She has also recorded for Newport Classics, Premier Recordings and the Musical Heritage Society.

       Alexander Kouguell, cellist, has toured extensively in the United State, Europe, and the Near
and Middle East. He has recorded for Columbia, Decca, Monitor, Nonesuch, and CIU. He is
Professor Emeritus at the Aaron Copland School of Music at Queens College (CUNY).

     Mezzo-Soprano Hai-Ting Allison Chinn recently appeared with Sequitur and the American
Composer's Alliance and has sung with several early-music ensembles, including L'Antica Musica
New York, Bachworks, The Parthenia 12, and Nova et Antiqua.

      Conductor Stephen Black is the artistic director and conductor of the Greater New Haven
Community Chorus. He is an active organ recitalist as well, with several prizes to his credit. He
graduated with honors from the Yale University School of Music, where he studied conducting with
Marguerite Brooks and organ with Thomas Murray.

Violinist Maja Cerar has premiered and recorded numerous works that were written for and
dedicated to her both in the US and Europe .... Violinist Jane Chung spent last year studying in
Vienna as a Fulbright grant recipient and has collaborated with cellist Steven Isserlis .... Cellist Allen
Alexander has taken an active role in local and international festivals throughout the country. He is a
graduate of the Masters and Artists' Diploma programs at Mannes College of Music, where he
studied with Paul Tobias.

       The National Association of Composers, USA was founded by Henry Hadley in 1933. Mr.
Hadley senred as an Assocciate Conductor for the New York Philharmonic during the 19301s, the
first American-born conductor ever appointed to the staff of that institution. To learn more about
various the activities sponsored by the organization please visit its website at www.music-usa.org

                                               that                                    of
            The prrblic is kirldly rer~~irlded the lrse of recordirlg eqliipn~erlt arij kind is strictly forbiciciet~.
             Please ti~nr-oflyour                   or.
                                     \c.atch alar-r~r all). other-rroise-procilicirrgdevice before the program starts.
                                             Make sure to k~lo\v)\.here the a~iditoririr~r are.
                                                                                           exits
           PLEASE REFRAIN FROM SMOKING and/or EATING WHILE IN AUDITORIUM.
                                       !
PROGRAM NOTES          - Compiled aLd edited by Max Lifchitz
        Brian Fennelly (born Kingston, ,NY 1937) studied at Yale with Me1 Powell, Donald Martino,
Allen Forte, Gunther Schuller, and Geo~ge    Perle (M.Mus '65, Ph.D. '68). From 1968 to 1997 he was
Professor of Music in the Faculty of 4rts and Science at New York University, where he is now
Professor Emeritus. In addition to a Guggenheirn fellowship, his awards include three fellowships
from the National Endowment for the Arts, three composer grants from the Martha Baird Rockefeller
Fund, two Koussevitsky Foundation c~mmissions,       and an award for lifetime achievement from the
American Academy of Arts and Lette:s. Major works include In Wildness is the Preservation o the   f
World, Fantasy Variations, and A Thoqeatr Symphony, all for orchestra, String Quartet in Two
Movements, Wind Quintet, Sonata Seria for piano, Evanescences for instruments and tape, and Locking
Horns for brass quintet. His music has \been awarded prizes in such prestigious competitions as the
Louisville Orchestra New Music compd,tition and the Goffredo Petrassi International Competition for
orchestral music. He is co-director of the Washington Square Contemporary Music Society, which he
founded in 1976.
        About his work, the composer w'rites: "Sonata Serena was written in 1997-98 on commission
                                           /
from pianist Margaret Mills. It consists of three movements: 1) Nocturne, rhapsodic in nature and
improvisatory in character, although fully notated; 2) Variations, in five sections, based upon the
intervallic material presented in the sho)rt opening "theme," and 3) Toccata, a propulsive study in
tritones, which are noticeably absent from the conceptual structure of the rest of the sonata. The title
is meant to reflect the generally gentle character of the music, especially in relation to my more
dramatic Sorlnfn Seria, also for piano."

        Mary Jeanne van Appledorn is, the Paul Whitfield Horn Professor of Music at Texas Tech
University where she has taught since 11950. A graduate of the Eastman School where she studied
with Howard Hanson, she recently recefved her 21st Consecutive ASCAP Standard Panel Award.
Her new compositions include Gestllres for Clarinet quartet, commissioned and premiered by the U.S.
Naval Academy Clarinet Quartet of / ~ n n a ~ o l i Maryland; Meliora, a Fanfare for Orchestra,
                                                        s,
commissioned by The Women's Philharmonic; and a solo piano work, Uptozun Blue, written for
pianist Max Lifchitz. Her Rlzapsody for Violin alld Orchestra was recently released on the Opus One
label in a performance recorded in 1998 by the Polish Radio National Symphony Orchestra with
Charles Rex, Associate Concertmaster of the New York Philharmonic, violin soloist, and Joel Eric
Suben, conductor.
        Dr. van Appledorn writes: "Sonis Without Words for two Coloratura Sopranos and Piano
were commissioned by the McNeil sister!. The text consists of nonsense syllables. The "La la la" of the
first song creates a high spirit at quick tempo, while "Ooo-Ah evokes a slow, glycerin-sweet effect
against the stationary arm chord playeh repeatedly by the pianist. Finally, "Ta-ka-ta-ka-tu", in a
canonic setting (with these syllables also in their reverse order: Tu-ka-ta-ka) concludes this group of
short songs."

        Matthew Halper is a recipient of a New Jersey State Council on the Arts Individual Artist
Fellowship. He received a Whitaker Reading Prize from the American Composers Orchestra for his
orchestral work Stalin's Wake: Homage Ito Sltostakovich and his String Quartet was awarded the
Walsum Prize and premiered by principal members of the National Symphony. He has lectured on
contemporary music and had his works berformed at conferences of the College Music Society, the
Society of Composers and at various instiFutions including the Juilliard School and the Massachusetts
Institute of Technology. Dr. Halper has b7en a member of the music faculty at Kean Unfversity since
1998 and is Artistic Director of Ars Vitalig: The New Jersey New Music Forum.
        Dr. Halper kindly provided the folpwing program note for his work:
        "The first movement of my two-movement Sonata for Cello and Piano is based on my earlier
setting of Christina Rossetti's poem "Remember" (1858) for baritone and piano. Like the poem, the
tone of this movement is solemn and noble with a plaintive undercurrent - a meditation on death
and loss. The more expansive and variegdted second movement serves as a dramatic counterpoise to
the first. The two principal themes ate variants of the melodic material from the "Remember"
movement, now recast in Stztrnz zlnd Drang guise."
                                                                                                             I


                                                                                                         i,
                                                                                                         1

        Allen Brings was born in New York City in 1934. His major teachers were Otto Luening,            \,
Gardner Read and Roger Sessions. His published compositions, which include works for orchestra,
band, chorus, a wide variety of chamber ensembles, piano, organ, harpsichord, guitar, and voice, have
been recorded by Capstone, Centaur, Grenadilla, Contemporary Recording Studios, and North/South
Recordings.
        Allen Brings has performed extensively as pianist both here and abroad especially in programs
of music for piano, four-hands, with Genevieve Chinn, with whom he has recorded for Centaur
Records, Orion Master Recordings, and Composers Recordings, Inc. Brings is Professor of Music at the
Aaron Copland School of Music at Queens College of the City University of New York, where he is
co-ordinator of the theory and ear training program.
        Professor Brings provided the following statement about his composition:
        "It was a common practice among composers of the Renaissance and Baroque Era - before
the Romantics placed a premium on originality and novelty - to base certain new works on already
existing polyphonic compositions by other composers. Indeed the craftsman-ship and inventiveness
of those composers can be assessed as much in their parodies as in their original works. The purpose
of a parody was not merely to transcribe an old piece but rather to reinvent it while speaking, as it
were, in one's own distinctive dialect.
        My Sonata after Vivaldi is just such a parody, based on a sonata in F major by Antonio
Vivaldi for cello and basso continuo. In it I retained the basic phrase structure and rhythms of the
cello part while redesigning the melodic routes taken by it from cadence to cadence and elaborating
the keyboard part in away that exceeds that of an ordinary figured bass realization. This sonata is
said to be for cello "with piano" rather than "and piano" to emphasize the dominant role played by
the cello and the subservient role played by the piano.
        My reason for choosing Vivaldi lay in my admiration for his forthrightness, the variety and
power of his expression, and for his economy of means. My choice of this particular sonata perhaps
grew out of an awareness that, had I been a contemporary of Vivaldi, this is the kind of sonata I
would have hoped to write. The work is in four movements. It was completed in 1981."

        Stefan Weisman has received commissions from the Gotham Choir, the Battell Chapel Choir
and the Minimum Security Composers Collective. The Miro String Quartet performed his Nervolis
People at Bang on a Can's marathon concert. Other performers of his work include the Da Capo
Chamber Players, the Woodstock Chamber Orchestra, and the Hudson Valley Philharmonic
conducted by Leon Botstein. A graduate of Yale University and Bard College, Weisman's principal
composition instructors include David Lang, Joan Tower, Martin Bresnick, and Jacob Druckrnan.
Fellowships and residencies include the Edward Albee Foundation, the Blue Mountain Center, the
MacDowell Colony and the Djerassi Resident Artists Program. He has written incidental music for
the plays GreenlandY2K and What is String Theory?, and was involved with video collaborations at
the Knitting Factory and Collective Unconscious. His music has also been heard at Merkin Concert
Hall, the HERE Theater, the June in Buffalo festival, the Context Theater, and the Flea Theater.
Additionally, he is producing four compact discs to be included in an upcoming book, an overview of
oral history for American composers by Vivian Perlis.
        Mr. Weisman provided the following program note for his work:
        "Ha! was written in 1999 for the HERE Theater's "American Living Room" festival, as part of
a concert called "Bathe in the Blue Light." The pieces in this concert were to react in some way to an
aspect of television, and the first performance was accompanied by the following quote: "The laugh
track official!^ debuted in 1950 on NBC1s "The Hank McCune Show." A few years before that Milton
Berlels mother had begun serving as a one-woman laugh track of sorts on "The Texaco Star Theater,"
always ready to encourage a quiet audience with her outrageous cackle. After the scandal over faked
quiz shows brolce out in the late 1950s, CBS President Frank Stanton demanded that the by-then
prevalent fake laughter be abandoned as part of a plan to clean up his network's image. Not a single
producer obeyed ihe edict. As the laugh track prepares to enter its sixth decade, we might ask why
the most popular shows in the history of television have been those that are laughed at by machines.
For the answer, we need look no further than the American living room.. ." -- written by Robert J.
Thomson for "LTltimate TV."
        The piece is baaed on the following text: Ha! Ah! Ha!"
                                   ,           I
.   I   .   ;'




                 ,   I   _ '




                               '       .   *       fromThe NACUSA S.F.
    "COMPOSERS CAN PLAY, TOO" BENEFIT
            M r Alburger, Tenor
             ak
                                                       I
            John Beeman, Double Bass
            Sondra Clark, Piano
            rbna Cotton, Piano
            Nancy Bloomer Deussen, Piano
            Bruce Hanull, Piano
            Carolyn Hawley, Conga Drums and Plano
            Michael Kimbell, Clarinet
            Owen Lee,Piano
            Harriet March Page, Soprano
            Latisha C. Page, Soprano
            MarshaRocklin,Piano
            Melissa Smith, Piano

    Q ~ Y March 10,2001, Spm, Palo Alto Arts Center, ~ m b a r d e r a d Newell
          ,                                                          o


I


1   owen ~ e e                       NOCTURNE for    +
/   Nancy Bloomer Dewsen
                                                     I
                                     A RECOLLECTION for Piano

    I'lana Cotton                    P L A m G s2              cmel-le    w,conga DNns, imd Piaao
                                             1. Casual, bluesy
                                             2. SP*
                                             3. Aw;essional
                                                           1
                                             4. Home, but not the same
                                                           I
    Sondra C M                                            ~ ~
                                     FLORIDA F A N T for Piano, Four-Hands
                                           I. Sarasota Circus
                                           11. Key Lime Sunset
                                           111. Miami Mambo

                     intermission

    Carolyn Hawley                   SPANISH VARIAnONS for Piano
                                           El Flamenu? (The Flamenco)
                                           El Pajaro (The Bird)
                                           Los ~itanorl Gypsies)
                                                       (The
                                           El Tren (The Train)
                                           El Tra&co (TheT d c )
                                                          C
                                           Los ~spanoies I k Spaniards)
                                                        k
                                           Las ~ a m b (The M i Street of Barcelona)
                                                               an
                                           El Toro & Bull)
                                           El Marcado k' Market)
                                                         lk
                                           Intertudes          (
     Joanne Carey                     THE WETLANDS         AT DUSK (Paul T. Carey),a Song for Sopranoand Piano
                                                            I
     Bruce Hamill                     PACIFIC SKIES for Piano
                                                               I
     Mark AIburger                    Excerpts from A N T I ~ N Ea Tragic Opera
                                                                  ,
                                              I. CHORUS! 11. DUET (NdAntigone),
                                              IV. RECIT~TIVE DUET (Isnene/Antigone), V. DUET (Nurse/Antigone)
                                                                 &
                                              VI.DUET (AntigondHaemon), W I . DUET (GuardlCreon), M, CHORUS
LSU COLLEGE OF MUSIC
  & D R M T I C ARTS
     School of Music
Two SmaU Piecesfor Tape(1998&1999)                          Wiiarn Price

     I. Ignorant Bliss #3
    11. A Crime of Passion

InteUigent~iaSuite                                       Charles Haarhues
   A Piecefor Solo Piano in Two Movements (2000)

     I. Passacaglia Blend
    11. A Dark Roasted Odd-metered Blend
                        Duda Di Cavalcanti, piano

In Their Own Word (2001)                                John M. Crabtree
           for tape alone

      I. "...nothing's definite." (John Cage)
     11. "...influenced by those possibilities." (George Crumb)
    111. "...a tendency to talk too quickly." (Milton Babbit)

Humpty Dumpty (2000)                                    Dawn K. W i i a m s

                      Dawn Williams, Mezzo-Contralto
                       Robert Peck, Toy Instruments

Big Chief W T (2000)                                     Charles Haarhues
   for tape alone


Suite Rwsana (1992)                                     Liduino Pitombeira

      I.   Pedras
     11.   Inga'
    111.   Bonhu
    IV.    TimbaTMba
                            Duda Di Cavalcanti, piano
1"                                                I
               EL CAMINO COMMUNITY COLLEGE DISTRICT
                          El Camino College Division of Fine Arts,  .
                      National Association of Composers, U.S.A., and
                        International Alliance for Women in -Music



                                    ~
                                              I,
                        NEW M U S I made in California
                                                        present




                          Campus +eatre - March 23, 200 1
                   composer panel 7:lS pm - David Lefkowitz, moderator
                                  concert 8:00 pm
                                              I
                                              1
                                         performers
                                 Debqrah Kavasch, soprano
                                  Deon Nielsen Price, piano
                                   Pefere Sheridan, flute
                                    Chih-Chen Wei, piano
                                   Berkeley Price, clarinet
                              Mary L ~ UNewmark, electric violin
                               Nathan Campbell, French horn



     Celebration, Sorrow, ~ t r e n d t h                                 Margaret Meier    ?,
           I.                            Sang
                    Celebration: ~ i r i 4
           11.      Sorrow: Rachel, Crying for her Children
           111.     Strength: Deborah Arose

     Extolling a Bird                                                  Chih-Chen Wei .
                                                                                     -

     Primavera                            1                               Jeannie Pool A s c PI P

     3 on the Green                                                  Mary Lou Newmark ?
           one                                                                              I


           two
           three
                                                      intermission

     Blown Relationship (Carol Lynn Pearson)                          Deon Nielsen Price 4 S ck 9
     Metamorphosis                                                      Deborah Kavasch Y
     Bee! I've Been Expecting You!
     Crow and the Pitcher
     Journeys (Walt Whitman)                                                John Marvin     2
            I.     A Noiseless Patient Spider
            11.    The Runner
            111.   The Last Invocation
                                      I

     Clariphonia                                                     - Deon Nielsen Price       S   4
     March to Clariphones, Dance on A, Basset Horn Romance,
     Eb Soprano Scherzo, Eb ~ o n t r !
                                      b
                                      ja ass
        The composers of tonight's musical program reside in California and are
members of the National Association of Composers, U.S.A. (NACUSA) and the
International Alliance for Women in Music (IAWM). Compact discs of their
music are available for purchase.

