1999-2007 - Music-USA.org

Orchestral Training Association Orchestra in 1952. From 1954 to 1956, hehmpleted the Teachers 

Certijication Program at Teachers College, Columbia University. From 1960 to 196 1, 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 (1 983), 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~ary humanities-musicology from 

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 

\University Orchestra 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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The Fourth Vianne Webb Memorial Lecture 

in Musicology 

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American Music cent& , 

Dr.Thomas Warburton 

Universitycof North Carolina at Chapel Hill 

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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 

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Second Season Opening Concert 

Evening' ' . . ' Floyd 

~erri Hanson, alto , 

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. . Suzanne Schreck, violin 

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, . . ' . James Herbison, cello , .. , 

Jeanette Winsor, piano 

Carleton Barnes 

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sun filters through the mackerel clouds. . , 

Sun that is &most set. leaves way for the dew. 

The passes intb another. hemisphere 

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lret grass licks my fAt as I ruk . . 

The trees settle their leaves for the night, . . 

very so often a rustle, . . 

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'. . , '- 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. 

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

I lie on the soft, sweet b s , . 

while night ldls me to sleep. 

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The moon winks, the stars twinkle, the bats whisper. 

My dreams mngle with the night air. 

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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. 

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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. 

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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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, ., . Jmes ~r&toh ~erbi&n,a'.hti"e of Oklahoma City7 Oklahoma, is Associate Professor of Musicat 

:. . . ,~krfolk State University,.where he teaches m-ic he0ry: literiture, aqd appreciation and wndudsthe . 

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, . . - university Orchestia. He earned .the ,Bachelorof Music Education;degree from the Uniiersity of Oklahoma, . : : . 

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. . . . . . . the Master .of Music degee from the'U@versitj of .Mchigan,'and.the Ddctor of Musical Arts degree from"', . . . . . . . . . . . " 

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

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taught music.theory, coached chamber music; directed the Hampton Uqiversity combined student.md. ' . . 

.co&imity orchestra, and taught huma&ia'. 1rraddition;-he taught and direct@ orchestra in the, Nemrt . . '. . -. 

, . ~ e % public schools and taughtprivate Cello and/or chamber music at the Governor's School for. the Arts, .: , .... .,; 

. ~hristo~her N&pcirt University, hd the College.of William ahd Mary. Jim is currentlj.assistant principal: : , , .:. , 

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cellist-of the Virginia Symphony ahd principal cellist of the ~illiamsburg Symphonia. He has-also been a , -: . .. 

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' . , member oft& Oklahoma City' Symphony, the Flint (M~chighn) Symphony, the!Virginia Opera Orchestra, 

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, . and the Nova Trio. .He hai performed in recitals, chamber ensembles, and with orchestras throughout the : ' . . ' . 

.'. ; : . United Stak and Canada. Notable theseqerformandes were his recital atthe, Cathedral of ~ t.~ohn - 

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the Divine in New York Ciw, hs 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. of the ~eaux Arts Trio at the ~anff center I Alberta, Canada, and'his . . . . . . . 

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. ., perfonpancewith the.Nova Trio on the ampact disc,' "An American Port of Wl," music of Adolph* 

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* ~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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' . the University of ~ichigh 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, ~ay. Montoni; cello with Line Rosknthal, Alex Segal, .and - 

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. ' James P. Herbison, &d theory and composition with ~ndine S:Mhre, Buckner Gamby, George Wilson, : 'I 

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

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. ' ' . . performed' her cello pieces.on the Composeri Forum of the National lack CompoiersC.olloquem . at the . . - . . 

. . . . : . . Kennedy Center for the Perfo&ing-Arts. In'J993, ,the Afro-Aniencan Chamber ~usic Society . ' I ~ ~ .(. . , ... .. ... 

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, . 'commissioned,and performed her,Cello Concerto No. 1. Dawn ~ost&-~odson was the cellist. Her :' 

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. . . . . . ', Conchtino for yiola'ghd chamberorchestra'was performed by Beverly Baker and the Richmond . . , : .' 

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Philharmonic irf1996. In 1997; Jeraldine was the featured composer on a symi>osiurn of black women . -, - 

composers at Hawton Universit4;. Feral of her works were performed,:-including ~rio . 

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. . -commissioned by the Nova Trio, Jeraldine, who fornierly taught and directed middle.schoo1 orchestra in -: . . . . . 

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.' . , . ' the Newport News Public Schools, retired in 1998: Her string orchestra pieces have been performed by the ; ' . , . _. .. , _ 

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. by or ahd Senior Regional orchestras, by Newport Nee All~Cityorche.ds, and by individual school, . 

orchestras in Newport,Ne~. ~6ur of her pieies for .string orchestra are published by ~elke Publishing , 

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. . . Company in Maryland. : , . . . . . . . , . , 

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' . , . , ,EU. Kyong Jarrell has W* ~of&sdr of Plan0 at Hampton ~qiGcrsity 

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since 1.995. 'she received the : ; , . - ,. , ', . . , . 

Master of Music in Piano Performance and-theBachelor of Music,in Piario Performance from Yeungnam 

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in 1987. She is the pianist ,' ' . ' .. 

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the Hampton.Uhive&ity Wind Symphony and a pianist/conductor/first synthesizer player for the. . - 

, HamptonPlayers Company.' In: 1997 she was a-soloist at thefirq.Black Women's ~~posillm, hosted by 

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. . ' . University in South Korea, where she won the ~eethovenSonataComp'etition 

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, . 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 ache lor of ~usic dewee, labde from ~ucknell,lJniversity 

and a Master if : : . . ' , 

. , . MuSlc,degrke in vocal performance from,~orfok State ,UniVerslty.She taught.voice at.Christ0pher Newport . . . . . - 

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, ._ - :, University for Ntkye.. She also direct* the Opera Workshop there:W has performed with the :.- . . 

. . . . . . . . Virginia Opera,.Light Opera of Virginia, and asa;c&umed krforihei at Colo+al Williamsburg; Sheis, . 

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: currently under contract with the Virginia Chorale, Virginia's sole prof&sional:chorus. Shelis well known .'I . : 

throughout ~idewater 

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

.Newpart News. She resides in I-Iaplpton,.where she nqintains @.active private teaching studio. 

as asd1ois.t and recitalist For fifteen years, she sang at Temple Sinai as cantor h d : . . 

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. " Christini~. Morton received a degre in,Music.Eaucation from ~orth&ste+ Univepity 6 1983, qnd . . , 

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

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

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Teresa M. Cobarmbia Yiider is the highschool music teacher at ~ alsin~hk ~cade& in 

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 Mtute, she studied conducting and sang under the direction of Paul 

~alamunohch. ~eresa's compositions have been perfo~ed at 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 in.~&s Angelis, New ~ork,'~hiladel-bhia, San 1 : 

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, 

, 

Walter Ross, Justin Stalls, Haryey Stokes, John ~insor(~ice~~resident), .ad Teresa 

. . 

Yoder . (Treasurer). .. Erich stem joined the chapter for the -. 1998-99 .season. . , , , - . . . - 

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During the 1997-98 season ~ ~~~s~l~idewater 

pres.e*t'eii two concerts of new music at 

. 

: Old ~ominion Universityand the. Uni~ersity ofkchmond 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 

for 

~ , the 1998 Society of ~omposer's,~Inc. ~e~ion11'1 donference,held at' Christopher. . , 

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. ,NACUSA/National Web Site: &.thebook.corn/nacusa 

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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 Theme for 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 (1 9%), 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 Virm 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 silly 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.

t 

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 ~obdo 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 anh Piano, were composed to a cycle of poems written by Mendocino County 

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. 

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 ... I 

MICHAEL A. KIMBELL (b. 1946) studied with 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. ~usda. 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 

. ..

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PROGRAM NOTES -- Compiled an 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-acoustic Imeans. Her compositions are published by among others, Arsis Press, Carl 

Fischer, Gaudia Publications and Oxford ~nivkrsit~ Press. They are available on the Capstone, CRS, Century, Crest, 

Northeastern, NortWSouth. Opus One and ~ienna 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 ~ajional Association 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: 

~ncantations, 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 

quartet). Mr. Girard's music has been performed do 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/polyphonically and 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 

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 movement ~roiects . ., an im~elline character as voices enter in. de~art. 

.d 

1 - 

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 - - 

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 ~&ol Oates), Death of a Little Girl with Dove, for soprano and orchestra 

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 

reflect my evolution as a composer. I've given 4 subtitle to this sonata: "Moon." As well, each of the three movements

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 CD 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." 

'4

1 ' Gordon W. Bowie resides in Washington, 1 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. '/'he composer 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 ~iabe 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 

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 I 

Oboist Amy Anderson is Assistant ~rofessok of Music at Texas Tech University. The principal oboist of the Lubbock 

Symphony and the Breckenridge Chamber Orchesda she has recorded for the Albany and Living Artists lables. She received 

her Doctor of Musical Arts degree from the ~ astmh School of Music. 

I 

Pianist/composer Max Lifchitz recently rebed 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. " 

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Pianist Edward Wood holds degrees from ~ hk Eastman School of Music and The New England Conservatory of Music, 

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.

. . 

Angel Songs'(1994) ...................... 

. : 

;........~..................................Scott Robbins' 

. . . I .... powerfulpresence . . 

I1 ... almost-deadly birds of the.sou1 .. 

,111 ... ungraspable 

. . 

Anne MarieKetchum, soprano ' . 

. . , , .~na Seranian, violin ' . ' 

. . . . 

. . Sebastian ~oettcher, violoncello 

. Wendy Prober, pianolcelesta 

. . . . -. . . 

. . 

. - West coast Pre.miere 

. . - 

. . . 

. . . . . . 

. . . . . 

. 

. . . , . 

. . . . 

. . . -. . . _ 

. . 

. . 

. kt Ends (1996) ...... ;..; .............. 1 .... ;...:...:. . 

. . ......... ~ichelle 

ree en-~illner . 

. . . . . . . Isabella Lippi, violin -- . . . . . 

- . - . 

. . 

. . 

. , 

Bagatelle I1 (1997) ......................;..A .......................... ........ William Toutant 

. . . . 

- . 

'. 

. . 

. . -Daniel Kessner, flute ' 

. , . Frank Camplo, clarinet 

Michael Kibbe, bassqn 

. . . . . ' U. S. Premiere 

. . 

... 

. . . 

. . 

-. . 

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 

generally slow and meditative, while the central Dance provides most of the 

contrast. All three movements are deeply involved with ornamentation, and 

the finale shows the influence of my deepening interest in Japanese 

shakuhachi music. The premiere took place in Padua (Italy) last year, and it 

has since been performed in Weybridge (England), Kromeriz (Czech 

Republic), Baton Rouge, Zurich (Switzerland), and Honolulu. - DK 

Daniel Kessner was born in Los Angeles in 1946. He studied composition 

with Henri Lazarof at UCLA, where he received his Ph.D. with Distinction 

in 1971. He has taught composition/theory and directed the New Music 

Ensemble at CSUN since 1970. Recent activities have included performances 

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 "the Cuban patriot 

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 

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, 

1995. - ADLV 

- Translation of song cycle Canaones Transparentes on back of program - 

Aurelio de la Vega, born in La Habana, Cuba, in 1925, became an American 

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 

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 

de 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 

Angel Songs received its material inspiration from my wish to write an . 

ensemble work featuring celesta: The musical/spiritual inspiration for this 

. work is from the depictions of angels in the Duino Elegies of Rainer Maria 

Rilke, which provide an almost-antithetical inage to current, New Age- 

- influenced portrayals of angels as benign spirits seeking to cooperate with 

human beings. It's important to remember, though, that our record of past 

angelic visits often has them bringing frightening and unfortunate news: 

angels bearing flaming swords protect the tree of the knowledge of good * 

- and evil in the Garden of Eden from further tampering by mankind, an 

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 

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 

supernatural agents, more akin to their traditional Judeo-Chr$tian and 

Muslim incarnations, and the poetic fragments which provide the texts 

for the first two movements of Angel Songs concern the impact of such 

visitations upon mortal human beings. In the reflective final song, the 

focus shifts from the impact of angelic encounters to the paradoxical 

human situation of longing to woo the angels and at the same time 

realizing their essentially ungraspable nature. - SR 

Scott Robbins has recently been appointed Assistant Professor of Theory 

and Composition at the Converse College School of Music, following a 

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. 

NOTES 

At Ends sets up a pair of themes that are at ends with each other, that is, which 

contrast each other by their unique use of register, tempo, thematic and pitch 

materials. In a type of rondo format, the "C" section of the piece brings 

together various elements of the two themes. 

At Ends was written in July of 1996 while I was a fellow of the CSU summer 

Arts Composers Workshop held at Cal State Long Beach. Written specifically 

as a virtuoso solo for Curt Macomber, a member of Speculum Musicae, the 

title of the work also describes the limited time I had to get the piece-done! 

I'd like to take this opportunity to extend a large thank you to Isabella Li pi 

for so elegantly performing this work tonight. At Ends is approximately ve 

minutes in duration. 

- MGW 

Michelle Green-Willner received her B.M. degree from the University of 

Toronto and her M.A. and D.M.A. degrees from Columbia University New 

York. Dr. Green-Willner has received numerous awards, most recently four 

ASCAP Annual Awards, two ASCAP Foundation Grants to Young Composers, - 

The Brian Israel Prize from the Society for New Music, and the Serge Garant 

Award from the Society of Composers, Authors and Music Publishers of - 

Canada. 

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 

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 

little sons, Moshe and Asher. 

- Program Ndtes are continued, next page - 

R

ABOUT THE COMPOSERS 

THE MUSIC DEPARTMENT OF CHAFFEY COLLEGE 

Christopher Scinto is pursuing his doctoral degree at 

IN CONJUNCTION WITH THE 

Arizona State University where he is closely involved 

with the ASU Contemporary Music Society. His Evokin~ 

NATIONAL ASSOCIATION OF COMPOSERS 1 USA 

the Dream won the second prize in the 1996 NACUSA 

Young Composers* Competition. I 

presents 

Marshall Bialoskv is an Emeritus Professor of Music at 

California State University Dominguez Hills where he was 

the founding chair of both the music and art A CONCERT OF 

departments in 1964. He has been president of NACUSA 

for the last 22 years. 

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, he 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. , 

Michael Karmon was a first level winner in the 1997 

NACUSA Young Composers* Competition. Residing 

currently in Minneapolis, he is a graduate of the 

University of California at Riverside where he studied 

with Barbara Bennett, member of the Executive 

Committee of NACUSA. 

Hosting this concert, Thomas de Dobav is a longtime 

member of the music fac.llty at Chaffey College. His 

piece Claire- voy ance was written and named for his 

niece Claire Rifelj who premiered it at her high school 

senior recital last year in Middlebury Vermont. 

I 

1 

I 

NEW AND RECENT 

AMERICAN CHAMBER MUSIC 

SATURDAY EVENING, MAY 8, 1999 

COLLEGE THEATRE 

8:00 P.M.

THE PROGRAM 

Evoking the Dream Christopher Scinto 

Chelsea Czuchra, flute 

Kyle Champion, cello 

Genevieve Lee, piano 

Steven Schmidt, percussion 

Eric Lindholm, conductor 

Eleven Jewish Melodies for Solo Viola 

Marshall Bialosky 

Carole Mukogawa, viola 

Piano Variations Robert Linn 

Delores Stevens, piano 

Technology (Jennifer Olds) Stan Gibb 

Dave Cahueque, Baritone 

digital dela,y accompaniment 

- INTERMISSION - 

Four Tales: A Chamber Concerto for Guitar 

Michael Karmon 

I. Introduction 

11. Song 

111. Windows 

IV. Farewell 

Peter Yates, guitar 

Albert Rice, clarinet 

Tom Flaherty, cello 

Theresa Dimond, percussion 

Claire-voyance Thomas de Dobay 

Alexei Takenouchi, piano 

Music is courtesy of the Recording Industries 

Music Performance Trust Fund.

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 Gfi 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~d for 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~un room. 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 WAC 

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 

Association's 1997 1st Prize librettist, Dr. Sally M. Gall, to compose an opera which incorporates music from her Native 

American heritage. 

About THREE ODD METERS (I. 3+3+2, 11. Pentatempo Waltz, III. Two-Timing), she says: "I love Bartbk's folk 

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 somcwhat jazzy 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~itatanpo waltz" - 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.



foster the composition and performance of new music. Founded in 1932 and now with branches in Los 



Cotton at (650) 367- 1683. General inquires may be directed to Nancy Bloomer Deussen, (650) 85 8-0 172. 



THE NATIONAL ASSOClATlON OF COMPOSERS 








Ms. Annette Axtrnann 



Mr. Brian Holmes 

Dr. Michael Kimbell 

Mano Murthy 


The City of Palo Alto, Division of Arts and Culture 





Chapter, in cooperation with the City of Palo Alto, Division of Art. and Culture. 




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. 

of MUSIC 

Chiho Sugo received her Bachelor of Music Education from Tokyo Gakugei University in 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 ensembles, 

including the LSU Wind Ensemble and the LSU Symphony. She is the winner of 

the 1996 Kentucky Music-Educators Association Solo Competition and semi-finalist for the 

NACUSA Mid-South Chapter 

ICA 1997 Young hist 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-semifinalist 

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 

. . 

. .;. 

> .,. 7.: ,. : 

& .:, :

About the Music ... Program 

Fanfare for Trumpet Peter Blauvelt 

The Fanfare for Trumpet was written in response to the many anniversaries - whatever their nature 

may be - of the 1990's. The piece itself makes no pretense of being very sophisticated: It is simply a 

celebratory fanfare and not much more. 

Metamorphosis I Mike1 LeDee 

This is a variation of a composition originally written and performed by several groups of children. 

The performers were approximately ten years old and had little or no musical training. As in the 

original work, the performers of this piece were given a mission. The mission was to find or create an 

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 

this composition. Tonight's performance will include piano, pans, pots, juice cans, rice, bottles, marbles, 

coffee cans, etc. 

Impulse 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 

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 

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, 

everyone crescendos slowly to as loud as possible, sustaining this dynamic level until signaled to cut 

off. The piece is designed to surround each audience member with an aural atmosphere of percussive 

sounds. 

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. 

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 

of presentation): bell, (2)wind-wands, string-can-board, tambourine, keyboard, wood block, copper 

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. 

. . 

Metamorphosis I (1999)* 

1 The Kitchen Sink Ensemble: 

Yuri Murata, Kheng Yoay, 

William Price and Mikel LeDee 

I Shall Not Want (1998)* 

Fanfare (1994)* 

Impulse (1995) 

Leigh Ann Reecti, flute 

Pahick Tuck. trumpet 

Dawn K. Williams, leader 

lbo Movements for Clarinet and Piano 

I. Triste 

II. Esperer 

Chiho Sugo. clarinet 

Ryan Ellis, piano 

Intermission 

. . 

The Bucket (1991) Trip Fuchs, Kelli Scott Kelley, and Bill Kelley 

Three Short Pieces For Tape 

Three Short Pieces for Tape (Based on the Poem "Alone" by James Joyce) 

greygolden ( 1 999)* 

Three Short Pieces for Tape is a collaboration of short individual works by Christopher Watts, William 

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)* 

poem were often used as source material in the production of these works. A Crime of Passion (1 999)* 

Alone -James Joyce 

The moon's greygolden meshes make 

All night - a veil. 

The shorelamps in the sleeping lake 

Laburnum tendrils trail. 

The sly reeds whisper to the night 

A name-her name- 

And all my soul is a delight, 

A swoon of shame. 

Six Barefoot Dances 

I. Firm 

II. Swinging 

III. Walking 

IV: Lively 

V. Jaunty 

VI. Brisk 

Kevin Bums. alto saxophone 

Christopher Rettie, alto saxophone 

Mikel LeDee 

Bradley E. DeBow 

Peter Blauvelt 

Dawn K. Williams 

Ryan Ellis 

Bill Kelley 

Christopher Watts 

Jonathan Peters 

William Price 

John David Lamb

1 5. Paul Stouffer continues a long career as a composer, arranger, and teather. His 

arrangements and compositions, published in the U.SA and England, includes 

1 works for band, orchestra, voice, and instrumental enwmbles. His forty y un of 

tea* experience has included faculty positions at the Philadelphia Musical 

Academy and several private schools in Pennslyvania and Maryland. He now 

1 spends his retirement increasing performances and output of his compositions. 

I 

6. Stephen S ~ce is associate professor of music and integrative arts at Penn State 

Abington. He has received degrees in composition from Miami University of 

Ohio, Penn State, and Temple University and has studied composition with 

Cliiord Taylor, Maurice Wnght, Burt Fenner, Barbara Kolb, Jere Hutcheson, 

1 and Martin Mailman. His compositions have been performed throughout New 

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. 

Perm State Abington 

and the 

National Association of Composers USA 

Delaware Vatley Chapter 

The Fall 1999 

Composers' Concert 

Sunday, October xo at 2:30 p.m. 

Satherland Anditob

THE COMPOSERS PROGRAM. 

1. Leonard Klein - 7he Variations on a 7heme of 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 

other composers, was a~acted to try something similar for piano." 

Dr. Klein, retired music professor, is now able to devote himself more to 

composing. He works with computers, synthesizers, and music notation software. 

Dr. Klein and his wife live in southern New Jersey, rather close to the ocean, with 

their two dogs. Besides composing, he likes cooking and going to concerts, plays, 

and the opera. 

2. James Marshall studied cello at the New School of Music in Philadelphia, and 

earned an M.A. in music theory and composition at the University of Pennsylva- 

nia. He plays cello with the Wayne Coterie Shing Orchestra, which performed his 

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 id Vocal Ensemble Workshop at Smith College. 

3. Joseph NoceUa studied composition with Romeo Cascarino and received his 

master of music degree from Temple University. He studied piano with Temple 

Painter and Tom Lawton, and jazz improvisation with A1 Stauffer. His music has 

been performed widely by such organizations as the Concerto Soloists, Stockton 

Chamber Orchestra, Composer Services Inc., Crissey Concerts, and NACUSA. 

Many commissions include the Pennsylvania Music Teachers Assoc., Interboro 

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 

School. Nocella teaches music for Delaware County Community College; piano, 

jazz, and composition for Suburban Music School and is director of music for St 

Gabriel's Church in Nonvood, PA. 

4. Peter NoceUa studied composition with hlichael White, Joseph Castaldo, and 

Clifford Taylor and studied viola with Leonard Mogill. He also attended seminars 

with Vincent Persichem, George Rochberg, Gunther Schder, and Andrew 

Rudin. Studies at Temple University yielded the M.M. and D.M.A. in composi- 

tion. Dr. Nocella has been very active as a professional composer, conductor, and 

violist For 15 years (1974-1989) he composed and arranged major ballet scores 

for the American Ballet Theater (with Baryshnikov), Pennsylvania Ballet, Milwau- 

kee Ballet, Cinncinnati Ballet, and the Malmo (Sweden) State Theater Ballet 

More recently, he was commissioned by the Philadelphia Swedish Historical 

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 

Abington and Nazareth Academy while maintaining an active composing and 

performing schedule. 

Variations on a theme of Tartini (1988) 

Leonard Klein, Piano 

Leonard Klein 

Five Little Counterpoints for String Trio (1996) James Marshall 

Members of the Cheltenham Quartet 

Trio for Flute, Clarinet, and Piano (1999) Joseph Nocella 

Flute: Josephine Jones 

Clarinet: Lisa Shiota 

Piano: Stephen Campitelli 

Duo Sonata #2 for Violin and Viola-Four Nocturnes (1998) 

(WORLD PREMIER PERFORMANCE) Peter Nocella 

I - Nightscape 

I1 - Di Notie in Napoli 

111- Eire:Loverls Nightwalk 

IV- La Nuit des Chats 

Members of the Cheltenham Quartet 

String Quartet #l (1991) 

I - AUegro 

I1 - Moderato 

I11 -Rondo 

The Cheltenham Quartet 

First String Quartet (1 975) 

I - (1/4note= 100) 

11 - (112 note - 48) 

I11 - (114 note - 132) 

The Cheltenham Quartet 

THE CHELTENHAM QUARTET 

Paul StoufTer 

Stephen Stace 

Florence Rosensweig - %olin I Millie Bai - V~olin 

I1 

Peter Nocella - Viola David Szepessy - Violoncello

I 

I 

NACUSA OONCERT 

I 

with the COMPOSERS PERFORMANCE ENSEMBLE 

I 

Joe Messler, Baritone 

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 

Saturday, October 30, 1999,8pm, cultural Center, 13 13 Newell Road, Palo Alto, CA 

I 

I I'lana Cotton PLAYT~INGS for viola and ~iano 

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

John Beeman CRYSTAL NOCTURNE for viola and piano 

I 

I 

Sondra Clark 

Mark Alburger 

MASTIFFO'S ARIA for baritone and piano 

ANDA~TE CANTABILE ("IT WASNT CLASSICAL...") 

for flute, clarinet, trumpet, horn, piano, violin., viola, and double bass 

Intermission 

Paul M. Stouffer PHIZZOG for baritone and piano 

I Owen J. Lee 

I Bruce Hamill 

I Nancy Bloomer Deussen 

CREDO /for baritone and piano 

I 

THE LONG GOODBYE for violin and piano 

I 

RONDO for violin, clarinet, and piano


Editor-Publisher of 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 the oboe and 


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 1 1, the premiere of excerpts from his Sideuwlks ofNew Yonk: Henry Miller in 

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. .. " "It wasn't a symphony. because it did not 

have a sonata alleg m.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 

Amring Machine. 

CRYSTAL NOCTURNE is a lyrical, neo-romantic composition for solo viola and piano written in September 1999. 

The HarvardDictiotraty of hIu.~ic &fines "nocturnen as a "romantic character pi ece...written in a somewhat melancholy 

or languid style." Originally piano pieces, the tam 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 kpnq composers. Ha 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 kkeley. 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. 

CmUy 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, and is the author of Music of the Moment: A 

Gmded Apprmch to the Art of Keyboard Impmisation, available from New Music.

"Down Dip the Branches" and "He 

Cut One Finger" from Collected 

'and New 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 tfrrout the San Francisco by 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 cofounder 

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 yissions 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 at Los Angleles, and with Andrew Imbrie at the University of California 

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.






\ 

Cotton at (650) 367-1683. General inquires may be directed to Nancy Bloomer Deussen, (650) 858-0172. 









contributors to the 1998-99 conccrt season: 





Mr. Brian Holmes 

Dr. Michael Kimbell 

Mano Murthy 



The City of Pdo Alto, Division of Arts and Culture 


Mr. and Mrs. Michael Scoficld 



Chapter, in cooperation with the City of Palo Alto, Division of Arts and Culture. 


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 

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 

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. 

The work was written in 1993 for my wife Duda Di Cavalcanti for her birthday because 

her sign of birth is Pisces. 

Mickie Willis Shards of Memory Pisces (1993) 

Shards of Memory was composed as a sort of variations, in that a long series of harmonic 

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, 

in which our memories are ever-present, but often fleeting, fragmented, sometimes 

disturbing; occasionally lucid, coherent, serene and comforting, and sometimes relentless 

and overwhelming. 

Three Movements for Piano (1998) Melissa Pausina 

Melissa Pausina, piano 

Three Short Pieces for Solo Tuba (1998-99) Bradley E. DeBow 

Charanga (1993) 

Bradley DeBow, tuba 

Duda Di Cavalcanti, piano 

Sarah Berg, flute 

Six Bagatelles forpiano (1973-77) 

1. Scherzo - prestissimo 

2. Impromptu - Allegreto 

3. Intermezzo - Lento 

4. Arabeske I - con mot0 

5. Arabeske I1 - moderato 

6. Humoresque - Allegretto con rubato 


Shards of Memory for piano trio (1999) 

'Iim Marchiafava, violin 

Ivan Lalev, cello 

Louis Wendt, piano 

Liduino Pitombeira 

Michael Colquhoun 


Mickie Willis

Notes about ttte Artists The Mid-South Chapter of 

Red Stick Saxophone Quartet 

Baton Rouge, LA 

Brian Utley, soprano saxophone 

Joshua Thomas, alto saxophone 

John Perrine, tenor saxophone 

Chris Rettie, baritone saxophone 

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, 

W;and-StrMaqrCdlegei~S~th-=d,lN;The quartet was a featured 

ensemble at LSU's 54th Festiial of Contemporary Music, performing Philip 

Glass1 Concerto for Saxophone Quartet and Orchestra with the LSU 

Symphony Orchestra. As a competitive ensemble, the Red Stick Saxophone 

Quartet was named National 1st Runner-up at he 1998 MTNA Collegiate 

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 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 

I 

NACUSA 

presents 

A Concert of -C~nkm~.ra.cy 

and Experimental 

Music 

I 

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 iau improvisation with Rex 

Richardson. 

The Baton Rouge Gallery 

Thursday, December 2,1999 

7:30PM

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5. ofsylphsinfields 

John Winsor, darinet; 

Jeannette Winsor, piano 

Dr. James HertAsoq Violoncello 

hSatatnNal hey Stokes 

ldsdIkeans Leigh Baxter 

1.AWaBintheWoods 

2.AttheSp1ing 

3. After the Rain 

4.LoolangGtapsFalls 

5. How An the haghty Fallea 

6. Evening By the Lahe 

University of R i h d Guitar Ensemble 

Adam Mandell-Guitar 

Baron Tymas-Guitar 

E h IindMoomGtlitar 

John Wmr, dakt 

Jeanette Winsor-Piano 

Floyd Barns 

' PnmSorobNo.lwaeomposed~thespringandsmmnerof1999forKyoog 

Jarre!. The wort was written under the influence of the compositional rhdoric of Beethoveq 

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respecbvdy. 'Ihe modes in the wola hve the muod of the diatonic plus one additid We. It is 

the initial two movemmls that will be performed duhg this coaeert 

Fipt Skeith 0 17,fir ViobucL4ava orighdy written in 1980 for salo violin. In 

1W it s bamiifk cello and vida The titles ofthe skdd~es rn hm hQWw 

Voicesby Tennyswn, d h Rnpe 01th h h y Alexander Pope. The titles were selected after 

the sketches were written. Ibe stdcbes, while written a absolute music, create programmatic 

images which evolved after the completion of the pica. Ibe titles were comtmkd from poetry 

found in the Rap of the LC&, by Alexander Pop.The titles give way to images which could 

appear either on an d s palate, or in the motiolls of a dm. 

I#& D m (1998) s inspired by the Eompaser's daughter who, while deep at two 

we& d4 rm obviously drearmng. The music moves thmgh several dmmtates of Merent 

dmctu, in an aa~mpt to imagine what might exkt in the subconscious of a two week old Md. 