Orchestral and sacred choral compositions of award-winning M a r g a r e t S.
M e i e r (Bachelor of Music, Eastman School of Music; Ph.D. in composition,
UCLA) are performed internationally,. published and recorded.    Dr. Meier
teaches at Mt. San Antonio College.

Chih-Chen Wei (in Masters Degree program, UCLA) is studying composition
with Ian Krouse. She comes here from Taiwan.

Jeannie Pool (Bachelor of Music, Hunter College of City University of New
York; Master of Music, CSU Northridge; in Ph.D. program in musicology,
Claremont Graduate School) is a composer, music historian, concert and
recording producer, and founder of the International Congresses on Women in
Music, now part of IAWM. She teaches a course on Women in Music at
Fullerton College.   Website: www.jeanniegaylepool.com

M a r y Lou Newmark (Bachelor of Music, Southern Methodist University;
Master's degree in violin, USC; Master's degree in composition, UCLA) is a
composer of electro-acoustic music, a poet, and a virtuoso violinist specializing
in electric violin.   Website: www.Greenangelmusic.com

Deon Nielsen Price (Bachelor of Arts-piano, Brigham Young University;
Master of Music, University of Michigan; Doctor of Musical Arts, USC) is a
touring and recording    pianist, commissioned and published composer,
lecturer and author. Dr. Price is immediate past-president of IAWM and
teaches at El Camino College. A catalog of her compositions, books, and
recordings is online. Website: www.CulverCrest.com

Deborah Kavasch (Bachelor of Arts in German, Bachelor and Master of
Music in Theory/Composition, Bowling Green State University, Ohio; Ph.D. in
Music, UC San Diego) has received many grants and commissions for her
compositions, recordings, and international vocal performances.  Dr. Kavasch
is a founding member of the Extended Vocal Techniques Ensemble of UC San
Diego and is Professor of Music Theory/Composition and Voice at CSU
Stanislaus.

John Marvin (recently retired Professor, Evergreen State College,
Washington) has pursued studies and a career split between the mathematical
sciences and music performance and composition. His works have been
commissioned, recorded and performed by professional performers at Davies
Symphony Hall in San Francisco.

David Lefkowitz, moderator, is an often-performed composer, a Vice-
president of NACUSA and a member of the composition faculty at UCLA.
r   'CELEBRATION:Miriam Sang
    Miriam danced, and Miriam sang.
     Miriam danced and sang of deliverdce.
                                           i      Deborah, a leader with wisdom, a leader
                                                  with courage and strength,

     Miriam sang of God's great deliverdce.
       and all the women followed ~iriarn!        Deborah arose.
       and all the women danced and pladed                         -Margaret     Shelton Meier
     the tambourine.
       and Miriam sang:
     "We were in bondage and God brought us
                                           I
     out.
     We were in fear and God set us free.         You have blown like feathers
     We were in anguish.                          Across the landscape
     We were afraid.                              Of my life.
       but now our God has overthrown our


                                           I
     enemies                                      I could not gather you now
        and given to us a glorious victory!       If I wanted-
     Praise to God; sing praise to God!"


                                           I
                                                  You are
    SORROW: Rachel , Crying For Her               Too many
    Children                                      And too far.
    Rachel, crying for her children, with no                       -Carol      Lynn Pearson
    hope or comfort.
       for they were not there.
    Rachel. Rachel of the Bible, mournidg for     Metamorhoposis
    her children,
       lived in despair.                   I
    Rachel. Rachel of the present, weeping for
    her children,                                 longing to
       killed by civil war.                       find, feel.
    Rachel. Rachel without comfort, grieving      fulfill.
    without respite,
       for they are no more.                      Another intervenes,
    Rachel, crying for her children.
    Rachel mourning.
    Rachel. Rachel of the city. son despoyed
    by gang war.                                  stifling
       He is no more.                             suffocating
     Rachel, ev'ry woman Rachel, carrying the
     sorrow                                        I am jerked awake,
       now as before.                              resistant first.
                                                   then fight
     STRENGTH: Deborah Arose                       to feel.
     Deborah arose to be a judge.                  to peel away
     Deborah arose, a Mother in Israel.
     Deborah arose to be a prophetess.
                                       1           layer by layer
                                                   the silent cocoon.
       A woman of discernment, preparjd to
     speak the truth.
       A woman to whom God spoke.      , 1I
        possessed of the power that arises from
                                                   Unburdened.
                                                   burst forth
                                                   into light.
                                                                                                 I




     inner strength.                     I            ...
                                                   life
       A woman of courage.                         So alive!
          she instructed, supported, inspired,                      -Deborah      Kavasch
        those who sought to serve and fallow
     God.
JOURNEYS

I. A Noiseless Pafienf Spider
A noiseless patient spider,
I mark'd where on a little pomontory it stood isolated,
Mark'd how to explore the vacant vast surrounding,
It launch'd forth filament, filament, filament, out of itself,
Ever unreeling them, ever tirelessly speeding them.

An you 0 my soul where you stand.
Surrounded, detached, in measureless oceans of space,
Ceaselessly musing, venturing, throwing, seeking the spheres to connect them.
Till the bridge you will need to be form'd, till the ductile anchor hold,
Till the gossamer thread you fling catch somewhere,
0 my soul

11. The Runner
On a flat road runs the well-train'd runner.
He is lean and sinewy with muscular legs
He is thinly clothed, he leans forward as he runs,
With lightly closed fists and arms partially rais'd.

111. The Lasf lnvocation
At the last, tenderly,
From the walls of the powerful fortress'd house,
From the clasp of the knitted locks, from the keep of the well-closed doors,
Let me be wafted.

Let me glide noiselessly forth;
With the key of softness unlock the locks-with     a whisper,
Set ope the doors 0 soul.

Tenderly-be   not impatient,
(Strong is your hold 0 mortal flesh,
Strong is your hold 0 love.)

                -Walt      Whitman
                                    I
VARIOUS, Depending on schedule                                                   Stephen DiJoseph
   Stephen Diloseph, Piano, Guiiar

VARIATION ON J.S. BACH'S "Come Sweet Death"




DAREST THOU NOW SOUL (Walt Whitman)
ANIMALS (Walt Whitman)




FOUR ETUDES FOR PIANO SOLd                                                // Leonard Klein)
                                                                          '\-.             ........-
                                                                                                   -.,
   Leonard Klein, Piano
                                                    --- Intermission ---

RAINS ALIVE (Jonathan Pearl)
ADVENT (ChristinaRosetti)




VARIATIONS ON REFLECTION                I       .                     \          ~my~curria              1
   Amy Scuma, Piano
                                                                       \
                                                                            \                   /'
                                                                                               .-

WOMAN'S DESIRE (Shannon Coulter)
WHEN I LOOK INTO YOUR EYES (Shannon Coulter)
MY LOVE WANTS T O PARK (Eloiy K. Healy)                                           -. .._____   -
YOU'RE GONNA HAFTA PAY (Paul Stouffer)




FOUR SONGS                                                                       Tim Smith
   Tim Smith, Piano
Composer Notes                              1
      Leonard Klein is an emeritus $rofessor of Music from Richard Stanton College and for 25
      years was the Musical Director of the Stovkton Chamber Players.
      James Marshall studied cello 4t the New School of Music in Philadelphia holds an M.A. in
      theory and composition from tpe University of Pennsylvania.




       Paul M. Stouffer continues a ldng career as a composer, arranger and teacher. His
       arrangements and compositiods, published in U.S.A. and England, includes works for                    \'
       band, orchestra, voice and instrumental ensembles.                                                    4
                                      I                                                                      %.
                                                     A
       Tim Smith is a singer-song writer. He has a B in music and serves as organist and choir
       director a t an area church, an&is 'temporarily' employed as a DotCom programmer until
       he gets his big break.
Michigan, and the Doctor of Musical Am d e w from the Cathdic limversity of America Dr. Hcrbison           the M W Trio. Harvey's mmpmtional activities in recent years indude the completion of several
teaches theory, humaities, string mahods, and musicappradatian at N d o k State University. He also        amnisioned works,invited participatim in w a l e r e m of the Society of C o m p as d as thel
m u the university ordtesha. He is mincioal cellkt of the Williarnsbure Svmohonia and &on
   d&                                                                                                      Swtheastan Compascrs League F m , and an invited mm residency at West Chester Umversitl..
                                                                                                                                                                    p r
eelbsi in the Virginia $mphony. He is c e h t a coach of the HICOstring q&;t &ch he &ablished
                                              &                                                            The Oxfad Shining Quadel has
d d e at tlamoton University. He has ~ e r l m e din recitals,with chamber mom, aod with mhatms                                                               D
                                                                                                            also released internationally on Albany Records a C mntaining three of hia four atring qmiek
throughout & United ~ t a and & NotaMe among i s recitals are g e pekpe;fbmnmcsat Cathedral
                              k
of SL Jobo the Divine in New Yokand his ~edormanceat the Kennedv Center fm the Paformine                           Jeanette Winsor studied piano wiih Clifford l i m n , Lois Rova Omich, d Shirley
     Chambn performances mcludehre NOV; ~rio's
h\rts.                                                performance and coa&ing sesdon with ~cnah;           Ihamsrm. She received a Bachelor of Music degre cum laude f r m Heidelberg College and a Master of
Preder of the b u n Am Trio at the Banff Center I Alberta. Canada and the NovaTrio's d m c e               Music degree in piano performace from Kent State University. She h occ;pjonally coached with
on the ampacl disc, "An American Pod d call," u s i of ~dolph~Hailstork.
                                                ~        c                                                 Thomas Schurmcher. She teaches piano in her studio in C%+e             and at the V i n i a Govends
                                                                                                                   for
                                                                                                           S~~IOOIthe Attn,, accompanies h c Vuginia Beach Chorale, and m e s s
       JeraldincSaunders Habison is a native of Ridunorid, Virgiia She earned a Elachelm d                  an adjdcd(or for the National Guild of Piano Teachem She frepuently appears as a deist and
                                                                  6
Science d in Mu% Fducation fmm Virginia State College in 1 .She taught and dimled string
          ew                                                                                               lecher. She is also a member d the tlardwick Chamber Ensemble. Jeanette h d L Natiod and State
orch-     in the public schmls of Maryland, Nodh Cmlina and Virginia..      In 1979 she wa3                Rofessiunal Teaching Certificatesfrom MMA and VMTA a well as certificationh u g h the American
                                                                                                                                                                        s
elected Hworary Composer at the University Diviaian ofthe National Music Camp at Inleilochen . In     ,    College of Musiam. Jeanetteis lded in the 21si edition d W s Who of Amaican W m . She is
1980 James Hnbison d o n n e d ha Sonata No. 1. F a t m in Three Moods and Inlermemo on Be                 mst preident of the Tidewater Music Teachen Fmm and oresident of the Vireinia Music Teachers
Compmas F o m of'% National Black Collcquem Cckpetttion at the Kennedy Cmter for the                       G a t i o n . Her a r ~ l e s plan0 p e d a g o ~have baen pubilshed by Piano G d d Notes. She is an
                                                                                                                                       on
Paformine Ati. Cello C o n c h No.1, and Concer(ino h Viola and Chamber Orchestra w m                      ad+ faculty mcmbrr of'lidcwac Community College and Old h m w Urdsmty.
conunksio~ed the AfroAmmctn Chamber Music Society in Cina In 1941, Jeraldineqsmuic
                hy                                             dai.
           t %h
wa f a t e daon t
              -e                                           H m t o n University. hve of her shine                  .lohn Wimcr sludied darinet with Robert H m .David Hartis,md Robert Marcellus d the
                                                                                                                                                                  a m
orchestra piem are bbiished by \'eke P- U        Co&any, in Gleb ~ ohilaryiand HR piano and
                                                                            ,                         '     Cleveland Orchestra and oomposition with Jahn Rineharl and Jams Waters He reccived a Bachelor of
chamber wnks with piano are listed in books by Sdma FptRn and Helen Walker IU. Two of her M                 Music d e m from Heidelbere Colleee and a M x t a of Arts deeree in m i c lheolv from Kent Slate
Songs are kaiured on a CD by Sebronette0
                                      -                                                                    ~niversi<: He htaught mu&                                dadmn
                                                                                                                                                   and d e s i g d ebns a & h g materials at h e A n d F o m
       Jaaldine is a mcmhcr or h e National AsJociaiion d Compom US4 --             e
                                                                                   h Society of             School o f h b c . He                                      and
                                                                                                          -Si&l-fn-En?ol?oT-He' has alsotaught darinet, -muic theory,- mmpo$tion at the V k p a G o v d s
                                                                                                                                                - - -
C o m p m . l m r d the-AmerimC-b                                                                                                     IS a member of the ~iardwckChiiber Fnmnble. He is NACLISA'8
                                                                                                           Memhhip Coordinator and Webmder. He is a30a senior mmputer pmgramm~ Unisys. John's
                                                                                                                                                                                            for
       Chrh Johnrton is the orchesba director at T h m Dale High Schwl. He is concert master of            rompmilion piles include the 1992 Delius Vocal Category Award, the 1995Delius Keyboard Categoly
the Richmond PhilharmonicOrch- and a m e n h of the Sumerset       e
                                                                  wt                                                 e
                                                                                                            Award, h 1992 and 1994 VhUA Commiscirmed Composer Competitions, and the Modern Muic
                                                                                                           Festiva 2000 Film Scoring Rize. He has also renived grants from the r\mericdo Mlrsic C ~ a from
                                                                                                                                                                                                     dR
      O b n a Lutqshyn (piano, harpsichord)          wac born in the city of Lviv, L M e . After           Meet the C o m p r , lnc. and ASCAP awards. His chamber w o h are fnymtly p a f m e d on new
cumplebg her doctoral d e w in M m w , Russia, she b e a Visitin! Schdar at tbc: I n h n                   music festivals, c o n f m , and conoerts amund the United Stam. Since 1992. John has ncRved
University S h l of M i c . Ms. hdsyshyn ha appeared in emas a s o l d and chamber musician
                                                          on                                               seven commisiom from vaioos arts argdnizatiw. Articles by and about him have appearad in
lhrwghout the f m e r Soviet Ilnian, Germany, h e United Stab, and South Africa. She gave a New            ComprUSA.
York debut in the WeiU Recital Hall at Camegie Hall in Septwnber 1990, and a & q n debut in C
&ton Bradley Hall at the Chicap C u l d Centa in 1995.
                                                                                                                  The Hodgepodge Trio is a spacial blend d dasical, traditional, @me, ultic, popular and
                             '
       Wih Stem @. 1973) Erich Stem's music h been performed, hmadded, and relead on                      any other kind dmnsic we c e to a m o d a t e . Ihe trio residR in Ndumberland county, 2 hours
                                                                                                                                      u
                                                                                                          f r m js about anything. We perform for receptionsand parties of all kinds as well as public mnarts in
                                                                                                                 ut
mmmd du buwghwt the United Sbtes and Eime. His chamber and w c h d works have received
          i
seveh performan& at fstivals and c d m c e s &cluding the AmRicdn Composers Fonun,Society of              and around the Northern Neck of Virginia. Our h i s available in the lobby, after this concnt
Composers, Inc.,and the Vuginia           EhmtM's State Confe~ncc.He ha also collaborated aith
well-known groups s d as the Sunrise Quartet, Hardwick L'hamber Ensemble, and the Rpoulh hlusic
Series Chkstm. R m t l y , hich's 'Shaded Gray,' for string quartet, waa performed at the living
Music F d v d in Buchared, Romania and relcased on the living Artist Recorhnp label. Along i l k                  The National Awciition d Composeq USA               am formed in 1W3. 11 is ow of ihe
several com&sions, Mr. Stem h s received a d and grdnls from Med the Ccmpaxr, Jmme
                                  a                                                                       oldest organizaticm dedicated lo the promotion dp e r f m c e of music by Amerim. NACUSA has
Folmdation (Ammican Compos~s m ) , and ASCAP. He holL a Ebcbelwr of M i c (1996)dep
                                   F                                                                      chapters in California, (La Angels, and San Francisco); New York, Penrsylvania, (Ruladelphia);
from J a m Madison University and a Master of Ms (2000) m composition fmm George Mawn                     Marsachwtts, (Baston);,Louisiaoq (Baton Rougej; and Vugima
                                                                                     e
University. Mr.Stem is currently teadung and pursuing a Doclor of Musical Am dw at tbc                    1997 Vkginia Chuter Membm:               Jennifer Barker, Floyd Barnes, Leigh Baxta, Aflan Blank,
University of Maryland, where he is studjing with cmpma, R o b Gibson.                                    Jeraldine Herbison, Adolphus Hailstork, Adam Olenn, Walter Ross, Jlstin Stalls, Harvey Stokes. John
                                                                                                          W m r and Term Y&.
        Harvey Stokes is Professor of Music at Hampton University, h e r e he a is the founder and
                                                                              h                                    .
                                                                                                          Ofkers NACUSANirginia : Erich Stem, Residenl; John W k r , Vice FmidcnS Jcraldme
dimtor of the Computer Music Laboratory. His d e p are from Midigan Slate University (Ph D.),             Hehison, Semtary; Teresa Yoder, timwq and Iqoyd Barnes, tibrarim.
the Unrvasity d Gemgia (M.M.), and EH( Carol~naUniversity (B.M). Hist mmpmition h c t m                   NACUSNMRGWLlWeb Wee: www.ihcM.~ardwickinfwhome.hhn
d u d e DIS. Brett W a b a Alan Lcichtling,John Corioa.Leais Nielm,Jere Hu~chson,and Charles              NACUSANatiooal Web Site: k . t h e b o o k . m l n a ~
Ruggaio. h e y is (be author of two books on mlrdc as well an a d d g composer d
numerous works. Hh annpmitiona hare been paformed by many emmbies: the Ridmod
                                                                             od
S ~ p h o n ythe Lancaster Symphony, the Virginia Rach Symphony, the W r Stnng QMM, the
             ,
Quapaw Sbing Qmtet,the Sbll Quartd, the Doantown String Fnsemble, thc Richmond Chamber
Aayers, the Gcorgra Woodaind @let, (he New F@d Comervatmy Con-                       Fasemble, and
LSU COLLEGE OF MUSIC
  & DRAMATIC ARTS
     School of Music




                         Compositions by
                        member composers

                       April 20,.2001 8:00 pm
                         Music Recital Hall
 T h e M u s i c Department of C a l P o l y Pomona
                     in conjunction with
T h e N a t i o n a l A s s o c i a t i o n of ComposersIUSA      Suite for Piano                                 Barbara Bennett
                           presents                                                 D*w       Stwm,      p     W

                                                                  Mareas                                              Jason Haney
                                                                              Ancr/Mcwicl/Mw, &
                                                                               J&N&,    ap&
                                                                                       hu-




                                      -
Disintegration                                  Mei-Fang Lin'     The Phantom Horsewoman
                  D h w S t w m ,p          W                     (Thomas Hardy)                                 Alexandra Pierce
                                                                                 A h u w u b m P i e v c e , picwur
                                                                                    R o g w P i w c e , 6pedkev
Eight Jewish Melodies for Solo Cello        Marshall Bialosky
                   TmfzaJ=q,
                                                                  From the piano suite, Rings of Saturn        Alexandra Pierce
                                                                        I. tenderly eloquent
From the piano suite                           Alexandra Pierce                                              ,
                                                                                 A b m m b ( i ~ / P i e v w picwur
"the spirits that lend strength are invisible"                                     R o g w Pievce, bpedcev
       I. Blueslike; yet nonchalant
       11. Comfortably, but with a slight edge
       111. A bit roughly, Waltz                                  Fantasy for Electronic Orchestra                      Stan Gibb
       IV. Sprightly
                 A W m P i e v w ,      plam-
                                                                  Four Jazz Preludes                                  Alan Shawn
                                                                        I. andante
Twilight Night                                  Garrett Byrnes          11. moderately
                  Poem by Christina Rossetti                             1.
                                                                        1 1 Spiritual-lento cantabile
                    Susan Burns, soprano                                IV. Largo; allegro
                      Janel Noll, Piano                                             D*w      Stww,p           W
                                                                  ' Co-winner of the 2000 NACUSA Young Composers' Competition
The Hardwick Chamber Ensemble is a non-profit organization. Its objectives are to foster the
community's appreciation of classical chamber music and cultivate understanding, taste, and
love of music. It was formed in 1988 as a performing ensemble for Young Audiences of
Virginia, Inc.    Since then, the HCE has played school assembly programs for tens of
thousands of Virginia children. They have also performed over 100 recitals for colleges,
universities, and other presenting organizations throughout Virginia and elsewhere around the
United States. The HCE has been awarded grants from the arts commissions of Chesapeake,
Norfolk, and Virginia Beach and from the Virginia Commission for the Arts.

Robert Ford received a Bachelor of Arts degree in music and business from Ohio Wesleyan University, a Master of
Music Degree from the University of Southern California, and a Doctor of Musica Arts degree from Catholic
University. He studied trombone with Arnold Jacobs, Milton Stevens, and Robert Marsteller. Bob taught music in
                                         -
the Virginia Beach city schools from 1977 1986. He is a member of the Spokane Symphony. He also performs
with the Lakeside (Ohio) Music Festival during the summer. He teaches a t Tidewater Community College and
Wrginia Wesleyan College and serves as artistic director of the Eastern Virginia Brass.

Jeanette Winsor studied piano with Clifford Herzer, Lois   ova   Ozanich, and Shirley Harrison. She received a
Bachelor of Music degree cum laude from Heidelberg College and a Master of Music degree in piano performance
from Kent State University. She has occasionally coached with Thomas Schumacher. She teaches piano in her
studio in Chesapeake and at the Virginia Governor's School for the Arts, accompanies the Virginia Beach Chorale,
serves as an adjudicator for the National Guild of Piano Teachers. She frequently appears as a soloist and
lecturer. Jeanette holds National and State Professional Teaching Certificates from MTNA and VMTA as well as
certification through the American College of Musicians. Jeanette is listed in the 21* edition of Who's Who of
American Women. She is past president of the Tidewater Music Teachers Forum and president of the Virginia
Music Teachers Association. Her articles on piano pedagogy have been published by Piano Guild Notes. She is
an adjunct faculty member of Tidewater Community College and Old Dominion University.

John Winsor studied clarinet with Robert Harrison, David Harris, and Robert Marcellus of the Cleveland Orchestra
and .compositionwith John Rinehart and James Waters. He received a Bachelor of Music degree from Heidelberg
College and a Master of Arts degree in music theory from Kent State University. He has taught music theory and
designed bandsman training materials at the Armed Forces School of Music. He has also taught clarinet, music
theory, and composition at the Virginia Govemor's School for the Arts. John's composition prizes include the 1992
Delius Vocal Category Award, the 1995 Ddius Keyboard Category Award, and the 1992 and 1994 VMTA
Commissioned Composer Competitions. In addition to many NACUSA performances around the United States, his
works were recently selected for performance at the 1998 Southeastern Composers League Festival and the 1998
SCI Region Ill Conference. Upcoming performances include the premiere of his Jabberwocky by the Virginia
Beach Chorale (May 8%) and the premiere of his Chamber Symphony on the Cologne Radio Symphony
Orchestra's chamber music broadcast series (September 1 9 ~ ) . He has also received grants from the American
Music Center and from Meet the Composer, lnc. Since 1992, he has received swen commissions from various
Virginia arts organizations. Articles by and about John have appeared in ComposerUSA.

'
    We would like to thank the following people and also our anonymous contributors:
~enefactors:     Mr. and Mrs. Warren Aleck, Dr. David Best, Dr. Adolphus Hailstark, Lee and Sandy Lively, Dr.
                 and Mrs. Jeny Pickrel, Dr. and Mrs. Soundar Rajan, Mr. and Mrs Lou Sawyer, Mr. and Mrs. Paul
                 Stouffer. Bill Thomas.

Patrons:         Leigh and Cindy Baxter, Mr. and Mrs. James Cronau, Mr. and Mrs. Jefferson Cronau, Jim and
                 Laura Dombey, Jim Early, Mr. and Mrs. David Hatfield, Jeraldine Herbison, Mr. and Mrs. Hubert
                 Gray, CDR and Mrs. Steven Lowry, Drs. lqbal and Lali Singh, M.D.

Friends:         Miss Jacqueline Cronau, ME. Ann Edwards, Mrs. Mary Jo Ford, Margaret Gupta, Louis and
                 Suzanne Guy, Mr. and Mrs. Marcus Johnson, Mr. and Mrs. Don Korte, LCDR and Mrs. Kenneth
                 Levins, Mrs. Dorothy McCall, Mrs. Jean McHenry, Mr. and Mrs. Dwight Moore, Tony and Phyllis
                 Stein, Mr. and Mrs. Sheu Wong, Preceptor Alpha Alpha Chapter of Beta Sigma Phi Sorority.


                    HCE Web Site: ~l.TEIEBOOK.COMIHARDWICW
                                 NORTH/SOUTH CONSONANCE, INC
                                             and the
                      NATIONAL ASSOCIATION OF COMPOSERS USA, East Coast Chapter




                             Mtisic b y Co~nyosers
                                                 from Africa and the US
                                                                                                                              I
       OLATUNJI AKIN EUBA
                                              Program

                                                         Four Pictures from Oyo Calabashes (1991)'
                                                                                                                              I
                                                                      Nlrnrber Four - Slrpertlntrtrnl Birds
                                                                              Nltniber Three - Igbn' Ketn
                                                                                Nlrn~berTzoo - Igbli Keji
                                                     Nlrnlber One - Tile Goltrd, Mnster of tile Palrnzoirieo
                                                  Saturday Night At The Caban Bamboo (1991)'
                                                                                                                              I
       EMMA LOU DIEMER

       ALEX SHAPIRO
                                                                        A Quiet, Lovely Piece (1991)'

                                                         Trio for Clarinet, Violin and Piano (1998)'
                                                                                                                              I
                                                                                                                              I


                                            Intermission
       THOMAS WHITMAN

       DANIEL KESSNER                                                            In The Center (2000)+
                                                                               Mnil zoeij3 niclrt, zons rirnn ist
                                                                                        Gott nichts rtnd nlles
                                                                                               Song of Myself
                                                                                     Gott ergreift nrnrl niclit
                                                                                       Der Hinlnlel ist ill dir
                                                                                          En el centro de Dios
                                                                                   Tllree cilornles to silence

                                                                                 111. Dns                           et~d
                                                                                            s t ~ l s c ~ r r o ~ ~ Gebet e

           Desiree Halac, mezzo-soprano                          Deborah Buck, violin
           Richard Goldsmith, clarinet                            Max Lifchitz, piano
                                 Daniel Kessner, guest conductor


           Liuh-Wen T i n a viola                                                Bruce Wang. cello                            I


                        Christ and St. Stephen's Church, New York City

* First Performance                      + US Premiere                                ' New York Premiere
                                                   Meet Todav's Artists

         Desiree Halac, mezzo-soprano, is the winner of the year 2000 Joy in Singing Award as well as the Jennie Tourel Prize
in the Poulenc Plus Competition. She was a finalist in the most recent Concert Artist Guild Competition and received t h e
Shoshana Foundation Award. Ms. Halac has appeared at the Aspen Festival and Crested Butte Festivals. This summer she
will be singing at the Ravinia Festival. Ms. Halac and pianist Dalton Baldwin recently completed an extensive recording
project featuring the art songs by Argentinean composer Carlos Guastavino. A graduate of the National Conservatory in
Buenos Aires and the Mannes School of Music, Ms. Halac has appeared as soloist with the American Composers Orchestra,
the Metamorphoses Orchestra, the Stamford Symphony, the Washington Concert Opera and the Jupiter Symphony.

        Composer/conductor Daniel Kessner has appeared at the helm of the Los Angeles Philharmonic New Music Group
and the Black Sea Philharmonic of Romania. Born in Los Angeles in 1946, he attended the University of California, Los
Angeles where he studied composition under the tutelage of Henri Lazarof. In 1970, he joined the faculty of the Department
of Music at California State University, Northridge, where in addition to teaching composition and theory, he directs its
highly regarded New Music Ensemble. His works have been performed throughout the US and abroad by prestigious
organizations including the Los Angeles Philharmonic Orchestra, the Indianapolis Symphony, the St. Luke's Chamber
Ensemble of New York, the Netherlands Radio Chamber Orchestra, the Utrecht Symphony and the El Salvador National
Symphony. His opera The 'Telltale Heart received a highly acclaimed production during the 1982 Holland Festival.
Kessner's works are available on the Capstone, Centaur, North/South and Orion Master Recordings labels.

       Richard Goldsmith, clarinetist, has performed with North/South Consonance since 1986. A graduate of t h e
Manhattan School of Music, Mr. Goldsmith has taught at New York University and CUNY's Aaron Copland School of Music.
He has recorded for the Albany, Classic Masters, CRI and Opus One labels. His acclaimed solo album Clarinet Fantasy
appears on the North/South label (N/S R 1006).

       Violinist Deborah Buck studied at The Juilliard School and the University of Southern California where she was
awarded the Jascha Heifetz Scholarship. As a recitalist she has appeared on the prestigious Dame Myra Hess Series in
Chicago and the Phillips Collection in Washington, DC.

        Pianist Max Lifchitz was awarded the first prize in the 1976 International Gaudeamus Competition for Performers of
Twentieth Century Music held in Holland. Robert Commanday, writing for The San Francisco Chronicle described him as " a
young conlposer of brilliant inlagination and a sttrnning, ultra-sensitive pianist." The New York Times music critic Allan
Kozinn praised Mr. Lifchitz for his "clean, nleaslrred and sensitive performances."

                                                                                                               h
        The NorthISouth String Quartet consists of musicians who have appeared with the ~ o r t h / ~ o u tConsonance
Ensemble. Its members pursue active professional careers as soloists and chamber musicians.
        This evening, Ms. Buck is being joined by the following performers:
        Adelaide Federici, violin, has appeared as soloist with the National Repertory Orchestra and the Atlanta Youth
Symphony. Ms. Federici was awarded prizes at the Maurice K. Pamess Concerto Competition, the Georgia Federation of
Music Clubs, the Peninsula Young Artist competition and the Pro-Mozart Society Competition.
        Liuh-Wen Ting, viola, is the winner of the Lincoln Center Chamber Music Award and was featured in the "Young
Artist Showcase" on WQXR. This April, she performed a recital at the Merkin Concert Hall sponsored by t h e
"Interpretation Series" which showcased the premiere of five pieces she commissioned.
        Bruce Wang, cello, graduated from the Curtis Institute and The Juilliard School. He is a much-sought after studio
musician in New York City and has appeared on several television shows.

         The National Association of Composers, USA was founded by Henry Hadley in 1933. Mr. Hadley served as an
Associate Conductor for the New York Philharmonic during the 1930's, the first American-born conductor ever appointed to
the staff of that institution. With headquarters in Los Angeles and chapters throughout the country, this organization
sponsors over twenty concerts each season featuring music by distinguished American composers. To learn more about various
the activities sponsored by this organization, or to join the organization, please visit its website at www.music-usa.org

        Since 1980, NORTHISOUTH CONSONANCE, Inc. has brought to the New York public over 700 different
compositions from throughout the United States, Canada, Latin America, Russia and Europe. Albums featuring performances
by Mr. Lifchitz and the North/South Consonance Ensemble are available through the internet at www.northsouthmusic.org
or by calling 1(800) 752-1951.