Five Pkccrr for Cbiwlu A1993 am& of an mblike imammmt in which the 

central third piea -.marlred Geotly, hhiotion - ismunded by two pi& of fist pieces. Each 

of the four fast pim presents ideas differently, but tends to .drm the virtn@ic aspeas of the 

immnt 

Pam St& Nod 'A Welb In tbe Woodsn 'Ibis six movmt suite for pim s 

bemm in 1%7 and wmlded in 1982 The rust movement is like the hem? in 

~~~m'~t~o~xhibition',andbnngsusintothewoodp~~w~v~tthe 

bubbhne, m-filled sorine makim its wav throueb the forest toward the &Y lake A sudden 

~om~usby~d&the&iso~webearthe~eof~fa~mgdthe 

1cartx.A~ we waada fartber into the fmt we anive at Looking G k Fah and beholdh nriking 

d splashg downwd, never stoppmg m its reldm flow. 'I& we come u p a hoge fm, a, - 

fomcmpaorofdthef~nowlyingQadanddemmposn&gradllaOyrehrmingtothesoil 

from whicb it sprang. Fiaally, we fmd om way to the W u l lake at ev* and enjoy the 

mmmofhrrpphngwavesagamstthesboreinthe~gh~ AUbrdtbe3rdand6th 

movements were premiered at a 'Friends of Floyd" at at MResbyteriaa Cl~urcb Virginia 

Beach, on Febnq 18,lW. Today dl be the h t time it has beea played in ib w. 

Floyd W o n ha, an elheal engineer and oidahed minister of the United Chmcb 

ofC& although born in New York State, mived mait of his education in Canah His early 

trarmng in music theory was at the Royal ConserPatory of h i e inTmto, and he later studied 

~~oo~Dr.F.RS.aarheatQumUniversity. SihemovedtoV&ia,heh 

Btnmed coqcdon with J h Davye at Old Dominion University mNodolk Floyts works 

in& anthem, carols, mtatao, song qdes, a Requiem Ma~q bane& a symphony, a violin 

amcato, olbn orchesbal war$ and inshumenlal chamber mpric. His Begy for Fhde and Strings 

(198.5) and hada f o r b and Permion (1990) were mrded in &atislava in the~lmmerof 

19WbytbeSlovakR~oSyrmphong~Theh~rmreldin19%ona(lDof 

woks by 8 Amaim composers under the Makz M m i d Couedive label entitled Orcbesbal 

~bnes,Vol.l~C2022);theBegyistofdowonanothadiseinmid-U)OO. Ohrecent 

woltsindodetwopianosoites,htforthe~eofImq'for~andordl~d 

7be 7 Days of Creab'on' for Nmtor, &Flat Clariaet, and Piano, and a suite fmm the music of his 

MeL 'Phccho." 

~el~h Baxterteaches c k ibeoly and muldc appniation at ~ohn ~yla ad J. S. 

Remolds Comrmmity Cdw. He h bas ed a4 interim diredor of the V.C.U. Chord h 

kbety. ~e holds a & of muldc degree in oomposition and cmbctmg from ~irginia 

Commoawdth University, wbm he stndied with AUan Blah and Jadi Jan&i. His music, 

pubM by Seeaw Music, Inc. of New Y& indades wol$ far Sax Qlrartet, Chid indw, 

Flute,andOrgdn &wor$idudermaicformW@haud,cboruqW"& 

Woqd*. 

AllanBknb wabominNewYarbCFtyinI9tS.B~~~atthe 

High School ofhhic and Art, Jdhard School of Muic (1W541). Hemiveda W o r of 

hdepreefromW~~Cdegem1gqSandaMaPlaofh~fmthe 

Univmitv offdhemhin 1950. He had additional stndy at the University of Iowa AUan was a 

violinist~the~borgh~ymphon~ f m 1950tol%~the~win~(~ckandthe 

National Orcbwtral Training Asscdoo Chckba in 1952. h the somma of 1953, lie hdied 

orchestral and cbamkr music at Tangled 1111954, he studied &amber maPic at the M m 

Sehwl of !hie. From 1954 tol956, he coqleted the Teachers Cdidon Rogiam at Teacbers 

College, Columbia University. He then taught instrmnental mtac at New Yodr's MS 118 (19% 

n)and~s44(19naylnthe-of1959,he~t1~~enhny~et~ 

Teachers College, Calmbia University. FKIIO 1960 to 1961, he taogbt music Umy and 

composition at the University of Alabm. In the summa of 1961, he taught music appreciation at 

Setw Hal University. He taught instrmneotal rmic Fmm 1961 to 1962 at Yodikm Heights 

Schoolsandfmm1%2-1%5attheffi~Sehoolof~candAR~the1%566schd 

year, he taught in the New York aty pubhc d~ak Drmng the summer of 1%6, he wa a dodoral 

assistant at the University of Iowa. Re eght music theory and composrhon at Westem Illinois 

Universityfml%l968,at~S~Co~from1%8to197Oandfml9Tlto!~ . 

andatH&H~CUNYfm1910to19Tl.ManisRofmEmai~ofV~a 

Common& University, where hetaogtd from 1978to 1996. ~llao's wwh arc pnb&d by 

Boosev&Haw);es AssaiatedMuldcPnblishers.Carl~&Comnanv.SeesawMtac 

CCQO&I ~ p r i i ~ o rR e a ~ I . m O had ~ others. B 

mmic is recorded on CRI, Oioq Advance, Open Loop, Cdaur, Cont~npor;oy Ramd Society, 

Titanic, Ro Vivq ad No~thlSordb lab&. Ah's ~xwmition pdzes include awards from he 

George Eatmaa Compehb'on (IW), the~alid h&mifor the &(1983), the Vuginia 

MpricT~ers~on11979.1988 and 19911theEiic Satie MosltvTonalAwardt!ie 

Chilaup ~nnoal ~horal CompCtitii~ward lhhrtd solo song &tim (1989), and the 

Flutr ChonConmehtion at the UniversitvofTdedo(lW~. Ah islistedmawkrof 

refereaces indud;ng the ~ eGroves w Dikiwarp of h c &d MUO&. 

James Preston Herbhq (b. ~4,1947)isanative ofW.ilahomaCity, Olrlabama He 

earned the Bacbelor of Mmic E d n h degree from the Univasity of Oklahoma, the Master of 

W c degree from the University of hadigan, ad the Dodor of Mn\ical h degree from the 

Catholic Universitv of America Dr. Herbisao is Associate Rofm of hfusic at Nodolk State 

~nivenity where b teaches theory, ~ estrmg metbodq g and music apprgiation He also 

condodstheunivasityorchestraanddesrelataichambRenswbles. Hehasbccngneyt 

condo~Ior, ax14 adjdcator and dinitiaa for ordxsId, cbambesand do events thgbout 

Viand North Carolina He is principal cellist of the Wilhburg Sympbonia and aht in 

thevia SymDbony and cellia and &h of the HICO sting &&cb he &hed dde 

at 6 nib&$. His performanu expuimu Imlnds m d p in the OUahoma City 

Symphony, the %J! Symphony, the Vugiuia Opaa Or- and the Nova Trio. He ba 

performed in recitals, ch&r grcsrps, and with mlcbestran throoghout the United States ad 

bda. Notable - amone b reatal and chamber mformances are his mid at the Cathcmal of St 

~ohnthe~ivinein~ew?orh; hispfonmce atihe~wmdy~entufarthe~af~~rtq 

the NovaTno's phmaw and madung session with Menahem M e r of the Beam h Trio

1. Never Weather-beaten Sail 

by Thomas Carnpion 

Texts for Four Holy Songs 

3. The Conclusion 

by Sir Walter Raleigh 

UNIVERSITY OF CALIFORNIA. RIVERSIDE 

1 Department of Music presents 

I 

Even such is Time, that takes in trust ' 

I 

Never weather-beaten sail more willing 

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. 

Ever blooming are the joys of Heaven's I e 

high Paradise, Natic -4 A --- -,-A 1-1, 

- -- - - - - - 

Cold age deafs not there our ears nor 

vapour-dims-our eyes: 

Glory there the sun outshines: whose 

4. Pry to the Father of Heaven 

by John Skelton 

of Composers, USA 

beams the blessed only see: 

0 come quickly, glorious Lord, and raise 

my sprite to Thee! 

0 radlant Luminary of light interminable, 

Celestial Father, potential God of might, 

of heaven and earth, o Lord incomparable, 

2. Hymn 

Of all perfections the Essential most Perfite! 

by John Bunyan 0 Maker, that formed day and night, 

He that is down need fear no fall, 

He that is low, no pride; 

He that is humble ever shall 

Whose power comprehendeth every place! 

Mine heart, my mind, my thought, my whole dehght 

Is, after this life, to see Thy glorious Face. 

Have God to be his guide. 

Whose magnificence is incomprehensible, 

I am content with what I have, 

Little it be or much; 

All arguments of reason which far doth exceed, 

Whose Deity doubtless is indivisible, 

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; 

Fullness to such a burden is 

Assist me, good Lord and grant me of thy grace 

That go on pilgrimage; 

Here little and hereafter bliss, 

And, after this life, to see Thy glorious Face. 

4:00 P.M. 

Is best from age to age. Alleluia. Watkins Recital Hall 

To live to thy pleasure in word, thought and deed, Sunday, February 13,2000 

A Program in Honor of 

Robert Linn (1925 -1 999) and Ellis B. KO~S @. 191 6)

Four 

11. Freely (1999) 

Suite from Macbeth, K. 17 

I. Prelude 

National Association of Composers, USA 

A Program in Honor of 

Robert Linn (1925 -1999) and Ellis B. Kohs (b. 1916) 

11. Processional I (Macbeth's Army) 

111. Processional I1 (Duncan's Army) 

N. Gavotte (for the banquet scene 

V. Intermezzo (between scenes) 

February 13,2000 

Barbara A. Bennett, piano 

VI. Forlane (prior to the assassination of Lady Macduff and her little boy) 

VII. Signals (of the opposing armies) 

VIII. Finale (recalling the witches' predictions) 

Four Holy Songs (1 998) 

Abraham Fabella, piano 

I. Never Weather-beaten Sail (Thomas Campion) 

11. Hymn (John Bunyan) 

111. The Conclusion (Sir Walter Raleigh) 

N. Prayer to the Father of Heaven (John Skelton) 

OnyCbuchim Aduite Chinwah, baritone 

Byron Adams, piano 

Barbara A. Bennett @. 1952) 

Ellis B. Kohs @. 1916) 

Byron Adams @. 1955) 

Piano Variations (1999) 

Peffomed in memory of the coqoser 

Intermission 


Longing Under the Moon 

[Znd Phce winner, NACUSA composers competition 1778) 

Amy Shulman, harp 

Peter Kent, violin 

. . hear sound, less ringing 

and sonorous than the dreamers . . . 

[!st Phce winner, NACUSA composers competition 1778) 

Passacaglia for piano (1 998) 



Robert Linn (1 925-1999) 

Jacqueline Jeeyoung I(lm @. 1968) 

Stephanie Johnson @. 1977) 

Abraham Fabella @. 1975)

I 

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 

Faculty Artists Festival 

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 

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 

Chamber Singers 

8:00 p.m. Recital Hall 

Friday, March 10 

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-minute information. 

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--place it 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, 

D.C., among other notable venues. 

of MUSIC 

Presents 

NACUSA Mid-South Chapter Concert #3 

lhesday, February 22,2000 

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 

the 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. 



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 ''~410 chamber 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 iA 1981, a title he still holds. In 1988 he established the New 

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 a1 rapid pace. The work is in three contrasting movements, the 

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 mbment 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 te year? 

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 2OthCentuty 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. Alburger began playing the oboe and 


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 Sidmlks 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 Conce~o was written in three sequential days of December (3-5) and is dedicated to NACUSA 

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 Qua~et, Elegy 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 (1 990) 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 Spish 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 (1 9%), in San Jose, California (1 995), at the 1995 SEAMUS (Society of 

Electro Acoustic Music in the United States) conference in Ithaca, New York and in Warsaw and Krakow (1 993). 

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 vghout 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 numerouslcommissions both 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, ,Jim and Pat Watt, and Mu Phi Epsilon Some recent 

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 kere 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.


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 







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

2000 concert season: 




Ms. Use Calabi 

Mano Murthy 






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





Programming: John Beeman, Nancy Bloomer Deussen, Diana Tucker 

LA SOLEDAD SOLlTUDE 

Aqui 

no hay calle, nadie tiene puatas, 

solo con un temblor se abre la arena, 

Y i abre todo el mar, 

todo el silencio, 

el espacio con flores amarillas; 

se abre el prefiune ciego de la tierra 

y como no hay caminos 

no vendra nadie, solo 

la soledad, que suena 

con canto de campana. 

Here 

there is no street, no one has a door. 

only with a tremor does the sand open up 

And the whole sea opens up, 

all of silence, 

the space with yellow flowers; 

the blind perfiune of the earth opens, 

and because there aren't any roads 

no one will come, only 

solitude, which rings 

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 

I. Ignorant Bliss #3 

11. A Crime of Passion 

Poetic Discipline 

I. Disgrace 

11. Incompetent 

111. Ashamed 

JY. Tradition 

John Perrine, alto saxophone 

William Price 

Andrea Mitternight 

6 Bye Six Aaron Johnson 

Man for tape alone 

Three Diminutive Pieces for Solo Tuba 

I. Wuorinen one, Tuba nothing 

11. Fleeting Images 

111. With Motion 


Poeines d 'Amour (for voice and piano) 

A Short Flight for tape alone 

Dawn Williams, mezzo-contralto 

Robert Peck, piano 

Aaron Johnson 

William Price 


Jonathan Peters

a 

1 ABOUT THE COMPOSERS 

i 

.I 

I 

Paula Diehl received an MA h m Temple School of Music where she formed the ensemble, 

SOUNDS, which has performed at the Painted Bride and FM station WRTI. Her interests in 

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 ~ ha~ter ' .' , 

: 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- 

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 

presents: 

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 can be found on its web page at 

w.music-usa.org/nacusa where you can view: CONCERT LISTINGS, ITEMS OF INTER- 

EST, MEMBER CATALOGUE, MEMBER LINKS and hear AUDIO SAMPLES of membets 

compositions. Membership is not restricted to composers but is open to anyone wishmg to 

FRIENDS MEETING HOUSE 

become associated with a cultural organization which has been in existence since 1933. Lansdowne and Stewart Avenue 

to the Philadelphia Chapter of NACUSA, existent copies of programs indicate that a 

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. 

, ~ s ' 

' 

. . 

Lansdowne, PA

Sonata for Viola and Piano (1 990) 

I. Tempo guisto 11. Lento I11 Con mot0 

Peter Nocella, viola 

Leonard Klein, piano 

World Premiere Performance 

Phuses (2000) 

Michael Higgens, guitar 

Sonatina for Piano (1 943) 

Allegretto moderato Andante cantabile 

Allegretto marciale 

Leonard Klein, piano 

Eternal Love (1 992) (Paul Stouffer) 

Lullaby (1 991) (Paul Stouffer) ' 

Barbara Nyce, soprano 

Nazoma Takashima, piano 

INTERMISSION 

Whiprs of Heavenly Death (1 999) (Walt Whitman) 

Ajter the Dazzle of Day (1 999) (Walt Whitman) 

Nocturne (2000) (James Marshall) 

Barbara Nyce, soprano 

Nazorni Takashima, piano 


PROGRAM 

Leonard Klein Variations on a "Strut" 

for Piano and Orchestra 

I. Theme 11. Toccata 

I11 Capriccio IV Waltz 

V Romance VI Etude 

VII Reprise VIII Fugue 

Paula Diehl Paul Fejko, piano soloist 

Symphonic accompaniment, Synthesizer 


Karl Husa 

The Gaertners 

Fred and Marie 

ttttttttt~ttttttt~ttttttttttt~*ttttttt*tttt 

t t 

t 

t 

t ACKNOWLEDGEMENTS t 

t t 

Paul Stouffer t t 

: The Philadelphia Chapter. thanks: 

t 

t Elizabeth Cope of the Friend's Meeting for arranging the use of the a 

g FRIENDS MEETING HOUSE for today's concert. 

t 

*Paul Fejko for recording today's concert. 

t 

t Elizabeth Hewitt for preparing the program for printing. t 

g Leonard Klein for consenting to perform Karel Husa's Sonatina 

t * 

Deborah Kravetz for her critique of this performance. t 

James Marshall * , t 

t 

t 

t *For information on purchasing recordings of today's concert t 

t call 610-534-1521. t 

t t 

t t 

*tttttt~ttttttttttttttttttttttttt*ttttt*ttt 

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.

Sonata 

Paul Stouffer 

Concert Bon Ecouter * 

3:00 PM, Sunday, May 21,2000 

John Wlnsor, clarinet 


Caprice 

Leigh Baxter 



Three Preludes Sonnets Nos 1 & 2 

John Wlnsor 


Paul Stouffer 


Romanza Sonata for Clarinet and Piano 

Walter Ross John Wlnsor 



yes is a pleasant country 

Rob Tannen 

Alan Naidoff, tenor 

Jeanette Wlnsor, piano 



Sonata No 2 

Adolphus Hailstock 


* This event sponsored by NACUSA and Concert Eon Ecouter. For further 

information or 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 performance was 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-a concerto for-two pianos-and orchestrarHis-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. Twek 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 composition symposia. 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 universities and 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 em 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 cornposittonal idiom has been descni 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 his dodorate in pharmacology from 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 inspiration from 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 singercomposerattourneydentist who 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~,a~ aJaqM s,l!~de pue) 

auo JaaMs Aw 

:uosea~ uey) 

uoseas ~adaap e s! an01 

'. 

(Jaql!a $0~) 

JayleaM han aql s! qloq 

~eaA ayl uado s,lal 

(Alan01 Aw) 

halu!~ J! 

:hluno:, lueseald e s! saA

Presents: 

One of Nature's Majesties 

Woodwind Quintet 

Pu-Gesaenge 

The Light of Darkness 

(Embarcadero and Newell)


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 

Preludes and Fugues ("Topicalr>, and 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. 

ADAGIO / ALLEGRO MOLT0 E V7VACE ("Casinof> is the fourth and final movement of SWHONY NO. I, OP. 21 

("It nwsn'l classical, it was symphonic. .." "It wasn'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 ily 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-conductor with 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. Ha 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, ~dlcore in L 'Elisir d 'Amore, Malatesta in Don Pasquale, 

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 Repertory Theatre, ~aconiL Opera, Hudson Opera Theatre, St. Luke's Chamber 

Ensemble, Dicapo Opera and othkrs. 

I 

Mr. Yiannoudes' operatic experience also extends to more contemporary pieces 

including Kun Weill's ~ aha~ont!~-~on~s~iel. Virgil Thomson'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 

and Vaughan Williams' Five ~ ~sfical Songs. Mr. Yiannoudes has introduced 

audiences to much of the Greek repertoire as baritone soloist for the Metropolitan reek 

Chorale and for the Pancyprian ~hbir. He 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 vdca~ Performance from Mannes College of Music and 

is currently completing his ~octorhte of Musical Arts at the City University of New 

York. Presently, Mr. Yiannoudes is a principal resident baritone at Opera San Jod.

I " 

1. Baerenhonigliebe. I 

Was es doch nicht alles gibt. 

Seht, wie Pu den Honig liebt! 

Sum, sum. sum. 

ich Guess6 ge&, warum? 1 I 

Wenn der Baer ein Bienchen I waer, 

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, 

dam 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 so!. 

Man saert. er haette sich versteckt. 

I doch hden wir ihn erst entdedkt. ' ' I 

I 

dann feiern wir ein grosses ~ dst 

auf dem man alle leben laesst: 

I-aah und Ferkel, Kaenga und Roo, 

Kaninchen und Kaninchens Freunde 

Eule un Pu. I I 

und ~hrist6~h Robin auch dam. 

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! 

- .






Cotton at (650) 367-1683. General inquires may be directed to Owen Lee, (408) 730-2224. 









contributors to the 1999-2000 concert season: 




Ms. Ilse Calabri 

Ms. Kathleen Johannessen 

Mano Murthy 



Mr. Robert and Ms. carla Schenk 


Ms. Diana Tucker 



Chapter 



Publicity: John Beeman, Carolyn Hawley, Marilyn Hudson, Lori Griswold 


Programming: John Beernan, Nancy Bloomer Deussen, Diana Tucker

I UPCOMING EVENTS 

I Friday 

July 21 

Brian Woods Masters Voice Recital 


Sunday July 23 

Gospel Choir Concert 


Wednesday July 26 

Rex Richardson Masters Tkum~et Recital 


About the school. . . 

of MUSIC 

Presents 

NACUSA Mid-South Chapter I 

Summer Concert 1 

. . . . 

Please call the Concert Information Line at 388-3925 for up-to-the-minute informalion. .2y , , ~: 

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Union Theater Box Office: 388-5128. Dept. of Theatre: 388-4174. i 

www.music.lsu.edu and look in your mailbox for the Fall 2000 schedule. . "E; , . ... 

' " $VX 'I.--'"* - 

I ~erformance andresearch vursuits and thus attract students from all vahs of this coun6v -&v-.-". i- ,kP&?iP~&$RK'""~T 

5 ~;

Program 

Evocations (2000) John M. Crabtree 

I. Innocence 

11. Reconciliation 

111. Bliss 

IV. Absolution 

Pepron Pilibossian, piano 

There Will Be Rest For Me On That Day (2000) Bradley DeBow 

Bradley DeBow, tuba and piano 

s WirLS ... for electronic tape (1 992) Dawn K. Williams 

Three Diminutive Movements for Solo Tuba (2000) William Price 

I. Wuorinen one, Tuba nothing 

11. Fleeting Images 

111. With Motion 


Quiet Erosion Jonathan Peters 

Sarah Matthys, flute 


About the Artists . . . 

Bradley E. DeBow received his Bachelor of Music Education from California State University 

at Long Beach in 1997 and his Masters of Music in composition from Louisiana 

State University where he studied with Dr. Stephen David Beck. Throughout his time at 

Long Beach, and the year after, D~BOW taught in public and private schools and performed 

with various ensembles all over Southern California. Various chamber ensembles and individuals 

throughout Southern California and South Louisiana have commissioned and premiered 

his compositions. As a tubist, DeBow has premiered many solo and chamber works 

for the tuba, tuba ensemble, and is working with extended techniques for the instrument. 

Ms. Di Cavalcanti received her Bachelor of Music degree from Ceara State University in 

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 

fur Musik in Wurzburg Germany. Presently, she is pursuing her Master of Music degree in 

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 

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 

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 

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 

third in MTNA's regional competition. Hurst is a recipient of the Louisiana Music Award, 

US Coast Guard CWO Scholarship and the LSU Honors Scholarship. Hurst is also an ac- 

tive member and the former recording secretary of Sigma Alpha Iota, as well Louisiana 

Flute Society, Association of Information Technology Professionals, Youth for Understand- 

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 

Society.

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 

ending. 

Sonata No. 2 for flute and piano was commissioned by one of the most 

important flautists of Brazil, Alexander Johnson dos Anjos (a.k.a. Sando). 

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 

masters dissertation in flute performance at Rio de Janeiro Federal Univer- 

sity. Pitombiera built the entire piece upon the main motive of Kaplan's Im- 

provisation for solo flute. This six-note idea integrates the three movements 

and it is modified and developed to fit the character of each movement. The 

-- whole concept of the piece is to create contrasting atmospheres representing 

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. 

Intermission 

FORFEIT (1998) 

music for a film by Meredith Serota 

I. The Cross (Main Theme) 

11. Towards the Altar 

111. The Interlude 

IV. Inner Struggle 

VXZon t ~i t.ion 

VI. The Cross (Reprise) 

Three Pieces for Piano (2000) 

I. Theme With A Couple Variations 

11. As Of Yet I Have Found Nothing 

111. ... lay like the sun upon the grass 


Sabrina Theresa Hurst, flute 


John Crabtree 

Bradley D~BOW

Program Notes 

Evocations is set in four short movements for piano. Each movement, de- 

picting different moods, is limited to using only five pitches to generate the 

music The second movement was later added and based loosely around a 

tonal center of E. Movements 1 and 4 use a different set in each staff. 

There Will Be Rest For Me On That Day is a piece for solo tuba De Bow 

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 

the dramatic and technical capabilities of the tuba. The piece itself is based 

on the idea and the figure of the Crucifix, both proportionally and dynami- 

cally. The ratio of the range to the length of the piece is 3:2. In other words, 

there are 3 units of range for every 2 units of length creating the symbol of 

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 

tuba, but uses only one performer. The tubist plays the piano with his left 

arm and leg while playing the tuba with his right hand. The piano is added 

for extra effect and helps to give the piece a certain quality not found in any 

other works of the current tuba literature. 

sWirLS... uses two digital synthesizers, the Yamaha SY77 and TG77, along 

with the Performer MIDI sequencing software. All sounds in the work are 

synthesized and are altered by detuning, panning, and reverb. The composi- 

tion opens with low, sustained pitches in circular succession, which spiral 

progressively higher throughout the piece. Rapid cascades of notes interrupt 

and temporarily replace the sustained sounds, while several loops create su- 

perimposed canonic passages. Finally, the piece concludes with high scalar 

pitches with cross over each other frequently, forming a variety of chromatic 

and microtonal sonorities. 

Three Diminutive Movements for Solo nba 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 

from the same seven-note collection. Phrases in the first movement were 

constructed so that they create a direct juxtaposition of opposing mate'rial in 

style, but not in pitch content. The second and third movements use this 

same concept, but in a more fluid and intuitive manner. All three movements 

emphasize the ideas of opposing movement, the time-point compositional 

system used by Charles Wuorinen, and the concept of the "Uber-tubist." 

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- 

ity of the piano in the opening bars reflects the way a tambura can create a 

complex sound environment for a soloist to improvise over during a raga. 

The pitch collections used for the melodic and harmonic material are also 

taken from Indian ragas and are used to create an improvisational tone. The 

piece is Western in that the pitch centers change progressively, there is no 

actual improvisation, and the form is a disguised ternary design. 

The Three Pieces for Piano were each written independently and later put 

into a suite. The first piece, Theme With a Couple Variations, explores the 

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 

Phrygian center. The last variation moves from a duple division to a triple 

division. The piece becomes its most chromatic at this point and the first and 

third movements tie into one another. In this section, as well as the third 

piece, De Bow tried to have the voices (or hands in piano) begin and end 

phrases in different areas creating an entirely new feel. 

The second piece, As Of Yet I Have Found Nothing, is a foray into the philosophy 

of ~othin~ness. The piece is based upon an altered scale and small 

pitch collec~ion (C, Db, F, G, Ab). The beginning opens with a series of loud 

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 

22 SUNDAY 3:00 PM LA CHAMBER PLAYERS CT 

23 MONDAY 8:00 PM LA CONTEMPORARY CHAMBER PLAYERS RH 

24 TUESDAY 6:00 PM 3m ANNUAL OCUBAFEST 

ED DUCEY SENIOR RECITAL RH 

24 TUESDAY 8:00 PM 3RD ANNUAL OCUBAFEST 

JOSEPH SKILLEN, TUBA RH 

25 WEDNESDAY 6:00 PM ~ R ANNUAL D OCUBAFEST 

NATHAN STREBECK SENIOR RECITAL RH 

25 WEDNESDAY 8:00 PM ~ R ANNUAL D OCUBAFEST 

LSU COLLEGE OF MUSIC 

& DRAMiXTIC ARTS 

School of Music 

PRE~ENTS 

JOHN MANNING GUEST TUBA RH . . 

26 THURSDAY 6:00 PM 3RD ANNUAL OCUBAFEST _, . . .,. 

, . 3 

: 

STUDIO RECITAL RH . . .- .. 

. , $. .< ,.-7 *."' 

: .s 

. 26 THURSDAY 8:00 PM ~RD ANNUAL OCUBAFEST 

. 

TUBA EUPHONIUM ENSEMBLE AND THE MID-SOUTH CHAPTEROF~~NACUS 

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, A , . . . . 

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CHAMBER GROUPS RECITAL RH : . :. _,,....j. 

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26 THURSDAY 7:00 PM OPERA - DIE FLEDERMAUS UT , . . ".U" 'V ', 

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FOR TAPE ALONE 

JONATHAN PETERS 

Nu BLEU I (2000) CHARLESHARHUES 

I. JAZZ 

11. BALLAD 

111. LIVELY 

JOHN PERRINE, TENOR SAXOPHONE 

T m c DR.EAMS OF A LOTUS BLOSSOM (2000) WILLIAM PRICE 


FROW FOUNTAINS (20 00) LIDUINO RTOMBEIRA 


JOHN PERRINE HAS PREMIERED WORKS BY KAIU JUUSELA, AARON JOHNSON AND 

WILLIAM PRICE AND HAS PERFORMED AT SEVERAL REGIONAL AND NATIONAL 

NORTH AMERICAN SAXOPHONE ALLIANCE 

SAXOPHONE CONGRESS 

CANADA. HE HAS WON THE STETSON 

CONFERENCES AND THE 2000 WORLD 

IN MONTREAL, 

UNIVERSITY CONCERTO COMPETITION AND THE CENTRAL FLORIDA JAZZ 

SOCIETY'S IMPROVISATION COMPETITION. MR. PERRINE HAS PERFORMED WITH 

THE LOUISIANA STATE UNIVERSITY WIND PLAYING MICHAEL 

ENSEMBLE 

COLGMS' URBAN REQUIEM AND THE LOUISIANA STATE UNIVERSITY ORCHESTRA 

PLAYING PHILIP GLASS' CONCERTO QUARTET 

WITH THE RED STICK SAXOPHONE QUARTET. 

SAXOPHONE AND JAZZ STUDIES AT SOUTHEASTERN LOUISIANA UNIVERSITY AND A 

DOCTORAL CANDIDATE AT LOUISIANA STATE UNIVERSITY WHERE HE STUDIES 

SAXOPHONE WITH GRIFFIN CAMPBELL. 

MEZZO-CONTRALTO DAWN WILLIAMS 

FOR SAXOPHONE AND ORCHESTRA 

HE IS CURRENTLY L E ~ R EOF R 

HAS PERFORMED IN CHORUSES OF OVER 

TWENTY OPERA PRODUCTIONS, RANGING FROM MOZART, ROSSINI, AND VERDI TO 

STRAVINSKY, BERG, AND ORREGO-SALAS. SHE HOLDS DEGREES FROM INDIANA 

UNIVERSITY-BLOOMINGTON, 

WHERE SHE STUDIED VOICE WITH DEVERA 

THOMAS 

AND COLETTE RICE. WHILE THERE, SHE APPEARED IN SIXTY PERFORMANCES BY 

THE INDIANA 

UNIVERSITY OPERA THEATER, 

AS WELL AS PERFORMANCES BY VARI- 

OUS CHORAL ENSEMBLES AS A MEMBER AND SOLOIST. SHE CURRENTLY SINGS WITH 

THE LSU OPERA, 

WHERE SHE WILL SOON APPEAR IN DIE FLEDERMAUS. 

HEATHER PINSON IS A MASTERS STUDENT OF MUSICOLOGY AT LSU. CURRENTLY 

SHE IS STUDYING CLASSICAL VIOLIN WITH JAMES ALEXANDER AND JAZZ PERFOR- 

MANCE WITH WILLIS DELONY. MS. PINSON HAS PERFORMED WITH NUMEROUS 

SYMPHONIES THROUGHOUT LOUISIANA, ALABAMA, AND TENNESSEE AND HAS 

PERFORMED IN ROME, ITALY AS PART OF AN OPERATIC CONCERT SERIES.

PASCIM Nosr~m FOR SOLO UNACCOMPANIED VOICE IS A MODERN RENDERING OF A MEDI- 

EVAL CHANT WHICH IS PAPX OF AN FXER DAY MASS. THE NOTES OF THE CHANT PROVIDE 

THE PITCH AND SIRUCI-URAL FRAMEWORK FORTHE PIECE. PHONEMES OCCURRING THROUGH- 

OUT THE WORK ARE VARIOUS COMBINATIONS OF VOWELS AND CONSONANTS TAKEN FROM THE 

ORIGINALTEXT: "AULUIA--PASCHA N O ~ U M IMMOIATUS EST CHRISUS [ALLELUIA-CHRIST 

OUR PASSOVER IS SACRIFICED]." THE PERFORMER 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 O CAN ~ BE 

HEARD THAT ARE BASED ON TIME MANIPULATION, CROSS SYNTHESIS AND CHANGING DENSITY 

AND SPAWZATION IN GRANULATION. THE PIECE WAS REALIZED AT THE MAb STUDIO AT 

LOUISIANA STATE 