            The public is kindly reminded that   the use of recording eqlripnlent of any kind is strictly forbidden.
             Please turn-off your zuatch alarm   or any other noise-producing device before the program starts.
                                    Make sure    to know wllere the alrditorizrm exits are.
                   PLEASE REFRAIN FROM           SMOKlNG andlor EATING WHILE IN AUDITORIUM.
       Olatunji Akin Euba's creative idioh derives from his fluency in both the African and Western
    musical cultures. Many of his compositions combine elements from the two. A native of Lagos,
                                                      art                            r
    Nieeria. Euba is a leadine authoritv on neo-~frican music and is the ~ i o n e e of several scholarlv



I   ~ a ~ r e u t Munich, ~ a l z b u r London, #oscow, New Yore, 'and various parts of ~ f z c a
                  h,                    ~,
    Ghana, Togo, Kenya, South Africa) and Asia (Pakistan, Malaysia). Akin Euba's opera Clzaka was
                                                                                                 (Nigeria,




I   University of Pittsburgh. He is also the fdunder and director of the Centre for Intercultural Music Arts
    h a s ~ d T nndnn. Envland.
            in                                I

I   inspired by decorated calabasfies madelbv the craftsmen of Oyo, one of the principal cities of the




I
       Emma Lou Diemer is professor emeritus of composition at the University of California, Santa
    Barbara, and organist at the First Preybyterian Church in Santa Barbara. She is a composition
    graduate of Yale and Eastman and stuqied further on a Fulbright scholarship in Brussels and a t
    Tanglewood. Her mentors included Paul Hindemith and Roger Sessions. Her oeuvre includes
    orchestral, band, chamber, instrumental land vocal solo, choral, and electronic compositions. Her




I
    North/South Recordings ( N/S R 1005). h s . Diemer kindly provided the following program note fdr
    her work:
        "A Quiet, Lovely Piece was written yn May 30, 1991 in honor of the 50th anniversary of the
    California Chapters of the Music Library Association and dedicated to University of California,
    Santa Barbara music librarians Martin Silver and Susan Bower. The ~ i e c e in an uncom~licated
                                                                               is




I
    Contemporary ~ e c o r d i n ~                                     Leaf."
                               Society label on Ln album titled ~lbti'n~

        Alex Shapiro was born in New Yor* City in 1962 and Currently resides in Malibu, CA. She
    received her training at The Juilliard S~hooland the Manhattan School of Music, where her
    composition mentors included Ursula Mamlok and John Corigliano. A recipient of the distinguished
                                             k
    2000 Artists Fellowship Award from ~ h California Arts Council. Ms. S h a ~ i r ois a former Vice


I       Ms. Shapiro writes about her work:        1
      "Trio for Clarinet, Violin and Piarzo (1998) uses classical sonata form as a point of departure
for a more modern tonal and rhythmic palette, and each of the three movements evokes a distinctive
mood. The Allegro introduces a strong theme, first heard in the clarinet and then developed for all
three instruments throughout the movement. A quiet piano entrance begins the Adagio, which has a
very romantic feeling that slowly builds with an ascending lyrical line. By the end of the movement,
all three instruments converge into expressive melody. The third movement, Vivace, is a fun, raucous
sort of gypsy dance that cavorts through bitonality and shifting meters and ends the entire Trio with
a big grin."

    Thomas Whitman was born in New York City in 1960. His works have been performed by
ensembles in the United States, Europe, and Japan and are available on CD's issued by CRI and
North/South Recordings. Mr. Whitman's composition teachers include Gerald Levinson, George
Crumb, Jay Reise, and Richard Wernick. His many prizes and honors include an ASCAP Foundation
Grant and artist residencies at the MacDowell colony and at Yaddo. As a Luce Scholar in 1986-87,
he spent a year studying traditional music and culture in Bali, Indonesia. He has taught at
Swarthmore College since 1990, where he is the founder and artistic director of Gamelan Semara
Santi, the Philadelphia area's only traditional Balinese percussion orchestra. His first opera, The Black
Swan,written in collaboration with the poet Nathalie Anderson, was produced by Orchestra 2001 a t
Swarthmore in 1998 with stage direction by Sarah Caldwell.
    Mr. Whitman writes:
    "Ori, from the Hebrew word for "shine", is a response to Kabala, the medieval Judaic mystical
tradition. The slow, opening section is a meditation on Alef, the first letter of the Hebrew alphabet.
This enigmatic letter has no sound of its own. It emerges from silence, as the universe was created out
of void and darkness. The fast middle section is derived from "Aveinu Malkeinu", perhaps the most
fervent prayer from Yom Kippur, the Jewish Day of Atonement. The more tranquil final section is a
meditation on the letter Reish, associated with the power of healing.
    The original version of this work, for string quartet and dancers, derived .from a collaboration
with choreographers Sharon Friedler and Sally Hess during the fall of 1999. This version, intended
for concert performance, is dedicated to my first composition teacher, Max Lifchitz, in honor of the
twentieth anniversary of North/South Consonance."

    Daniel Kessner's In the Center was composed at the invitation of the festival Forfest Kromeriz
2000 in the Czech Republic, and was premiered there last June with soprano Kristyna Valouskova,
the Moravian String Quartet, and pianist Dolly Eugenio Kessner. The composer writes:
    "The texts, which I love dearly, 'all deal with the nature of god, all in different ways, and all
admitting our lack of knowledge and understanding in this area. They are from three different periods
and are cast in three different languages, yet they all protect the essential mystery. The third and
sixth movements are the largest and most elaborate sections, presenting the most imposing texts of
the cantata, the poems of the 19th century American Walt Whitman and the contemporary
Salvadoran Javier Alas. These two movements are the most clearly thematic and architectural, in the
traditional sense. The miniatures of the German mystic Angelus Silesius (1624-77) are given
appropriately brief settings, finally closing the work with a set of "three chorales to silence."
    Following are the texts that inspired the composer:

                                           IN THE CENTER
                                      [translations by the composer]

I - Angelus Silesius (1624-77): from Cherubinischer Wandersmann/Angelic Traveler

[I, 5 ) Man weiB nicht, was man ist                              One knows not what one is

Ich weiB nicht was ich bin;                                             I know not what I am;
    ich bin nicht was ich weiB                                                I am not what I know;
Ein Ding und nit ein Ding;                                             A thing and not a thing;
    ein Tiipchen und ein Kreis.                                                  a point and a circle.
b
    I1 - Silesius: [IV, 381 Gott nichts u n d dlles          God, nothing a n d everything
                                               I
    Gott ist ein Geist, ein Feu'r,             I                         God is a spirit, a fire,
       ein Wesen und ein Licht                                                   a being and a light,
    Und ist doch wiederum auch dieses                             And is then, on the contrary,
       alles nicht                                                                     none of these

    111: Walt Whitman (1819-92): from "Song of Myself"


    (No array of terms can say how much I a A at peace a b o u t . ~ o d about death.)
                                                                       and
                                                   I
                                               /
    I hear and behold God in every object yet understand God not in the least,
    Nor do I understand who there can be more wonderful than myself.



    In the faces of k e n and women I see God, And in my own face in the glass;
                                                   I


       It is happiness.

    IV: Silesius: [I, 251 Gott ergreift m a n nicht                 One does not grasp God
    Gott ist ein lauter Nichts,                                  God is a pure nothing, neither
        ihn ruhrt kein Nun noch Hier;                                      Now nor Here move him;
    Je mehr du nach ihm greifst,                                  The more you reach for him,
        je mehr entwird er dir.                                             the more he eludes you.

    V: Silesius: [I, 821 Der Himmel ist in dir                        Heaven is within you
    Halt an, wo laufst du hin,                                    Stop, where are you running?
       der Himrnel ist in dir;                                                 heaven is within you;
    Suchst du Gott anderswo,                           1             If you seek God elsewhere,
       du fehlst ihn fur und fur.                                        you miss him time and again.

    VI: Javier Alas (b. 1964): En el centro de Dios                     In the Center of God

    En el centro de Dios                                                          In the center of God
En el centro de Dios                                                       In the center of God
jHabrd una inmensa piedra,                                     Will there be an immense stone,
una pirimide perfecta                                                        a perfect pyramid
con un reloj atomic0 por coraz6n                              with an atomic clock for a heart,
palpitando bajo el musgo de la superficie?              beating under the moss of the surface?

En el centro de Dios:                                                     In the center of God:
jHabrd un mar?                                                             Will there be a sea?
jun rio de peces breves como un beso? a                         river of small fish like a kiss?
juna hoja otoiial a1 borde del olvido?                 an autumn leaf on the edge of oblivion?
juna oruga soiiando la seda?                                      a caterpillar dreaming silk?
jHabrd un hombre?                                                         Will there be a man?

VII: Three Chorales to Silence

Silesius: (a) [111, 2001 Der Weise redet wenig             The wiseman speaks little

Ein weis&, wann er red't, A                                      wiseman, when he says,
    was nutzet und behagt, w                                        hat is useful and pleasing,
Obgleich es wenig ist,                                               Although it is little,
    hat vie1 genug gesagt.                                              has said quite enough.

(b) [II,32] Mit Schweigen singt man schon         With silence one sings beautifully

Die Engel singen schon;                                      The angels sing beautifully;
    ich weiB, daB dein Gesinge,                                         I know that your song,
So du nur ganzlich schwiegst,                           Were you to be completely silent,
    dem Hochsten besser klinge.                                   would sound better to God.

(c) [I, 2401 Das stillschweigende Gebet                               The silent prayer

Gott is so iiber all's,                                                God is so infinite,
   daG man nichts sprechen kann,                                     that one can say nothing,
Drum betest du ihn                                             Therefore you pray to him
   auch mit Schweigen besser an.                                        better yet with silence.




                              Funding from Meet the Composer, Inc.                                   I
   is provided with the support of NY-state Council on the A&, NYC Department of Cultural Affairs,
                 ASCAP, Virgil Thomson Foundation, Jerome Foundation, JP Morgan,
             Mary Flagler Cary Charitable Trust, The Eleanor Naylor Dana Charitable Trust,
                  The Greenwall Foundation, and the National Endowment for the Arts.
                    72-e                   the 'i);PZuic                 &w Giccivt~!
                                  More than ever,
                The NORTHISOUTH CONSONANCE ENSEMBLE
             depends on the financial support of its friends and audiences.
   Your donation will help us defray concert expenses including
   renting rehearsal and performance spaces
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   Join our growing list of supporters and help us continue presenting our special
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           Wowc ~         d        ~        ~         t       e        &         d        m         &   e 1 c
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  June 2001
  14 Thursday       8:00 pm     Hot Summer Nights Concert #1                RH
  15 Friday         7:00 pm     Ann Earl Jones DMA Organ Recital       Cancelled                       LSU COLLEGE OF MUSIC
  17-22 Sun-Fri     Honors Chamber Winds Camp (more info- LSU Bands - 578-2384)
  20 Wednesday      7:OOpm     Atlantic Brass Quintet                       RH                           & D W T I C ARTS
  22 Friday         4:00 pm    Carolyn Treybig Guest Flute                  RH
  27 Wednesday
  28 Thursday
                    8:00 pm
                    8:00 pm
                               Gert Wuestemann, Guest Guitar
                               Hot Summer Nights Concert #2
                                                                            RH
                                                                            RH
                                                                                                            School of Music
  29 Friday         6:00 pm    Amy Stamps ~ a s i e r Vocal Recital
                                                      s                     RH
  29 Friday         8:00 pm    Matthew Sanderlin Masters Tuba Recital       RH


  J d y 2001                                                                                                               RSNS
                                                                                                                          P EE T
  6    Friday       6:00 pm     Becky Fowkes Masters Horn Recital                RH
  9    Monday       8:00 pm     Rex Richardson DMATrumpet Recital                RH
  10   Tuesday      8:00 pm     Louisiana Brass                                  RH
-l-l-Wednesday-8:OO-pm-NAGUSA-Mid-South-Ghapter--                    ----RH---               - --- -
                                                                                                                                                                                 .
  12   Thursday     8:00 pm     Hot Summer Nights Concert #3                     RH                                                                        .               ~    ,
                                                                                                                                                                                . .
                                                                                                                                                                               : ,
                                                                                                                                                                       .           ..
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  UUMC = University U n i t e d M e t h o d i s t Church
  UT = Union T h e a t e r        RH = Recital Hall
  ST = Shaver T h e a t r e       FBC = First Baptist Church
  CB = C o t i l l i o n Ballroom CT = Colonnade T h e a t e r
  TBA = to be announced




  ABOUT THE SCHOOL. . .
  FOUNDEDN THE BATONROUGEA P S IN 1931, THE LSU SCHOOLF MUSICO B A T A
            O                      C MU                             O        NW O SS
  FACULTY AND STAFF NUMBERING OVER 70, AND A MUSIC MAJOR CONCENTRATION OF NEARLY 450
  STUDENTS. THE   SIZE AND SCOPE OF ITS CURRICULA+OMPREHENSIVE PROGRAMS FROM THE BACCA-
   A RAE                H    O T R T-L C
  L U E T THROUGH T E D C O A EP A E              T    H       AE O Y F UI
                                                 I IN T E TOP C T G R O M SC SCHOOLS
  NATIONWIDE. NUMEROUS U T M M E S H V EARNED N TO A AND I T R A I N L R P T -
                            A
                           F C L Y E BR A E              AI N L      N E N TO A E U A
  TIONS THROUGH P R O M N E AND R S A C P R UT AND T U ATIXACT S U E T F O ALL
                    EF R A C           EE R H U S I S       H S          T DNS RM
  PARTS OF THIS COUNTRY AND THE WORLD. MANY THE SCHOOL'S
                                                 OF             PERFORMING ENSEMBLES ENJOY
  WD A C AM APPEAFUNG A T E BERLIN
    IE C L I ,              T H           CATHEDRAL, VATICAN ROME,
                                                     T E
                                                      H          IN      CARNEGIE IN
                                                                                  HALL
  NEWYORK CITY THE KENNEDY
                    AND                CENTER WASHINGTON, AMONG OTHER NOTABLE
                                               IN             D.C.,
   E US
  VN E.

                  LSU School of Music Website: www.music.lsu.edu                                                                                                                                       I
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July 200 1
12 Thursday        8:00 pm       Hot Summer Nights C o n c e r t $3
19 Thursday        8:00 pm      Joe Skillen Faculty Tuba Recital                                 LSU COLLEGE OF MUSIC
20 Friday          6:00 pm       Kimberly Roberts, DMA Vocal Recital
26 Thursday        8:00 pm       H o t Summer Nights C o n c e r t $4                              & DRAMATIC ARTS
                                                                                                             School of Music
UUMC = University United Methodist Church
U T = Union Theater       RH = Recital Hall
ST = Shaver Theatre       FBC = First Baptist Church
                                                                                                                          PRESENTS
CB = Cotillion Ballroom   C T = Colonnade Theater
TBA = to be announced




                                                                                                                          AN, Ev




ABOUT THE SCHOOL. . .                                                                                   .... ..
                                                                                                                                          ...
                                                                                                                                                 - .
                                                                                                                                                . ,    L




FOUNDED ME BATONROUGE
         ON                  CAMPUS IN 1 931, THE LSU SCHOOL MUSIC NOW BOASTS A
                                                             OF                                     .   ..    .
FACULTY AND STAFF NUMBERING OVER 70, AND A MUSIC MAJOR CONCENTRATION OF N ~ 450Y
STUDENTS. THE       SIZE AND SCOPE OF ITS CURRICUUI-EOMPREHENSIVF, PROGRAMS FROM THE B A W -
LAUREATE THROUGH T H E DOCTORATE-PUCE              IT IN THE T O P CATEGORY OF MUSIC SCHOOLS
N A T I O N W q E NUMEROUS   FACULTY MEMBERS HAVE W E D NATIONAL AND INTERNATIONAL W W A -
TIONS THROUGH PERFORMANCE AND RF.SEARCH P U l U l T S AND THUS ATTRACT STUDENTS FROM ALL
PRTS OF THIS COWRY AND WE WORLD. M OF THE SCHOOL'S                  PERFORMING ENSEMBLES ENJOY
WlDE ACCWM, APPEARING AT THE BWN CATHEDRAL,VATICAN IN ROME,
                                                        THE                  CARNEGIE IN
                                                                                       HALL
NEW0    '"       CITY AND W E KENNEDY CENTER WASHINGTON, AMONG OTHER NOTABLE
                                                 IN                D.C.,
VENUES.                                                                                                                        .. -   .
                                                                                                                           .