UNlVERSlIY USING CSOUND, AND WAS INSPIRED BY THE SEEMINGLY IMPOS- 

SIBLE JUXTAPOSITION OF CONTRADI(X0RY SENSATIONS THAT ONE CAN EXPERIENCE WHIM 

SURFING (TERROR AND SERENITY, EXCITEMENT AND TRANQUILITY, AT THE MERCY OF AND 

PROFOUND ONENESS WITH THE OCEAN, ETC.). WAVES CAN ALSO BE FOUND IN COUNTLESS 

OTHER BEAUTIFUL ASPECTS OF BOTH THE NATURAL AND THE DIGITAL WORLD AND ARE INSPIR- 

ING IN MANY WAYS. 

Nu BLEU I COMBINES THE VOCABULARY OF CONCERT MUSIC WITH THAT OF JAZZ. IN THE 

FIRST MOVEMENT A MOTIVE FROM A SOLO BY THE GUITARJST JOHN SCOFIELD IS USED AS THE 

CENTRAL IDEA. THE SECOND MOVEMENT USES THE SAME PROCESS OF THEMATIC DEVELOP- 

MENT THAT A SOLOIST MIGHT EMPLOYEE IN A BALIAD. THE THIRD MOVEMENT COMBINES 

ELEMENTS OF BOTH THE FIRST AND SECOND MOVEMENTS AS WELL AS NEW MATERlAL. 

TANTRC DMS OF A LOTUS BLOSSOM 

STATE 

MUSIC 

WAS REALIZED AT THE ELECTRO-ACOUSTIC 

STUDIOS AT LOUISIANA UNIVERSITY USING KYMA SOUND SOFTWARE. THE WORK'S 

GENERAL~ETIC FOCUS IS ONE OF NARRATIVE MEDITATION. ALMGLOCKEN BEUS, GRANU- 

LAR GUITAR STREAMS, AND TUVA DRUMS WERE USED TO CREKTE A QUIET, BUT REFLECTIVE 

ATMOSPHERE. 

FROZEN FOUMAINS 

WAS INSPIRED BY THE HAIKU WRITEN BY JUDITH ANN GORGONE: 

IN WINTER MUSIC 

DOESN'T TRICKLE FROM BAMBOO FOUNTAINS 

FROZEN TIME WITHOUT BEAT 

THE PIECE STARTS IN 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 DENsln 

INCREASED GRADUALLY TO REPRESENT THE FROZEN ELEMENT IN THE POEM. THE SEC- 

OND SECTION USES PHONEMES OF THE POEM AND AT SOME POINTS THE PRONUNCIATION CAN 

BE CLEARLY PERCEIVED. 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 R BY ~ A JAPANESE D FEAST IN 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 1 1,2000, dpm, 

Palo Alto Arts Center, ~mbarcadero and Newel1 

owen Lee 

hogram 

Rosemary Bmett Byers 

Lori Griswold 

SANCTUS from "Missa Academicae" 

I 

SHE WALKS IN BEAUTY 

NOEL I (Gabriela Mistral, trans. Doris Dana) 

I 

I 

Brian Holmes 

SIX LULLABIES (Mark Van Doren) 

l! Chipmunk, Chipmunk 

2! Down Dip the Branches 

I 

3! Where Did He Run To? 

4) Old Ben Golliday 

5! Sleep, randm mother 

I 

I Nancy Bloomer Deussen 

6! He Cut One Finger 

I 

FLOWER$ BY THE SEA (William Carlos Williams) I 

Intermission 

Brian Holmes I Rosemary Barrett Byers 

I Brian Holmes 

I Daniel Leo Simpson 

JOLLY J A ~ (anonymous, N 15thcentury) 

I 

TO A CAT 

LET EVEbG COME (lane Kenyon) 

I 

BERCEUSE (Daniel Leo Simpson) 

I 

Mark Alburger AERIAL $EQUIEM 

Fertorium 

Agnus Dei 

I 

Nancy Bloomer De-n . TWO SON~S 

y e Long Voyage (Malcolm Cowley) 

T e River (A.R Ammons) 

HOSANNA from "Missa De 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. Albqer began playing the oboe and composing with Dorothy and 

James Freeman. George C~mb, 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 he, 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 

Awe" (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 Vim environmental pup, 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 sedon 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 1 5thcentw-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) 

i 

Offertoriwn . I 

Domine Jesu Christe, Rex gloriae, libera animas 

omnium fidelium defunctorum de poeniS infimi, 

et de profilndo lacu: libera eas de ore leonis, 

ne absorbeat eas tartarus, ne cadant in obsc- 

sed signifer sanctus Michael 

repraesentet eas in lucem sanctam, 

quam olim Abrahae promisisti, et semini eius. 

Amus Dei I 

1 

0 Lord Jesus Christ, King of glory, deliver all 

the souls of the faithful departed fhm the pains of hell, 

and the deep pit: deliver them h m the mouth of the lion, that 

hell may not swallow them up, they may not fall into darkness; 

but may the holy standard-bearer Michael 

introduce them to the holy light, 

which thou didst promise of old to Abraham, and to his seed 

Agnus Dei. 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. i eternal. 

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 

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 SO~GS 

The Long Voyage (Malcolm Cowley) I 

I 

Not that the pines were darker thm, 

nor mid-~ay dogwood brighter thae, 

j 

I 

nor swifts more swift in summa air, 

I 

I it was my own country, 1 

I 

having its thunder clap at spring, 

its long mid-summer ripzning, 

its corn hoar stiff at harvesting, 

almost like my country 

yet being mine; its face, its speech, 

its hills bent low within my reach, ! I 

its river birch and upland beech 

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 

at home in my o& country. 

I 

I 

I 

I 

I 

The River (AR Ammons) 

I shall go down to the deep river, 

to the moon waters 

where the silver willows are and the bay blossoms, 

to the songs of dark birds, 

to the great wooded silence of flowing 

forever down the dark river 

Shall I go down to the deep river, 

to the moon waters 

where the silver willows are and the bay blossoms 

to the songs of dark birds, 

to the great wooded silence of flowing 

forever down the dark river.

5. Sleep, Gmndmoher 

Sleep, grandmother, sleep. 

The roc- chair is ready to go, 

And harness bells are hung in a row 

As once you heard them 

In soft snow. 


Your sons are little and silly again; 

Your daughters are five, and seven, and ten; 

And he that is gone 

Was not gone then. 


The sleigh comes out of the winter woods 

And carries you all in boots and hoods 

To town for candy 

And white dress goods. 


The rocking chair is old as the floor, 

But there he nods, at the noisy door, 

For you to be dancing 

One dance more. 

6. He Cut One Finger 

He cut one finger 

And the other h er bled 

He cut off his head, 

But he didn't have another, 

So he's dead 

He shut one eye 

And the other eye was gone. 

He put his glasses on; 

But he couldn't see to see, 

So he's done. 

The dwarf ate a giant 

To become a giant too. 

He grew and he grew, 

But he couldn't hold him all, 

So he's through. 

The cot became a bed 

And the bed became a boat 

But the boat couldn't float 

Being heavy; and the lights 

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 Thhe 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 ~oodsidel~iory School, an elite college prepwry school in Portola Valley, California Mr. 

Hughes is the recipient of a fourth place award in the 35th Mdonal 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 ~ hrds for piano and composition (1987). Mr. Hughes is completing his Master's Degree 

in Conducting under the mentorship of Dr. Charlene ~rchibe~ue at San Josb State University. 

OWEN LEE bas been a member of NACUSA since 199!, and now serves as the San Francisco Bay Area Chapter president. Dr. h e took his 

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 

Ha. 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 fd "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 

He also studied at the Grove School of Music io Los Angeles -- under the tutelage of Henry Mancini, Bill Conti, Joe Hamel, and Allyn Ferguson 

- 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 

'Bones" Malone, Akira Endo, and Barry Manilow. ~dentl~, Mr. 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 mnot 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. histic Director and Conductor - Lilly Schlacta, accompanist 

SOPRANO ALTO TENOR BASS 

Robin Dahlberg Annette Bronzini Johnahon Atwood Keith Byron 

Carolyn Derwing 

Suzanne Duval 

Lucy Conley 

Susan Fritz 

Kenneth Alford 

Ti Chokshi 

Daniel Cudworth 

David Fritz 

Kathleen Nitz Kathleen Kuebelbeck, Jim Jenks 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


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: 



1653-B Belleville Way 

Sunnyvale, CA 94087 


The Members of NACUSA San Francisco would like to recognize with heartfelt thanks the following contributors to 

the 2000-200 1 concert season: 




Ms. Ilse Calabri 

Mano Murthy 





Ms. Diana Tucker 







Programming: John Beeman, Nancy Bloomer Deussen, Diana Tucker 

Special thanks to 

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 

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, 

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 

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. 

For more information regarding NACUSA and its adivities please visit 

our website at: 

Mid-South Chapter http://members.aol.com/NACUSALSU/index.htrnI 

National Chapter h~://www.music-usa.org/nacusa 

The Mid-South Chapter of 

presents 

Mat hew ~ zieI s, g u itaist 

The Baton Rouge Gallery 

Tuesday, ~overnber 14,2000 

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 

guitar but has concentrated on the classical repertoire since his 

undergraduate studies at the University of Texas where he received the 

Bachelor of Business Administration degree in 1993. Upon graduating 

he returned to St. Louis where he studied guitar for a year and a half at 

the St. Louis Symphony Community Music School. In 1998 Mr. Daniels 

graduated from Webster University, in St. Louis, with Master of Music 

degrees in both guitar performance and composition, the first student at 

Webster University to graduate with both degrees. Currently Mr. 

Daniels divides his time between his home state of Missouri and London, 

England. When in London he continues to study with the renowned 

guitar teacher, Michael Lewin. He has also studied guitar with John 

McClellan, Dan Rubright, and Peter Clemens. His composition studies 

were with Kendall Stallings. He has performed in master classes with 

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 

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 

has performed in London, Italy, and throughout the United States. Mr. 

Daniels has also been in demand as a clinician for both guitar students 

and composers. 

Three Thumbnail Sketches 

Six Short Pieces for Guitar 

Cappricio 

Impromptu 

Elegia 

Umoresco 

Ondine 

Finale 

Moods for Guitar Alone 

Impressions 

Dream 

Madness 

Ashmere 

Birnam Wood 

Impromptus 

Recitativo 

Agitato 

Elegiaco 

Con fuoco 

Arioso 

Prelude and Dance 

Intermission 

Vernon Taranto, Jr. 

Peter Blawelt 

Dinos Constantinides 

Jeremy Beck 

Richard Rodney Bennett 

Aaron Johnson

Notes about he Artists 

Red Stick Saxophone Quartet 

Baton Rouge, LA 

Brian Utley, soprano saxophone 

Joshua Thomas, alto saxophone 

John Perrine, tenor saxophone 

Chris Rettie, baritone saxophone 

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, 

KYrand-St.-Mads-ColIeg~i~SoutkBne d;INrThitetmfmtu~d 

ensemble at LSU's 54th Festival of Contemporary Music, performing Philip 

Glass' Concerto for Saxophone Quartet and Orchestra with the LSU 

Symphony Orchestra. As a competitive ensemble, the Red Stick Saxophone 

Quartet was named National 1st Runner-up at the 1998 MTNA Collegiate 

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 iau improvisation with Rex 

Richardson. 



presents 

A Concert of Contemporary 

and Experimental 


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 I found associations 

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 

by Cabral and the Portuguese fleet in 1500, they found that this tree wns abounded 

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 

this piece has been written for the Red Stick Qvartet. In this three movement piece, I 

use quotations and stylistic impressions of both such as iau, samba, blues, 

and choro." 

Three Short Pis for Sdo Tuba Bradley E. DeBaw 

"A few months ago I set out to begin writing a solo tuba piece which I could perform 

and demonstrate the capabilities of the tuba as a solo instrument. I looked at what 

was in the standard tuba repertoire and then what I was capable of doing as a 

performer. The piece, as a whole, is based on a three-part concept, as are the 

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 

climax on one of the highest pitches in the piece, the pitches slowly evotve back to the 

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, 

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 

to an even more intense and challenging climax. The third piece ends, like the first, 

with the gradual evolution back to the ideas presented earlier." 

Contrast Jonathan Pefen 

Contrast is a short twelve-tone piece for solo tuba. The main ideas for the piece were 

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 

range is reflected in the piece's use of pitch, dynamics, densi?. and timbre. Contrast is 

dedicated to Bradley DeBow, the "Ubertubist." 

From Anoher World (1 998) 

Red Stick Quartet 

Peter Blawelt 

La ~ore^t Vierge (The Forest Primeval) Stephen Dcrvid Beck 

Rebecca Todaro, harp 

Three Chardr Pieces Melissa Pausina 

1. Playfully 

II. Tenderly 

Ill. Swiftly 

Kelsey McNitt, flute; Leslie Evans, clarinet 

Arnie Martin, cello 

Two Short BA-C-H Pieces For Solo Violin 

Passion fbr Maria (1997) William Price 

Nomenclahre (1997) John M. Crabtree 

Heather Pinson, violin 

Three Short Pieces For Solo Tuba (1999) Bradley E. DeBow 

I. Clingly 

II. Duet for One Tuba 

Ill. With Great Pain and Longing 

Conhast (1 999) 


Pau-Brasil (1 999) 

I. Allegro Moderato 

II. Lento 

Ill. Allegro 

Red Stick Quartet 

Jonathan Peters 

Liduino Pitombeira

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 ~esonancd of Childhood (1996) Alex Shapiro 

1. Variations on a ~embr~ 

2. On My Mother 

3. Quiet child 

4. For My Father 

5. Older 

Dorothy Spafard Hull, piano 

Three Hobo Cadenzas (2000) 1 Peter Yates, guitar 

Suite for Violin and Piano (2000) 

1. Royal Hues 

11. Ancient Dance 

IV. Collage 

NACUSA - Past 

NACUSA - Present 

NACUSA - Future 

Brian Leonard, violin 


Interdission and Delicatessen 

I 

When Lilacs Last in the Dooryaid Bloomod (2000) 

Carol of the Bird 1 

Rpger Pierce, reciter 

Alexandra Pierce, piano 

I 

Twelve Variations on an Imagina!y Jewish FolkSong 

I 

Peter Yates. guitar 

Clariphonia (2000) 1 

MARCH to ~lari~hones-DANCE on A- 

Basset Horn ROMANCE^^ Soprano SCHERZG 

Eb Contrabass FINALE 1 

Be~keley Price, clarinet 

Deon Nielsen Price, piano 

I 

Peter Yates 

Jeannie Pool 


Deon Price 

Everyone present 

Alexandra Pierce 


Deon Nielsen Price

This QUARTET was begun in February, 1992, and completed in July, 

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 ASSOCIATION 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, 

whose bells are somewhat rusty. The finale, Imaginary Flight, is 

PRESENT: 

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 CAMERATA BRAVURA 

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, LEA STEFFENS, CLARINET 

Here is the conduit of the Gospel, running wine to cherish such KRISTEN AUTRY, VIOLIN, CATHERINE c AVELLA, 'CELLO 

as are poor in spirit and pure in heart. Here is the rich cabinet 

DELORES STEVENS, PIANO, AND 

wherein the Pearl of Blessedness is locked up. Here is the 

golden pot in which is that manna which will feed and refocillate DANIEL KESSNER, 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, JAN POPPER THEATER 

"points of light." 

A D

LE TOMBEAU DE ZAPPA PETER YATES 

(1 995, 6:307') FOR VIOLIN, 'CELLO, AND PIANO (B. 1953) 

DISINTEGRATION MEI-FANG LIN 

(1999, 1O:OO) FOR PIANO SOLO (B.1973) 

NACUSA YOUNG COMPOSERS COMPETITION, 

FIRST PRIZE CO-WINNER, 2000 

(IN FIVE MOVEMENTS) 

QUARTET DAVID S. LEFKOWITZ 

(1 992, 15') 

I. RONDO 

FOR FLUTE, VIOLIN, 'CELLO, AND PIANO (B.1964) 

11. ROMANZA RUBATO 

ru. SCHERZO-FINA LE 

Two VISIONS DANIEL KESSNER 

(1991, 14') FOR FLUTE, CLARINET, 

VIOLIN, 'CELLO, AND PIANO 

(B.1946) 

I. LOST CARILLON 

rr. IMAGINARY FLIGHT 

3 3 

"MY SOUL WALKS UPON ROSES. .. ANDREW DIONNE 

(MEDITATIONS ON CHRIST'S BEATITUDES) 

(1 998, 2 1 ') FOR CLARINET, VIOLIN, 'CELLO, AND PIANO (B. 1 973) 

NACUSA YOUNG COMPOSERS COMPETITION, 

SECOND PRIZE CO-WINNER, 1998 

I. BEATITUDE 1 (HYMN: ALAS! AND DID MY SA VIOR BLEED) 

11. POINT OF LIGHT 117 

HI. BEATITUDE 2 (HYMN: ABIDE WITH ME) 

rv. POINT OF LIGHT 216 

V. BEATITUDE 3 (HYMN: BE STILL MY SOUL) 

VI. POINT OF LIGHT 315 

w. BEATITUDE IV (HYMN: MY HOPE IS BUILT ON NOTHING LESS) 

-POINT OF LIGHT 4 

-BEATITUDE V (NO HYMN) 

w. POINT OF LIGHT 315 

Ix. BEATITUDE VI (HYMN: LET ALL MORTAL FLESH KEEP SILENCE) 

-POINT OF LIGHT 216 

X. BEATITUDE VII (HYMN: A MIGHTY FORTRESS IS OUR GOD) 

XI. POINT OF LIGHT 117 

-BEATITUDE VII (EPILOGUE) 

(CHORALE: "ER NAHM ALLES WOHL IN ACHT," AND CELLO SOLO: 

"... WEINETE BITTERLICH," FROM BACH'S ST. JOHN PASSION) 

PROGRAM NOTES: 

RECEPTION FOLLOWS 

LE TOMBEAU DE ZAPPA 

The tradition of composing instrumental laments, or tombeaux, 

on the deaths of celebrated musicians was particularly strong among 

lutenists of the seventeenth century, few of whom died without tribute 

from their peers. In keeping with the change of centuries, this tombeau 

concerns a passing and a tribute by guitarists, rather than lutenists; the 

sentiment is otherwise the same, except that the music does not mourn, 

but is as irreverent as its dedicatee. -PY 

DISINTEGRATION consists of five movements. A simple Chinese 

folk song was used as the source of material for the entire piece. The 

tune was introduced without too much distortion in the first movement. 

As the piece progresses, it disintegrates as if it is being melted and 

disguises itself in a variety of different shapes. The composer has also 

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 

of an old Chinese instrument Zheng in the first and last movements. 

This piece was commissioned by Ms. Jana Mason and her 

husband Richard Anderson through the 2 1 st Century Piano 

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 is 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 nump 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 

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 

ior the Arts, the ~tlanta Arts Festival, the Black ~o&tain ~estiial, the Philadelphia Fringe Festival 

and the Resolution 2000 Festival. He has created over 50 works in media ranging from orchestral 

compositions to electronic works for d~nce. 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' 

I 

Im&e was described h the New York ~imes 

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 

~~- - - - 

0 

as a work of "special appeal ... that has an aln~ost 

computer in live performance. ~oni~ht'; performance is the first one using the Alesis ~ i r efficts ~ k 

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. 

. 

L 

I

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, as 

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 An 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 

you. What a life!!!! Without youApersecuted by the goodness of manAwhich I 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 HeAand yetAherein lies the divine in man. Much as you love mAI 

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 ti you, my Inlnzortal Beloved, will fate take pity on us. Either I 

must live only with you or not at all. Yes, 1 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 lifeAcan that 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 I 

1 

Composer/pianist Max Lifchitz yas awarded first prize in the 1976 International Gaudeamus 

Competition for Performers of Twentieth Century Music held in Holland. Robert Commanday, writing 

for fhe 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. 

1 

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. ~ aiil~, 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-coomposer writes: 

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. 

The melodic and harmonic Gateribls of the single movement composition are derived from a 

series of expanding and contracting intebals. ~everarrh~thmic motives' 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 

I 

bimultaneously as each instrumentalis~pl~ys the 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. 

I 

The music of pianist/composer hard 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 Orchestira was 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 

I 

which received its initial performance a concert telecast nationally and including a featured 

performance by the late ~ehudi Menuhin. soon after, the London philharmonic presenteathe premiere 

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 bv other Euro~ean orchestras -- in Paris. 

~~ - - - - - - 

Kiev, Madrid, ~uda~est, and ~eiji&. The I~omiA Nippon sym;hony brougAt Nanes' Concerto ~rossd 

to the Tokyo public with a special broadcast on NHK Television. 

I 

I 

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. 


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 

The public is kindly reminded that the use of recording eq~tipment 

of any kind is strictly forbidden. 

Please turn-offpour watch alarm or atty other noise-producing device before the program starts. 




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 

by big, carefiilly cotztrolled and oftetz l~istro~is solind and secure passagezuork." 

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 ranpg from baroque oratorio to 

lieder, chamber music, opera and contemporary art song. Her voice has been described in the press as 

a "big silvery itzstninletzt, rich itz overtotzes, )ill of textured sheen, like silk taffeta ... her technique often 

hzzled ..." She serves on the music faculty of Trinity University in San Antonio, Texas. 



Commanday, writing for The San Francisco Chronicle described him as "a yoling coniposer of brilliant 

it~lagitzatiotz atzd 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. 


Hadley senred as an Assocciate Conductor for the New York Philharmonic during the 19301s, the 


various the activities sponsored by the organization please visit its website at www.music-usa.org 

The prrblic is kirldly rer~~irlded that the lrse of recordirlg eqliipn~erlt of arij kind is strictly forbiciciet~. 

Please ti~nr-oflyour \c.atch alar-r~r or. all). other- rroise-procilicirrg device before the program starts. 

Make sure to k~lo\v )\.here the a~iditoririr~r exits are. 


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 of the 

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 21s t 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 /~nna~olis, Maryland; Meliora, a Fanfare for Orchestra, 

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."

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 . ;' 

, I _' 

, I 

' . * fromThe NACUSA S.F.

"COMPOSERS CAN PLAY, TOO" BENEFIT 

I 

Mark Alburger, Tenor 

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, ~mbardero a d Newell 

I 

1 

owen ~ ee NOCTURNE for + 

I 

/ Nancy Bloomer Dewsen A RECOLLECTION for Piano 

I'lana Cotton 

Sondra C M 

Carolyn Hawley 

Joanne Carey 

Bruce Hamill 

Mark AIburger 

intermission 

PLAmGs 2 cmel-le w, conga DNns, imd Piaao 

1. Casual, bluesy 

2. SP* 1 

3. Aw;essional 

4. Home, but not the same 

I 

FLORIDA F A N T for ~ Piano, ~ Four-Hands 

I. Sarasota Circus 

11. Key Lime Sunset 

111. Miami Mambo 

SPANISH VARIAnONS for Piano 

El Flamenu? (The Flamenco) 

El Pajaro (The Bird) 

Los ~itanorl (The Gypsies) 

El Tren (The Train) 

El Tra&co (The Tdc) 

Los ~spanoies CIk Spaniards) 

Las ~ ambk (The Main Street of Barcelona) 

El Toro & Bull) 

El Marcado kl'k Market) 

Intertudes ( 

THE WETLANDS AT DUSK (Paul T. Carey), a Song for Soprano and Piano 

I 

PACIFIC SKIES for Piano 

I 

Excerpts from ANTI~NE, a Tragic Opera 

I. CHORUS! 11. DUET (NdAntigone), 

IV. RECIT~TIVE & DUET (Isnene/Antigone), V. DUET (Nurse/Antigone) 

VI. DUET (AntigondHaemon), WI. DUET (GuardlCreon), M, CHORUS


& DRMTIC ARTS 

School of Music

Two SmaU Piecesfor Tape(1998&1999) Wiiarn Price 

I. Ignorant Bliss #3 

11. A Crime of Passion 

InteUigent~ia Suite Charles Haarhues 

A Piece for Solo Piano in Two Movements (2000) 

I. Passacaglia Blend 

11. A Dark Roasted Odd-metered Blend 


In Their Own Word (2001) 

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) 

John M. Crabtree 

Humpty Dumpty (2000) Dawn K. Wiiams 

Big Chief W T (2000) 

for tape alone 

Dawn Williams, Mezzo-Contralto 

Robert Peck, Toy Instruments 

Charles Haarhues 

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 , 

present 

NEW MUSI~ made in California 

Campus +eatre - March 23, 200 1 

composer panel 7:lS pm - David Lefkowitz, moderator 

concert 8:00 pm 

I 

1 performers 

Debqrah Kavasch, soprano 


Pefere Sheridan, flute 

Chih-Chen Wei, piano 

Berkeley Price, clarinet 

Mary L ~ U Newmark, electric violin 

Nathan Campbell, French horn 

Celebration, Sorrow, ~trendth Margaret Meier ? , 

I. Celebration: ~iri4 Sang 

11. 

111. 

Sorrow: Rachel, Crying for her Children 

Strength: Deborah Arose 

Extolling a Bird Chih-Chen Wei .- 

Primavera 

1 Jeannie Pool A s c PI P 

3 on the Green 

one 

two 

three 

intermission 

. 

Mary Lou Newmark ? 

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) 

I. A Noiseless Patient Spider 

11. The Runner 

111. The Last Invocation 

I 

John Marvin 2 

Clariphonia - Deon Nielsen Price S 4 

March to Clariphones, Dance on A, Basset Horn Romance, 

Eb Soprano Scherzo, Eb ~ontr! 

b 

ja ass 

I

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 Margaret S. 

Meier (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 

Mary 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.

'CELEBRATION: Miriam Sang i Deborah, a leader with wisdom, a leader 

Miriam danced, and Miriam sang. with courage and strength, 

Miriam danced and sang of deliverdce. 

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: I 

"We were in bondage and God brought us 

out. 

We were in fear and God set us free. 

We were in anguish. 

We were afraid. 

but now our God has overthrown our 

I 

enemies 

and given to us a glorious victory! 

Praise to God; sing praise to God!" 

You have blown like feathers 

Across the landscape 

Of my life. 

I could not gather you now 

If I wanted- 

I 

SORROW: Rachel , Crying For Her 

Children 

Rachel, crying for her children, with no 

hope or comfort. 

for they were not there. 

You are 

Too many 

And too far. 

-Carol Lynn Pearson 

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 

without respite, 

fulfill. 

for they are no more. 

Rachel, crying for her children. 

Rachel mourning. 

Rachel. Rachel of the city. son despoyed 

Another intervenes, 

by gang war. 

He is no more. 

Rachel, ev'ry woman Rachel, carrying the 

stifling 

suffocating 

sorrow I am jerked awake, 

now as before. resistant first. 

then fight 

STRENGTH: Deborah Arose 

Deborah arose to be a judge. 

Deborah arose, a Mother in Israel. 1 

Deborah arose to be a prophetess. 

to feel. 

to peel away 

layer by layer 

the silent cocoon. 

A woman of discernment, preparjd to 

, speak the truth. 1 

I 

A woman to whom God spoke. 

Unburdened. 

burst forth 

I 

possessed of the power that arises from 

inner strength. I 

A woman of courage. 

into light. 

life ... 

So alive! 

she instructed, supported, inspired, 

those who sought to serve and fallow 

God. 

-Deborah Kavasch

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, Piano 

RAINS ALIVE (Jonathan Pearl) 

ADVENT (Christina Rosetti) 

--- Intermission --- 

// Leonard Klein) 

'\-. ........- -., 

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 TO PARK (Eloiy K. Healy) 

YOU'RE GONNA HAFTA PAY (Paul Stouffer) 

FOUR SONGS 

Tim Smith, Piano 

\ \ .- /' 

-. .._____ - 

Tim Smith 

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 % . 

Tim Smith is a singer-song writer. He has a BA in music and serves as organist and choir 

director at an area church, an& is 'temporarily' employed as a DotCom programmer until 

he gets his big break.

Michigan, and the Doctor of Musical Am dew from the Cathdic limversity of America Dr. Hcrbison 

teaches theory, humaities, string mahods, and musicappradatian at Ndok State University. He also 

mdu& the university ordtesha. He is mincioal cellkt of the Williarnsbure Svmohonia and &on 

eelbsi in the Virginia $mphony. He is ceht a& coach of the HICO string q&;t &ch he &ablished 

dde at tlamoton University. He has ~erlmed in recitals, with chamber mom, aod with mhatms 

throughout & United ~ tak and & NotaMe among is recitals are ge pekpe;fbmnmcs at Cathedral 

of SL Jobo the Divine in New Yokand his ~edormance at the Kennedv Center fm the Paformine 

h\rts. Chambn performances mcludehre NOV; ~rio's performance and coa&ing sesdon with ~cnah; 

Preder of the b u n Am Trio at the Banff Center I Alberta. Canada and the NovaTrio's d m c e 

on the ampacl disc, "An American Pod d call," ~usic of ~dolph~Hailstork. 

JeraldincSaunders Habison is a native of Ridunorid, Virgiia She earned a Elachelm d 

Science dew in Mu% Fducation fmm Virginia State College in 16. She taught and dimled string 

orch- in the public schmls of Maryland, Nodh Cmlina and Virginia.. In 1979 she wa3 

elected Hworary Composer at the University Diviaian ofthe National Music Camp at Inleilochen . In , 

1980 James Hnbison donned ha Sonata No. 1. Fatm in Three Moods and Inlermemo on Be 

Compmas Fom of'% National Black Collcquem Cckpetttion at the Kennedy Cmter for the 

Paformine Ati. Cello Conch No.1, and Concer(ino h Viola and Chamber Orchestra wm 

conunksio~ed hy the AfroAmmctn Chamber Music Society in Cdiania. In 1941, Jeraldineqs muic 

wa fated on the%-at Hmton University. hve of her shine 

orchestra piem are bbiished by \'eke PU- Co&any, in Gleb ~ o , 

hilaryiand HR piano and ' 

chamber wnks with piano are listed in books by Sdma FptRn and Helen Walker IU. Two of her M 

Songs are kaiured on a CD by Sebronette 0- 

Jaaldine is a mcmhcr or he National AsJociaiion d Compom US4 

-- 

he Society of 

Compm.lmrd the-AmerimC-b 

Chrh Johnrton is the orchesba director at Thm Dale High Schwl. He is concert master of 

the Richmond Philharmonic Orch- and a menh of the Sumerset wet 

Obna Lutqshyn (piano, harpsichord) wac born in the city of Lviv, LMe. After 

cumplebg her doctoral dew in Mmw, Russia, she b e a Visitin! Schdar at tbc: Inhn University S h l of Mic. Ms. hdsyshyn ha appeared in eonm as a sold and chamber musician 

lhrwghout the fmer Soviet Ilnian, Germany, he United Stab, and South Africa. She gave a New 

York debut in the WeiU Recital Hall at Camegie Hall in Septwnber 1990, and a &qn debut in C 

&ton Bradley Hall at the Chicap Culd Centa in 1995. 

Wih Stem @. 1973) ' Erich Stem's music h been performed, hmadded, and relead on 

mmmd diu buwghwt the United Sbtes and Eime. His chamber and wchd works have received 

seveh performan& at fstivals and cdmces &cluding the AmRicdn Composers Fonun, Society of 

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. Rmtly, hich's 'Shaded Gray,' for string quartet, waa performed at the living 

Music Fdvd in Buchared, Romania and relcased on the living Artist Recorhnp label. Along ilk 

several com&sions, Mr. Stem has received a d and grdnls from Med the Ccmpaxr, Jmme 

Folmdation (Ammican Compos~s Fm), and ASCAP. He holL a Ebcbelwr of Mic (1996)dep 

from Jam Madison University and a Master of Ms (2000) m composition fmm George Mawn 

University. Mr.Stem is currently teadung and pursuing a Doclor of Musical Am dew at tbc 

University of Maryland, where he is studjing with cmpma, Rob Gibson. 

Harvey Stokes is Professor of Music at Hampton University, here he ah is the founder and 

dimtor of the Computer Music Laboratory. His d e p are from Midigan Slate University (Ph D.), 

the Unrvasity d Gemgia (M.M.), and EH( Carol~na University (B.M). Hist mmpmition hctm 

dude DIS. Brett Waba Alan Lcichtling, John Corioa. Leais Nielm, Jere Hu~chson, and Charles 

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 

S~phony, the Lancaster Symphony, the Virginia Rach Symphony, the Word 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 

the M W Trio. Harvey's mmpmtional activities in recent years indude the completion of several 

amnisioned works, invited participatim in walerem of the Society of C o m p as dl as the 

Swtheastan Compascrs League F m , and an invited mpmr residency at West Chester Umversitl.. 

The Oxfad Shining Quadel has 

also released internationally on Albany Records a CD mntaining three of hia four atring qmiek 

Jeanette Winsor studied piano wiih Clifford limn, Lois Rova Omich, d Shirley 

Ihamsrm. She received a Bachelor of Music degre cum laude frm Heidelberg College and a Master of 

Music degree in piano performace from Kent State University. She h occ;pjonally coached with 

Thomas Schurmcher. She teaches piano in her studio in C%+e and at the Vinia Govends 

S~~IOOI for the Attn,, accompanies hc Vuginia Beach Chorale, and mes s 

an adjdcd(or for the National Guild of Piano Teachem She frepuently appears as a deist and 

lecher. She is also a member d the tlardwick Chamber Ensemble. Jeanette hdL Natiod and State 

Rofessiunal Teaching Certificates from MMA and VMTA as well as certification hugh the American 

College of Musiam. Jeanette is lded in the 21si edition d W s Who of Amaican W m . She is 

mst preident of the Tidewater Music Teachen Fmm and oresident of the Vireinia Music Teachers 

Gation. Her ar~les on plan0 pedago~ have baen pubilshed by Piano Gdd Notes. She is an 

ad+ faculty mcmbrr of'lidcwac Community College and Old h m w Urdsmty. 

.lohn Wimcr sludied darinet with Robert Hamm. David Hartis, md Robert Marcellus d the 

Cleveland Orchestra and oomposition with Jahn Rineharl and Jams Waters He reccived a Bachelor of 

Music d em from Heidelbere Colleee and a Mxta of Arts deeree in mic lheolv from Kent Slate 

~niversi


& DRAMATIC ARTS 


Compositions by 

member composers 

April 20,.2001 8:00 pm 

Music Recital Hall

The Music Department of Cal Poly Pomona 

in conjunction with 

The National Association of ComposersIUSA 

presents 

- 

Disintegration Mei-Fang Lin' 

D h w S t w m , p W 

Eight Jewish Melodies for Solo Cello Marshall Bialosky 

TmfzaJ=q, 

From the piano suite Alexandra Pierce 

"the spirits that lend strength are invisible" 

I. Blueslike; yet nonchalant 

11. Comfortably, but with a slight edge 

111. A bit roughly, Waltz 

IV. Sprightly 

A W m P i e v w , plam- 

Twilight Night Garrett Byrnes 

Poem by Christina Rossetti 

Susan Burns, soprano 

Janel Noll, Piano 

Suite for Piano Barbara Bennett 

D*w Stwm, p W 

Mareas Jason Haney 

Ancr/Mcwicl/Mw, & 

J&N&, haup-& 

The Phantom Horsewoman 

(Thomas Hardy) Alexandra Pierce 

AhuwubmPievce, picwur 

Rogw Piwce, 6pedkev 

From the piano suite, Rings of Saturn Alexandra Pierce 

I. tenderly eloquent 

Abmmb(i~/Pievw, picwur 

Rogw Pievce, bpedcev 

Fantasy for Electronic Orchestra 

Four Jazz Preludes 

I. andante 

11. moderately 

111. Spiritual-lento cantabile 

IV. Largo; allegro 

D*w Stww, p W 

Stan Gibb 

Alan Shawn 

' 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 .composition with 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 19~). 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 by Co~nyosers from Africa and the US 

Program 

OLATUNJI AKIN EUBA Four Pictures from Oyo Calabashes (1991)' 

Nlrnrber Four - Slrpertlntrtrnl Birds 

Nltniber Three - Igbn' Ketn 

Nlrn~ber Tzoo - Igbli Keji 

I 

Nlrnlber One - Tile Goltrd, Mnster of tile Palrnzoirieo 

EMMA LOU DIEMER 

ALEX SHAPIRO 

Saturday Night At The Caban Bamboo (1991)' 

A Quiet, Lovely Piece (1991)' 

Trio for Clarinet, Violin and Piano (1998)' 

I 

I 

THOMAS WHITMAN 

Intermission 

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 st~lsc~rro~~et~de Gebet 

Desiree Halac, mezzo-soprano Deborah Buck, violin 

Richard Goldsmith, clarinet Max Lifchitz, piano 

Daniel Kessner, guest conductor 

Liuh-Wen Tina 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 the 

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 the 

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." 

The NorthISouth String Quartet consists of musicians who have appeared with the ~orth/~outh Consonance 

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 the 

"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, 

Nieeria. Euba is a leadine authoritv on neo-~frican art music and is the ~ioneer of several scholarlv 

I ~a~reuth, Munich, ~alzbur~, London, #oscow, New Yore, 'and various parts of ~fzca (Nigeria, 

Ghana, Togo, Kenya, South Africa) and Asia (Pakistan, Malaysia). Akin Euba's opera Clzaka was 

University of Pittsburgh. He is also the fdunder and director of the Centre for Intercultural Music Arts 

I has~d in T nndnn. Envland. I 

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

I 

I 

I Contemporary 

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 at 

Tanglewood. Her mentors included Paul Hindemith and Roger Sessions. Her oeuvre includes 

orchestral, band, chamber, instrumental land vocal solo, choral, and electronic compositions. Her 

North/South Recordings ( N/S R 1005). hs. 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 ~iece is in an uncom~licated 

~ecordin~ Society label on Ln album titled ~lbti'n~ Leaf." 

Alex Shapiro was born in New Yor* City in 1962 and Currently resides in Malibu, CA. She 

received her training at The Juilliard S~hool and the Manhattan School of Music, where her 

composition mentors included Ursula Mamlok and John Corigliano. A recipient of the distinguished 

2000 Artists Fellowship Award from ~ h California k Arts Council. Ms. Sha~iro is 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 at 

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; 

ich bin nicht was ich weiB 

Ein Ding und nit ein Ding; 

ein Tiipchen und ein Kreis. 

I know not what I am; 

I am not what I know; 

A thing and not a thing; 

a point and a circle.

I1 - Silesius: [IV, 381 Gott nichts und dlles God, nothing and 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 aA at peace about.~od and about death.) 

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 ken and women I see God, And in my own face in the glass; 

I 

It is happiness. 

IV: Silesius: [I, 251 Gott ergreift man 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 

jHabrd una inmensa piedra, 

una pirimide perfecta 

con un reloj atomic0 por coraz6n 

palpitando bajo el musgo de la superficie? 

En el centro de Dios: 

jHabrd un mar? 

jun rio de peces breves como un beso? a 

juna hoja otoiial a1 borde del olvido? 

juna oruga soiiando la seda? 

jHabrd un hombre? 

VII: Three Chorales to Silence 

In the center of God 

Will there be an immense stone, 

a perfect pyramid 

with an atomic clock for a heart, 

beating under the moss of the surface? 

In the center of God: 

Will there be a sea? 

river of small fish like a kiss? 

an autumn leaf on the edge of oblivion? 

a caterpillar dreaming silk? 

Will there be a man? 

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

Ein weis&, wann er red't, A 

was nutzet und behagt, w 

Obgleich es wenig ist, 

hat vie1 genug gesagt. 

wiseman, when he says, 

hat is useful and pleasing, 

Although it is little, 

has said quite enough. 

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

Die Engel singen schon; 

ich weiB, daB dein Gesinge, 

So du nur ganzlich schwiegst, 

dem Hochsten besser klinge. 

The angels sing beautifully; 

I know that your song, 

Were you to be completely silent, 

would sound better to God. 

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

Gott is so iiber all's, 

daG man nichts sprechen kann, 

Drum betest du ihn 

auch mit Schweigen besser an. 

God is so infinite, 

that one can say nothing, 

Therefore you pray to him 

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.

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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 

17-22 Sun-Fri Honors Chamber Winds Camp (more info- LSU Bands - 578-2384) 

20 Wednesday 7:OOpm Atlantic Brass Quintet RH 

22 Friday 4:00 pm Carolyn Treybig Guest Flute RH 

27 Wednesday 8:00 pm Gert Wuestemann, Guest Guitar RH 


29 Friday 6:00 pm Amy Stamps ~asiers Vocal Recital RH 

29 Friday 8:00 pm Matthew Sanderlin Masters Tuba Recital RH 


& D WTIC ARTS 


Jdy 2001 PRESENTS 

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--- - --- - 


. 

19 Thursday 8:00 pm Joe Skillen Faculty Tuba Recital ! RH 

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26 Thursday 8:00 pm Hot Summer Nights Concert #4 RH -.:a .* . : . :,- 

*: .> ' " . . 

CI.. : 

UUMC = University United Methodist Church 

UT = Union Theater RH = Recital Hall 

ST = Shaver Theatre FBC = First Baptist Church 

CB = Cotillion Ballroom CT = Colonnade Theater 

TBA = to be announced 

ABOUT THE SCHOOL. . . 

FOUNDED ON THE BATON ROUGE CAMPUS IN 1931, THE LSU SCHOOL OF MUSIC NOW BOASTS A 

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- 

LAUREATE THROUGH THE DOCTORATE-PLACE IT IN THE TOP CATEGORY OF MUSIC SCHOOLS 

NATIONWIDE. NUMEROUS FACULTY MEMBERS HAVE EARNED NATIONAL AND INTERNATIONAL REPUTA- 

TIONS THROUGH PERFORMANCE AND RESEARCH PURSUITS AND THUS ATIXACT STUDENTS FROM ALL 

PARTS OF THIS COUNTRY AND THE WORLD. MANY OF THE SCHOOL'S PERFORMING ENSEMBLES ENJOY 

WIDE ACCLAIM, APPEAFUNG AT THE BERLIN CATHEDRAL, THE VATICAN IN ROME, CARNEGIE HALL IN 

NEW YORK CITY AND THE KENNEDY CENTER IN WASHINGTON, D.C., AMONG OTHER NOTABLE 

VENUES. 

LSU School of Music Website: www.music.lsu.edu I 

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12 Thursday 8:00 pm Hot Summer Nights Concert $3 

19 Thursday 8:00 pm Joe Skillen Faculty Tuba Recital 

20 Friday 6:00 pm Kimberly Roberts, DMA Vocal Recital 

26 Thursday 8:00 pm Hot Summer Nights Concert $4 



ST = Shaver Theatre FBC = First Baptist Church 


TBA = to be announced 





PRESENTS 

AN, Ev 

.... .. 

FOUNDED ON ME BATON ROUGE CAMPUS IN 1 931, THE LSU SCHOOL OF MUSIC NOW BOASTS A . . . . 

FACULTY AND STAFF NUMBERING OVER 70, AND A MUSIC MAJOR CONCENTRATION OF N ~ 450 Y 

STUDENTS. THE SIZE AND SCOPE OF ITS CURRICUUI-EOMPREHENSIVF, PROGRAMS FROM THE BAW- 

LAUREATE THROUGH THE DOCTORATE-PUCE IT IN THE TOP CATEGORY OF MUSIC SCHOOLS 

NATIONWqE NUMEROUS FACULTY MEMBERS HAVE W E D NATIONAL AND INTERNATIONAL WWA- TIONS THROUGH PERFORMANCE AND RF.SEARCH PUlUlTS 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, THE VATICAN IN ROME, CARNEGIE HALL IN 

NEW '0" CITY AND W E KENNEDY CENTER IN WASHINGTON, D.C., AMONG OTHER NOTABLE 

VENUES. .. . 

. - 

LSU School of Music Website: www.rnusic.lsu.edu WEDNESDAY, JULY 11,2001 

8:OOPM RECITAL Hm 

. .. 

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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 

unity with nature is represented through the use of parallel fourths and fifths. The second movement, 

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 

the heart of the culture. 

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. 

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 

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. 

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, 

namely descending minor scales, chromatic ornamentation, and particular tango rhythms and melodic 

figuration. 

Sonataparaflauta epiano is built upon a twelve-tone theme, which is framed harmonically in a tonal- 

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. 

Leigh Ann Reech is currently flute instructor at Nicholls State University and director of the Greater 

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- 

roe Symphony Concerto competition. 

David LeDoux is an undergraduate at LSU majoring in cello performance. He performs with the LSU 

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. 

Impressions ofJapan (2001) 

I. Garden of the Tojin Temple 

11. Song of the Uguisu 

Leigh Ann Reech, flute 

Maria Di Cavalcanti, piano 

Solitaty Moments for Cello in Six Movements (1772) 

David LeDoux, cello 



Twentyuch (1777) John M. Crabtree 

I. Fierce with Motion 

11. Passionately 

111. Quick and Accented 



Second Caricature (tangoesque) (1777) 

Brian Utley, saxophone 

David LeDow, cello 


Aaron Johnson 

Sonata para flauta e piano No.1, Op. 14 (1774) Liduino Pitombeira 


Maria Di Cavalcanti, piano

~alifoinia State University, Fullerton 

Department of Music 

presents 

a clncert of chamber music 

by members bf the Los Angeles Chapter of the 

National ~ssociation of Composers - USA (NACUSA) 

I Recital all 23 September 2001 4 PM I 

I 

I 

Suite Spice [20011 I Kathy --- - 

T -- Penner - -rr-- 

11. Cardamom 

III. Paprika 

I 

1 

Ralph ~illidms, clarinet; Patrice Langsdale, bassoon; 

( David Lauren, piano 

I 

I I 

I 

Fading. .. (away) [1998-991 I 

Anthony J. Wardzinski 

I 

Luke Maurer, viola; Peter Jacobson, 'cello 

I The Ping Pong Prelude [I9991 

David Rubinstein 

Sorry, Wrong Cabaret [I9981 

1 

I 

David Rubinstein, piano Seven Last Words [ 20] I Peter Knell 

I. Father, forgive them; for hey know not, what they do. 

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 

Mary Kim, violin 

I 

Sonata for flute and Piano 119811 1 Jeremy Beck* 

Maestoso 

Allegro giocoso 

Allegro non troppo 

I 

I 

Cynthia ~llis, flute*; Roberta Garten, piano 

/ intermission 

* faculty. California State University, Fullerton - Department of Music 

I 

I 

I

Two for Christine [U)01] 

I. Aria 

11. Aria inside Capriccio 

Sketches of Maine [I9991 

Christine Beard, flute 

Scott Brickman, piano 

West and North of Kettleman [I9961 

Klondike Steadman, guitar 

Music for Two Big Instruments [XI001 

Norm Pearson, tuba; Cindy Williams, piano 

Jeremy Beck Associate Professor of Music - coordinator 

Leonard Mark Lewis 

Scott Brickman 

Robert Bowen 

Alex Shapiro

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 fa up while putting miles on my car, 350 

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 

I 

I 

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 Totator 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 Sw opens with "Pepper," a movement which 

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 1 

I 

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(awasaki and 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

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 

. ., . . . . Counties.. While studying..in..Salzburg, she 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 Concerto for 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 

Aria inside Capricci~ was 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~cipal tuba with the Orquesta Filarmonica de Caracas in 

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&ds he has received include the Recognition of Excellence at the 

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, Of Bow and Touch. Ms. Shapiro's 

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. 1 h ew 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 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 pPano is 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 ... It had never been given a name since no one cared to talk 

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 


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 of the program. 

Elizabeth Sanford, mezzo-soprano, 

Jonathan wright. violin, Ana Maria Moldonado, violoncello 

Twenty-Four Jewish Folk Melodies for Piano Marshall Bialosky 


Colloquies for Flute and Clarinet Bernard Gilmore 

Imaginary Dream 

Daniel Kessner, Flute 

Julia Heinen, Clarinet 

Dennis Anderson 

Digital Music 

Levoca's White Lady Sharon Zhu 


We invite you to remain after the concert for a time of questions from the audience. This will be 

immediately followed by an informal reception held in the courtyard in front of the Recital Hall.

MawbaU B~alosky has been the president of NACUSA for the last 25 years. An 

Emeritus Professor Music at Cal State University - Dominguez Hills, he was the 

Founding Chairman of both their Music and Art Departments. 

Be~na~d Gzlmo~e 

is a long time member of the faculty at UC lrvine and has 

recently concluded a term as chairman of 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 of 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. 

Sba~on Zbu, originally from Shanghai. China, is now a graduate student at 

Princeton. University. She was a co-winner of 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. 

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JZ~IT~ FF~K~~K 

is an orchestral bnd chamber musician, a soloist and a teacher. 

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 of the Austrian Radio 

7 Orchestra in Graz. I 

w 

Susan Grreenke~~ 

I 

is very visibly active in the Los Angeles area as a soloist and 

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 ~ a is an Associate brofessor of Music at Cal State University - 

Northridge, where she teaches c~brinet and heads the musicianship program. She 

received her doctorate from the university of Minnesota. 

I 

Dan~el Kessne~ 

is 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~la Maldonado received her graduate degree from the University of 

University - Son Bernardino and the Claremont Community School of Music. 

I 

~hzake~b Sanro~d 

currently teaches voice, piano and music appreciation at Mt. 

San Antonio College. She has albo taught at California Baptist University and at 

a variety of programs, presenting and performing the music of Francis Poulenc, 

Kurt Weill and Pauline Viardot-Gbrcia. 

Ms. Sanford is Director of Musiclat East Whittier Presbyterian Church. 

Delolles S~evens is one of the most active pianists in the Los Angeles area. She 

is an outstanding interpreter of contemporary music and has premiered dozens of 

new music compositions. Ms. *Stevens directs chamber music series in Pacific 

Palisades and on Martha's ~ine~urd. 

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Jona~ban WKIG~T was born in northern England, where he began his violin 

studies at the age of 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 of biology. 

specializing in animal physiology, at Pomona College. 

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1. In Lands I Never Saw 

In lands I never saw, they say, 

Immortal Alps look down, 

Whose bonnets touch the firmament, 

Whose sandals touch the town, 

Meek at whose everlasting feet 

A myriad daises play. 

Which, sir, are you, and which am I, 

Upon an August day? 

Eight by Emily (Dickinson) - on Love and Marriage 

2. 0 Friend 

Alter? When the hills do. 

Falter? When the sun 

Question if his glory be the perfect one. 

Surfeit? When the daffodil doth of the dew: 

Even as herself, 0 friend! I will of you! 

3. Possession 

Did the harebell loose her - girdle 

To the lover bee, 

Would the bee the harebell hallow 

Much as formerly? 

Did the paradise, persuaded, 

Yield her moat of pearl, 

Would the Eden be an Eden, 

Or the earl an earl? 

-err 

4. A otheosis 

Come s ow y, Eden! 

Lips unused to thee, 

Bashful, sip thy jasmines, 

As the fainting bee, 

Reaching late his flower, 

Round her chamber hums 

Counts his nectars --- enters, 

And is lost in balms. 

8. Apocalypse 

I'm wife: I've finished that, 

that other state; 

I'm Czar, I'm woman now: 

It's safer so. 

How odd the girl's life looks 

Behind this soft eclipse! 

5. Wild Nights! 

Wild nights! Wild nights! 

Were I with thee. 

Wild nights would be our luxury! 

Futile the winds to a heart in port,-- 

Done with the compass, 

Done with the chart. 

Rowing in Eden! Ah! the sea! 

Might I but moor tonight in thee! 

Wild nights! Wild nights! 

6. Wedded 

A solemnthing it was, I said, 

A woman white to be, 

And wear, if God .should count me fit, 

Her hallowed mystery. 

A timid thing to drop a life 

Into the purple well, 

Too plummetless that it come back 

Eternity unto. 

7. The Wife 

She rose to his reauirements, 

Dropped the playihings of her life 

To take the honorable work 

Of woman and of wife. 

If aught she missed in her new day 

Of amplitude and awe, 

Or first prospective, 

Or the gold in using wore away, 

It lay unmentioned, 

As the sea develops pearl and weed. 

But only to himself is known 

The fathoms they abide. 

1 think that earth seems so 

To those in heaven now. 

This being comfort, 

Then that other kind was pain; 

But why compare? 

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 

At thk 'Palo, Alto Art Center 

Embarcadero & Newell, Palo Alto ., ' 

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compdeeri ,can. P~~~.TO,O.:. 

8pm Saturday . , 

March2,2002 , ' . . 

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Spring ~esonance .'. 

,8pmSaprday . , . -' 

1' . .' 

June 8,2002 , 

Com~orrs' Performance ~nsemblq . ' 

young Compbvrs Contest Winner

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. . . - -PROGRAM- . , ' 

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Hornburg Sonata (1 99 1) 

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Marlene Ford, Horn ' 

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Piano Sonata No. 2. 

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Four for Three'' 

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Trio Giocondo 

Two Mobiles 

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' , Wendy. Young . .' 

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., prelude-~u~ue-w arch-w in ale 

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Elaine Swinney, Violin 

' '. John winsor, clarinet 

, ' . ~ar~~u~hes, cello. , 

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Elaine swiney,' violin 

- John Winsor, Clarinet 

.Jeanette Winsor, Piano 

John Winsor, Clarinet 

Jeanette Winsor, Piano 

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Leigh Baxter . 

. . Harvey . Stokes 

.John Winsor 

WalterRoss 

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Paul Stouffer , 

miniature Images for clarinet" ' Jeraldine ~aunders Herbison' 

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March of the Little clowns- he Sloth and the Caterpillar-The Hiker-Tag 

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John Winsor, Clarinet .- . ~. 

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

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

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1: Phrygian Delight -2. ~bartal Pbrtal-3: Clouds -4. Love Song 

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

Ten.. . " . 

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' Dave 

Terri lkes, Contialto. . 

Hershiser, clarinet 

James Herbison, Cello . ' . ' 

Todd ~arnes; piano 

Celeste Gates, Conductor . ,. 

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*(Premiere) . . . . . . 

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Barnes . ' ' 

Celeste Gates 

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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 ~ir~inia'~rass, the Hardwick Chamber Ensemble, the Tidewater Winds and the Prelude 

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, 

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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. - 

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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 

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degrees from the School of ~ine-&ts at the University of Pennsylvania, where he studie'd composition with 

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Robert Elmore and e and re Vailclain. He .has devoted a.lifetime to composition and music education. His works for 

barid, orchestra, instrumental ensembles, and chorus'have been publishe'a by leading music publishers. ~uring his 40 ' 

years' of teakhing; first at the ~hiladel~hia Musical Academy, then in and private schools in Pennsylvania 

and ~aryland, 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 

' . ', 

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the ~hiladel~hia chapter 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~touffer . . or NACUSA, composer catalogue. . ' . .: , 

. . , . . . , . . 

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ElaineSwinney is a graduate oc~aldwin-wallrice Cbllege in Beiea, ,Ohio. She is 4 violinist- h the . 

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. -.She also. plays in the Virginia Opera,Orchestra, ' 

William'sbur'g' Symphonia and the Richmond ~ ~m~hon~."' She has played in, the: ~ro~usica Chamber Ensemble.of ' 

Columbus, ~olumbus 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 ~erier, Lois 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. , she teaches 

piano in her s ~dio in Chesapeake and for the Coinmunity Music Academy at Old Domiriion ~niversi~, inusic ' . . 

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 ~ardwick Chamber ~nsemble. Jeatiette holds National sin'd State Profes'si.onal - '. I 

Teaching Certificates from MTNA.~~ VMTA as well as certification.thro,ugh the ~merican College of . - . . . . , . . . . 

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Musicians. Jeanette-is listed in the 2lst edition of Who's Who-of American Women. She is past president of the- 

~idewater Music Teachers' Forum and the Virginia Music ~eachers Association. ,Her artjcles,on 'pian~'~eda~o~~ ' ' 

I . . . 

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' have'been pub1ished.b~ Piatio Guild Notes. - . . 

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John ~ iisoi studied clarinet with Robert Harrison, ~avid~-mis,and Robert kc ell us of the Cleveland . 

Orchestra and composition with John Rinehart and James Waters. He received a Bachelor of ~ usic degree fiom 

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, arid composition at the Virginia ~ovemor's'~chool for the Arts. He is a member:of the . ' - ' . . . 

Hardwick Chamber Ensemble; He is ~ ~ ~ ~ ~ ~ ' s . ~ eCoordinator m b e r and.Webmaster. s h i ~ He is also a.senior. , .. 

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 Codssioned 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. 

. . . . . . . 

' 

The Nationaal ~sso~iitiba of ~omp&e&, .USA,+~~ formed in 1933. It is one of the oldes! org&zations 

NACUS~GINIA 

'; .. 

, , dedicated to the promotion and pafohnance.of music by ~ieiicans. 

www.thebook.com/hardwick/ntw home.htm NACUSA/National Web Site: www.thebook.cornlnacusa. 

. . 

. , . 

web page: . . 

. ,

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 

8 Thursday 8:00 PM Percussion Ensemble Concert UT 

9 Friday 6:00 PM Amanda Montgomery DMA Piano Recital RH 

11 Sunday 3:00 PM Louisiana Chamber Players Concert RH 

11 Sunday 4:00 PM Gospel Choir Concert UT 

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 6:00 PM Boriana Kojouharova DMA Concerto Recital RH 

15 Thursday 8:00 PM Myung-Jin Kuh Graduate Piano Recital RH 

16 Friday 4:00 PM 

--- 

James Stuart Guest Lecture 

(The Music-of-Gilb~rrah-d~S~lliv

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.

Herb Gellis 

Program 

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 Rhapsody for 

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 

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! 

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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.

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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~ 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, 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 Sqord Woodwind Wtet and The World is a Butterfly's Wing (song cycle) at the 

Demere Guard Festival in San Francisco. i 

HERB GELLIS 

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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. 

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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 two additional chorus pieces in press, including Let 

Evening Come, also heard in last fall's concert. Rogef Dean has two more in press, and Thompson Edition will publish Three Hunting 

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. 

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TALES OF THE CULTURAL REVOLUTIO~ is very loosely based on events that occurred in China during the 1960's and 

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 

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A graduate of Oberlin Comatory, 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) 359-7693, 

michael@kimbellmusic.com. General inquires may be directed to Nancy Bloomer Deussen, (650) 858-0172. 


Tax-deductible contributions may be sent to: 







contributors to the 1999-2000 concert season: 



Ms. Mary A. Beeman 

Ms. Rosemary Barrett Byers 

Ms. llse Calabi 

Ms. Patti Noel Deuter 

Ms. Aileen Lee 

Mr. Mano Murthy ' 












Programming: John Beeman, Nancy Bloomer Deussen, Diana Tucker

Creators of the "Music Niqhts SeriesP 

Aaron Johnson, President of Mid-South Chapter of NACUSA 

Dr. Harald Leader, Producer 

William Price, Vice-President of Mid-South Chapter of NACUSA 

Alexander Tselebrovski, Artistic Director 

Upmincr Music Nights Events 

Friday, November 5 7:OOPM Electro- Acoustic Black Box 

The International Cultural Center 

and 



present 

Friday, Noveimber 30 7:OOPM An Evening of New Music 

- 

-- - -- - - - - __ _ _ - __ -- - . -- - - -- -- 

A Concert of Voices, Piano 

and Sax 

The ICC and the Mid-South Chapter of NACUSA would like to express 

their appreciation to the following people: 

Ms. Virginia Grenier, Executive Director of the International Hospitality 

Foundation 

Dr. Earnest and Phyllis Harrison 

Mikel LeDee, President of the Board of Directors of Louisiana Sinfonietta 

The LSU International Cultural Center 

Friday, October 5,2001 

7:OOPM

Retrato de uma cidade Liduino Pitom beira 

Rdrdo d. uma cidade (Picture of a Ci was m r 4 the second prize in the First 

National Composition Competition Ro de Janeiro, in 1995 and it was published by 

RoArte Editora. The poem is written by Carlos Drummond de Andrade, one of the 

most important modernist poets of Brazil. 

Poemes d Amour Dawn K Williams 

Poemes $Amour (2000) for Voice and Piano is a set of short songs, which may be 

sung by any voice type and may be performed in any order. The songs are settings 