               LSU School of Music Website: www.rnusic.lsu.edu                                                      WEDNESDAY,11,2001
                                                                                                                           JULY
                                                                                                                    8:OOPM RECITAL m
                                                                                                                                 H
Imprrssionr ofJapan is an arrangement of two movements from a composition that was originally written
as a four-movement work for woodwind quintet. The first movement. Garden of the Tojin Temple, is a
musical representation of a secluded Buddhist temple garden in Kyoto. The symmetry of the raked gravel
in its rock garden is portrayed through parallel motion in the musical voices. The mood of serenity and         Impressions ofJapan (2001)                             Charles Haarhues
unity with nature is represented through the use of parallel fourths and fifths. The second movement,                 I. Garden of the Tojin Temple
Song of the Uguisu, is inspired by the call of a Japanese bird that is commonly found throughout the
country. Its unique and lyrical song evokes the Japanese love of nature and of the simple beauty that is at
                                                                                                                     11. Song of the Uguisu
the heart of the culture.                                                                                                                 Leigh Ann Reech, flute
                                                                                                                                        Maria Di Cavalcanti, piano
Solitary Momena is a suite of short pieces for solo cello. There are a total of six movements, whereby the
sixth is a repeat of the first - allowing the cycle to dose upon itself. The difirent movements describe
contrasting moods of a solitary person, in this case a cellist.
                                                                                                                Solitaty Momentsfor Cello in Six Movements (1772)          Peter Blauvelt
Twengsuch is a three movement piece for flute and piano that uses two distinct musical ideas as its basis.
The first idea, dominanr in the first movement and obscured in the second, is an accented syncopated                                       David LeDoux, cello
rhythmic partern which is derived from two letters (S and H) of the Morse code language. The second
idea, dominant in the second and third movements, and used as development in the first, is an extended
chord that contains a tritone interval in its upper voices. They are juxtaposed in all movements by a
modal and disjunct melody in the flute with harmonic tritone inflections.                                       Twentyuch (1777)                                       John M . Crabtree
                                                                                                                     I. Fierce with Motion
Second Caricarure (tangoesqw) is the second of a set of two caricature pieces. Although not a traditional
tango, the piece uses various elements found in a great part of the tango repertoire of Piazzolla and others,
                                                                                                                     1
                                                                                                                    1 . Passionately
namely descending minor scales, chromatic ornamentation, and particular tango rhythms and melodic                   1.
                                                                                                                   1 1 Quick and Accented
figuration.                                                                                                                              Leigh Ann Reech, flute
Sonataparaflauta epiano is built upon a twelve-tone theme, which is framed harmonically in a tonal-                                   Maria Di Cavalcanti, piano
modal language and developed using traditional contrapunral techniques. Jazz harmonies and changes of
characrer permeate the entire work, which consists of three connected movements. It is dedicated to
Brazilian flutist virtuoso Celso Wolnenlogel.
                                                                                                                Second Caricature (tangoesque) (1777)                     Aaron Johnson
                                                                                                                                          Brian Utley, saxophone
                                                                                                                                           David LeDow, cello
Leigh Ann Reech is currently flute instructor at Nicholls State University and director of the Greater                                  Maria Di Cavalcanti, piano
Baton Rouge Flute Choir. She holds a bachelor's degree and a master's degree, both in flute performance,
from Louisiana State University. While studying at LSU, Ms. Reech performed with the LSU Wind
Ensemble, the LSU Symphony Orchestra, and the Acadiana Symphony Orchestra. In addition, she has
been a winner in events such as the Louisiana MTNA Collegiate Woodwinds competition and the Mon-                Sonata para flauta e piano No.1, Op.14 (1774)         Liduino Pitombeira
roe Symphony Concerto competition.                                                                                                         Leigh Ann Reech, flute
David LeDoux is an undergraduate at LSU majoring in cello performance. He performs with the LSU                                          Maria Di Cavalcanti, piano
Symphony Orchestra and the Louisiana Sinfonietta.

Maria Di Cavacanti holds a B.M. from Ceara State University (Brazil). She also studied privately with
Jose Alberto Kaplan (Paraiba Federal University) from 1991 to 1997. In 1997 she received a scholarship
from the Deutscher Musikrat to study with Ernst Ueckerman in the Hochschule for Musik Wonburg
(Germany). Since 1994 she has taught piano at Ceara State University in Brazil. Presently she is pursuing
her master degree in piano performance at LSU where she studies with Michael Gurt.
                                 ~ a l i f o i n i aState University, Fullerton
                                                Department of Music
                                                        presents

                           a clncert of chamber music
                    by members bf the Los Angeles Chapter of the

       National ~ssociation Composers
                           of                                                        - USA    (NACUSA)

                                          all
I                            Recital
                                          I
                                                                23 September 2001     4 PM
                                                                                                                      I
    Suite Spice [20011                    I                                                        Kathy ---      -

I          T Penner
           -- - -rr--
                                          I
                                          I                                                                           I
           11. Cardamom                   I
           III. Paprika                     1
                                                 ,
                            Ralph ~ i l l i d m sclarinet; Patrice Langsdale, bassoon;
                                            ( David Lauren, piano
    Fading. ..(away) [1998-991
                                                                                                                      I
                                              I                                          Anthony J. Wardzinski
                                              I
                                  Luke Maurer, viola; Peter Jacobson, 'cello



I
    The Ping Pong Prelude [I9991
    Sorry, Wrong Cabaret [I9981               I1           David Rubinstein, piano
                                                                                               David Rubinstein

                                                                                                                      I
    Seven Last Words [ 2 0 ]                      I
           I. Father, forgive them; for h e y know not, what they do.
                                                                                                    Peter Knell

           11. Verily I say thee, Today shalt thou be with me in paradise.
           III. Woman, behold thy son! - Behold, thy mother!
           IV.My God, my God, why hast thou forsaken me?
           V. I thirst.                 I
           VI. It is finished.          1
           VII. Father, into thy hands Ilcommend my spirit.
                                                  I
                                                  'I
                                                   I
                                                              Mary Kim, violin
    Sonata for flute and Piano 119811 1                                                            Jeremy Beck*       I
           Maestoso
           Allegro giocoso
           Allegro non troppo
                              Cynthia ~ l l i sflute*; Roberta Garten, piano
                                                ,

                                                       /        intermission
                                                                                                                      I
                         * faculty. California State University, Fullerton - Department of Music
                                                       I                                                              I
Two for Christine [U)01]                                                            Leonard Mark Lewis
      I. Aria
      1 . Aria inside Capriccio
       1
                                        Christine Beard, flute

Sketches of Maine [I9991                                                               Scott Brickman
                                        Scott Brickman, piano

West and North of Kettleman [I9961                                                      Robert Bowen
                                  Klondike Steadman, guitar

Music for Two Big Instruments [XI001                                                     Alex Shapiro
                         Norm Pearson, tuba; Cindy Williams, piano




                           Jeremy Beck Associate Professor of Music - coordinator
Sketches of Maine was composed for me to play on the 1999 SCI Region I conference at Bowdoin
College. My title is an allusion to Miles Davis' Sketches of Spain, although the music has no
conscious surface reference to that album, except perhaps to the voicings of certain chords. I
wanted to create a narrative that was like the Maine landscape, envisioning allusions to the craggy
rocks, fog, and saltwater of Maine's coast coexisting with the Acadian culture, moose and pines of
Maine's north woods. Sketches of Maine was composed by using a 12-tone row whose first six
pitches are a subset of the octatonic scale, and isolating, reinterpreting and transforming that row to
construct and acknowledge a grammar reminiscent of Vernacular Music. Sketches of Maine (1999)
is recorded by pianist Jeffrey Jacob and available on New Ariel AE 005 CD. - SB

Robert Bowen, a native of Placentia, California, began composing as a teenager, largely in
response to his studies in jazz piano. After high school, he went on to study music composition
and jazz at the University of California, Santa Barbara (College of Creative Studies) and Princeton
University. His teachers have included composers Steven Mackey, Paul Lansky, William Kraft,
Margaret Mayer and pianistJimproviser Larry Karush (MOKAVE, Oregon). His compositions
have been performed in concert by the Minneapolis Guitar Quartet, bassist Bertram Turetzky, the
Relsche Ensemble and in live radio broadcast on KUSC's Sundays at Four series. Robert has
received two ASCAP Foundation GrantsIMorton Gould Young Composer Awards as well as
prizes from the Latin American Music Center of Indiana University, Metropolitan Theaters and the
Santa Barbara Arts Council. Two of his Preludes for Guitar were recently recorded by Texas-
guitarist Klondike Steadman. Having recently completed a Ph.D. in Music Composition at
Princeton University (September, 2001), Robert now teaches in the Department of Music Theory
and Composition at West Chester University in Pennsylvania.
West of Kettleman is the 41 highway, which forks from the 46, which bisects the 101, which
touches the sea. North of Kettleman is Interstate 5, which flanks the mountains, which feeds the
132-which is far enough for me, thank you. The 5 heads south from Kettleman, too; likewise,
the 41 keeps on going east. But I've never driven on these routes these ways. As far as I'm
concerned, the world is flat, and Kettleman City is the comer. It's the desert comer where God
stores extra gas stations and fast food joints, and where I f up while putting miles on my car, 350
                                                            a
at a time. - Robert Bowen, 1996

Cynthia Ellis is a member of the Music Department faculty at Cal State Fullerton where she
received both her Bachelor and Master of Music degrees with honors. She has been reviewed by
the Los Angeles Times in 1993 as bringing "...moments of silken ensemble and a gathering
excitement to Debussy's 1916 Sonata..." She plays the solo piccolo with the Pacific Symphony,
and has also performed with the Los Angeles Music Center Opera, the Hollywood Bowl
Orchestra, the Pasadena Chamber Orchestra and the Cabrillo Music Festival in Santa Cruz,
California. She was most recently appointed principal flutist of the Opera Pacific Orchestra in
 1995 and has also recorded on several motion picture, television and cartoon soundtracks. Her
chamber trio, Les Amis Musicalles, recently won first place in the National Flute Association
Chamber Music Competition. The trio performed at the NFA annual convention held in
Columbus, Ohio, in August 2000. While'at the convention, Ms. Ellis also performed the
publication premiere of Thomas Pasatieri's Flute Sonata, a Theodore Presser publication. In 1996,
she was the soloist for the Lukas Foss Renaissance Concerto with the Pacific Symphony Institute
Orchestra, choreographed by the St. Joseph Ballet Company. Ms. Ellis has been published in
Flute Talk magazine and has served on the adjunct faculty of Pomona College, Biola University,
Claremont Graduate School and the Pacific Symphony Institute.
                               '   I
                                   I
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                                   I
Roberta Garten received both h4r Bachelor and Master of Music degrees in piano performance
from the University of Southern California. Her performances have received awards from both the
Musical Merit Foundation and Music Teachers Association of California as a member of their
Young Artists Guild. She has performed at the Kennedy Center and the Falla Conservatory in
Buenos Aires, Argentina, as well as in Japan, Korea, and Spain. She was featured as accompanist
for Gene Pokorny, Principal Tuba; Chicago Symphony on his 1990 CD Tuba Tracks. Ms. Garten
is the staff accompanist at the Colburn School in Los Angeles and is frequently heard in recitals
throughout the Southland.
                                       I
A native of Los Angeles, composer Kathy Henkel holds a BA in History from UCLA in
addition to a BM (1976) and an M+ (1982) in music composition from California State University,
Northridge, where she studied with Frank Campo and Aurelio de la Vega. She has been a
reviewer for the Los Angeles Times (1979-80), worked in music clearance and research at
Paramount Pictures (1978-8 I), served as Ernest Fleischmann's executive secretary at the LA
Philharmonic (Jan-Dec, 1981), worked in the Programming Department at classical music radio
station KUSC-FM (1982-84), written 300 broadcast concert scripts as a scriptwriter-producer at
KUSC-FM (1984-89), was the visiting in-school classroom speaker and on-stage host for school
concert programs (1990-93), acting concert manager for Chamber MusicILA Festival (1994-95)
and served as program director T o t a t o r for the Los Angeles Chamber Orchestra (1988-98).
Currently, she freelances as a program annotator and pre-concert lecturer for various music
organizations in Southern California, including the Orange County Performing Arts Center and the
Da Camera Society. She is also actively involved in the "Meet the Music" elementary school
outreach program with the Los Angeles Chamber Orchestra. In addition, she writes liner notes for
Pro Piano Records in New York and serves on the VATEA Advisory Board for the Music
Department at Los Angeles City (college. As a composer, recent performances of her music
include Book of Hours for solo harp at an arts festival in Gubbio, Italy, the debut of Alaskan
Fantasy and Fanfare for brass quptet in Fairbanks, Alaska, and the premiere of her Sonata for
Flute and Piano in London, England.
                                           I
The 2001 International Clarinet Association Competition afforded the opportunity to create a piece
for three good friends - just for Sun. Suite S opens with "Pepper," a movement which
                                                w
employs the device of medieval hocketing to give the impression of a sprinkling of notes. Its
themes and motifs spell out, in musical notes, types of pepper and pepper plants (e.g., cubeb,
betel, black), as well as places from which pepper originates (Africa, South America, Malabar and
Madagascar - the home of green peppercorns). A chameleon commodity which bridges the realms
of sweet and savory, the luxurious ,"CardamomN   sports an exotic tinge. The solo clarinet takes the
spotlight, initiating and closing the movement. To conclude, "Paprika" dances along with a South
Central European flavor. - KH 1I
Mary Kim, professor of violid at California State University, Northridge, is a native of
Lawrenceville, New Jersey. She made her orchestral debut at the age of 12 with The Philadelphia
Orchestra and has since then performed throughout the northeast, Utah, and Los Angeles as a
recitalist, chamber musician, and orchestral player. She was educated at Yale University (MM),
Princeton University (BA) and The Juilliard School (Pre-college division). Her principal teachers
have been Dorothy DeLay, Masao f(awasakiand Syoko Aki.
Peter Knell (b. 1970) has received awards in numerous national and international competitions,
including First Prizes in the W,innipeg Symphony Orchestra's 10th New Music Festival
International Composers Competition, the Indiana State University Contemporary Music Festival
Louisville Orchestra Competition, and the Omaha Symphony Guild International New Music
Competition, and Second Prizes lin the Fourth International Witold Lutoslawski Composers
Competition, the First International Composers' Competition "In Memoriam Zoltiln KodBly", and
the Cincinnati Symphony Orchestra's Young Composers Competition. He has also received a
Fulbright Fellowship, a BMI Student Composer Award, two ASCAP Foundation Morton Gould
                                               I
                                               I
                                               I
                                               I
                 Young Composers Awards, grants from the Paloheimo Foundation and Meet the Composer, and
                 commissions from the Winnipeg Symphony Orchestra, Barlow Endowment for Music
                 Composition, Stem-Schoenhals Duo, Virginia Music Teachers Association, Oakland East Bay
                 Symphony, Guild Trio, Southwest Chamber Music, and Dale Warland Singers. His music has
                 been performed throughout North America and Europe by ensembles such as the Hungarian Radio
                 Orchestra, Louisville Orchestra, Winnipeg Symphony Orchestra, Omaha, Richmond, Memphis,
                 and Oakland East Bay Symphonies, Onyx String Quartet, Verdi Quartett, Southwest Chamber
                 Music, Aspen Contemporary Ensemble, Continuum Ensemble (UK), Left Coast Chamber
                 Ensemble, Pone Ensemble, Stern-Schoenhals Duo, and Ensemble Musicattuale (Italy). It has been
                 broadcast nationally in Canada and Hungary, statewide on Nebraska Public Radio, and on stations
                 in Charlottesville [VA], Richmond, Austin, Omaha, Los Angeles, San Francisco, Oakland, San
                 Diego, and Helsinki. A compact disc featuring his orchestral work, "...the weakening eye of day"
                 in a live performance by the Budapest Symphony Orchestra, is available on the Artisjus label. Mr.
                 Knell holds degrees from Princeton University (BA), the Juilliard School (MM), and the
                 University of Texas at Austin (DMA). His principal teachers have included Dan Welcher, Donald
                 Grantham, and David Diamond.
                 $even Last Words was composed during the sumer of 2000. It was commissioned by the German
                 violinist Peter Stein to accompany a display of a series of woodcuts by his father, Rolf Stein. The
                 work is cast as a series of seven short movements, each of which evokes the spirit of the
                 corresponding woodcut. The first performance was given on April 1, 2001, in Holzhausen,
                 Germany, along with an exhibition of the woodcuts. - PK

                 Patrice Langsdale plays bassoon with many local orchestras in Los Angeles and Orange
..,.   . .   .                                           she
                 Counties.. While studying..in..Salzburg, had the opportunity to play with orchestras in Germany :.--. .-
                 and Austria. She also is a recording musician, composer/artist on the CD "Dreamer", and at
                 present she and clarinetist Ralph Williams are collaborating on their second CD.

                 Pianist David Lauren studied with Aube Tzerko at UCLA and with Nadia Boulanger in Paris;
                 He garnered First Prize in the National Federation of Music Clubs competition and has appeared as
                 a solo recitalist and with orchestras in various venues around the United States. Currently, he is
                 using his musical talents in the Los Angeles Unified School District.