of wrks by the nineteenth-century French poet Paul Verlaine, and may be considered 

to be modern lieder. Each song has a distinct character: the piece features a chant, a 

shepherd song, a declamation of the text, etc. The singer uses various methods of 

vocal production, such as singing into a paper bug, spoken text, etc., in addition to 

ordinario (operatic) singing. The pianist also produces sounds in various ways, 

including rapping the closed keybard lid and playing wind chimes. 

Music, When Soft Voices Die Aaron Johnson 

Music, when soft voices die, 

Vibrates in the memory. 

Odoun, when sweet violets sicken, 

live within the sense they quicken. 

Rose leaves, when the rose is dead, 

Are heap'd for the beloved's bed 

And so thy thoughts, when thou art gone, 

love itself shall slumber on. 

- Percy Byshe Shelley 

Seresta No. 2 Liduino Pitombeira 

Seresb is the Brazilian denomination for serenade, which appeared in the early 16th 

century tradition of Portugal. It consists of performing F ~ asongs l at night while 

walking through the streets. Two elements are important in the formation of the 

Brazilian serresta: the vocal style becomes lament-like and the musical language 

incorporates elements of choro. The two movement work is inspired in the seresta and 

it is a tribute to Noel Rosa (1910.1937) and Pixinguinha (1897-1973), who were both 

great Brazilian composers associated with this genre. The first movement - Noel Rosa 

- is a slow and free movement. The second one - Piinguinnh - is fast and rhythmic. 

The piece ends with a coda that brings back ideas from the first movement.

Creators of the "Music Nicrhts Series" 

Aaron Johnson, President of Mid-South Chapter of NACUSA 

Dr. Harald Leder, Producer 

William Price, Vice-President of Mid-South Chapter of NACUSA 


Upcominq .- Music Nights Events -- 

Friday, November 30 7:OOPM An Evening of New Music 

The ICC and the Mid-South NACUSA would like to express our 

appreciation to the following people: 


Foundation 




and 



present 

---A -Black-b-2-Co"c 6-d--- - - - - - - 

of EIedroAcoustic 


The LSU International cultural Center 

Friday, November 9,2001 

7:OOPM

Notes About the Music . . . Program 

In neir Own Words (2001) is an electronic tribute to several important and influential 

composers of the 20th Century: George Crumb, John Cage, and Milton Babbitt. The 

piece is separated into three short movements in which sound clips from each 

composer talking is electronically manipulated and morphed into a surreal electronic 

landscape. Each movement also incorporates the sounds of a manipulated acoustic 

instrument that, for the most part, best represents the composers' musical philosophies. 

Tmtric Dreams of a Lotus Blossom (2000) was realized at the Electro-Acoustic Music 

Studios at Louisiana State University using Kyma sound software. The work's general 

aesthetic focus is one of narrative meditation. Almglocken bells, granular guitar 

streams, and Tuva drums were used to create a quiet, but reflective atmosphere. 

Scintillate Plectrums (2001) was composed entirely with the CSound program and was 

recently the winner of the International New Music Consortium, Inc. Composition 

Contest of 200 I. 

Rock, Paper, Scissors was commissioned by the Of Moving Colors dance group for 

their Spring 2001 production White. The music was created using the KYMA 

hardwardsofbare system as well as Peak and ProTools software. First recordings 

were made of rocks clacking, paper being shredded, scissors snipping, and the singer 

Mayumi Yotsumoto improvising melodies on the childrens game Rock, Paper, 

Scissors. Next recordings were edited and manipulated. For example a recording of the 

composer saying "paper" was rhythmicized using a drum machine, and the singer's 

vocalizations were harmonized to sound like a choir and then delayed using echo 

effects. Perhaps the most unusual manipulation of a natural sound involved a pair of 

snipping scissors being transformed into guitar-like sounds. First rhythms were 

generated using a drum machine. Next these were resonated and tuned to create actual 

pitched notes. Finally these sounds were processed using reverb, chorusing, and delay 

to fatten them up. The resulting inshument sounds something like a cross between an 

electric guitar and a Japanese kolo. Even though some samples of actual instruments 

were used, most of the sounds in the piece were created this way. 

Canudos "Canudos" was an important religious and civil war that happened in Brazil, 

at the end of the 19th century. In its final moment there is a remarkable episode in 

which a two thousand men army was fighting against five persons. The piece is full of 

mystical elements representing the religiosity of Antonio Conselheiro, and its 

crescendo depicts the increasing tension of this historical fact. 

Spline (2001) is a two-minute work based on the concept of interruption and constant 

change of media focus. The work uses several layers of background and foreground 

activity, which create a dialogue throughout the work. Various sources of sound 

media were used, including samples taken folk music, popular music, and art music 

sources. 

Introduction and Ldre ................................................ Charles Haahues 

Sarahnade Stephen David Beck 

Oh No! (Music for Kenneth) Stephen David Beck 

Pjammin ' Aaron Johnson 

In Their Own Words John M. Crabtree 

I. . . .influenced by those possibilities (George Crumb) 

11. ... nothing's definite (John Cage) 

111. . . . a tendency to talk too quickly (Milton Babbitt) 

Comets Mark Francis 

Several Species of Small Fuv Animals Gathered Jonathan Peters 

Together in a Cave and Grooving with the Tooth 

Fairy 

Big Chief W.T. 

Tantric Dreams of a Lotus Blossom 


William Price 

Scintillate Plectrums John M. Crabtree 

Rock, Paper, Scissors Charles Haarhues 

Canudos Liduino Pitombeira 

Spline William Price

Meet the Artists 

Metropolitan Opera soprano Heidi Skok made her debut in 1992 as the Young Shepherd in 

Tannhauser. She has since performed many roles with the Met including Moses und Aron, Queen of Spades, 

and Parsifal. Skok has performed concerts in Europe, South America, the Middle East and North 

America, in addition to singing with The Wolf Trap Opera Company, Pittsburgh Opera, and Lyric Opera 

of Kansas City The past two summers Ms. Skok appeared with the Ravinia Festival and the Marlboro 

Music Festival. Her debut album entitled Women's Voices b Songs of Martin Hennessy was released on the 

Newport label. Ms. Skok is a graduate of Carnegie Mellon University, holds an artist diploma from Tito 

Capobianco's Pittsburgh Opera Center at Duquesne, and is a former member of the Metropolitan Opera's 

Young Artist Development Program. 

Pianist/composer Martin Hennessy studied at Georgetown University and at The Juilliard 

School with such luminaries as Marshall Williamson and Samuel Sanders. As a pianist and vocal coach, 

he has toured worldwide with the Be1 Canto Trio and the Ambassadors of Opera. As an educator, he has 

served on the faculties of The Juilliard Opera Center and Carlo Bergonzi's Be1 Canto Seminar. As a 

composer, Mr. Hennessy has received awards from Meet the Composer, ASCAP and the American Music 

Center. Vital Theater Co. produced his musical Edgar, as an equity showcase this past summer in New 

York City. His music is published by Glendower Jones at Classical Vocal Reprints and can be heard most 

recently on the Newport Classic release Women's Voices. 

The Axiom Duo - cellist Emmanuel Feldman and double bassist Pascale Delache-Feldman - 

were described by NPR's Ron Schachter as "a musical Laois and Clark, opening up new musical territories" 

and pioneering a new and unexpected chamber music experience." They have appeared throughout the United 

States and have toured in France, Germany, Austria and Hungary. Champions of new music, the Duo 

recently released its first CD on the Synergy Classics label featuring several works especially written for 

the ensemble by American composers. 

Since 1980, the NORTHISOUTH CONSONANCE ENSEMBLE has brought to the New York 

public over 750 different works by composers from throughout the United States, Canada, Latin 

America, Africa, Asia and Europe. 

Flutist Lisa Hansen won critical acclaim for her EMI/Angel recording of Joaquin Rodrigo's Concierto 

Pastoral with the London Royal Philharmonic Orchestra. Her recent recording of Nielsen's Flute Concerto was 

featured on NPR's Performance Today and was warmly praised by Fanfare Magazine. Ms. Hansen implements and 

directs the ever popular Summer Serenades Festival held during the month of June in Washington Heights 

Lisa Stokes Chin, double bass, has recorded for the Newport Classics, New World, North/South and 

Bridge labels. Her professional experience includes the New York Chamber Soloists, Riverside Symphony, The 

Vermont Mozart Festival, Washington Square Contemporary Ensemble, Bang on a Can, and June in Buffalo 

Pianist Max Lifchitz was awarded the first prize in the 1976 International Gaudeamus Competition for 

Performers of Twentieth Century Music held in Holland. Robert Comrnanday, writing for The San Francisco 

Chronicle described him as "a young composer of brilliant imagination and a stunning, ultra-sensitive pianist. " 

The New York Times music critic Allan Kozinn praised Mr. Lifchitz for his "clean, measured and sensitive 

performances. " Albums featuring performances by the North/South Consonance Ensemble are available through 

the internet at www.northsouthmusic.org or by calling 1 (800) 752-1951. 


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. To learn more about various the 

activities sponsored by the National Association of Composers, USA please visit its website at 

www.music-usa.ore; 


Please turn-offyour watch alarm or any other noise-producing device before the program starts. 



PROGRAM NOTES and TEXTS- Ampiled and edited by Max Lifchitr 

Martin Hennessy kindly providbd the following comments for his songs: 

"I was searching among a variety of texts for the next song in a Ben Jonson group. It was the 

week after the September ll* attack and Echo's Song jumped out at me. I began musicalizing it as a 

dirge in honor of all those who had died. Yet as it progressed, I realized that the piece is really for 

those who mourn. And so it is dedicated!" 

I 

Echo's Song by Ben Jonson 

Slow, slow, fresh fount, keep time with !my salt tears: 

I 

Yet, slower, yet; 0 faintly, gentle springs: 

List to the heavy part the music bears, I 

Woe weeps out her division, when she sings. 

Droop herbs, and flowers, I I 

Fall grief in showers, I 

Our beauties are not ours: 

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0, I could still, I 

Like melting snow upon some craggy hill, 

Drop, drop, drop, drop, I 

Since nature's pride is, now, a withered; daffodil. 

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ll girasole by Eugenio Montale 

The Sunflower (trans. William Arrowsmith) 

Portami il girasole ch'io lo trapianti 

nel mio terreno bruciato dal salino, I 

e mostri tutto il giorno agli azzurri spec$hianti 

del cielo lfansieta del suo volto giallino. 

Bring me the sunflower, 1/11 plant it here 

in my patch of ground scorched by salt spume, 

where all day long it will lift the craving 

of its golden face to the mirroring blue. 

Tendono alla chiarita le cose oscure, i 1 

si esauriscono I corpi in un fluire 

di tinte: queste in musiche. Svanire 

e dunque la ventura delle venture. 

Portami tu la pianta che conduce 

dove sorgono bionde trasparenze 

e vapora la vita quale essenza: 

portami il girasole impazzito di luce. 

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Dark things are drawn to brighter 

bodies languish in a flowing 

of colors, colors in musics. To vanish, 

then, is the venture of ventures. 

Bring me the flower that leads us out 

where blond transparencies rise 

and life evaporates as essence 

Bring me the sunflower crazed with light. 

Max Lifchitzfs Episodes - for dbuble bass and piano - is in five contrasting movements. Highly 

virtuosic and demanding of the perfor4ers, the music explores the extreme registers of the instruments 

while employing unusual sound production techniques. The work was written at the request of Donald 

Palma, who premiered it at the invitatidn of the 1983 International Double Bass Society. 

Yellow Ribbons No. 1 belongs to a series of works written as homage to the former American 

hostages in Iran. These compositions represent a personal way of celebrating the artistic and political 

freedom so often taken for granted in the West. 

The work is in three contrasting movements performed without pause. Its melodic and harmonic 

materials are derived from a series ofi expanding and contracting intervals while easily identifiable 

rhythmic motives serve as unifymg elem~nts throughout the piece. 

Mosaico Latinoamen'cano (Latin American Mosaic) is based on folk melodies native to several 

Latin American countries. The first movbment, marked slow, is built around two melodies associated 

with funeral ceremonies: the Afro-Cuban "Canto Lucum"' and the Mayan "Xtoles." These two 

melodies exhibit a pentatonic background although they contrasting in terms of rhythm and character. 

The character of the music is meditativd and somewhat dramatic. The second movement marked fast, 

combines dance melodies from the coastal areas of M6xic0, El Salvador and the Caribbean including 

fragments of a Huapango and a Merengue. The music is definitely upbeat and has an understated 

sense of humor. Mosaico Latinoamen'cano was written at the request of flutist Lisa Hansen and 

pianist Katrina Krimsky who premiered it in Ziirich, Switzerland on June 1,1991. 

I

Hayg Boyadjian was born in Paris to Armenian parents. He lived in France and Argentina 

before moving to the US in 1958. While his musical education began in Argentina, it culminated with 

studies at the New England Conservatory and Brandeis University. A long time Boston resident, 

Boyadjian's extensive oeuvre includes works for orchestra, solo instruments and numerous chamber 

compositions. Boyadjian's works have been performed throughout the world and appear on 

recordings issued on the North/South, Opus One, Living Music, and Society of Composers labels. The 

Washington Post described his music as "delicate and transparent" and the Boston Globe commented 

on the "anguish and intensity expressed" in his scores. 

The composer writes about his work: 

"The musical ideas found in Eclipse grew out of my interests in astronomy. The music is built 

around two contrasting ideas; one slow, or heavy, associated with the darkness during an eclipse, 

and the other light and active, associated with the return of the light at the end of the eclipse. The 

piece ends quietly as the moon and/or the sun continue on their journey. Eclipse was written for and 

is dedicated to the Axiom Duo." 

Stefania de Kenessey is a leading figure in the current revival of neoclassicism. Honored 

repeatedly with awards from ASCAP, her music has been heard in Europe, Australia, Singapore and 

China as well as throughout the United States. 

Highly regarded as a composer of instrumental works, her newly commissioned concerto for 

trumpet virtuoso Christopher Gekker was released on Helicon Records in 2001. During the summer of 

2001, she was composer-in-residence at the Bridgehampton Summer Music Festival, which opened 

with a performance of her flute concerto by artistic director Marya Martin. She has also written for, 

among others, flutist Elizabeth Mann and the St. Luke's Chamber Ensemble, the Meridian String 

Quartet, the Singapore Symphony Orchestra, the San Jose Symphony, the Manhattan Chamber 

Orchestra, the North/South Consonance Orchestra and the Absolute Ensemble, conducted by 

Kristjan Jarvi. Her popular piano sonata Sunburst has been honored with three different recordings 

and is available simultaneously on the North/South, E.R.M. and Leonarda labels; "Shades of Light, 

Shades of Dark", a CD of her chamber music performed by renowned clarinetist Julian Milkis and the 

Andiamo Chamber Ensemble, has just been released on North/South Records and received a rave 

review in Fanfare Magazine as "...fully worthy to share a program or disc with the masterpieces by Mozart 

or Brahms." Featured in the PBS documentary on the return of classicism "Art Under the Radar", she 

is also the founder and artistic director of The Derriere Guard, an alliance of traditionalist 

contemporary artists, architects, poets and composers. The First Derriere Guard Festival took place 

in March 1997 at The Kitchen and featured cultural critic Tom Wolfe as its keynote speaker. Ms. de 

Kenessey was educated at Yale and Princeton Universities, receiving her doctorate under the tutelage 

of Milton Babbitt, and is currently artist-in-residence at the New School University in New York City. 

Inspired by the poetry of Tom Disch, High Summer was premiered at Columbia University's 

Miller Theatre on Oct.25,2001. The texts follow: 

High Summer 

Poems by Tom Disch 

I. High Summer 

When the bluebells have left off blooming 

And the woods are dusty and dry, 

It's time to go to the movies 

And switch from Low Cool to Hi. 

When all the daffodils have withered 

And the scum is thick on the shore, 

Then go where the weather caresses 

In a large department store. 

The season of blossoms is fleeting; 

Then come the wearisome weeks 

When even the beaches are beastly 

And the rusty screen door squeaks, 

And you sigh for those simpler summers 

When you stayed in the city and drank 

Perriers by a recycling fountain 

In the plaza of Chemical Bank.

Creators of the "Music Nights Series" 

Aaron Johnson 


William Price, President of Mid-South Chapter of NACUSA 


Uvominq Music Niqhts Events at the ICC 

Friday, March 8 7:OOPM Earnest Harrison Oboe Recital 

Friday, March 22 7:OOPM Music, Dance, Art and lmprw 

Friday, April 19 6:OOPM New Music, New Views 

Upcoming NACUSA Music Events at he LSU Recital Hall 

Wednesday, February 27 8:OOPM An Evening of New Music 

Wednesday, April 17 8:OOPM KFQ Percussion Quartet Concert 

The lnternational Cultural Center 

and 

The Mid-South Chapter of / 


present 

---A-Blac-k-Box-Concert 

of EIectroAcoustic 


The ICC and he Mid-Souh NACUSA would like to express our 

appreciation to he following people: I 


Foundation 


Mike1 LeDee, President of the Board of Directors of Louisiana Sinfonietta 

The LSU lnternational Cultural Center 

Dr. Stephen David Beck and he LSU Eledrc+A~o~~tic Studios Friday, February 22,2002 

7:OOPM I 

-

Notes About he Music . . . Program 

In Their Own Words (2001) is an electronic tribute to several important and influential 

composers of the 20th Century: George Crumb, John Cage, and Milton Babbitt. The 

piece is separated into three short movements in which sound clips from each 

composer talking is electronically manipulated and morphed into a surreal electronic 

landscape. Each movement also incorporates the sounds of a manipulated acoustic 

instrument that, for the most part, best represents the composers' musical philosophies. 

Scintillate Plectrums (2001) was composed entirely with the CSound program and was 

recently the winner of the International New Music Consortium, Inc. Composition 

Contest of 200 1. 

Rock, Paper, Scissors was commissioned by the Of Moving Colors dance group for 

their Spring 2001' production White. The music was created using the KYMA 

hardware/sofbare system as well as Peak and ProTools software. First recordings 

were made of rocks clacking, paper being shredded, scissors snipping, and the singer 

Mayumi Yotsumoto improvising melodies on the childrens game Rock, Paper, 

Scissors. Next recordings were edited and manipulated. For example a recording of the 

composer saying "paper" was rhythmicized using a, drum machine, and the singer's 

vocalizations were harmonized to sound like a choir and then delayed using echo 

effects. Perhaps the most unusual manipulation of a natural sound involved a pair of 

snipping scissors being transformed into guitar-like sounds. First rhythms were 

generated using a drum machine. Next these. were resonated and tuned to create actual 

pitched notes. Finally these sounds were processed using reverb, chorusing, and delay 

to fatten them up. The resulting instrument sounds something like a cross between an 

electric guitar and a Japanese koto. Even though some samples of actual instruments 

were used, most of the sounds in the piece were created this way. 

Camrdos "Canudos" was an important religious and civil war that happened in Brazil, 

at the end of the 19th century. In its final moment there is a remarkable episode in 

which a two thousand men army was fighting against five persons. The piece is full of 

mystical elements representing the religiosity of Antonio Conselheiro, and its 

crescendo depicts the increasing tension of this historical fact. 

Spline (2001) is a two-minute work based on the concept of interruption and constant 

change of media focus. The work uses several layers of background and foreground 

activity, which create a dialogue throughout the work. Various sources of soundmedia 

were used, including samples taken folk music, popular music, and art music sources. 

Sarahnade 

Oh No! (Music for Kenneth) 

Stephen David Beck 

Stephen David Beck 

Pjammin ' Aaron Johnson 

In Their Own Words John M. Crabtree 

I. . . . influenced by those possibilities (George Crumb) 

11. . ..nothing's definite (John Cage) 

111. ... a tendency to talk too quickly (Milton Babbitt) 

Comets Mark Francis 

Lullaby Jonathan Peters 

Big Chief W. T. Charles Haarhues 

2 Days in the Tank William Price 

Scintillate Plectrums John M. Crabtree 

Rock, Paper, Scissors 

Canudos 


Liduino Pitombeira 

Spline William Price

ARTS BUILDING

UNNERSITY OF CALIFORNIA. RIVERSIDE 

Department of Music presents 

Contemporary American Chamber Music 

The National As sociation of Composers, USA (NACUSA) 

with the UCR Department of Music 

March 10, Sunday 

4:00 P.M. 

ARTS Building Performance Lab

Viokztion 

Three Songs for soprano and piano 

1. Green 

2. To be mng on the water 

3. Heaven-Ham 

-Piano Va@trons 

PROGRAM 

Cynthia Fogg, viola 

Catherine Card, soprano 

Byron Adams, piano 

Daniel Kessner, bass flute 

Dolly Eugenio Kessner, piano 

INTERMISSION 


Trio Popukzire for Piano, Bb Clarinet and Cello 

1. Fantastic Waltz 

2. Song Without Words 

3. Scherzo 

Don Foster, danne.t; Timothy Loo, cello 

Michael Williams, piano 

In Search Of . . .(1996,2001) 

Ihen Cahill, flute; Audrey Lamprey, horn 

Abraharn Fabella, piano 

Tom Flaherty 

Byron Adams 

text by D.H. Lawrence 

text by Louise Bogan 

text by Gerard Manley Hopkins 

Daniel Kessner 

Morten Lauridsen 

Michael Glenn Williams 

Barbara A. Bennett 

Please: No flash photography or videotaping. Remember to turn off cell phones and pagers.

Green 

D.H. Lawrence 

TEXTS Heaven-Haven 

Gerard Manley Hopkins 

?-+. 

___.--- 

The dawn was apple-green, I have desired to go 

1 

The s$ was green wine held up in the sun, Where springs not fad, 

. The moon was a golden petal between. To fields where flies no sharp and sided hail 

b 

She opened her eyes, and green And a few lilies grow. 

They shone, d& 

I 

like flou&s undone 

And I have asked to be 

For the &st time, now for the htst time seen. 

Where no storms come 

To be sung on the water Where the green swell is in the havens dumb, 

Louise Bogan And out of the swing of the sea. 

Beautiful, my delight, pass, 

As we pass the wave. 

I 

Pass asLthe mottled kght 

-- -_Leaves-what it.cannOt.save, -. - - -- - - - - - 

-- - -- - -- - - 

A - . - - - 

Scattering dark and bright. 

Beautiful, pass and be 

Less than the guiltless shade 

TO which our vows were said. 

Less than the sound of the oar 

To which our vows were made, 

Less than the sound of its blade 

I 

Dipping the stteam once more. 

Text reproduced here bypermission of thep~bhher 

NOTES 

Tom Flaherty 

Viokztion 

Helpful definitions fiom the Random House Dictionary: viola, a four-sttinged insttument of the 

violin class. -tion, a suffix occurkg in words of Latin origin, used to form abstract nouns from 

verbs. Is viola of Latin origin? Random House considers that uncertain, but suggests that it is 

perhaps connected with vituldari, to be joyful Is viola a verb? Perhaps it should be. 

1 

Viokztion is based on the musical notes fo&d in the dedicatee's name, CinDy FoGG. In the opening 

of the piece C, D, F, and G are recorded into a computer, which instantly begins to slice the 

, sound into b y granules. These granules are atranged throughout the rest of the piece in response 

to pitches played. I am grateful to both Nobuyasu Sakodna and Ted Ape4 whose Max patches and . 

objects figure prominently in this piece And of course to my wife Cynthia Fogg, whose patience, 

forbearance, and willingless to learn music with fantastic speed are legbdary. 

tf. I

February 2002 

28 Thursday 8:00 PM Symphonic Winds/Symphonic Band Concert UT 

March 2002 

1 Friday 

1 Friday 

1 Friday 

2 Saturday 

4 Monday 

5 Tuesday 

6 Wednesday 

7 Thursday 

8 Friday 

11 Monday 

12 Tuesday 

13 Wednesday 

13 Wednesday 

-Th- - - --- 

ursday 

14 Thursday 

15 Friday 

15 Friday 

15 Friday 

15 Friday 

15 Friday 

16 Saturday 

16 Saturday 

17 Sunday 

17 Sunday 

6:00 PM 

8:00 PM 

8:00 PM 

8:00 PM 

8:00 PM 

8:00 PM 

8:00 PM 

6:00 PM 

8:00 PM 

8:00 PM 

TBA 

4:00 PM 

6:00 PM 

-. - 

6:OO i%-- 

7:30 PM 

9:OO AM 

3:30 PM 

6:00 PM 

8:00 PM 

7:30 PM 

1o:oo AM 

2:30 PM 

1o:oo AM 

3:00 PM 

Kendra Heilernan Voice Recital 

Jennifer Hayghe Faculty Piano Recital 

Holly Hughes (Performing Arts Series) 

Holly Hughes (Performing Arts Series) 

Trombone Ensemble Concert 

Javier Rodriguez Masters Bassoon Recital 

Philharmonia Concert 

Craig Heinzen DMA Trumpet Recital 

Mayumi Yotsumoto DMA Voice Recital 

Mark Nuccio Guest Clarinet Recital 

Mark Nuccio Master Class 

Daniela Shtereva Masters Violin Recital 

_- Jonathan _- Boswell Percussion Recital 

Pamela Smith Senior Flute Recital 

Opera-A Midsummer Night's Dream 

Jorja Fleezanis Violin Master Class 


Jessica Privler Senior Horn Recital 

Chamber Winds Concert 







UT = Union Theater RH = Recital Hall TEC = Trinity Episcopal Church 

ST = Shaver Theatre FBC = First Baptist Church FPC = First Presbyterian Church 


TBA = To be announced RT = Reilly Theatre 

** = Note event change 

ABOUT THE SCHOOL . . . 

FOUNDED ON THE BATON ROUGE CAMPUS IN 1931, THE LSU SCHOOL OF MUSIC NOW BOASTS A 


STUDENTS. THE SIZE AND SCOPE OF ITS CURRICUIA~OMPREHENSNE PROGWS FROM THE BACCA- 


NATIONWIDE. NUMEROUS FACULTY MEMBERS HAVE EARNED NATIONAL AND INTERNATIONAL REPUTA- 

TIONS THROUGH PERFORMANCE AND RESEARCH PURSUITS AND THUS AlTRACT STUDENTS FROM ALL 

PARTS OF THIS COUNTRY AND THE WORLD. OF THE SCHOOL'S PERFORMING ENSEMBLES ENJOY 

WIDE ACCWM, APPEARING AT THE BERLIN CATHEDRAL, THE VATICAN IN ROME, CARNEGIE I-~LL IN 

NEW YORK Cm AND THE KENNEDY CENTER IN WASHINGTON, D.C., AMONG OTHER NOTABLE 

VENUES. 

LSU School of Music Website: www.music.lsu.edu 


& DRAAMTIC ARTS 


PRESENTS . ..


Joanne Carey, Radio Baton 

. Maureen Chowning, Soprano 

SondraClarkPiano 

,L Dan Hallock, Tnunpet 

.' Lorraine Hanccck, Piano 

Carolyn Hawley, Piano 

Brian Holmes, French Horn 

Sally Mouzon, Mezzo-soprano, 

Harriet March Page, Soprano 

Marsha Rocklq Piano 

Barbara Sigler, Tmbone 

Trina Stoneham, Violin 

Saturday, March 2,2002,8pm, Palo Alto Art Center, ~mbarhdero 

I and Newell 

Nancy Bloomer Deussen 

Carolyn Hawley 

Mark Alburger 

Joanne Carey 

intermission. 

I 

TWO PIECES FOR FOLIN AND PIANO 

I. Julia's Spng 

II. Jubilan$ 

I 

THREE PIECES FOR PIANO 

I. Prelude 

II. Sweet Dreams 

m. PT .. 

THE WIND GOD, Monodrama in One Act, Op. 96 (Hamet March Page) 

I. I got rnyi~sh 

II: I've a crick 

III. Ocean is my fiend 

q. Big ship 

Vi Sitting goose 

VI. I didn't have to be here 

I 

I 

W. But you see (Builder's Blue Tango ...) 

I WI. I loved him 

I XL All my money 

I X. We're six days out 

I XI. My son sleeps 

XII. My little finger (Blues) 

XIII. We almost mutinied (March) 

XN. In alull 

XV. Noah 

XVI. All there is 

i 

XW. A dozen dolphins 

i 

TWO SONGS FOR SOPRANO AND RADIO BATON 

I. I Am the Magical Mouse (Kenneth Patchen) 

II. Gracias Pablo Neruda) 

I 

Robert Arnold Hall 

LULLABY for Sodo and Tape (E1ise Thoron) 

I 

Sondra Clark 

COASTAL LANDSC$PES for Two Pianos 

1. Muir Wogds 

II. Bodega Bay 

m. The Gol'pen Gate 

I 

Brian Holmes TRIOFORBRASS. , 

I. Bus Fare for the Common Man 

II. On Hearing the First Turkey of the Fiscal Year 

m. Men 90 Eat Lard 

IV. Westmoreland's Victory

MARK ALBURGER is an eclectic American composer of postminimal, postpopular, and postcomedic sensibilities. He is Editor- 

Publisher of 2lst-Cenfury 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. Alburger teaches at Diablo Valley College, directs the 

NOW Music Festivals, and serves as President of the College Music Society (Central Pacific Chapter). He began playing the oboe 

and composing with Dorothy and James Freeman, George Crumb, and Richard Wernick; and studied with Karl Kohn at Pomona 

College, Joan Panetti and Gerald Levinson at Swarthmore College (B.A.), Jules Langert at Dominican University (M.A.), Roland 

Jackson at Claremont Graduate University (Ph.D.), and Terry Riley. Among his 107 opus numbers are 5 concertos, 11 chamber 

ensemble pieces, 4 masses, 12 operas, 4 oratorios, 2 piano suites, 11 song cycles, and 7 symphonies. His Henry Miller in Brooh'y 

received acclaim in a 9evening run last spring at Potrero Hill Neighborhood House. Symphony No. I ("It wasn't classical...") will 

receive its West Coast premiere with the San Francisco Composers Chamber Orchestra on March 22 at Goat Hall in San Francisco. 

THE FWND W D (2001, libretto by Harriet March Page, ,first performed in October 2000), Alburgefs ninth opera, is a 

minimalist boatfid of Giuseppe Verdi's Rigoletto, with. stowaways from Satie Gnossiennes, Debussy's La Mer, John 

Williams's Jaws, the pop standard "You Made Me Love You," cowboy songs, "Three Blind Mice," tangos, a certain sinistercreepy 

chromaticism, Pink Floyd's "Money," Rossini's Barber of Seville, generic blues, Shostakovich song cycles, 

Stravhsl@s The Flmd, Benjamin Britten's Noye's Fludde 8nd Peter Grimes, the hymn tune "Lord Jesus Think on Me," and 

vaudeville ditties: In these Hegelian ship collisions, the flotsam of Verdian theses float amongst antithetic jetsam toward 

soupy syntheses. 

JOANNE D. CAREY studied 'with Tikey Zes, Allen Strange, and Lou Harrison at San Jose State University, where she earned 

Bachelor's and Master's degrees in Music Composition Her approach to writing music has always been through direct expression 

and is essentially lyrical. A guest composer at the Center for Computer Research in Music and Acoustics (CCRMA, Stanford 

University) since 1983, she composed three computer-generated tape pieces. Two of these, Clouds Lament (1988) and Intonations of 

he Wind (1990) and 'Clouds' Lament' (1988) are based on an intense exploration of the FM synthesis of singing tones. Her recent 

work has focused on pieces using the radio-baton with a live soloist. These include Three Spanish Songs and Adventures on a Theme, 

the latter using improvisation programs in C that she developed with the help of Max Mathews, inventor of the radio-baton. 

The TWO SONGS are "I am the Magical Mouse" (1978) (the original piano part here orchestrated for radio baton) and 

. . "Graciasn(1995), to texts of Kenneth Patchen and Pablo Neruda. Perhaps these poets have little in common except individual 

intensity and a strong concern for the inner life. Kenneth Patchen was living in Palo Alto in a small house on Sierra Court 

with his wife Miriam when he died in 1972. The poem, "I am the Magical Mouse" is representative of his playful vivid 

imagery. Whether playful or serious, Patchen's poetry has always been visual, and in later life he produced several books of 

picture-poems, depicting Klee-like characters who become the mouthpieces of the poetry. The setting of "Graciis" is one the 

Three Spanish Songs composed in the early 1990's. These were inspired and influenced by Flamenco, indigenous South 

American music, and the poetry of the Chilean Neruda. "Gracias" was inspired by an anonymous song on an old record 

recording of Victoria de Los Angeles. The scores of both accompaniments were created on a Macintosh IIfx using the 

DMLX program developed by Daniel Oppenheim The sound material was generated on a Yarnaha SY77. 

SONDRA CLARK is a graduate of the Juilliard Schdol (B.M.), San Jose State University (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. 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 premiere 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 Wondetjiul Piano Music of Sondra Clark, which is being aired on cable television in 450 

cities throughout the country. Current projects include a comic opera and a violin concerto, both of which are planned for premieres 

this year. 

COASTAL LANDSCAPES was inspired by the beauty of three scenic places in California, and the movements are written in 

three different compositional styles. "Muir Woods" has a majestic, classical flavor, and the music depicts the towering 

redwood trees named in honor of John Muir: "After a whole day in the woods, we are already immortal!" "Bodega Bay" has 

a somewhat impressionist style, portraying the breezy yet peaceful scene, with the faraway call of gulls and the ebb and flow 

of the tide, and written in changing meters with a touch of romanticism that recalls the settlement's early Russian influence. 

"The Golden Gate" refers not to the bridge, but to the sentinel cliffs announcing the entrance to the fabled, glittering City by 

the Bay. A more modern, eclectic style of music drives the excitement of this multicultured landscape, throbbing with life 

and enticing with the agedd promise: "Come through my Gate and find the gold!" 

NANCY BLOOMER DEUSSEN is well known throughout the San Francisco Bay Area as a composer, performer, and arts 

impresario. She is a leader in the growing movement for more melodic, tonallyaiented contemporary music, and is co-founder of the 

San Francisco Bay Area 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

Joanne Carey - TWO SONGS 

"I Am The Magical Mouse" (Kenneth Patchen) 

I am the magical mouse 

I don't eat cheese 

I eat sunsets 

And the tops of trees 

I don't wear fir 

I wear funnels 

Of lost ships and the weather 

That's under dead leaves 


I don't fear cats 

Or woodsowls 

I do as I please 

Always 

I don't eat crusts 


I eat 

Little birds - and maidens 

That taste like dust. 

"G~acias" (Pablo Neruda) 

Gracias, violines, por este dia 

de cuatro cuerdas. Puro 

es el sonido del cielo, 

la voz am1 del aire. 

Thank-you, violins, for this day 

of four strings. Pure 

is the sound of the sky, 

the blue voice of the air.

I 

I 

I 

Clara Chomle, The Women's Caucus in the Arts, OPUS 90 Chamber Ensemble, clarinetist Richard Nunemaker, the T m High 

School Band, the Gabrieli Brass, Soundmoves, $e Mission Chamber Orchestra, flutist Angela Koregelos, the Semper Virens 

environmental group, The Sandusky Music Festival, Jim and Pat Watt, and Mu Phi Epsilon Some recent performances of her works 

for the 2001-2002 season include: Reflections on the Hudson by The Kona Community Orchestra, The Ba6wn Symphony, and the 

Santa Clara University Symphony, and "Ascent to Victory" by the Providence College Orchestra. 

TWO PIECES FOR VIOLIN AND PI AN^ (1990) were composed for a Mu Phi Epsilon concert in Palo Alto, CA. "Julia's 

Song," is dedicated to the composer's mother, who the composer lost at age five. A heartfelt lament, the music opens with a 

moving lyrical melody presented in the piano which is subsequently restarted and developed by the violin In contrast, the 

second piece "Jubilate," is an affirmation of life and spirit representing uplifting sentiments associated with overcoming 

previous adversities. I I 

ROBERT ARNOLD HALL (b. Boston, MA) has sthied with Music Faculty at San Jose State University, and performed on reeds, 

cello, and voice.. He has written music aver 40 years, especially in the last ten Instrumental compositions include works for large 

and mall ensembles, and solo instnunents. Hall is W tly writing a series of suites for unaccompanied violin. Vocal works include 

many with piano and ensembles. A musical theateq work for broadcast, based on Don Marquis's cockroach poet, archy!, is being 

sponsored by Vermont Public Television. He is completing a short song cycle, Nine Eleven, for voices and ensemble. With eminent 

liirettist Elise Thoron, Hall is writing an opera based'on the Lewis and Clark story. Information about many of these works, including 

audio and visual clips can be reached at http://www.Music-Hall.net. These include recordings of Lullaby and other episodes from the 

opera, and a video of a puppet performance of a yng, "archy hears from mars." His work has been performed by numerous 

ensembles in northern California. He is a member of lNACUSA, ASCAP, and the American Music Center. 

I 

LULLABY (Elise Thoron) is an aria from ah opera-in-progress, based on the epic Lewis and Clark Emtion to the Pacific 

Coast in 1804-1805. The work is set at the Tennessee inn where Lewis spends his last night The drama deals with his 

turmoil over his shortcomings subsequent to his heroic leading of the Corps of Discovery. Paramount among these was his 

failure to publish his journals, especially precious to Thomas Jefferson, his mentor, who sent him on this trek. In the opera, 

Sacagawea, the resourceful young Indian woman who contributed crucial geographical guidance to the expedition becpmes 

the one from whom he seeks spiritual guidance, to little avail. In his crazed state he will ultimately commit suicide. A 

narrator, Mark Adams, playing Meriwhether Lewis, introduces the music by reading an entry from Lewis' very important 

neglected journal . The use of tape allows the use of sound effects recorded over the narrator's voice. It also permits 

sounds that would be unplayable on an acoustic harp, contrasting with the unusual sounds of the taped synthetic instruments. 

I 

CAROLYN HAWLEY is a pianistcomposerconddctor with a Masteh Degree from Mills College, former Lany College Music 

Instructor, and ten-year Conductor of the Ukiah Symphony. She resides in Half Moon Bay where she teaches privately. The former 

Berkeleyan worked as Composer-Accompanist for q e UC Berkeley Modem Dance Department, and was later awarded a grant fiom 

the institute of International Education to spend a year in Spain composing her first symphony. Ms. Hawley has won numerous 

awards for composition and piano performance. Her Russian River Mass was premiered in 1989 by the Ukiah Symphony and 

Mendocino College Chorus. Ms. Hawley's teachers included Darius Milhaud, Leon Kirchner, Glenn Glasow, and Egan Petri. Besides 

her dozens of musical compositions, she has also achieved recognition as a painter and writer. She is currently working on an 

oratorio, Story Of the World, but stopped long enough to write Three Pieces for Piano for this concert. 

I 

The THREE PIECES FOR PlANO are &or( because the composer has a 4-month old puppy who is only quiet for a nap one 

hour a day. The first two, "Prelude" and "Nocturne," are in a peacefid, impressionistic style, while the third, "Scherzo," 

features an Ah-Cuban rhythm called Pa*, consisting of 12 beats divided into two groups of 6 as follows: 3 + 3 and 

2+2+2. However, Hawley has altered the p@o part by dividing the 12 beats into alternating measures of 718 and 518. It all 

comes out even. The Palmas 12 beats are clapped as follows: clap - - clap - - clap - clap - clap - As such, the audience will 

participate by clapping after a quick r e h d with the conductor. Good Luck! 

I 

BRIAN HOLMES is a professor of physics at San ~ose State University with interests in the physics of music. Roger Dean recently 

published two of his choral pieces, So We'll Go No More A Roving and Roger Bobo Plays the Tuba. William Thorpe recently 

published kt Evening Come, which was performed by the San Jose Choral Project in its November 2000 NACUSA concert Three 

chorus pieces will premier this spring: The Women's Chorus of Notre Dame de Nameur will sing Roger Bobo, the Peninsula Women's 

Chorus I Shall Keep Singing! (written in memory! of the group's long-time music director Patty Hennings), and the Cantabile 

Children's Chorus J o ~ Noise, l settings of four imy poems by Paul Fleischman 

7'RIO FOR BRASS premiered in 1974. A dscussion of the meauings of the titles of the movements (if any), not to mention 

the connection between this trio and "doodah-ism," a musical technique inspired by the genius of Stephen Foster, may or 

may not be offered between the movements of this work. Whatever. 

I 

1 

I 

1


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 c ow. 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 organhation in need of support. 







The Members of NACUSA San Francisco would like to recognize with heartfelt thanks the following contributors to the 2001-2002 

concert season: 

Mark Alburger 

Mary A. Beeman 

Rosemary Bmtt Byers 

Patti Deuter 

Betty M. ~iler' 

Aileen Lee 

NEW MUSIC Publications 

Lyn Reyna 

B.J. Rosco 

Lusijah and Dainwi Rott 

Peter and Paulina Monaco 

Jack Morton 

Alan Spool 

Patricia and James Watt 



Concert Production: Owen Lee, Michael Kimbell 


Progmm: Mark Alburger, NEW MUSIC Publications 

Programming: Sondra Clark, Nancy Bloomer Deussen, Kathleen Nitz 

NACUSA San Francisco Officers 

President: Owen J. Lee 

Vice President: Michael Kimbell 

Secretary: Mark Alburger 

Treasurer I'lana Cotton 

President Emeritus and Founder: Nancy Bloomer Deussen

April 2002 

18 Thursday 6:00 PM Nan Baker Senior Piano Recital 

18 Thursday 8:00 PM Maria Carini Masters Voice Recital 

18 Thursday 8:00 PM Schola Cantorum Concert 

18 Thursday 

19 Friday 

19 Friday 

19 Friday 

20 Saturday 

21 Sunday 

22 Monday 

22 Monday 

22 Monday 

RH 

RH 

UUMC* 

High Voltage-Guys with Big Cars CANCELLED 

Emily Fischer Masters Voice Recital RH 

Sarah Griswold Senior Horn Recital RH 

Yesenia DeJesus Masters Trumpet Recital RH 

LSU Collegium Musicurn, 

Dennis Malfatti, Conductor St. Alban's Chapel 

Louisiana Chamber Players Recital RH 

Donald McInnes Viola Masterclass RH 

Allison Gutzwiller Senior Clarinet Recital RH 

John Perrine DMA Saxophone Lecture Recital RH 

22 Monday 8:00 PM Tinisha Lindsey Graduate Voice Recital RH 

23 Tuesday 4:00 PM Valentina Takova Senior Cello Recital RH 

23-..Tuesday- --6:OO-PM--LSU-Trombone-Ensemble- - -RH- 

23 Tuesday 

23 Tuesday 

24 Wednesday 

24 Wednesday 

24 Wednesday 

25 Thursday 

25 Thursday 

25 Thursday 

Renee Siebert Guest Flute Recital -. 

Percussion Ensemble Concert 

Kristin Isaacson DMA Cello Recital 

Juan Jose Gutierrez Canossa Masters Cello 

Maria Di Cavalcanti Masters Piano Recital 

Thomas Lowry Masters Saxophone Recital 

Richard Jupin DMA Voice Chamber Recital 

Symphonic Band Concert 


UT = Union Theater RH = Recital Hall TEC = Trinity Episcopal Church 

ST = Shaver Theatre FBC = First Baptist Church FPC = First Presbyterian Church 


TBA = To be announced RT = Reilly Theatre 

** = Note event change 

FOUNDED ON THE BATON ROUGE OUIPUS IN 1931, THE LSU SCHOOL OF MUSIC NOW BOASTS A 


STUDENTS. THE SIZE AND SCOPE OF ITS CURRICULA-COMPREHENSIVE PROGRAMS FROM THE BACCA- 


NATIONWIDE. NUMEROUS FACULTY MEMBERS HAVE EARNED NATIONAL A ~'D INTERNATIONAL REPUTA- 

TIONS THROUGH PERFORMANCE AND RE.5EARCH PURSUITS AND THUS ATI'RACT STUDENTS FROM ALL 

PARTS OF WIS COUNTRY AND THE WORLD. W OF WE SCHOOL'S PERFORMING ENSEMBLES ENJOY 

WDE ACCLAIM, APPEANNG AT WE BERLIN CATHEDRAL, THE VATICAN IN ROME, CARNECIE l-Lu~ IN 

NEW YORK CITY AND THE KENNEDY CENTER IN WASHINGTON, D.C., AMONG OTHER NOTABLE 

VENUES. 

LSU School of Music Website: www.music.lsu.edu 




AND 

.g ,: 

PRESENT ; ,,:. 

.. . : .\ 

,-- 3-p : . .?., e.. . ,,j' ,- . . 

Wednesday, April 17,2002 

8:00 p.m. Recital Hall

The KPO- Percussion 0-uartet 

Doran Bugg, Doctoral Candidate at LSU, Student of John Raush 

Joseph LaBrie, Senior at LSU, Student of Michael Kingan 

Brett Landry, Sophomore at LSU, Student of Michael Kingan 

James Stafford, Junior at Southern University, Student of Herman Jackson 

and 

Thomas Zirkle, Doctoral Candidate at LSU, Student of John Raush 

Adzjo Charles Haarhues 

The KPQ Percussion Quartet 

Sonata for Dumbek and Goats' Hooves Thomas Zirkle 

Thomas Zirkle, dumbek and goats' hooves 

Three Pieces for Percussion Quartet Dinos Constantinides 

I. Allegro 

11. Adagio 

111. Allegro Vivo 

The KPQ Percussion Quartet 

Merlin Andrew Thomas 

I. Beyond the Faint Edge of the World 

11. Time's Way 

Thomas Zirkle, marimba 

Two Mexican Dances 

I. 

11. 


Gordon Stout 

Three Pieces for Solo Marimba Mark Francis 


Frivolity ~eorge Hamilton Green 

Ventes Christina Fannin 

Boogaloo: Rough and Tumble William Price 

The KPQ Percussion Quartet

Creators of the "Music Niqhts Series" 


Aaron Johnson and 


William Price, President of id-south Chapter of NACUSA 




Upcorninq Louisiana Sinfonietta Events present 

Sunday, May 5 2:OOPM Concert at First Baptist Church 

(529 Convention Street) 

Thursday, May 9 4:OOPM Solo Series at Whealdon Estates 

- - -_-- --_ -- ____ 

Upcorninq Louisiana Composers Events 

Saturday, April 27 3:OOPM Louisiana Composers Consortium Concert 

(LSU school OF Music Recital Hall) 

The ICC and the Mid-South NACUSA would like to express our 

appreciation to the following people: 


Foundation 



The LSU Composers Forum 

For More Information about NACUSA visit: 

National - www.music-usa.org/nacusa 

Mid-South Chapter: members.aol.com/NACUSALSU.html 

AnnEvenirig of- 

New Music and New Views 

The LSU lnternational Cultural Center 

Friday, April 26,2002 

6:OOPM 

--- --

Program 

Sans Tihe II br solo saxophone (2001) William Price Shing Quartet (2002) 

Djamel Mami, soprano saxophone I. Pax (Peace) 

Six Pieces for Piano (2002) Carlo Vincetti Friuo 

Carlo Vincetti Friuo 

Lampshade for Bobo No. 1 (2002) 

Melissa Harding, clarinet 

Three Dances for piano (2002) 

I. Atilogwu Dance 

11. Beggars' Chant 

Ill. Eko Akete 

W i n Sadoh, piano 

The Happy Dance (2002) 

Tony Marinello, clarinet 

Chris Stevens, piano 

Dorian Wesley 

Flight 93 (2002) Brad Preddy 

I. Moderato 

Lora Lipova, Raluca Dumitrache, violins 

Sonia Feres-Lloyd, viola 

Juan Jose Gutierrez, cello 

Love's Alchemyie (2002) Nicholas Gish 

Christina A. Fannin text by John Donne 

Kendra Heileman, soprano I; Barbara Douthat, soprano II; Amanda 

West, alto I; Tara Wilson, alto 11; Joel Roberts, tenor I; Ron Cooper, 

tenor \I; Christopher Dillard, baritone; Steve Lovell, bass I; 

John Sikon, bass II 

Karl Erik Nelson, conductor 

W i n Sadoh 

Chris Stevens 

Two Movements h-om Soiree de Musique Charles Haarhues 

pour piano (2002) 

I, Apertif - Third Stream Prelude 

V. Dessert- Lullaby 

Judy Hung, piano 

Seresta No. I for saxophone and piano (2001) Liduino Pitombeira 

Djamel Mami, alto saxophone 

Judy Hung, piano

I 

with the COMPOSERS PERFORMANCE 

I ENSEMBLE 

I'lana Cotton, Piano I 

Michael Kimbell, Clarinet I 

Colleen Kobussen, Piano 

Kathleen Nitz, Soprano 

Diana Tucker, Flute 

Kris Yenney, Cello 

Saturday, June 7, 2002,8prn, Palo Alto Art center, 13 13 Newell Road, Palo Alto, CA 

I 

I 

Program 

Michael Kimbell THREE LlEDER for Voice and Piano 

I 

I 

Bernard Brindel ELEGY for Cello and Piano 

, 

Lorie Griswold REMEMBRANCE for Flute, Cello, and Piano 

A. Cakewalk ' I 

B. Cloud Over Clouds 

C. and now..T~~l SUN 

D. ~emembrancel 

I 

Warner Jepson JOURNEY TO ... for Flute', Clarinet, Cello, and Piano 

I 

Brian Holmes UPDIKE'S SCIENCE for boice and Piano (John Updike) 

1. ~hermod~namics (Lament, for Cocoa) 

2. Particle physids (Cosmic Gall) 

3. Chemistry (In Praise of (C IOH905)x) 

4. Hydrodynamics (Bendix) 

5. Meteorology (The Descent of Mr. Aldez) 

6. Biology (V. B/ Nimble, V. B. Quick) 

I 

1 

intermission 

Robert Hall A DYING CHILD for Soprano and Piano 

I'lana Cotton MCANTATIONS for piano 

I 

Tuning 

I. For Strength ( 

11. For Gentleness 

111. For Clear Thoughts 

IV. For a Moment of Grace 

V. For Joy I 

I 

John Beeman TWO RETABLOS for Soprano, Flute, Cello, and Piano 

I. Don Artemio Velazquez 

2. Junto con mis nientos 

I 

Sondra Clark DALMATIA and DALMATIO for Soprano, Flute, Cello and Piano 

Dalmatia's Aria1 

I 

I 

I 

, 

I

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 A~tzerican 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 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. 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. 

The TWO RETABLOS for Soprano, Flute, Piano, and Cello are based on anonymous Mexican folk paintings with 

texts that offer thanks to God. 

BERNARD BFUNDEL (1912-1997) taught music theory and composition in the Chicago area for many years. (Chicago 

Musical College, Morton College, and the National Music Camp (Interlochen, MI). 

SONDRA CLARK is a graduate of The Juilliard School (B.M.), San Jose State University (M.A.) and Stanford 

University (Ph.D.) Before retiring, sh,? ;s~as a long-time member of the San Jose State University Music Facultyand 

music critic for San Francisco area newspapers. 'Over forty of her compositions have won awards, the most recent being a 

2003 ASCAP award., Her choral work, "Benediction" won the Sigma Alpha Iota sponsored Centennial Composition 

Competition and will be premiered at the SAI International Convention in July 2003. Her music, which ranges from solo 

to symphonic works, is performed internationally and has received unanimously enthusiastic response. Her critically 

acclaimed "Requiem for Lost Children," premiered by the San Jose Symphonic Choir and Orchestra has been likened to 

the requiems of Brahrns and Britten. She is the only composer to be featured on the award-winning Grand Piano Show , 

and her hour-long program, "The Wonderful Piano Music of Sondra Clark," is presently being aired on 450 cable 

television stations. Several of her solo and ensemble works are available from her current publisher, the Hal Leonard 

Corporation. 

DALMTIA AND DALMTIO is a one-act comic opera with words by Sally M. Gall and music by Sondra Clark. 

Premiered last summer at Goat Hall Opera Productions in San Francisco, a condensed version of this neo-rococo 

opera parody of grand opera played three nights to packed houses and cheering audiences. 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, scorns his faithful mate Mastiffa, and vows to 

have Dalmatia for his mate, even if it means killing Dalmatio. In tonight's aria, Dalmatia sings of her love for 

Dalmatio and prays to Sirius, God of the Dog Star, to protect her mate from Mastiffo. 

I'LANA COTTON 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 I1 at Stanford University, City of Palo Alto Cultural Center, 

Trinity Chamber Concerts in Berkeley. 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. For many years on the music faculties of the College of San Mateo, Skyline College, and San Jose City 

College, she will soon be willing to teach whatever she knows in Medford, OR. She is also the author of Music of the 

Moment: A Graded Approach to the Art of Keyboard Improvisation, available from New Music Publications. 

LOME GRlSWOLD has been a member of ASCAP since 1967 and receives a yearly Honorary Standards Award from 

ASCAP. She writes mostly vocal music, this Spring's entry being an exception. 

"Cakewalk," the opening selection of REMEMBRANCE, is dedicated to the memory the composer's friend, 

Claude Barlow. "Cloud Over Clouds" was an idea suggested by my friend, Laura Barton Holding and "and 

now..THE SUN" is in honor of friend and community gardening partner, Leslie Grimm. "Remembrance" is 

dedicated to the memory of Dr. John Hoff.

Brian Holmes - UPDIKE'S SCIENCE (John Updike) 

I. Thermodynamics (Lament, for Cocoa) for Frank Kearly I 

The scum has come, 

My cocoa's cold. 

The cup is numb, 

And 1 grow old. 

It seems an age 

Since from the pot i 

It bubbled, beige 

And burning hot-- 

1 

! 

I 

Too not to be 

Too quickly quaffed. 

Accordingly, 

I found a draA 

And in it placed 

The boiling brew 

And took a taste 

Of toast or two. 

Alas, time flies 

And minutes chill; 

My cocoa lies 

Dull brown and still. 

How wearisome! 

i 

I 

I 

I 

I 

4 

I 

I 

1 

I 

1 

i 

I 

I 

I 

i 

I 

I 

I 

I 

I 

I 

I 

I 

In likelihood, I 

The scum, once come, 

Is come for good. I 

2. Particle Physics (Cosmic Gall) for the Morrissons 

Neutrinos, they are very small. 

They have no charge, and have no mass 

I 

And do not interact at all. 

The earth is just a silly ball 

i 

To them, through which they simply pass, 

Like dustmaids down a draAy hall 

1 

I 

Or photons through a pane of glass. 1 

They snub the most exquisite gas, 

I 

Ignore the most substantial wall, 

Cold-shoulder steel and sounding brass, 

i 

Insult the stallion in his stall, 

1 

And, scorning barriers of class, 

Infiltrate you and me! Like tall 

1 

And painless guillotines, they fall 

! 

Down through our heads into the grass. 

At night, they enter at Nepal 

i 

And pierce the lover and his lass 

From underneath the bed--you call 

It wonderful: I call it crass. 

3. Chemistry (In Praise of (CI 0H905)x) for Laurie Mets 

My tie is made of terylene; 

Eternally I wear it, , 

For time can neither wither, stale, I 

Shred, shrink, fray, fade, or tear it. 

The storms of January fail 

To loosen it with bluster; 

The rains of April fail to stain 1 

Its polyester luster; 

July's hot sun beats down in vain; 

October's frosts fall futilely; 

December's snow can blow and blow-- 

My tie remains acutely 

Immutable! When I'm below, 

I 

Dissolving in that halcyon 

I 

Retort, my carbohydrates shed I 

From off my frame of calcium-- 

I 

i 

I 

I 

i 

1 

I 

I 

I 

i 

I 

i 

I 

I 

I 

I 

, 

I 

When I am, in lay language, dead, 

Across my crumbling sternum 

Shall lie a spanking fresh cravat 

Unsullied ad aeternum, 

A grave a solemn prospect that 

Makes light of our allotted 

Three score and ten, for terylene 

Shall never be unknotted. 

4. Hydrodynamics (Bendix) for Paul Doherty 

This porthole overlooks a sea 

Forever falling from the sky, 

The water inextricably 

Involved with buttons, suds, and dye. 

Like bits of shrapnel, shards of foam 

Fly heavenward; a bedsheet heaves, 

A stocking wrestles with a comb, 

And cotton angels wave their sleeves 

4 . I. 

The boiling purgatorial tide 

Revolves our dreary shorts and slips 

While Mother coolly bakes beside 

Her little jugged apocalypse. 

5. Meteorology (The Descent of Mr. Aldez) for Pat Hamill 

That cloud--amiguous, not 

a horse, or a whale, but what?-- 

comes down through crystalline mist. 

It is a physicist! 

Like fog, on cat's feet, tiptoeing 

to where the bits of ice are blowing, 

it drifts, and eddies, and spies 

its prey through vaporous eyes 

and pounces! With billowing paws 

the vague thing smokily claws 

the fluttering air, notes its traits, 

smiles knowingly, and dissipates. 

6. Biology (V. B. Nimble, V. B. Quick) for John Hildebrand 

V. B. Wigglesworth wakes at noon, 

Washes, shaves, and very soon 

Is at the lab; he reads his mail, 

Tweaks a tadpole by the tail, 

Undoes his coat, removes his hat, 

Dips a spider in a vat 

Of alkaline, phones the press, 

Tells them he is F. R. S., 

Subdivides six protocells, 

Kills a rat by ringing bells, 

Writes a treatise, edits two 

Symposia on "Will Man Do?," 

Gives a lecture, audits three, 

Has the sperm Club in for tea, 

Pensions off an aging spore, 

Cracks a test tube, takes some pure 

Science and applies it, finds 

His hat, adjusts it, pulls the blinds, 

Instructs the jellytish to spawn, 

And, by one o'clock, is gone.





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) 858-01 72. 

NACUSA is a 501(c)(3) organization. Donations are tax-exempt, and are gratefully accepted by the San 

Francisco chapter. Please make out donation checks to NACUSAsf, and mail to Anne Baldwin, 1243 Los 

Trancos Road, Portola Valley, CA 94028. We also accept donations of appreciated stock. For information, 

call (650) 85 1-0954. 




Mark Alburger 


Rosemary Barrett Byers 

Patti Deuter 

Betty M. Eiler 

Aileen Lee 


Lyn Reyna 

B.J. Rosco 

Lusijah and Dainuri Rott 


Jack Morton 

Alan Spool 




Concert Production: Owen Lee, Michael Kimbell 



Programming: Sondra Clark, Brian Holmes, Kathleen Nitz 



Vice,President: Michael Kimbell 

Secretary: Joanne Carey 

Treasurer: I'lana Cotton 

President Emeritus and Founder: Nancy Bloomer Deussen

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with the COMPOSERS PERFORMANCE ENSEMBLE 

Brian Bensing, Flute 

Mark Alburger, Oboe 


Miles Graber, Piano 

Brooke Aird, Violin 

Kris Yenni, Cello 

John Beeman, String Bass 

Saturday, June 8,2O02,8pm, Palo Alto Art ~ebter, 1313 Newel1 Road, Palo Alto, CA 

Program 

T.,&ie Griswold SPRING MAY for Soprano 

I 

I 

I 

. . 

- . dnd Pig19 (e.e. ci$mhgs) ':4. 

-. I 

Carolyn Hawley QUINTET NO. 2 ("500") foq Flute, Oboe, Violin, Cello, and String Bass 

I11 ,. . 

IV 

Dale Victorine SONATA for Violin and N o 

I1 I 

I11 

John Beeman RETABLO 2: ELODIA VASQUEZ for Soprano, Flute, Cello, and Piano 

Warner Jepson ODE TO BLANCHE for vidlin and Piano 

I'lana Cotton FLAME for Violin, Cello, and Piano 

I. White - flame ete@ 

11. Blue - flame past; 

111. Gold - flame prysent 

IV. Indigo - flame ekrnal 

V. Luminous lavender - flame future 

Intermission I 

Tyler Mazaika NOITURN0 AMOROSO i 

Michael Chan PRELUDE 

Robert Stein SUMMER SOUND for nut! and Electronic Sounds (Wallace Stevens) 

Rosemary Barrett Byers SCENES FROM MOTHER\G~~SE for Soprano and Piano 

There Was An Old /Woman 

"Old Woman, Old Woman" 

" Shall Wy Go A-Shearing" 

"Dead Sonsn 

"That's Al!! " 

I 

Owen Lee DUO for Violin and Cello I 

Brian Holmes HIGGINS IS GONE for Sodm, Violin, Horn, and Piano 

Steve Ettinger ADVENTURES for Violin, 'Cello, and Piano 

I1 

III I

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 

Offices, 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 AnsweringMachine (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. 

The TWO RETABLOS for Soprano, Flute, Piano, and Cello are based on anonymous Mexican folk paintings with texts that 

offer thanks to God. "Retablo 2" tells the story of Elodia Vazquez who goes into labor while alone at the ranch. As she 

begins walking to town, she prays to the V ia for strength to endure the pain. The miracle is granted, and she arrives tin 

time to give birth to a fine son. 

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 Rhapsody for 

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 stucisnts, 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. , . 

I'LANA COTTON 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 I1 at Stanford University, City of Palo Alto Cultural Center, Trinity Chamber Concerts in Berkeley. 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. Currently 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 teaching improvisation, 

composition, and theory, and is the author of "Music of the Moment: A Graded Approach to the Art of Keyboard Improvisation," 

available from New Music. 

In referring to FLAME, for Piano Trio, the composer notes -- "We watch the flame, all of us from all time, as one observer, 

united in the mesmerizing updraft of its colors." 

LORIE GRISWOLD writes mostly vocal music and has studied with Warner Jepson. She notes, "Queen Elisabeth and I are both 

celebrating our golden jubilees, she, of course, has been ruling England and I've been composing for 50 years." 

The composer relates that she has, "set about 25 e.e. cumrnings poems [includmg SPRING MAY], primarily because they are 

so musical and easy to sing. I would really like to go back and set a dozen more." 

CAROLYN HAWLEY is a pianistcomposerconductor with a Master's Degree from Mills College, former Lany 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. Hawley is also a Church Organist / Choir Director in San Francisco. The former Berkeleyan 

worked as Composer-Accompanist for the UC Berkeley Modem Dance Department, and was later awarded a grant from the institute 

of International Education to spend a year in Spain composing her first symphony. Ms. Hawley has won numerous awards for 

composition and piano performance. Her "Russian River Mass" was premiered in 1989 by the Ukiah Symphony and Mendocino 

College Chorus. Ms. Hawley's teachers included Darius Milhaud, Leon Kirchner, Glenn Glasow, and Egan Petri. Besides her dozens 

of musical compositions, she has also achieved recognition as an oil painter and author of many literary works. 

QUINTET NO. 2 ("500") was composed in Hawley's pre-postimpressionism style of writing: 12-tone and serialized 

technique. It was written to the layout of the Midwestern card game called "500." The cards were shuffled and dealt to five 

imaginary players. The number on the cad dictated which note of the 12 tone row would be played. The four suits we3 

given to four players, and the fX€h had notes assigned to the face cards. Dynamics were also selected serially, and the music 

basically composed itself ("chance music"), although many decisions still had to be made by the composer. After several 

years of composing in this dissonantlabstract style Hawley felt "a longing for a C major chord, singable melodies and 

danceable rhythms", and that a large gap existed between impressionism and 12-tone/serialized/dissonant music, and has 