                 Composer Leonard Mark Lewis (DMA, Composition, University of Texas; MM,
                 Composition, University of Houston) is Assistant Professor of Music at the University of
                 Missouri-Columbia, where he teaches composition, arranging, orchestration, and music theory.
                 Lewis, a member of BMI, is the recipient of awards from ASCAP (Morton Gould Young
                 Composer Award), BMI, Columbia University (Bearns Prize), and Voices of Change (Russell
                 Horn Young Composers Award). His Concertofor Orchestra, recently chosen for inclusion in the
                 American Composers Orchestra Whitaker New Music Readings series, was conducted by Dennis
                 Russell Davies. Compositions by Lewis have been commissioned and performed by pianist James
                 Dick, oboist Erin Gustafson (principal, Saint Louis Symphony), AURA (University of Houston),
                 Symposium for New Band Music, flutist Christine Gustafson, University of Texas Composer's
                 Orchestra, and New Music Camerata (East Carolina University), among others. New Music
                 Camerata premiered his wind ensemble piece Black Against White Sky at The Kennedy Center in
                 Washington, D.C., in March 2000. Lewis's main composition teachers were Dan Welcher
                 (University of Texas) and Carlisle Floyd (University of Houston); he has also worked with several
                 other leading American composers including David Del Tredici and Tania Leon. In addition to his
                 compositional activities, Lewis also maintains an active performing career as a pianist and
                 conductor of new music.
                                    I

                        was
Aria inside Capricci~ commissioned by flutist Christine Gustafson in the Summer of 2000.
This work is part of a collection of lworks for solo instruments, all based around truncated fast and
slow movements which are combined. Today's performance features Christine Beard, a flutist
with whom the composer has worked for several years. - LML
                                    I
Norman Pearson, principal tubistiwith the Los Angeles Philharmonic Orchestra since 1993, is a
native of Pasadena and a graduate of the University of Southern California. In 1982, prior to
graduation, Mr. Pearson was appojted p ~ c i p atuba with the Orquesta Filarmonica de Caracas in
                                                  l
Caracas, Venezuela. Upon his retu,m to Los Angeles he embarked on a freelance career that has
included many performances with the Pacific Symphony, Joffrey Ballet, Los Angeles Music
Center Opera and recordings for most of the major Hollywood motion picture and television
studios. Mr. Pearson has also been, a featured soloist with several local bands and orchestras and
was a featured soloist at the 1996 International Brassfest. Norm can also be heard as a prominent
voice on the Los Angela Philharmonic recording Sensemavd - Music of Silvestre Revuelu (Esa-
Pekka Salonen conductor, Sony Classical). Norm is a Yamaha Performing Artist.
Born in New York City, David hubinstein has lived in Los Angeles since 1986, where he
combines performance and composing. In addition to scoring for theater and film, he has written
for orchestra, voice, chamber ensembles and piano. His music has been presented by Pacific
Composers Forum, the American Society of Composers and Arrangers, and the Pacific
Contemporary Music Center. ~ w & d he has received include the Recognition of Excellence at the
                                       s
Diana Barnhart American Song Coinposers Competition for his setting of the Alfred Noyes poem,
Daddy Fell into the Pond, as well as the Ojai FativaYGould Foundation Award for his 'limepieces
for Salvador Dali. Ensembles wh$h have performed his music include the North Wind Quintet,
 Calico Winds and Duo Trouveres: which gave the world premiere of his Serenade for flute and
 guitar. His music is published by Columbia Music (NC) and Walrus Music (CA).
                                    I




Corigliano. Recent awards include a 2000 Artists Fellowship Award from The California Arts
Council, grants from ASCAP and Mu Phi Epsilon, and a 2001 award from The International
Society of Bassists for her duet for double bass and piano, O Bow and Touch. Ms. Shapiro's
                                                                   f
chamber works are heard regularly in concerts across the U.S. and abroad, and as a composer,
essayist and panelist she is an active participant in the Southern California music community. Alex
resides in Malibu, and frequently updates her website, "www.alexshapiro.org" with concert
information and audio clips of her pieces. Her works are available on the Cambria Master
Recordings, Innova and Millennia &s labels.
Whenever I mentioned to non-mudician friends that I was composing a work for tuba and piano,
the response was usually one of s$rprise and barely muffled laughter. The exclamation, 'Tuba,
eh? What a funny instrument!" was often accompanied by exaggerated hand and mouth gestures
that somewhat resembled a trout atpmpting to inflate a balloon. 1h e w I had my work cut out for
me. Thus, the arrival of Music for Two Big Instruments, borne of my desire to create good PR
for a sometimes beleaguered and misunderstood instrument. I realized that most people see only
the orchestral tuba's gallant role in seating the pitch and rhythm for the rest of the band. Listeners
know little of the tuba's gorgeous lyrical qualities, and I was delighted when the L.A. Phil's
principal tubist Norm Pearson and his wife, pianist Cynthia Williams, invited me to write this duet
for them. - AS                        I
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              Klondike Steadman has been awarded several important honors including first prize at the 1997
              Music Teachers National Association Guitar Competition, the 1996 University of Texas Concerto
              Competition, the 1994 University of California, Santa Barbara Concerto Competition, Third Prize
              at the Portland International Guitar Competition and numerous academic scholarships and awards.
              He has concertized both in Texas and in his native California since 1994 including appearing as a
              soloist with orchestras in Santa Barbara and Austin. He holds a Bachelor of Music in guitar from
              the University of California at Santa Barbara and a Master's of Music from the University of Texas
              where he is currently working on his Doctorate in guitar with Adam Holzrnan. Klondike is the
              president of the Austin Classical Guitar Society and has taught for the University of Texas and
              Huston-Tillotson College. "...just beautiful melodies from many places and many eras, played
              with quiet dexterity" -- Lake Travis View

              A native Californian, Anthony Wardzinski was born in Northridge in 1973. He studied
              composition with Daniel Kessner and George Heussenstamm at California State University,
              N0rthridge:Though early in his career, he has produced pieces for a wide array of ensembles,
              including orchestra, wind ensemble, mixed chorus, and many chamber pieces with a wide range of
              instrumentations. Many of his pieces were performed while studying at California State
              University, Northridge, including Lucid Requiem Fantasy performed by the CSUN Wind
              Symphony conducted by Gary Pratt in 1998. He received his Bachelor of Music, Cum Laude in
              1997 and completed his Master of Music, with Distinction in 2000. Currently, he is Adjunct
              Professor of Music Theory at Moorpark College.

              Cynthia Williams,-is currently a freelance pianist in the Los Angeles area. She has performed at
              the Aspen Music Festival, the University of Texas, Sam Houston State University, the University
              of Houston, Cal State-Dominguez Hills, the University of Redlands, and as a guest on the Dame
              Myra Hess Concert Series. She performs regularly with members of the Los Angeles
,
    . .   .   Philharmonic, Pacific Symphony and Long Beach-Symphony. Dr. Williams has also collaborated
              on numerous faculty artist recitals at universities throughout Southern California. As an
              accompanist, she has worked at UCLA, California State University-Fullerton, the International
              String Conference in Graz, Austria and in Lausanne, Switzerland, and at the National Cello
              Institute. Dr. Williams completed the DMA in Accompanying at USC.

              The Principal Clarinet with Opera Pacific, Ralph Williams is a studio recording musician and a
              symphonic musician with several orchestras in the Los Angeles and Orange County area. During
              the summer, he plays with the Hollywood Bowl Orchestra. Mr. Williams is also a composer/artist
              on the CD "Dreamer".
Notes About the Artist.       ..
Pianist Maria Di Cavalcanti holds a B.M. in piano from Ceara State
University in kazil, where she studied privately with Jose Alberto Kaplan
(Paraiba Federal University). In 1997 she received a scholarship from the
Deutscher Musikrat to study in Germany with Ernst Ueckerman at the
Hochschule for Musik Worzburg. Since 1994 she has taught piano at
Ceara State University in kazil and is presently pursuing her masters
degree in piano performance at LSU where she studies with Michael
Gurt.


 Notes About the Music . . .

Si  Potential E p i s in Time, Space, and Energy                       Aaron Johnson
Six Potential Episodes in Time, Space, and Energy is a collection of short piano piece
that explores the atmospheres of sound, space, and silence. Each piece is meticulously
and tightly constructed and relies on motivic gestures to propel it forward creating a
collage-like cascade of sonic events. Each motkic gesture could easily be expanded into
a lengthy musical thought, but it was the composer's desire merely to suggest these
thoughts.


Conception for piano                                                      John M. Gabtree
Conception for pPanois a short piece that attempts to briefly illustrate in two movements
"the careful creation of thought that one experiences &en an idea is conceived." The
composer created and finished this piece in ten minutes after being awakened in the
middle of the night from a dream.


+ntsia       Suite                                                       Charles Haarhves
This two-movement piece is dedicated to the Intelligentsia Roasting Works of Chicago,
Illinois. Their care and dedication to quality has resulted in wonderful coffee that is truly
a work of art.


The Beastty Baby                                                             Matt Schaffner
The BeattEy 6aby is based on a story of the same name by Edward Gorey. "Once upon
a time there was a baby... had never been given a name since no one cared to talk
                          It
about it. When it was absolutely necessary to do so, it was referred to as the Beastty
Baby."
Angelic Piano Pieces                                        Deon Nielsen Price                 . -.

       I. Pink Clouds and Harps                     5. Snow Angels
       2. Blue Angel Cookies                        6. Angels Dancing on the
                                                           Black and White Keys
       3. Descending Night                          7. Green Tara
       4. Cupid's Darts                             8. Cherubic Messenger
                                    Deon Nielsen Price, piano

Duo for Flute and Bassoon #I                           Gernot Wolfgang
                                      Susan Greenberg, flute
                                      Judy Farmer, bassoon

Fantasy for Electronic Orchestra                            Stan Gibb

Eight by Emily - on Love and Marriage                       Margaret Shelton Meier
       I.In Lands I've Never Seen                      5. Wild Nights
       2. 0 Friend                                     6. Wedded
       3. Possession                                   7. The Wife
       4. Apotheosis                                   8. Apocalypse
              The text is on the last page o f the program.
                          Elizabeth Sanford, mezzo-soprano,
              Jonathan wright. violin, Ana Maria Moldonado, violoncello



Twenty-Four Jewish Folk Melodies for Piano    Marshall Bialosky
                            Delores Stevens, piano

Colloquies for Flute and Clarinet                           Bernard Gilmore
                                       Daniel Kessner, Flute
                                       Julia Heinen, Clarinet

Imaginary Dream                                              Dennis Anderson
                                            Digital Music

Levoca's White Lady                                          Sharon Zhu
                                      Delores Stevens, piano


W invite you to remain after the concert for a time o f questions from the audience. This will be
  e
immediately followed by an informal reception held in the courtyard in front o f the Recital Hall.
MawbaU B~aloskyhas been the president o f NACUSA for        the last 25 years. An
Emeritus Professor Music at Cal State University - Dominguez Hills, he was the
Founding Chairman o f both their Music and A r t Departments.

           d
B e ~ n a ~Gzlmo~eis                                            C
                       a long time member o f the faculty at U lrvine and has
recently concluded a term as chairman o f the music department.
      Colloquies for Flute and Clarinet - The word "colloquy" denotes a formalized, highly
      structured dialogue. The work explores a myriad of relationships between the two
      instrumental voices, including complete independence, unison. octave doubling.
      homophony and heterophony (the simultaneous use of very similar lines).


Dennzs Andewon is a member of the faculties o f Mt. Son Antonio College,  Golden
West College and Cal State University - Fullerton. He has been active as a
composer for many years, has worked in electronic music since its inception and
has been involved with digital music since the 1980s. In the 70s he studied in
Poland as a Fulbright Scholar. He has extensive experience as an audio technician
and has received awards in that field. As a journalist he writes for MUSIC BIZ
magazine.
      Imaginary Dream, a sonic sculpture, employs state of the art digital effects to achieve its
      many sounds and colors. The composition uses sampled instruments and voice, concrete
      sounds and electronically generated sounds.


S b a ~ o nZbu,originally from Shanghai. China, is now a graduate student at
Princeton. University. She was a co-winner o f the 2000 Composers' Competition
sponsored by NACUSA.
      Levoca's White Lady had its origins in a trip Sharon Zhu took to northeast Slovakia
      and the town of Levoca. In her hotel room was a portrait of a young woman in a
      white dress who was turning around and gesturing to the specter with her right
      index finger. The mesmerizing look in the woman's eye reminded Zhu of the Mona                ..
      Lisa. Upon inquiry Zhu was told that the woman, a resident of the town, fell in love
      with an officer of enemy forces during a long ago war. When the two were
      discovered they were both beheaded.
       F F ~ is an orchestral bnd chamber musician, a soloist and a teacher.
    JZ~IT~ K~~K
    In 1995-96 she was a visiting drofessor at the Hochschule fiir Musik in Graz,
    Austria and from 1984-96 she was the principal bassoonist o f the Austrian Radio
7   Orchestra in Graz.                   I
                                        I



w
    Susan Grreenke~~ very visibly active in the Los Angeles area as a soloist and
                   is
    chamber and orchestral player, und a recording artist. She has taught at Cal Arts
    and Occidental College and recorded for the Crystal, Orion and Angel labels.
    ~ d He~nen is an Associate brofessor o f Music at Cal State University -
         ~ a
                                           and
    Northridge, where she teaches c~brinet heads the musicianship program. She
    received her doctorate from the university o f Minnesota.
                                        I

    Dan~elKessne~i s an emeritus !professor at Cal State University - Northridge.
    where he chaired the composition department for many years. He also conducted
    their Discovery Players. Dr. Kessner received his Ph.D. from UCLA.
    Ana Ma~laMaldonado received her graduate degree from the University o f


    University - Son Bernardino and the Claremont Community School o f Music.
                                     I

          Sanro~d
    ~hzake~b     currently teaches voice, piano and music appreciation at Mt.
    San Antonio College. She has albo taught at California Baptist University and at



    a variety o f programs, presenting and performing the music o f Francis Poulenc,
    Kurt Weill and Pauline Viardot-Gbrcia.
    Ms. Sanford is Director o f Musiclat East Whittier Presbyterian Church.
    Delolles S~evensis one o f the most active pianists in the Los Angeles area. She
                                                                                          -
    is an outstanding interpreter o f contemporary music and has premiered dozens o f
    new music compositions. Ms. *Stevens directs chamber music series in Pacific
    Palisades and on Martha's ~ i n e ~ u r d .
1                                   I
    Jona~banW K I G ~was born in northern England, where he began his violin
                     T
t   studies at the age o f 8. He studieb with Bernard Partridge in London and has given
    numerous solo and chamber recitals. In South Dakota he founded the Serenata
    Strings: a string quartet. He is currently an associate professor o f biology.
    specializing in animal physiology, at Pomona College.
                   Eight by Emily (Dickinson) - on Love and Marriage

1. In Lands I Never Saw                                           5. Wild Nights!
In lands I never saw, they say,                                   Wild nights! Wild nights!
Immortal Alps look down,                                          Were I with thee.
Whose bonnets touch the firmament,                                Wild nights would be our luxury!
Whose sandals touch the town,
                                                                  Futile the winds to a heart in port,--
Meek at whose everlasting feet                                    Done with the compass,
A myriad daises play.                                             Done with the chart.
Which, sir, are you, and which am I,
Upon an August day?                                               Rowing in Eden! Ah! the sea!
                                                                  Might I but moor tonight in thee!
2. 0 Friend                                                       Wild nights! Wild nights!
Alter? When the hills do.
Falter? When the sun                                              6. Wedded
Question if his glory be the perfect one.                         A solemnthing it was, I said,
                                                                  A woman white to be,
Surfeit? When the daffodil doth of the dew:                       And wear, if God .should count me fit,
Even as herself, 0 friend! I will of you!                         Her hallowed mystery.

3. Possession                                                     A timid thing to drop a life
Did the harebell loose her -
                           girdle                                 Into the purple well,
To the lover bee,                                                 Too plummetless that it come back
Would the bee the harebell hallow                                 Eternity unto.
Much as formerly?
                                                                  7. The Wife
Did the paradise, persuaded,                                      She rose to his reauirements,
Yield her moat of pearl,                                          Dropped the playihings of her life
Would the Eden be an Eden,                                        T o take the honorable work
Or the earl an earl?                                              Of woman and of wife.


   -err
4. A otheosis
Come s ow y, Eden!
Lips unused to thee,
                                                                  If aught she missed in her new day
                                                                  Of amplitude and awe,
                                                                  Or first prospective,
Bashful, sip thy jasmines,                                        Or the gold in using wore away,
As the fainting bee,
Reaching late his flower,                                         It lay unmentioned,
Round her chamber hums                                            As the sea develops pearl and weed.
Counts his nectars --- enters,                                    But only to himself is known
And is lost in balms.                                             The fathoms they abide.
                                           8. Apocalypse
                 I'm wife: I've finished that,                             1 think that earth seems so
                         that other state;                                 T o those in heaven now.
                I'm Czar, I'm woman now:
                It's safer so.                                             This being comfort,
                                                                           Then that other kind was pain;
                How odd the girl's life looks                              But why compare?
                Behind this soft eclipse!                                  I'm wife! Stop there!