been composing in a post/impressionist/atonal style ever since.

I BRIAN HOLMES is a Professor of Physics at San Jose State University. swcializing in the rrhvsics of musical instruments. The oast I 

year has seen premieres of Now is the hme, commissio~ed by the stadford symphokc chomnr* the Cantabile Children's ~horus,'and 

the Peninsula Symphony; Three Songs for women's chov and piano, commissioned by the Peninsula Women's Chorus; and Updike's 

Science (settings of six poems about science by John Updike) for high voice and band, premiered by the Connecticut College Band. 

Joyjiul Noise, settings of four poems by Paul Fleisc- will be premiered tomorrow night by the Cantabile Children's Chorus. 

Homes recently received an ASCAP Standard Award, won the Amadeus Choir Christmas Carol Writing Contest (for the fourth time 

in a decade), and won the Diana Barnhart American Song Competition. In addition, five of his pieces have been accepted for 

publication by Thorpe Music Publishing and Thompson )Edition. 

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A graduate of Oberlin Conservatory, WARNER EPSON has been composing in San Francisco for theatre (A.C.T.), film (The Bed), I 

dance (San Francisco Ballet's Totentanz], museum and 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 ~rancisio's Burning ran six months; The Money Tree played in Chicago in '97). 

OWEN LEE, born near Stanford University, was educaiFd at the University of California at Berkeley, where he studied with Andrew 

Imbrie, and at the University of California at Los Angelys, where he studied with Paul Reale, Roy Travis, and Henri Lazarof, Dr. Lee 

is now an Instructor of Music and Director of Music Theory at Diablo Valley College in Pleasant Hill, CA. 

ROBERT STINE has written works in a wide variety of genres, including orchestra, string quartet, various mixed chamber ensembles, 

solo piano, guitar, music for film, and quite a few works combining electronic sounds, and solo instruments. He studied composition 

at the University of North Carolina with Roger Hannay b d at the Cleveland Institute of Music with Donald Erb and Eugene OIBrien 

where he received his Doctorate in 1980. Some of his mlilsic is available at www.mp3.comlrobertstine. 

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SUMMER SOUND for Flute and Electronic sounds (1988) is after an excerpt from Wallace Stevens's The Idea o/Order at 

v,.. . rrT- -4 I I 

DALE VICTORINE began composing in high school1 and studied composition at Hartnell College. He has written a variety of 

compositions, including piano and organ works, songs, yhoral settings, a symphony for concert band, a violin and piano sonata, and a 

string quartet. His inspiration comes from the greats of classical music. 

I 

Lone Griwold - SPRING MAY (e.e. cummings) I Robert Stine - SUMMER SOUND 

1 I 

spring! may- 

everywhere's here 

[&th Q ln.xr himh In.., 

and the bud on the bough) 

how?why 

-we never we how 

(so kiss me\ shv wet P ~ W P ~ I V 

I (Wallace Stevens - from Idea of Order at Key West 

I 

I If it was only the dark voice of the sea, 

I 

71rn+ ..Arm A.. mrrnn rnlnmrl I., mn ny waves; 

I If it was only the outer voice of sky 

I And cloud, of the sunken coral water-walled, 

1 

However clear, it would have been deep air, 

I The hpavino of air, a summer sound 

I 

(die! live) -, 

I the new is the true 

I and to lose is to have 

-we never we how- 

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Kepeatea m a summer without end 

And sound alone. But it was more than that. 

Mnre ------ men -.--. than -.-- her ---- vnice . ----, and --- nllrs, -- among 

The mean' .'--- ' 

ungess plungngs 

~--.~- -- -e--~. 

or water and the wind, 

Theatrical distances . , hrnnze -. - -. - -- shadows h e ~ d I -- - . -. - - -- r-- 

On high horizons, n nountainous atmospheres 

I 

1 

I brave! brave 

(the earth and the sky 

are one today)my very so gay 

young love 

I Of sky and sea. I 

why?how- 

-we never we how 

(with a high low high 

in the may in the spring) 

live!die 

(forever is now) 

and dance you suddenly blossoming tree 

-i'u sing


The ~ational Association of Composers USA (NACUSA) is a non-profit organization whose goal is to foster 



throughout the country. Inquires regarding membership may be addressed to I'lana Cotton at (650) 367-1683. 



Tax-deductible contributions may be sent to: 

THE NATIQNAL ASSOCIATION OF COMPOSERS 






contributors to the 200 1-2002 concert season: 


Anonymous Friend of NACUSAsf 



Patti Deuter 


Aileen Lee 


Jack Morton 


Lyn Reyna 

B. J. Rosco 

Lusijah and Dainuri Rott 

Alan Spool 





Publicity: Lori Griswold 

Program: Mark Alburger, I'lana Cotton, NEW MUSIC Publications 

Programming: Sondra Clark, Brian Holmes, Kathleen Nitz

About the performers ... 

Sarah Beth Hanson, flute, is principal flutist of the Baton Rouge Symphony 

Orchestra and the Louis@a Smfonietta. She has appeared with the Washington D.C. 

Civic Opera, $e'~a~&dgh~~~mphon~, 

. .,. ..: the Memphls Symphony, and the New World 

Symphony, perfo,rrn~g'with such conductors as Michael Tilson Thomas, Neeme 

Jarvi, Andre ~re&h;:iuid ,;i$mes Paul. She was a featured artist at the 1989 National 

Flute Association~~onvention: Ms. Hanson received her Bachelor and Master of 

Music degrees froh'~l.orida State University, where she was a student of Charles 

DeLaney. . "': " 

, . 

Jan Grimes, piano, received her Bachelor of Music degree in Piano perforrnancel 

from the University of Cincinnati College-Conservatory of Music and her Master of 

Music degree in piGo p,e&o+wce from LSU. She is principal keyboard in the Baton 

Rouge ~ ~ m ~ hO~hestfa. o n ~ . 'In ~ 1990, Ms. Grimes performed the United States 

premiere of ~1fi-ed;Schnittkels Concerto for Piano and String Orchestra, and in 1992 

performed the ConGrto 'for 'Prepared Piano and String Orchestra by John cage. In 

both perfoman~&'ishee.'app.eaied with the LSU Symphony Orchestra under the 

direction of 'Timo+y '.Muffitt Her frequent performances with duo partner, 

saxophonist ~riffm' ;cepbell, led to their recording, Tableaux, on the Worldwinds 

label. She also r&kled a' compact disc with flutist Katherine Kemler. She can' be 

heard on the Centaur and , . Vestige labels. 

. \ ... . . .., 

About the music.. . 

., , 

: .> '. 

Refictions upon- a wd&il (1991) musically portrays the different shadows 

produced "upor!'a

The National Association of Composers 

Concert and Reception honoring 

Marshall Bialosky and Donald Thompson 

for their many years of outstanding and dedicated sentice 

on behalf of American composers and American music 

Sunday, 2 pm September 15, 2002, Recital Hall, Los Angeles Hahor College 

Pianist Delores Stevens and The Mladi Quartet 

Welcome Daniel Kessner, President Los Angeles Chapter NACUSA 

Three Movements for Piano 

Allegro Spiritoso 

Adagio Quasi Una Recitativo 

Allegro 

Delores Stevens piano 


String Quartet No. I 

Donald Bryce Thompson 

I. Adagio; allegro con fuoco 

11. Lento e doloroso 

111. Allegro risoluto- 

The Mladi Quartet 

Alwyn Wright, violin; Lisa Dondlinger, violin; Brett Banducci, viola; 

Timothy Loo, cello 

Two Movementsfor String Quartet-and Piano- Marshall Bialosky-- - 

Introduction of Presentations David Lefkowitz, Vice-president NACUSA 

NACUSA Proclamation presented by Marshall Bialosky, President NACUSA 

Letters fmm across the United States read by Paul ~urn~hre~s,'~nterim Secretary NACUSA, Daniel Kessner, 

Vice-president NACUSA; and Tony Wardzinski, Treasurer NACUSA 

The International Alliance for Women in Music Certificate of Appreciation presented by JeanniePool, 

Advisor IAWM 

Mu Phi Epsilon International President's Award of Excellence presented by Ramona Gifford, President 

Palos Verdes Peninsula Alumni Chapter of Mu Phi Epsilon 

The American Society of Composers, Authors, and Publiphers Plaque presented by Deon Nielsen Price, 

Vice president NACUSA 

American Composers Forum Award presented by Bill Kraft, President of the Board, ACF-LA and Heidi 

Lesemann, Director ACF-LA 

NACUSA Resolution read by Deon Nielsen Price, Interim President NACUSA 

Reception hosted by NACUSA and the Palos Verdes Chapter of Mu Phi Epsilon

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BIOGRAPE!IES OF HONORED COMPOSERS 

Donald Bryce Thompson was born in chi&igo on October 15,1925 to parents who were active in musical 

comedy and vaudeville. His older brother, and only sibling, came to some notoriety as "Wallace Wimple" 

and the "Old Timer" plus other voices on the "Fibber McGee and Molly" radio show. He also furnished 

voices for Walt disney in such productions as "Alice in Wonderland," "Lady and the Tramp," "Peter Pan," 

the weekly TV show, plus many others. After receiving his Master of Music degree, Donald, through a 

series of circumstances too involved to note, began a career in aerospace at North American Aviation. 

During his 43 years in aerospace, Donald wfis awarded the NASA Astronaut's Silver Snoopy Award for his 

work ont he Space Shuttle Program, was nominated for company Engineer of the Year and was Engineer of 

the Year for his department, Payloard Integration, and was rec0gnized.b~ NASAS as a Manned Launch 

Awareness Honoree. His career extended fiom programs for fighter aircraft, through avionics programs for 

the X-15, Apollo, Apollo-Soyuz, Space Shuttle, Mission to Mir, and the International Space Station. 

I 

Donald was a charter member of the Los kgeles Chapter of the National Association of American Com- 

posers and Conductors and a charter member of the National Association of Composers, USA and has been 

treasuer of both the Los Angeles Chaper and the National office of NACUSA since 1978. A member of 

ASCAP, his published music includes pieces for symphonic band (one of whch is a collaboration with his 

teacher, Halsey Stevens) and chamber mkic for trombone. A teaching film, for which he composed the 

score, was used extensively in the Los Angeles Unified School District for several years. Donald married 

Diane Black in 1958. They have three children (two girls and a boy) and six grandchildren (three each, girls 

and boys). I I 

I 

Marshall Bialosky was born October 30,1923 in Cleveland, Ohio. He attended Syracuse University where 

- - he received a Bachelor of Music degree, anh ~orthwestern University, where he received a Master of Music 

degree. He studied with Lionel Nowak, E& ~acon, Roy Harris, Robert Delaney, and with Luigi Dallapiccola 

in Italy. He received a Fulbright to study,in Italy, 1954-56, the Wechsler Commission at Tanglewood in 

1958, and numerous other contests and awards. He has held faculty positions at Milton College, Wisconsin, 

University if Chicago, State University of New York, Stony Brook, and served as Professor and Chairman, 

Fine Arts Department of California-State University Dominguez Hills. He was named Outstanding Profession 

of CSUDH in 1977, where he taught, choral conducting, American music, contemporary music, and 

various theory and history courses. 

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I 

His visionary leadership and meticulous ahnistrative slulls have always been highly valued. He has served 

as NACUSA President since 1978; was National Chairman of the American Society of University Composers; 

served on the National Council of the College Music Society, served on the Board of Monday Evening 

Concerts, and President of the ~aculty don of CSUDH Chapter of the California Facutly Association, to 

mention a few positions he has held over the years. His compositions have been heard in New York, Philadelpha, 

Chicago,Washington, Clevelandl Minneapolis, Boston, Los Angeles, London, Rome, Florence, 

Naples, Siena, and Bari, among other places, and is regularly heard on radio. He has composed music for 

piano, organ, mixed chorus, women's chorus, for woodwinds, harp, strings, and solo voice. Hundreds of 

composers have benefited fiom his encovagement, promotion, support and advocacy. Well-known as a 

writer on American music, his articles and reviews have been published in a wide variety of journals. His 

music is available through Sanjo Music Co. He lives with his wife, Sanjo, and daughter, Shara, in Palos 

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Verdes. 

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The National Association of ComposersNSA 

A PROCLAMATION 

WHEREAS, Donald Thompson has been the treasurer of NACUSA for more than a quarter century, and 

WHEREAS, in a time of so much corporate and accounting corruption, where to do the legal thing is often 

the immoral thing as well, and 

WHEREAS, he has husbanded our scarce resources in a manner that has allowed us to gve concerts, 

continue the publication of our thrice-yearly newsletter, hold an annual composition contest, and financially 

assist some of our sister chapters, 

NOW, THEREFORE, be it resolved that DONALD THOMPSON is to be celebrated and honored for h s 

incorruptible honesty and efficiency in handling the financial affairs ofNACUSA these last twenty-six years, 

and further that the Association and all its members and officers wish him well and the very best as he travels 

the world and enjoys a much deserved respite from the duties of the aerospace world and the tribulations of 

his musical colleagues. 

For the National Association of ComposersNSA, 

Marshall Bialoslq, President 

Los Angeles, California September 15,2002 

The National Association of ComposersNSA 

A PROCLAMATION 

WHEREAS, The National Association of American Composers and Conductors-NAACC, was organized 

in 1932, under the leadership of composer/conductor Henry Hadley, as the next oldest concert hall music 

organization in the United States (the oldest being the American League of Composers, now united with the 

International Society for Contemporary Music); WHEREAS, Henry Hadley 's wife, Inez Hadley, like Marian 

MacDowell before her, was able to carry on her husband's work long after his passing and produced cham- 

ber and orchestral concerts in many of the larger cities, includrng New York, Chicago, San Francisco, 

Philadelphia, Washington D.C. and Los Angeles: WHEREAS, upon her demise, John Vincent, formerly 

head of the Music Department at the University of California, Los Angeles, stepped up in 1975, changed its 

headquarters from New York to Los Angeles, and re-christened the group as the National Association of 

ComposersNSA (NACUSA);-WHEREASyupon John-Vincent's-death;Marshall-Bialosky,founder of the 

Music Department at California State University, Dominguez Hills and a fine composer with experience in 

several composer organizations, arose to become the president in 1977; 

NOW THEREFORE, let it be resolved that the National Association of ComposersNSA does here and 

now celebrate the twenty-five year record compiled by MARSHALL BIALOSKY, assisting the establish- 

ment of a NACUSA website on the internet which has contact information for over 300 composers and lists 

over nine hundred compositions; writing, Messages from the President in NACUSA's publication, Com- 

poser USA, disseminated thrice-yearly to some 600 NACUSA members, many in chapters in the greater 

areas of New York City, Philadelphia, Tidewater Virginia, Baton Rouge, San Francisco, and Los Ang e - 

les; leading our organization to non-profit, tax exempt status which now allows us to receive tax-deductible 

grants and contributions; realizing his god of having a national meeting, to be held September 25-29,2002, 

in Kansas City, MO in conjunction with The College Music Society; offering inspiration, unending encour- 

agement, performance and publication opportunities, and career assistance to both senior and junior, na- 

tional and international men and women composers through teaching, lecturing, chairing annual contests for 

young composers, responding to every request for help from countless young musicians, personally listen- 

ing to virtually every recording sent to him and being the ultimate concert goer in his constant search for the 

challenging music of our time; and, finally, being the first NACUSA president with enough foresight to 

retire while he can still enjoy Disneyland with Sanjo and Shara! For the National Association of Composers/ 

USA, Los Angeles, California, September 15,2002.

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BIOGRAPHIES OF PERFORMERS 

An active freelancer in Los Angeles, ~ lw~o' wright has travelled Europe and Asia as a soloist and orchestra 

member. Originally from Marin County, ~alifornia, Alwyn received her Bachelors Degree from Cal State 

Northndge and Advanced Studies Certificate from USC under the tutelage of Robert C. Lipsett. 

A graduate of the Indiana University School of Music, Lisa Dondlinger has been an active performer in the 

LA area for the past two years. Lisa's grformance engagements range from the New West and Santa 

Barbara Symphonies to Mladi, LA'S newest conductorless chamber orchestra, to The Tonight Show with Jay 

Leno. Lisa was recently added to the music faculty at Pepperdine University, teaching private violin lessons 

and coaching chamber music. She also h& her own private studio in Studio City where she teaches violin 

and voice lessons. I 

Brett Banducci (viola) is a graduate of CSU, Northridge where he studied with Pamela Goldsmith and 

Keith Greene. He is a founding member of (he Mladi Chamber Orchestra. With this ensemble he has recently 

performed for Sunday's Live at the Los Angeles County Musuem of Art and UCLA's exclusive Brurnan 

Chamber Music Series. Brett is currently on the faculty of Fullerton College. 

Timothy Loo (cello), involved in an eclectic array of projects, has performed in Europe numerous times as 

solo cellist for the lounge band, Pink Martini, and as a member of Philharmonie der Nationen in Hamburg, 

Germany. A freelance cellist in Los Angeles since 1992, he performs regularly with the New West Sym- 

phony, Santa Barbara Symphony, and is drincipal cellist of Mladi. Timothy graduated from USC in 2001 

with an Advanced Studies in Cello Performance. He studied with Ronald Leonard from 1999-200 1. 

Delores Stevens (piano) is truly an artist for the "global" 21st Century. Her recent career engagements 

have ranged from her Los Angeles base to Buenos Aires, Australia, the Czech Republic, Japan, China and, 

j 

I in the U.S. to Martha's Vineyard San Diego, San Francisco and multiple appearances in the greater Los 

I 

Angeles area. Acclaimed as a soloist and chamber musician, she is a recognized champion of contemporary 

music having been honored by the ~atiokal Association of Composers for "Outstanding Achievement in 

Contemporary Music." With the Los Angeles Philharmonic New Music Group, she performed the West 

Coast premiere of Pierre Boulez's most recent major score, Sur Incises. This work was called 'his most 

dazzling yet" by Mark Swed of the LOS kngeles Times, who described the performance of the New Music 

Group as "a virtuosic one, with a number of experienced Boulezians." Ms. Stevens is a six-term former 

1 DirectorlTrustee of the National Academy of Recording Arts and Sciences (NARAS) and is the Director of 

Chamber Music for the Young Musicians Foundation in Los Angeles. To underscore her nationwide range, 

she is Co-Artistic Director of two major chamber music series, the Martha's Vineyard Chamber Music 

i Society in Massachusetts and Chamber Music Palisades in Los Angeles. She has recorded for ten labels and 

recently completed recording Maria Newman7s new piano concerto "Emma McChesney" and a DVD 5.1 

I 

Surround recording of the Brahrns piand Quintet with the Ives String Quartet. Her solo CD "Pilgrimage" 

i showcases the works of five distinguished contemporary U.S. composers. Ms. Stevens studied with Bach 

I authority Jan Chiapuso, Ernst Von Dohnanyi and Joanna Graudan, Shortly after her arrival in Southern 

California she won the coveted ~olemh Award and joined the acclaimed Montagnana Trio for extensive 

tours of North America, Europe, and Asia under Columbia Artists management. 

I 

NACUSA Celebration Committee: Deon Price, Jeannie fiool, Daniel Kessner, Tony Wardzinski and other 

NACUSA officers; Pat Arand, Carol Kuraock, Ramona Gifford and other members of Mu Phi Epsilon; 

Rod Oakes and Lany Richardson of Harbor College. 

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Program Notes 

"When I first began composing Three Movement for Piano, many, many years ago, I was so innocent that I 

didn't even know I was working with a semi-combinatorial tone row, one in which the first six notes can be I 

inverted at a certain pitch level to provide the missing six other notes. Upon learning this property, the 

work went through many years of revisions. The first movement is in a kind of quasi-sonata form, finally 

reaching a kind of "Wozzeck-ish" climax at the end of the development before returning to a more playful 

mood. The second movement is a kind of recitative which comes to a rather Lisztian climax in octaves 

before subsiding into a condensed return of the main thematic idea. The finale alternates three different 

ideas somewhat in the playful spirit of the first movement.-MB. 

String Quartet No. I, submitted as the Master's Thesis for the degree of Master of Music Composition from 

the University of Southern California, is a little more than a half-century old. The present performance is 

perhaps its second public performance. Shortly after completion, the quartet was submitted to a prestigious 

national competition and placed second, the winning quartet being composed by Robert Linn. Mr. Linn, 

past president of NACUSA and a close friend of the composer, received his Master of Music Composition 

degree from the same institution in the same year. 

The style of the quartet is obviously heavily influenced by the music of Bela Bartok (the composer face- 

tiously characterizing it as Bartok's Quartet 6 718). The driving concept for the quartet was an attempt to 

successfully derive all melodic and harmonic materials from a five-note motive which is stated, simply, in the 

first few measures of the quartet. Other criteria for the quartet were to treat all members of the ensemble as 

equal voices, and to utilize as logcally-as possible all techniques which string instruments-were capable of as -- 

a means of musical expression. The five-note motive contains within itself all the intervals of the diatonic 

scale, in their natural and inverted states. This property was not intentional but as composition evolved, this 

"mother-cell" more or less justified all that the quartet contains, melodically and harmonically.-DBT 

Two Movements for String Quartel and Piano was commissioned by the Wechsler Fund of the Tanglewood 

Music center and awarded annually to a former Tanglewood composition student. When I learned there was 

such a thing as a "degenerate" tone row, I was immediately attracted to it. Such rows have only two forms 

as the retrograde of both the prime and its inversion are the same. The first movement is a kind of permuted 

passacaglia in which instead of returning to the opening measures of the theme, it returns to the second 

measure, the third time to the third measure and so on. Reaching the end it backs up on itself and ends with 

a canonic version of the solo opening idea. The second movement is in a kind of sonata-form again with 

much use of "derived" tone rows which take three note segments of the original row and make new rows 

out of them. The passacaglia theme returns toward the end, but in a new rhythmic formulation.-MI

On the eastern end of West Couina 

take the Grand Aue. exit off of the 10 Freeway. 

Go south several miles. You will ascend a huge'hill. 

As you descend watch for Sun lose Hills Rd.. 

Turn left (7-1 1 store on right) to enter the campus. 

On your immediate right is a large parking lot available for concert goers. 

The Recital Hall is in the Music Building, directly north of the parking lot 

(on your left as you enter San lose Hills Rd.) 

The Recital Hall is part of our large Arts complex, which will be 

to your left as you turn on Sun Jose Hills Rd. 

Ascend the stairs and the Recital Hall is at the back of thefirst patio to your right.

1 

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'Ihe National bociation of composers - bf S A 

I 

I and the 

Mount san ~nbnio College Music Department 

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I present 

I 

e"$F"de+dd9dqe 

)More j~abic and ]Mystery 

, 

I 

I of 

)waking /Music 

~"$6*devdACVy. NmDy-,, 

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Sclturda y, October 5,2002 

I 8:OO p./j. 

I 

Kecitol Holl 

I 

MOMM~SCIM k~lto~io eomffl~~ity College 

1100Novth Grand Avenue 

I Walnut, . ealifomia 

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I

6 

Seuse aud /Vouseuse (19771 2000) Margaret Shelton Meier 

with text by dmis Carroll 

1. Morals 2. Pro-found : 3. No Meaning 

Ralph well;, baritone 

Margaret S. lMeier, piano 

.-, .-" - - - . - - - - - -. - . . - - - 

, V"4.V.- . 

I. Intonazione 2. Possible horlds 3. Doubles for a Minute? 

Carter Dewberry, violoncello 

Aviaw Suite for Solo eb elaridet (1985) Deborah Kavasch 

1. Feucock ' 4. Eagle 5. Ostrich 

Berkeley Pdce, clarinet 

Wte seau ty: Cariug for Auiwals Alexandra Pierce 

Ants poem by Roger Pierce 

Bible Bestiary poems by ~ o ~ Pierce e r 

1. Cockroach 2. Sparrow 

Sheep poem by Robert Francis 

Psalm 104 (aerses 24-31) 1 

Roger Pierde, speaker and mover . 

Alexandra Pierce, piano 

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~ntermiision 

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Stream - , for flutes aud harps\chord (2001) Daniel Kessner 

# 

I - Stream : 11 - Allegro scherzando 

III - Chorale; andantino I IV - Finale; allegro molto 

Daniel ~essner, bass flute/ alto flute/ flute 

Dolly ~ugeho Kessner, (digital) harpsichord 

~heu ~ o d 

- 

odeals MS to ewe i (2001) Jeannie G. Pool 

Ralph Wells, baritone 

Margaret darkins, violoncello 

Margaret S: Meier, piano 

ffexichord for ~uaccom~auihd Qariuet Deon Nielson Price 

Berkeley Price, clarinet 

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Night 'I-houghts (2002) Margaret Shelton Meier 

premiere pbrformance 

Margaret Parkins, violoncello 

Margaret $. Meier, piano

Program Notes 

(listed by their order in the program) 

Sense and Nonsense - began life as a group of five songs for choir which were 

published in the late 70s. In recent years I have reworked them for solo voice. Only 

three are presented tonight. The text is taken from Lewis Carroll's Alice in 

Wonder land, : words spoken to Alice by the Duchess during the croquet game. 

Anyone who has taken a music theory class has had to memorize the "key circle" or 

"circle of fifths". The tonal and harmonic base for these songs is that circle, 

sometimes as single notes and sometimes as chords, sometimes lingering on a 

chord and sometimes whirling around the circle. In keeping with the spirit of 

Alice-- the musical endeavor is to create a world that appears "normal" and yet is, at 

times, a bit off center, changing shape too rapidly. 

Morals: Everything has a moral, if only you can find it! 

You're thinking about somethmg, my dear, and that makes you forget to talk. 

I can't tell you just now what the moral of that is, but I shall rememberit in a bit. 

Pro-yound: Never imagine yourself not to be otherwise than what it might appear to others 

that what you were, or might have been, was not otherwise than what you had 

been would have appeared to them to be otherwise! 

No Meaning: If there's no meaningin it that saves a world of trouble, you know, 

as we needn't try' to find any! 

possible Worlds - is a set of three short studies for solo cello, written between 1989 

and 1991. lntonazione explores and tests the cellist's intonation and, through its 

slow expansion of sonorities, acts as a warm-up to the next two pieces. Possible 

Worlds is an exploration of different pizzicato and glissando effects. Doubles for a 

Minute? is so named because most every note is repeated (doubled), most every 

note is a double stop, and the entire movement should take exactly a minute to play. 

Possible Worlds was awarded the top prize for the 1992 NACUSA Young 

Composers' Competition and was first performed in Southern California with Tom 

Flaherty playing the second movement on a NACUSA concert. 

Brute Beauty: earing @r Animals - is the current touring program of Mo v i ng 

Voices. The program explores how animals bring out the best and worst in us 

humans. There is considerable range of mood, from sardonic, to mocking, to 

musing, to philsophic, to humorous. Ants is one of the six Bestiary poems that was 

originally set for children's chorus. Sparrow and Cockroach were originally set for 

tuba and speaker. 

The goal of Moving Voices, begun in 1985 by Alexandra and Roger Pierce and 

composer Paul Melzer, is to reveal the poem's meaning and evoke a vivid listening 

experience by integrating speech, gesture, movement and music. Moving Voices 

has performed and conducted workshops and classes in universities across the U.S. 

and Canada. It has performed in museums, libraries and churches. 

.

Stream - was written for the fesfival Forjest, in the eastern Czech Republic, where it 

was premiered this past June. She four movements are connected without pause, 

and feature bass flute, flute, alto, flute and again bass flute, respectively. The choice 

of harpsichord over piano obviously favors the delicate sonorities of the larger 

flutes, blending in interesting ;ways with them. The movements also alternate 

between relatively free, flexible meter and machine-like motor rhythms. 

I 

When god Calls us to Sewe - was written for my musical Jonah ! As Jonah is 

trying to decide if he will follow God's command to go to Nineveh or will flee in the 

opposite direction, he encountei-s a wise man on the beach. This older man gives 

him the following advice. 

I 

When God calls us to serve, it is a privilege well deserved. 

With all your heart you know God holds great love for you. 

It is a love so true, always there for you. You should not run away. 

There is no need to hde. At every turn, God's by your side. 

We're called in the morninglight, or in the middle of the night: 

We know God's voice, calls us by name. God knows what we need the most. 

He calls us to help with His work on this earth. 

God calls us to serve all humankind, 

To relieve sufkring and pain) to end wickedness and shame. 

Best of all, when we help do 'His work, we find ourselves. 

His call gves us new life! 

I 

Night Thoughts - is dedicatedto Bozhena Petrova, the talented young pianist who 

performed the solo celesta park in the 1996 recording of my orchestral piece The 

Dawning in Rousse, Bulgaria, +d to her mother, Bogdana Petleva, principal cellist 