(Titles were not created by the composer, nor were most of them cr&   by Emily Dickimon. Most were attached to the
poems by their original editors.)
NACUSA CONCERTS
Atthk 'Palo,Alto Art Center
Embarcadero & Newell, Palo Alto ., '
                    .   ,
compdeeri ,can.P ~ ~ ~ . T O , O . : .
 8pm Saturday . ,
March2,2002                  ,        '        .         .

          - .
     I

                        1'        .       .'
Spring ~esonance                                   .'.

,8pmSaprday     .        ,   .   -'

June 8,2002 ,
Com~orrs'Performance ~nsemblq . '
young Compbvrs Contest Winner
          .    .                                                           .        .                                                            .        -                   -PROGRAM-                                            . , '
                                                                                                                    .           ,                                                                                                                                                                                                                                                                            . . .   <



                                                                                                                                                      ,

              Hornburg Sonata (199 1)                                                                                                                                                                                                                                .                   .                                                       Leigh Baxter .
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                                                                                                                                                           Marlene Ford, Horn                                                       '
                                                                                                                                                                                                                                                    ,            .

                       .        .
                                .             .                                                                                                           Jeanette Winsor, piano
                                                                   ,       ,-           .
                                                                                                                                                                                                              .        .
              Piano Sonata No. 2.                                                                                                                                                                                                                                                                                                         .. .   Harvey Stokes
                                                                                                                                                                                                                                                                                                                                                  .
                                .                 .   .                                                         ,
                       ,
                                                                                                                                                     '                ,       Wendy.Young                                                   .       .'

                                                                                                                                                                                                                  .    .                                                                             .   .
                                                                                .           .
              Four for Three''                                                                                                                                                                                                                                                                                                                     .JohnWinsor
                                                                                                            ,
                                                                                                            .                           prelude-~u~ue-w arch-w in ale                                                                                                                                                                                     '.
                                                                                                                                                                                                                                                                                                                                                                       ,
                                                                                                                                             .       ,                                                                                                                                                                                                                             .
                                                                                                                                                              Elaine Swinney, Violin
                                                                                                                                                                                                                                                                                                                 ..
                                                                                                                                         '           '.       John winsor, clarinet
                           ..                                                                                               ,       '        .                              cello.
                                                                                                                                                               ~ a r ~ ~ u ~ h e s ,                                                            ,    .


                                                                                                                                                                                                                               .        .

              Trio Giocondo                                                                                                                                                                                                                                                                                                                        WalterRoss
                                                                                                                                                          Elaine swiney,'violin
                                                                                                                                         -                John Winsor, Clarinet
                                                                                                        .       .               .
                                                                                                                                                         .Jeanette Winsor, Piano
                                                                                                                                                                                                                                                                                                                      .               .
                                                                                                                                                                                                                                                                                                                                                                                       ..
                                                                                                                                                                                                                                                                                                                      ,           .

              Two Mobiles                                                                                                                                                                                                                                                                                                                         Paul Stouffer                        ,


                                                                                                                                                           John Winsor, Clarinet
                                                                                                                                                          Jeanette Winsor, Piano
                                                                                                                                                                                                  .   .
                                                                                                                                                                                                          .       .,                                                                                                      ,               .
               miniature Images for clarinet"
               . .
                                                                                               Herbison'
                                                                              Jeraldine ~aunders                                                                  '


                        March of the Little clowns- he Sloth and the Caterpillar-The Hiker-Tag
                                                  John Winsor, Clarinet .-                       ~.                                                                                                                                                              .
                                                                                                                                                                                                                                                                                                 '                                                             .           .

                                            .   .
                                                                 'piano .
                                                  ~eanette-winsor,                                                                                                                                                                          ,       '        . .

                                                                                                                                                                                              .       .


              *Suite No. 2 "Sketches from the 80s"                                                                                                                                                                                                                                           .                   .                                     ~ d
                                                                                                                                                                                                                                                                                                                                                 ~ l o Barnes .                                 '   '



                   1          1: Phrygian Delight -2. ~bartalPbrtal-3: Clouds -4. Love Song                                                                                                                                                                                                                                                                            . .                  8




                                 . .  ,           Jeanette wins?r,'~iano .:        .                                                                                                                                                                                                 '

                              .
              Ten..                 .                                                                                                                                         "           .                                                                                                                                                       Celeste Gates
                                                                                                                                         .          Terri l k e s , Contialto.
                                                                                                                                                              .                                                                         .
                                                                                                                                                                                                                                                             ,               '       ..

                                                               .       .
                                                                                                                            '                      Dave Hershiser, clarinet
,     .                                       . .
                                                  .       ,
                                                              ,.
                                                                                                                                                    James Herbison, Cello                                                                       .   '        .                   '


                                                                                                            .           .
    . .
                                                                                            .       .   .
                                                                                                                                                                      ;
                                                                                                                                                     Todd ~ a r n e spiano
                                                                                                                                    .            .
                                                                                                                                                   Celeste Gates, Conductor                                                                              .
                                                                                                                                                                                                                                                                         . ,.
                                                                                                                                                                                                                                                                         .                               ,
                                                                                                                                        . .
                                                                                                                                                                          .       .

     *(Premiere)                          .   .                                                                                                                           .           .                   .       .


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                                    . .                                                                                                                                                                                                                                                  .                   ,
                                         -Composers & Performers-
        Floyd Carleton Barnes, an electrical engineer and ordained minister of the United Church of Canada,
although born in New York State, received most of his education in Canada. His early training in music theory
was at the Royal Conservatory of Music in Toronto, and he later studied compositionunder Dr. F. R. S. Clarke at
Queens University. Since he moved to Virginia,he has studied composition with John Davye at Old Dominion
University in Norfolk. Floyd's works include anthems, carols, cantatas, song cycles, a Requiem Mass, ballets,'a
symphony, a violin concerto, other orchestral works, and instrumental chamber music. His Elegy for Flute and
Strings (1985), and Intrada for Brass and Percussion (1990) were recorded in Bratislava in the summer of 1994 by
the Slovak Radio Symphony Orchestra. The Intrada was released in 1996 on a CD of works by 8 American
composers under the Master Musicians' Collective label entitiled Orchestral Miniatures, Vol. 1 (MMC 2022).
Other recent works include two piano suites, "Lament for the People of Iraq" for narrator and orchestra, and
"The 7 Days of Creation" for Narrator, B-Flat Clarinet, and Piano, and a suite fiom the music of his ballet,    ,
"Pinocchio."

         Todd Barnes, piano, is a graduate of Virginia Commonwealth University. She has a Bachelor's in Music
Education and presently teaches elementary school music at Northumberland Elementary school in Heathsville,
VA. ,She also directs two chiors, one 4th grade and one 5th grade, both after school hours. In the summer she
directs the Judgement Day Refreshment Committee; a Choir made of 75 teenagers and adults. She has perform
Carnival of the Animals and other concerts with the Northern Neck Orchestra.

        Leigh Baxter teaches chorus, piano, theory and music appreciation at John Tyler and J. S. Reynolds
Community.Colleges. He has served as interim director of the V.C.U. Choral Arts Society. He holds a master of
music degree in composition and conducting from Virginia Commonwealth University, where he studied with
Allan Blank and Jack Jarrett. His music, published by Seesaw Music, Inc. of New York, includes works for Sax     -
Quartet, Clarinet and Piano, Flute, and Organ. Other works include music for orchestra, band, jazz band, chorus,
French horn, percussion, and guitar

        Marlene Morvaji Ford studied horn with Ernani Angelucci and Martin Moms of the Cleveland
Orchestra and Edwin Thayer of the National Symphony. She received a Bachelor of Fine Arts degree fiom Ohio
University and a Master of Music degree from Norfolk State University. She is a member the Williamsburg
Symphonia, the Eastern ~ i r ~ i n i a ' ~ r a s s Hardwick Chamber Ensemble, the Tidewater Winds and the Prelude
                                             the ,
Woodwind Quintet. She is a former member ofihe Virginia Beach Pops and the Virginia Symphony. Marlene is an
adjunct faculty member of Old Dominion University and Tidewater Community College.

         Celeste Gates, Composer-Conductor holds a Bachelor of Science degree in music composition and
creative writing fiom Indiana University School of Music, where she studied composition with Fred Fox, clarinet
with Henry Gulick and Earl Bates, saxophone in the studio of Eugene Rousseau, flute in the studio of James
Pellerite and jazz studies with both David Baker and Dominic Spera. She also holds a Master of Music degree in
music composition fiom Virginia Commonwealth University, where she studied composition with Allan Blank and
Dika Newlin, piano with Joan Kong and Landen Bileyu, conducting with Thomas Wilkins and graduated Magna
Cum Laude. She is an elected member of Pi Kappa Lambda Music Honor Society (1993) and a member of the
American Society of Composers, Authors and Publishers (ASCAP), and the International Clarinet Association.
Celeste was the conductor for the Northern Neck Community Orchestra froml993-98 and taught music
appreciation at Rappahannock Community College in 1994. Currently, Celeste is a member of the Norwood
McCarty Big Band, The Hodgepodge Trio and A Jazz Trio.

        James Preston Herbison, cello, a native of Oklahoma, is Associate Professor of Music at Norfolk
 State University, where he teaches music theory, literature, and appreciation and conducts the University
'Orchestra. He earned the Bachelor of Music Education degree from the University of Oklahoma, the Master of
 Music degree fiom the University of Michigan, and the Doctor of Musical Arts degree from the Catholic
 University of America. He is currently cellist with the Virginia Symphony, and principal cellist of the
 Williamsburg Symphonia. He has performed in recitals, chamber ensembles, and with orchestras throughout the
 United States and Canada. Notable among these performances were his performance .of Jeraldine Herbison's
 compositions for cello at the Kennedy Center for the Performing Arts in Washington, D.C., the Nova Trio's
 performance and coaching session with Menahem Pressler of the Beaux Arts Trio at the B'anff Center I Alberta,
            Contemporary Ensemble, and the Milhaud Trio. Haivey's compositionai activities in recent years include the
            completion of several commissioned works, invited participations in conferences of the Society of Composers as
            well as the Southeastern Composers League Forum, and an invited composer residency at West Chester
            University. The Oxford String Quartet has also released internationally on klbany Records a CD containing three
            of his four string quartets. -
                                                 .   .         .       .                                                                 ..                                                                                  .
                                                                                                   .   .                                                                                                                         '


                      Paul Stouffer was'born in ch&bersburg, Pennsylvania. He studied clarinet with Gilbert Stange ahd                  . .
            harmony with Louis Chestnut at the Peabody Conservatory: He holds Bachelor of Arts 'arid Master-of Arts . .                  ..
                                                                                                                                                                                                                                               ,   .
            degrees from the School of ~ i n e - & t sat the University of Pennsylvania, where he studie'd composition with                                                                                                                ,                           .
            Robert Elmore and e and re Vailclain. He .has devoted a.lifetime to composition and music education. His works for
                                                                                                                               his
            barid, orchestra, instrumental ensembles, and chorus'have been publishe'a by leading music publishers. ~ u r i n g 40                                                                                    '



            years' of teakhing; first at the ~ h i l a d e l ~ hMusical Academy, then in
                                                                ia                              and private schools in Pennsylvania       .                                                                      '                         ,
                                                                                                                                                                                                                                           '

            and ~ a r y l a n d bands under his leadership have performed throughout the mid-Atlantic region at State and .
                                 ,                                                                                                                                                                                                                                 .

            Natio'nal Mu'sic Education conventions. Stouffer is Treasurer of Composers Service, Inc: (CSI) and Treasurei of
                                      ia
            the ~ h i l a d e l ~ hchapter of NACUSA. He is also-a'member'of the American Society of Composers,, Authors; and ,                                                                                          ,

            Publishers (ASCAP) and the American Composers ~orum.Pau1.M.               Stouffer's ,catalogue of compositions is .    . .. .
                                                                                                                                       .                                                        ,


            laee,variedand includes works of many -forms. His compositions are.published by.a wide range of well known               -                                                                       '


            publishers. His works etc. can.be found at come.to/plaul~toufferor NACUSA, composer catalogue. . . .:
                                  . .                                        . .                                                                                        '           ,

                                                                                   .   ,
                                                                                                                           .         .   ,       .       . .                    ,           .       .    .. -.

                     ElaineSwinney is a graduate oc~aldwin-wallrice          Cbllege in Beiea, ,Ohio. S h e is violinist-h the .                                4
            Virginia Symphony and'is a founding member of the casual Elegance string Ensemble. ,She is active as .a freelance . '.                                                                                                   , '               ,

            violinist'in the ~idewater  area'and is a vioiii inStructor. -.Shealso.plays in the Virginia Opera,Orchestra, :'                                                                                 '

                                                                            n~."'                               ca
            William'sbur'g'Symphonia and the Richmond ~ ~ m ~ h o She has played in,the: ~ r o ~ u s i Chamber Ensemble.of '                      .                                                                                                                ,

                                    s
            Columbus, ~ o l u m b u Symphony, Cplumbus Light Opera, Fort Wayne Symphony, Wheeling Symphony; canton-
            Symphony, 'Akron Symphony, and the Youngsfown Symphony..                          . . .      .. .. .         .  . ,. I       ",                \.



                                        .    .             , .      . * .                                                                   .. .
                     Jean& te Winso,r studied piano with Clifford ~ e r i e rLois Roki Ozgnich; and Shirley Harrison. 'She
                                                                                 ,
            received a Bachelor of Music degree cum laude from.Heidelberg ,College and a Master of Music degree in.piano
            performance from Kent State University. she has occasionally coach.ed'with Thomas Schumacher. s h e teaches                   .   .
                                                                                                                                                                    ,


            piano in her s ~ d i in Chesapeake and for the Coinmunity Music Academy at Old Domiriion ~ n i v e r s iinusic ' . .
                                 o                                                                                              ~,
             appreciation, theory and piano at Tidewater.Community College, accompanies the Virginia Beach Chorale, and
-   .       ,serves as an adjudicator for the National Guild ,of Piano ~eachers.She fiequently appk&s as a soloist and lecturer.. .
             She is also a member of,the ~ a r d w i c k
                                                       Chamber ~nsemble.     Jeatiette holds National sin'd State Profes'si.onal - ' . I
            Teaching Certificates from M T N A . VMTA as well as certification.thro,ugh the ~ m e r i c a n
                                                         ~ ~                                                       College of . - . . . . , . . .                                                                                                                      .
            Musicians. Jeanette-is listed in the 2lst edition of Who's Who-ofAmerican Women. She is past president of the-
            ~idewater                                                                  s
                        Music Teachers' Forum and the Virginia Music ~ e a c h e r Association. ,Her artjcles,on ' p i a n ~ ' ~ e d' a ~ o ~ ~                                                              '
                                                                        .          I   .
                                                                                           , .
                                                                                           .
                                                                                                  .. ..
                                                                                                   .
-       '   have'been pub1ished.b~    Piatio Guild Notes.                   - . . ,                                    ,


                                                                                               .                                                                    ,       .
                     . . .       .                                         ,   .                           .
                                                                                                               .   \
                                                                                                                                         .           ,                                                                                ..                   .
                    John ~ i i s o studied clarinet with Robert Harrison, ~ a v i d ~ - m i s , a Robert kc ell us of the Cleveland .. .
                                     i                                                               nd                                                                                                                      ,


           Orchestra and composition with John Rinehart and James Waters. He received a Bachelor of ~ u s i degree fiom  c
           Heidelberg College and a Master of Arts degree in music theory from Kent State.,University..He has taught music,
         . theory and designed bandsman training materials at the Armed Forces School of Music. He has also taught                      . .
                                                                                                ol
           .clarinet, music theory, arid composition at the Virginia ~ o v e m o r ' s ' ~ c h ofor the Arts. He is a member:of the . - .                                                                        '               '                             .   .

           Hardwick Chamber Ensemble; He is ~ ~ ~ ~ ~ ~ ' s . ~ e m b e r and.Webmaster. He is also a.senior. , . .
                                                                            Coordinator s h i ~
           computer programmer for Unisys. John's composition prizes include the ,1992 Delius Vocal Category Award, .the,, ; .
            1995 Delius Keyboard Category Award, the 1992 and 1994 VMTA C o d s s i o n e d Composer Competitions, and . .
                                                                                                                                                                                                                                       '




           the Modem -Music~estival      2000 Film Scoring Prize. He has.received grants from the American Music Center and               . .'
            from Meet the Composer;Inc, and ASCAP awards. His chamber works are,fiequeritly performed on new music                   ,.                                                                                                ,


           festivals, conferences, and concerts around the United States. Since' 1992; John has received seven commissions - - . .                                                                                                                 '


        . fiom various arts organizations. 'Articles by and about.him have appeared in ComposerUSA.
            '

                                     . .                 . .       .                                                                                                                                                     ..


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                                                           of                   formed in 1933. It is one of the oldes! org&zations
                           The Nationaal ~ s s o ~ i i t i b a~omp&e&,U S A , + ~ ~
                                                                     .                                                                                                                  '
                                                                                                                                                                                        ;           ..
                       ,     dedicated to the promotion and pafohnance.of music by ~ieiicans. A C U S ~ G I N I A page:
                             ,                                                                 N                        web                                                                              .               .
                                                                                                                                             .       .
                                                            home.htm NACUSA/National Web Site: www.thebook.cornlnacusa.
                                 www.thebook.com/hardwick/ntw
November 200 1
7 Wednesday        4:00 PM        David LeDoux Senior Cello Recital           RH
7 Wednesday        6:OO PM        Kristen Parker Undergraduate Flute Recital  RH
7 Wednesday        8:00 PM        Harry Skip Martin Graduate Clarinet Recital RH
8 Thursday         6:00 PM        Sarah Wimmer Undergraduate Flute Recital RH                                     LSU COLLEGE OF MUSIC
8 Thursday
9 Friday
                   8:00 PM
                   6:00 PM
                                  Percussion Ensemble Concert
                                  Amanda Montgomery DMA Piano Recital
                                                                              UT
                                                                              RH
                                                                                                                    & DRAMATIC ARTS
11 Sunday          3:00 PM        Louisiana Chamber Players Concert           RH
11 Sunday          4:00 PM        Gospel Choir Concert                        UT                                       School of Music
12 Monday          8:00 PM        David Vining Guest Trombone Recital         RH
13 Tuesday         8:00 PM        Select Women's Ensemble Concert             RH
13 Tuesday         8:00 PM        Symphonic Winds                             UT
14 Wednesday       8:00 PM        Chamber Winds Concert                       RH
15 Thursday        8:00 PM        Tiger Band Tigerama Concert #1              UT
15 Thursday
15 Thursday
                   6:00 PM
                   8:00 PM
                                  Boriana Kojouharova DMA Concerto Recital RH
                                  Myung-Jin Kuh Graduate Piano Recital        RH
                                                                                                              THE
                                                                                                                MID-SOUTH
                                                                                                                        CHAPTER
                                                                                                                             OF NACUSA
16 Friday          4:00 PM        James Stuart Guest Lecture
              - -
               -                  (The Music-of-Gilb~rrah-d~S~lliv<KOb~s)R~--~-
16   Friday        6:00 PM        Susan Smith Undergraduate Clarinet Recital RH                                                                             .. .
16   Friday        8:00 PM        Tiger Band-Tigerama Concert #2              UT
16   Friday        8:00 PM        Richard Jupin DMA Vocal Recital             RH                                                          PRESENTS
17   Saturday      8:00 PM        Friends of the School of Music
                                  Alumnus of the Year Recital                 RH
18 Sunday          2:00 PM        ~rombone    Ensemble Concert                RH


UUMC = University United Methodist Church
UT = Union Theater      RH = Recital Hall          TEC = Trinity Episcopal Church
ST = Shaver Theatre     FBC = First Baptist Church
CB = Cotillion Ballroom C T = Colonnade Theater
TBA =To be announced RT = Reilly Theatre
* = Note event change



FOUNDED THE BATON
          ON            ROUGE CAMPUS I N 1931, THE LSU SCHOOL MUSIC          OF       NOW BOASTSA
FACULTY AND STAFF NUMBERING OVER 70, AND A MUSIC MAJOR CONCENTRATION OF NEARLY 450
           THE
STUDENTS. SIZE AND SCOPE OF ITS C U R R I C U L A ~ O M P R E H E N S N E PROGRAMS FROM THE BACCA-
LAUREATE THROUGH THE DOCTORATE-PLACE           IT IN THE TOP CATEGORY OF MUSIC SCHOOLS
NATIONWIDE. NUMEROUS   FACULTY MEMBERS HAVE EARNED NATIONAL AND INTERNATIONAL REPUTA-                    us

                                                                                                     I
                                                                                                              '
TIONS THROUGH PERFORMANCE AND RESEARCH PURSUITS AND THUS ATTRACT STUDENTS FROM ALL
PARTS OF THIS COUNTRY AND THE WORLD. ANY OF THE SCHOOL'S               PEWORMING ENSEMBLES ENJOY                           .   . .
WIDE ACCWM, APPEARJNG AT THE BERLIN CATHEDRAL,E VATICAN ROME,
                                                      TH                 IN      CARNEGIE IN
                                                                                           HALL
NEWYORKCITY AND THE KENNEDY                                           D.C.,
                                 CENTER WASHINGTON, AMONG OTHER NOTABLE
                                            IN
VENUES.
                     LSU School of Music Website: www.music.lsu.edu                                                                                  HALL
                                                                                                                                     8:00 P.M. RECITAL
Sonatafor Trumpet andpiano is a three movement work composed for tonight's
guest performer Rex Richardson. The first movement, subtitled "Parade," with
its quick rhythms and short gestures, falls traditionally into sonata-allegro form
and attempts to programmatically depict a festive parade that is making its
way down a small town street. While the two outer movements are somewhat
festive in character, the second and inner movement, "Elegy," portrays a more
serious emotional and melancholic mood. Finally, the third movement, en-
titled "The Syncopated Juggler," attempts to portray humorously the annoy-
ing antics of a playhl and clumsy mime (who is actually part of the parade) as
he juggles, dances, and entertains his surrounding audience like a jester.

Seresta is the Brazilian denomination for serenade, which appeared in the
early 16th-century tradition of Portugal. It consists of performing lyrical
songs at night while walking through the streets. Two elements are impor-
tant in the formation of the Brazilian seresta: the vocal style becomes lament-
like and the musical language incorporates elements of choro. This two-
movement work started as an exercise in 20th century music. The main
theme of the first movement, a modinha, which is a Portuguese and Brazilian
love song from the 19th century, is built upon interval classes [3,1]. This
motive is expanded and varied throughout the entire movement. The second
movement is inspired by a very strong Brazilian dance called zamb?.

Remembrance for trumpet and piano was written in the Spring of 2000. It
uses extended modal harmonies and a semi-chromatic melodic contour to
reinforce the somber mood of the work. Extended instrumental techniques,
such as playing into the piano and into the music stand, add variety to the
instrumental sound and emphasize the concept of a life eternal. It is dedi-
cated to the memory of my brother-in-law, Mark Hilyer.
               Program

Herb Gellis



Christopher Ballard


I'lana S. Cotton
CHRISTOPHER BALLARD graduated from the University of California, San Diego, in 1990 with a B.A. in Music. He is currently a
student of fellow NACUSA composer I'lana Cotton.

JOHN BEEMAN studied composition with Peter Fricker and later with William Bergsma at the University of Washington where he
received his Master's degree. His first opera, The Great American Dinner Table was produced on National Public Radio. Orchestral
works have been performed by the Fremont-Newark Philharmonic, Prometheus Symphony, and Santa Rosa Symphony. Desert
Sketches, a chamber work, was released in 1996 on the Classic Sketches CD by the Violeto Trio. The composer's second opera, Law
Oflces, premiered in San Francisco in 1996 and was performed again in 1998 at the San Mateo County Courthouse through a grant
from Philanthropic Ventures Foundation. Mr. Beeman has attended the Ernest Bloch Composers' Symposium and the Bard
Composer-Conductor Program Recently, he received an individual artist grant from The Peninsula Community Foundation for his
opera, The Answering Machine (libretto by Carla Brooke) which had its premiere on May 13, 2000 at The Palo Alto Art Center. His
Concerto For Electric Guitar And Orchestra was premiered by the Peninsula Symphony on Jan 19, 2001 with Paul Dresher on
electric guitar.

        ESCAPADE is defined by the Standard College Dictionary as "a brief piece of reckless behavior or prankish disregard of
        convention; fling spree." It was with this spirit of escaping from constraint that the idea for the piece was developed.
        Escapade is in three sections. The first is fast with a soaring melody set against a rock-like accompaniment. Harmonies are
        mostly open using fourths, Nths, sevenths and ninths. This fast theme slips into a slow, bluesy section which begins with
        muted trombone followed by soli in the trumpets. The texture then thickens and the tempo accelerates as the first theme
        returns followed by a flashy coda to end the quintet. The composer intends to write two more movements to complete the
        quintet.

ROSEMARY BARRETT BYERS has enjoyed a varied career as pianist, conductor, theatrical director, teacher, composer, and
arranger. Since completing a master's degree in piano performance at Indiana University, she has taught piano, music history, and
musical theater at various colleges and universities in the Southeast and Midwest, conducted much of the major choral-orchestral
literature, and has directed numerous "Broadway" musicals and musical revues from dinner theater to the concert stage. Ms. Byers
has published piano teaching compositions with Myklas Music Press, Lee Roberts, Hal Leonard, and Carl Fischer. Her Rhapsodyfor
Piano won first place in the advanced division of the 2000 MTAC Composers Today State Contest, and her Animal Crackers, a suite
of poems and pieces for elementary piano students, won first place in the Teaching Piece division. Four original children's musicals
have been produced by theater companies and show choirs in Tennessee and Kentucky.

SONDRA CLARK is a graduate of the Juilliard School (B.M.), San Jose State U (M.A.), and Stanford University (Ph.D.) A long-
time Bay area music critic and member of the music faculty at San Jose State University, Dr. Clark has won over forty awards for her
compositions since she began composing ten years ago. Her Three Scenesfiom New Orleans was published in 1998 by Kjos Music
and six more of her works will be published in 2002 by Hal Leonard Corp. Dr. Clark's Requiem for Lost Children, written for the San
Jose Symphonic Choir and Orchestra and the Cantabile Children's Chorus, has been performed three times to packed houses and
critical acclaim since its prehiere in 19%. Clark has been the only composer chosen to be featured by the award-winning Grand
Piano Show in an hour-long program, The Wonderful Piano Music of Sondra Clark, which is being aired on cable television in 450
cities throughout the country.

        The first movement of TWO FOR FIVE was written especially for the Menlo Brass Quintet and seeks to celebrate each of the       .   1
                                                                                                                                           !
        instruments with solos in a gentle, Poulenc-type humor. The second movement is also humorous, but in a more joyous
        mood. This music, written in a meter of 3 + 3 + 4, was a winner in the 1999 California Composers Today contest and has
        seen performances in various incarnations: as a mixed ensemble, as a duet for piano, as a harpsichord solo (available on CD
        by Elaine Funaro) and as a choral work!

I'LANA COTTON is a composer, improviser and pianist who has written extensively for acoustic chamber ensembles, choral groups
and electronic instruments. Her work has been performed throughout the US and has won several awards, most recently from the
California-based Peninsula Community Foundation, the Ernest Bloch Festival Composers' Symposium in Newport, Oregon, Britten-
on-the-Bay and the Chicago Chamber Music Collective. She is an active member of the National Association of ComposerstUSA
(NACUSA), the American Composers Forum (ACF), and the International Alliance for Women in Music (IAWM). She has also
collaborated with other musicians and artists in visual and theatrical media, and has created several commissions for choreographers
and poets. She holds an M.A in composition fiom the University of California at Los Angeles, with undergraduate music study at the
San Francisco Conservatory of Music. Other studies include north Indian classical vocal technique with Faquir Pran Nath, and
Javanese gamelan with Max Harrell. She is currently on the music faculty of the College of San Mateo, and is the author of Music of
the Moment: A Graded Approach to the Art of Keyboard Improvisation, available from New Music Publications.
                                                   i
NANCY BLOOMER DEUSSEN is well known +oughout the San Francisco Bay Area as a composer, performer, arts organizer and
music educator. She is a leader in the growing moyement for more melodic, tonally-oriented contemporary music, and is co-founder
of the SF Bay Chapter of the National Association of Composers, USA. Her works have been performed throughout the US and
Canada and she has received numerous commissio~ locally and nationally from such performers and ensembles as The Oakland
                                                    both
Chamber Orchestra, The Walnut Street Chamber Ensemble, The Baton Rouge Concert Band, The Bresquan Trio, The Santa Clara
Chorale, The Women's Caucus in the Arts, OPUS \90 Chamber Ensemble, clarinetist Richard Nunemaker, the Tanana High School
Band, the Gabrieli Brass, Soundmoves, the Mission Chamber Orchestra, flutist Angela Koregelos, the Semper Virens environmental
group, The Sanchsky Music Festival, Jim and Pat   Vtt, and Mu Phi Epsilon Some recent performances of her works for the 1999-
2000 season include Woodwind Quintet by the S q o r d Woodwind W t e t and The World is a Butterfly's Wing (song cycle) at the
Demere Guard Festival in San Francisco.           i
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HERB GELLIS                                            I
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         MOJA VE is a four-movement tone poem for brass quintet, thematically based on several impressions of scenes and events in
         a desert canyon in the Mojave Desert area! This is a tonal work using distinctive melodies and rhythms to paint the sound
         impressions, and is approximately 10 minutes long. The short first movement Intrada depicts the entrance to the desert
         canyon as might be seen from the valley I floor. Somewhat imposing and majestic, with a tendency towards fanfare, the
         canyon walls vault ever upward The second movement Desert Canyon is slow and yearning with angular melody. It finds us
         within the canyon looking out on distant vistas, craggy wonders, lonely, vast, and ultimately of stark beauty. Before the sun
         gets too high and the temperature rises, we take a light-hearted early morning march. This short third movement Scherzo
         entitled Morning March, is in 12/8, and its       theme is taken from a phrase first encountered in the Intrada. The previous
         three movements are all grounded in the key of F, or its Jekyll and Hyde partner D minor, borrowing freely from F minor.
         The fourth movement Allegretto Gioioso entitled Condor Soaring takes us from the third movement ending in D minor, to
         take wing into the key of D major. Here we        fave
                                                           spotted a lone Condor soaring above. This movement is a celebration of free
     -   spirit and joy.
                                                           i
During the past year, BRIAN HOLMES's choral             have won four contests, while another received an honorable mention. One of
these, Jolly Jankm, was heard at last fall's NACUSA concert. William Thorpe has published three choral pieces, and Thompson
Edition has published a vocal piece for tenor, violin,     prn,
                                                           and piano. Thorpe has t o additional chorus pieces in press, including Let
                                                                                   w
Evening Come, also heard in last fall's concert. Rogef Dean has two more in press, and Thompson Edition will publish T r e Hunting
                                                                                                                        he
Songs for soprano and horn quartet. In addition, Holmes received the ASCAP Standard Award Holmes is composer in residence of
the Cantabile Children's chorus, which has commissioned and premiered two pieces during the last year.
                                                           I
         TALES OF THE CULTURAL REVOLUTIO~ very loosely based on events that occurred in China during the 1960's and
                                                         is
         70's. The illustrations are by Justin Novak: a New York City artist. The illustrations and poem have been published in
         TUBA Journal, and in San Jose Studies. q e poem has had three or four addtional publications. Tales premiered in 1980,
         and it was recorded in 1985 by the Cambridge Symphonic Brass Quintet on Crystal Records. Tales also exists a version for
         narrator and tuba duo, and another for narrator, solo tuba, and concert Band
                                                               I
A graduate of Oberlin C o m a t o r y , WARNER EPSON has been composing in San Francisco for theatre (A.C.T.), film (The Bed),
dance (San Francisco Ballet's Totentanz], museum +d gallery openings (music made on the then-new Buchla synthesizer), video
(composer-in- residence at KQED's National Center for Experiments in TV, 5 programs for PBS, and an NEA Grant). His first works
as well as more recent ones were musicals (Sun Francisco's Burning ran six months; The Money Tree played in Chicago in '97).
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You are invited to stay 'after the concert and speak with the composers.

The National Association of Composers USA (NACUSA) is a non-profit organization whose goal is to foster
the composition and performance of new music. Founded in 1932 and now with branches in Los Angeles, New
York, Philadelphia, and San Francisco, NACUSA continues to be an active and most vital outlet for composers
throughout the country. Inquires regarding membership may be addressed to Michael Kimbell, (650)