of the Rousse Philharmonic. Two themes were derived by applying the letters of 

the alphabet to the notes of the; chromatic scale and extracting those attached to the 

letters BOZHENA and PETROVA!. After a free flowing introduction, the first theme is 

explored in a lively countrapun'tal dance between the instruments. This gives way 

to a lyrical and romantic secon'd theme. Several sections end with a chorale based 

on the BOZHENA notes. In the concluding climax this chorale Style brings the two 

themes together: BOZHENA in the piano and PETROVA in the cello.

, 

COMPOSER AND PERFORMER BIOGRAPHIES 

(listed alphabetically) 

Cellist CARTER DEWBERRY is attending UCLA and working toward her DMA in Chamber 

Music. She is currently focused on founding and managing a chamber music organization called 

the Definienes Project, which has a diverse base of performers from Los Angeles and Orange 

counties and is committed to performing contemporary chamber music. In her nearly twenty years 

of playing cello, she has performed in pop, rock and techno bands, as well as with symphonies 

and as a soloist. 

Composer DEBORAH KAVASCH has had works commissioned and performed in North 

America and Europe. She was a 1987 Fulbright Senior Scholar in Stockholm, and has received 

grants and residencies in composition and performance from the National Endowment for the Arts, 

the California Arts council, Meet the Composer, the Ernest Bloch Music Festival, the CSU 

Summer Arts Program, and the Djerassi Foundation. She is published by Edition Reimers of 

Stockholm (distributed through Theodore Presser) and is recorded on Lovely Records, Composer 

Recordings, Inc., and Cambria Records. Her most recent compact discs, The Dark Side of the 

Muse and Fables and Fantasies, are released under the TNC Classical labels. Pauline Oliveros, 

Roger Reynolds, Bernard Rands and Robert Erickson are the internationally acclaimed composers 

with whom she has studied. 

Dr. Kavasch holds a B.A. in German and a Bachelor and Master of Music in theory/composition 

from Bowling Green State University, Ohio, and a Ph.D. in music from UC - San Diego. She is 

currently Professor of Music Theory/Composition and Voice at CSU - Stanislaus. 

Composer/conductor/flutist DANIEL KESSNER is Emeritus Professor of Music at California 

State University, Northridge, where he has taught Composition and Theory and directed The 

Discovery Players since 1970. 

Dr. Kessner's compositions have received more than 400 performances worldwide. Recent 

successes include the release of a CD of five of his compositions on the Capstone label and 

performances of his works in Iceland, Spain and Germany. He has received a Fulbright Senior 

Scholar Award for the spring semester 2003 to lecture, conduct a new music ensemble and 

perform at the Staatliche Hochschule fiir Musik in Trossingen, Germany. 

DOLLY EUGENIO KESSNER is Chair of the MusicIDance Department at Moorpark College, 

where she teaches music theory and chamber music. She received bachelor's and master's degrees 

at UCLA and completed her Ph.D. in music theory at USC. Dr. Kessner has performed as a 

soloist and with her husband in the Czech Republic, Italy, England, France, El Salvador, Hawaii, 

Romania, Ireland and in many U.S. cities. 

Composer DAVID S. LEFKOWITZ was born in 1%4 in New York City. As a child he studied 

bassoon, clarinet and piano. He has studied with three Pulitzer Prize winning composers. At 

Cornell University, where he studied composition with Karel Husa, he received his bachelor's 

degree. He studied with George Crumb at the University of Pennsylvania, where he received his 

M.A. in 1990. His Ph.D. was awarded in 1994 by the Eastman School of Music, where he 

studied with Joseph Schwantner and Samuel Adler. Dr. Lefkowitz is currently associate professor 

of music theory and composition at UCLA. 

Dr. Lefkowitz has received international acclaim for works performed throughout the world. His 

awards and areas of special recognition include the Fukui Harp Music Award, the ASCAP Grant to 

Young Composers, NACUSA, the Guild of Temple Musicians, Pacific Composers' Forum, 

Chicago Civic Orchestra, Washington International Competition, Brian M. Israel Prize, ALEA I11 

International Competition and the Gaudeamus Music Week. He has been a Meet-the-Composer 

"composer in residence". His most recent commission is a ninety minute dance-drama for the 

China National Opera and the Dance-DramaTheatre of Beijing.

I 

I 

I 

Compositions of MARGARET S. MEIER have been performed throughout the United States and 

in several European countries. Two of her orchestral works, as well as her G capella Mass for the 

Third Millennium, are recorded on the Viennu Modem Masters label. Her Romantic Passacaglia on 

a Twelve Tone Theme, performed by organist Frances Nobert, can be found on the Raven label. 

Dr. Meier's choral compositions have'been published by Abingdon Press, Lawson Gould, Gentry 

Publications and Thomas House. Her composition awards include the ASCAP Standard Award 

(19!20-2003), an Axel-Stordahl Scholarship/Commission, a Margaret Fairbanks Jory Award, nine 

awards from the Music Teachers' Association of California and, most recently, a "Top Winner" 

rating from the I Wage Peace choral composition competition. 

Dr. Meierreceived her Bachelor of Music degree from the Eastman School of Music and her Ph.D. 

in composition from UCLA. She has taught at a number of universities in California's two 

university systems and is currently a part-time professor at Mt. San Antonio College and a Director 

of Music at Bell Memorial United Methodist Church. 

I 

I 

Cellist MARGARET PARKINS enjoys a varied musical life as both a performer and teacher. She 

has performed in solo. recitals and as a chamber and orchestral musician in concerts, tours and 

festivals throughout North Americab and Europe. She has participated at the Banff Centre, 

Festival International deM'sica de Cadaquees, Heidelberg Castle Festival, Spoleto, Toas, Bach 

Aria Festival and Tanglewood. As a member of the Stonybrook Piano Trio, Dr. Parkins was a top 

prize winner in the 1991 Fischoff ~adional Chamber Music Competition. She has performed with 

the Ornni Ensemble, Brooklyn Philharmonic, Syracuse Symphony, Jazz Passengers, Anthony 

Braxton Ensemble, Asia America philharmonic, Riverside Symphony, Los Angeles Mozart 

Orchestra and the L.A. Master Chorale. She can be heard on the Avan, Tzadik, Victo and New 

Jersey Composers ' Guild labels. I 

Dr. Parkins received her Bachelor of Music degree from the Eastman School of Music and her 

doctorate from the State University of New York at Stony Brook. She is professor of cello at UC 

Irvine and at Concordia University. , 

I 

ALEXANDRA PIERCE, Ph. D., rkcipient of the yearly ASCAP Standard Awards for music 

composition since 1979, publishes most of her music with Seesaw Music Corporation, NYC. 

Other publishers are Media Press, Hildegard Publications and Arsis-Sisra Publications. Two CD's 

of her recent solo instrumental, vocal and chamber music are distributed by Arizona University 

Recordings. Her symphonic works are recorded on three other commercial CD's. She is Emerita 

Professor of Music and Movement at the University of Redlands. 

ROGER PIERCE, Ph. D., was ProfLssor of Theater at Stanford University and the University of 

California, Riverside. Among the plays he has directed are Pinter's The Birthday Party, Brecht's 

Saint Joan of the Stockyards, and Ionesco's Rhinoceros. He has been for many years a practicing 

Rolfer and a movement teacher, and is the author of a book on Walt Whitman's poetry. 

I 

JEANNIE POOL is a composer, music historian and producer. In 2000-2001 she had eleven 

premiere performances of new compositions, including her musical Jonah and her cantata We 

Believe in You, 0 God. Her composition and orchestration teachers include Otto Luening, Ruth 

Anderson, Mauro Bruno, Peter ~ o ~ and e r Frank Campo. Her music is published by Jaygayle 

Music (ASCAP). I 

, 

Dr. Pool served as the Executive Director of the Film Music Society from 1990 to 2002 and 

lectures frequently on film music history and preservation in Europe and the United States. She is 

also an award-winning radio producer who specializes in contemporary music of the Americas. 

From 1981-1996 she was heard weekly on KPFK-FM, PacificaRadio in Los Angeles, where she 

interviewed many composers and performers. Dr. Pool produces recordings for Cambria Master 

Recordings. 

I 

I 

I 

I 

I

Dr. Pool is the founder of the Infem~tional Congress on Women in Music, and since 1980 has 

organized many international conferences, congresses and concerts in New York, Los Angeles and 

Mexico City. She has produced festivals on contemporary and world music. In 1995 she was 

honored by NACUSA for her work to promote Arnericancomposers and their music. She holds a 

B.A. in music from the City University of New York, a Master's degree from California State 

University, Northridge, and a Ph.D. in musicology from the Claremont Graduate University. 

Clarinetist BERKELEY PRICE is a freelance clarinet soloist, chamber musician and recording 

artist. Dr. Price's recent concert tours include London, England, and China. His solo recordings 

are available on Carnbria Master Recordings. 

Dr. Price received his Doctor of Musical Arts and Master of Music from the Eastman School of 

Music and his Bachelor of Music from Brigham Young University. He was appointed Assistant 

Professor of Woodwinds and Music Education at West Virginia Wesleyan College and is cumntly 

. 

the director of instrumental music at the Windward School in West L.A. 

DEON NIELSEN PRICE'S recordingsSunRays, SunRays 11: City Views, Clan'phonia and 

America Themes (Carnbria) are critiqued as "first rate" and "inventive and entertaining, quite 

charming and appealing ..." in American Record Guide. Dr. Price has received grants and 

commissions from the Barlow Foundation, ASCAP, Mu Phi Epsilon, Alaska Arts Council, 

Midwest Arts Council and Meet the Composer. Her books, Accompanying Skills for Pianists and 

Sightplay with Skillful Eyes are published by Culver Crest Publications. She is the editor of 

College Class Piano- Comprehensive Approach published by Dernibach Editions. 

Dr. Price is currently the Interim President of NACUSA and she is the past president of the 

International Alliance for Women in Music. She performs and lectures as Resident Artist and 

Composer throughout the Americas and Europe. Dr. Price earned degrees with honors at Brigham 

Young University, the University of Michigan, and the University of Southern California. Her 

career as an educator has been on the adjunct faculties of UC-Santa Barbara, several California 

Community Colleges and California State University, Northridge. 

Baritone RALPH WELLS made his debut with the Los Angeles Opera this September, singing the 

role of Sonora in La Fanciulla del West. On the morning of September 1 1, 2002 he was a soloist 

with the Pasadena Pops in the Mozart Requiem. Wells has performed over forty operatic roles, 

including Oberto, Figaro, Escamillo, Germone, Don Carol, Francesco, Ford, Taddeo, Slook, 

Sharpless, Schaunard, Mercutio, Valentin, Salieri, Danilo, Eisenstein and Gordon Getty's 

Falstaff. These were performed for the Seattle Opera, Portland Opera, Tulsa Opera, Oakland 

Opera, Western Opera Theater and the Eugene Opera. He has also soloed in many oratorios: 

Elijah, The Messiah, L'Enfance du Christ, Mass in Time of War, Carminu Buranu, Faure's 

Requiem, and Getty 's Joan and the Bells. 

Mr. Wells made his New York recital debut in 1997 at the Roosevelt Birthplace in a tribute to 

Lawrence Tibbett. He has won the Petri Scholarship and the San Francisco Opera Auditions. 

Mr. Wells teaches voice in Los Angeles and Portland. He has written a show, Farewell, Viennu!, 

based on the life of Erich Wolfgang Korngold, which previewed in 1998 at the International F h 

Music Conference.

Notes About the Artist. . . 

Patricia Ann Martin has degrees from the Eastman School of Music, 

Michlgan State University, and Louisiana State University. In addition 

to touring across the United States and Europe, Ms. Martin has been Persiflage 

principal clarinet with the Baton Rouge Symphony since 1996. She has 

also performed with the Acadiana Smphony, Grand Teton Summerfest 

Orchestra, and the Louisiana Philharmonic Orchestra. She has been a 

member of the faculties of Southeastem Louisiana University, Blue 

Lake Fine Arts Camp in Michigan, and taught at Louisiana State 

University through & ~ssistantshi~. Patricia made her Camegie Hall Srudiei fw solo 

debut at Weill Recital Hall in 1999 as soloist with the Louisiana 

Sinfonietta, performing Transformations for Clarinet and Chamber 

Orchestra by Dinos Constantinides. She has been a featured soloist with 

the Dayton Philharmonic, Columbus Symphony, Baton Rouge 

Symphony Summerfest Orchestra, Baton Rouge Symphony Chamber 

Players, and the Louisiana Sinfonietta. 

Program 

'Y bime des oiseaux" 

from the Quartet for the End of Time 

Pangram 

1. 

11. 

Ill. 

Three Pieces For Solo Clarinet 

I. 

It. 

Ill. 

John M. Crabtree 

Peter Blawelt 

Olivier Messiaen 


Igor Stravinsky 

1

MOVEMENT III: A fanfare-like motive articulates three subsections of this fastest 

and most energetic movement. Rhythmic and metric patterns of the previous 

movements combine, with an increasing emphasis on the fast chromatic lines of the 

second movement. 

Three Pieces for Solo Clarinet Ipor Stravinsky 

Igor Stravinsky (1 882-1971) was introduced to the world of jazz in 191 8 by 

Swiss conductor Ernest Ansermet (1882-1969), who presented him with what the 

composer later described as "a bundle of ragtime music." Ansermet had just 

returned to Switzerland, Stravinsky's wartime refuge, from an American tour with 

the Russian Ballet. His purported bundle included a combination of piano reductions 

and instrumental parts, and while Stravinsky had never heard any of the pieces 

performed, he took great interest in many of the rhythmic ideas in the scores. That 

interest made itself known in two works from the same year: Raglime, for eleven 

players, and the intimate ballet, The Soldier's Tale. 

Within a matter of months, Stravinsky heard his first live jazz bands and 

immediately realized that the heart of the music, improvisation, was not in the 

wntten-note.-His-interest-in-the-new-sound grew ever-stronger, evidenced by 1919's _ - - 

Piano-Rag-Mzlsic and the Three Pieces for Clarinet Solo, the latter of which was a 

gesture of thanks to Werner Reinhart, a patron of the arts and amateur clarinetist, 

who had financed the first production of The SoMier 's Tale. 

Each of the Three Pieces was written on a single day in the fall of that year, 

and in those three days at the ofice, Stravinsky paved the way for much of the solo 

repertory that has followed for the instrument. 

The first of the Three Pieces concentrates on the clarinet's chalumeau or 

low register, with its dark and vaguely ominous character. Stravinsky builds on this 

tone color with soft, even phrases composed of widely spaced intervals that subtly 

vary and extend selected fragments of the melody. The phrases tend to end on the 

rise in the first half of the piece, whereas the second half finds them gravitating to 

the clarinet's lowest note, both as a point of rest and a temporary home pitch. 

While the first piece is far from metrical in a conventional sense, with 

frequent changes in the time signature and breath marks that only take passing 

notice of the downbeat, the second piece eliminates bamng altogether. Stravinsky 

employs the full range of the clarinet here, beginning with virtuosic passage work in 

a pattern of triplets that has the nature of a fanfare coming unglued. The middle 

section presents a sharp contrast in register, texture, and dynamics, as large leaps 

join droll grace notes in search of a Saturday morning cartoon. 

The third piece was conceived for the clarinet's clarino or upper register, 

and within that bright but limited melodic range, it is all about momentum. In one of 

the few passages where the composer breaks into a regular rhythm, he tricks the eye 

by accenting every third beat, giving the strong sense of triple meter, but casting it in 

,214 time. The piece is a smile as well as a technical feat, with metrical changes in 

virtually every measure countered by more accents still, reducing the bar line to 

little more than a visual aid. 

- - -.

STRING FLING I 


I 

with the BLOSSOM STRING QUARTET 

I and GUEST ARTISTS 

Randy Weiss. Violin 1 I 

Betty Comer. Violin 11 

Patty Whaley. Viola i 1 

Durwynne Hsieh, Cello I 


Frank Farris, Tenor ! I 

Ed Ballengee. Baritone 

I 

Friday, November 8, 2002. 8pm. Palo Alto An center. 13 13 Newell Road. Palo Alto, CA 

I 

I 

Program I 

I 

Dale Victorine QUARTET IN C MAJOR I 

I I 

! 

Steve Ettinger LOOKING FOR A SUNSET~BIRD IN WINTER 

Sondra Clark 

I 

SIERRA SEASONS I 

I. Scquoirl Autumn / 

11. Donncr Wintcr I 

Ill. Yosclnitc Spring 

IV. Talloc Suln~ncr Nights 

Anne Baldwin 

Warner Jcpson 

QUARTET NO. I 

I 

REMARKABLE SAM 

I 

I 

Brian Holmcs 

intermission 

FOUR SONGS lioln DEATHIS JEST-BOOK (Tllomas Lovcll Bcddocs) 

1. Dirgc: If thou would'sl casc tllinc I I G ~ ~ 

11. Old Adam. tllc q mon Crow 

Ill. Drcvn-Pcdlan I 

1V. l'hc Pllilnto~n-W~cr 

Nancy Bloomer Deussen SARATOGA from SAN A ~REAS SUITE 

I 

Lori G ~~SWOI~ HERE IS THE OCEAN I 

! I 

Ken Takan RENAISSANCE 

1v I 

I 

I'lana Cotton TAKING LEAVE. for StringiQuanct 

bqving. with great vdncss 

Awakening lo a new cncrgy 

Amving al a ncwr placc. flowing casily 

Acccpting I I 

John Beanan BEELINE i 

I 

I

presents 

A Concert of Music by Virginia Composers 

Sonata for Clarinet and Piano Celeste Gates 

Mvt. I 

Mvt. I1 

Mvt. I11 

Celeste Gates, Clarinet Kristi Reynolds, Piano 

Fantasia for Solo Violoncello* 

James Guthrie, Cello 

James Guthrie 

Lewis and Clark Sketches* Leigh Baxter 

Jeanette Winsor, Piano John Winsor, Clarinet 

Marlene Ford, Horn Robert Ford, Trombone 

Intermission 

Four for Three John Winsor 

Prelude 

Fugue 

March 

Finale 

John Winsor, Clarinet Elaine Swinney, Violin 

James P. Herbison, Cello 

Simple Simon Says* (words by Linda Rimel) 

Hagar in the Wilderness* 

Arnetta Sherrod, Mezzo-soprano Carol Craig, Piano 

Floyd Barnes 

6 African Lullabies* Jeraldine Herbison 

No. 1. Ntyllo-Ntyllo-Bird Song 

No. 2. Thula Mtwana 

No. 3. Nyandolo-Kenya 

No. 4. Mayo Mpapa-Zambia 

No. 5. Omo-Nigeria 

No. 6. Thula Thula-South Africa 

Elaine Swinney, Violin James P. Herbison, Cello 

Jeraldine Herbison, Percussion 

2: 00 p.m. 

February 22, 2003 

Gellman Room, Richmond Public Library 

"premier performance

Biographies 

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 in Toronto, and he later studied composition under Dr. F.R.S.Clarke 

at Queens University. Since he moved to Norfolk, 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 lntrada for Brass and Percussion (1 990) were recorded in 

Brataslava 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 entitled 

Orchestral Miniatures, Vol. 1 (MMC 2022); the Elegy on another disc in mid-2000. 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, Bb clarinet, and piano, and a suite from his ballet, "Pinocchio." 

Leigh Baxter teaches music theory, music appreciation, American music history, and piano at John Tyler 

and J. S. Reynolds Community Colleges. He holds a master of music degree in composition and conducting 

from Virginia Commonwealth University where he studied with Allan Blank and Sonia Vlahcevic. Leigh is 

president of NACUSA, VA. He is published with Seesaw Music, Inc. of New York. Works include music 

for orchestra, band, chorus, jazz band, piano, organ, sax quartet, guitar, horn, violin, flute, clarinet and 

percussion. The orchestral version of "Lewis and Clark" was premiered by the Richmond Symphony 

Orchestra on Feb. 8, 2003. It is also scheduled for performance in the Spring of 2004 by the St. Charles, 

MO Symphony Orchestra in conjunction with the Lewis and Clark Bicentennial Celebration, and is being 

considered by several other orchestras. 

Carol Craig has studied and played piano for the last 28 years. She is CEOfPresident of Craig Technical 

Consulting, Inc. and a former Naval Flight Oficer. She studied piano at Knox College in Galesburg, IL 

after being awarded several music scholarships and also studied piano at the University of Illinois at 

Champaign-Urbana, IL. She has been accompanying musicians for the last 15 years, including members of 

the Virginia Opera. She most recently performed Brahms' Requiem with the First Presbyterian Church 

choir. 

Marlene Mowaji Ford studied horn with Ernani Angelucci and Martin Morris of the Cleveland orchestra 

and Edwin Thayer and Sylvia Alimena of the National Symphony. She received a Bachelor of Fine Arts 

degree from Ohio University and a Master of Music degree from Norfolk State University. She is a 

member of the Virginia Symphony, the Williamsburg Symphonia, the Eastern Virginia Brass, the Hardwick 

Chamber Ensemble, and the Prelude Woodwind Quintet. Marlene is an adjunct faculty member of Old 

Dominion University, Tidewater Community College and Virginia Wesleyan College. 

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 Music 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 to 1986. He is a member of the Spokane 

Symphony. He also performs with the'lakeside (Ohio) Music Festival during the summer. He teaches at 

Tidewater Community College and Virginia Wesleyan College and serves as artistic director of the Eastern 

Virginia Brass.

Notes 

Fantasia for Solo Violoncello seeks to reconcile two opposing ideas. The first is a short agitated theme 

based on [0,1,7,10]. The second idea is a lyrical theme based on a synthetic multi-octave whole-tone scale. 

The piece is constructed along the lines of a sonata form. Through the development process, elements of 

both ideas are combined to form a brief quotation from the Prelude of the Bach G-Major Cello Suite. The 

quotation is then developed and eventually consumed by the continuing conflict between the two opposing 

elements. 

Four for Three is a short work for clarinet, violin and cello. Phrase structure in the piece is fairly 

conventional. The melodic material is pantonal and quite chromatic. Harmonically, fourths and sevenths 

are emphasized more than thirds and sixths. The linear aspect of the piece takes precedence over the 

vertical. It contains a great deal of imitative counterpoint. 

Simple Simon Says Floyd Barnes contacted Linda Rime1 several years ago through the American 

Composers' Forum where she called for composers to work with her. She sent him some poems and 

he was immediately drawn to Simple Simon Says. Ms. Rimel has written a book and the lyrics for two 

musicals. She lives in Eugene, OR. 

Hagar in the Wilderness is an 1 1 minute work for dramatic soprano. The story (from Genesis 21) goes 

like this: God had promised Abraham in a vision years earlier that He would bless him with children by his 

wife Sarah, and that their offspring would be "as many as the grains of sand on the seashore." He believed 

God, but year after year Sarah remained barren. Since he was now around 100 years old, and Sarah not 

much younger and past the age of child bearing, she suggested that he take her slave Hagar to bear a child in 

her place. He did, and she bore Ishmael, a son. Then God spoke to him again, explaining that this was not 

the offspring that He had meant, but that Sarah truly WOULD conceive. Shortly afterward, Sarah did 

conceive and bore a son, Isaac. Now, she was jealous, and asked Abraham to send Hagar and Ishmael away 

so there would be no chance for him to gain the inheritance over Isaac. He did, and we take up the story on 

the second day after their departure. Their one-day's supply of water was gone already, due to the intense 

heat of the desert. She placed Ishmael under a bush to die and went off a distance to pray for mercy. We 

hear her side of the conversation with God as imagined by the composer, based on what is told in Genesis. 

6 African Lullabies Four of the lullabies are traditional, or folk songs. No. 1, "Ntyllo-Ntyllo" and No. 5, 

"Omo" were composed by modem African songwriters. These lullabies were selected, adapted and 

arranged for violin and cello duo with rhythm instruments to convey the specific message of the cradle song 

through instrumental sounds alone. Rhythm instruments to be used, may be anything from hand clapping to 

accented vocal sounds (No. 6, "Thula Thula"). The following types of rhythm instruments have been 

indicated: Idiophones---bells, clappers, sticks and rattles (tambourines). Two clicking sticks or one stick 

on a snare drum rim, and a high pitched bell like the triangle are indicated for Lullaby No. 4. 

Membranophones---skin drums with a single or double drumhead. They are usually beaten with the hand 

(using the fingers, fist, or palm), or with a curved stick. In Lullaby No. 5, the Gangan or Dundun drum is 

suggested. It is shaped like an hourglass. The membranes at each end are joined to each other by numerous 

strings. In this way it is possible for the drummer to vary the pitch by holding the drum under his arm and 

squeezing it with his elbow, thus tightening the drumheads and producing a glissando sound in the pitch.

Celeste Gates holds a B.S. in Music Composition and Creative Writing from the Indiana University School 

of Music, and a M.M. in composition from Virginia Commonwealth University, where she studied 

composition with Allan Blank and Dika Newlin, and conducting with Thomas Wilkins. Celeste graduated 

Magna Cum Laude and is an elected member of Pi Kappa Lambda Music Honor Society (1993). She is a 

member of ASCAP, the International Clarinet Association and NACUSA, VA. She was conductor of the 

Northern Neck Community Orchestra from 1993-98 and has taught music for Rappahannock Community 

College. In her studio, "Realistic Expectations", Celeste continues to teach music privately. Currently, she 

is a member of the Norwood McCarty Big Band, A Jazz Trio, and The Hodgepodge Trio. 

James M. Guthrie (D.M.A.Louisiana State University, 1989) serves as organist/choirmaster at Emmanuel 

Episcopal Church in Franklin, VA, Editor of Music Now, The Newsletter of the Southeastern Composers' 

League, and Professor of Music at the Eastern College of Music in Greensboro, NC. For more information, 

please visit http://www.jamesguthrie.com. 

James Preston Herbison is a native of Oklahoma. He earned a Bachelor of Music Education degree 

from the University of Oklahoma, a Master of Music degree from the University ofMichigan, and a 

Doctor of Musical Arts degree from the Catholic University of America. Dr. Herbison teaches theory, 

Humanities, string methods, and music appreciation at Norfolk State University. He also conducts the 

university orchestra. He is principal cellist in the Williamsburg Symphonia and section cellist in the 

Virginia Symphony. He is cellist and coach of the HICO string quartet which he established while at 

Hampton University. He has performed in recitals, with chamber groups, and with orchestras throughout 

the United States and Canada. Notable among his recitals are the performances at Cathedral of St. John the 

Divine in New York; and his performance at the Kennedy Center for the Performing Arts. Chamber 

performances include the Nova Trio's performance and coaching session with Menachem Pressler of the 

Beaux Arts Trio at the Banff Center I Alberta, Canada, and the Nova Trio's performance on the compact 

disc, "An American Port of Call," Music of Adolphus Hailstork. 

Jeraldine Saunders Herbison is a native of Richmond, VA. She earned a Bachelor of Science degree in 

Music Education fiom Virginia State College in 1963. She taught and directed string orchestra in the public 

schools of Maryland, North Carolina, and Virginia. In 1979 she was elected Honorary Composer at the 

University Division of the National Music Camp at Interlochen. In 1980 James Herbison performed her 

Sonata No. 1, Fantasy in Three Moods and Intermezzo on the Composers Forum of The National Black 

Colloquem Competition at the Kennedy Center for the Performing Arts. Her Cello Concerto No. 1 and 

Concertina for Viola and Chamber Orchestra were commissioned by the Afro-American Chamber Music 

Society in California. In 1997, Jeraldine's music was featured on the 7 

Wosers at Hampton University. Five of her string orchestra pieces are published by Velke Publishing 

Company, in Glen Echo, Maryland. Her piano and chamber works with piano are listed in books by Selma 

Eptstein and Helen Walker Hill. Twoof her Art Songs are featured on a CD by Sebronette Barnes You Can 

'JeU the World, Jeraldine is secretary of NACUSA,VA, a member of ASCAP, and the American 

Composers Forum. 

Kristi Reynolds teaches piano at the University of Richmond. She is also organist/choirmaster at 

St. Paul's Episcopal Church in Miller's Tavern. A native of Texas, she obtained a bachelor of music degree 

in piano performance with a minor jn piano pedagogy from East Texas State University and a master of 

music degree in piano performance from Hardin-Simmons University. She has performed as soloist and 

accompanist throughout the nation, including a concert in the Chamizal Auditorium in El Paso, the 

Richmond Public Library Gellman room series, and for the Fullwood Foundation in Baltimore. She has 

continued to grow as a musician through study with Santiago Rodriguez as well as master classes with 

Joseph Banowitz and John Sa!mon. Ms. Reynolds is a member of the Richmond Symphony Chorus, Pi 

Kappa Lambda music fraternity, and the Richmond chapter of the Music Teacher's National Association.

Arnetta Sherrod is a Professor of Biology at Norfolk State University. She began her professional musical 

career in 1999 with the Virginia Opera. She has performed with the opera chorus in VOA's productions of 

"Othello", "Porgy and Bess", "Turandot", "Don Giovami", "Don Pasquale", "Carmen", "Tosca", "The 

Masked Ball", "Mikado", and " La Traviata". She will be performing in this season's productions of 

"Andrea Chenier" and "Die Fledermaus". She is currently studying with Emily Stauch of Virginia Beach. 

Elaine Swinney is a graduate of Baldwin-Wallace College in Berea, Ohio. She is a violinist in the Virginia 

Symphony and is a founding member of the Casual Elegance String Ensemble. She is active as a 6eelance 

violinist in the Tidewater area and is a violin instructor. She also plays in the Virginia Opera Orchestra, 

Williamsburg Symphonia and the Richmond Symphony. She has played in the ProMusica Chamber 

Ensemble of Columbus, Columbus Symphony, Columbus Light Opera, Fort Wayne Symphony, Wheeling 

Symphony, Canton Symphony, Akron Symphony, and the Youngstown Symphony. 

Jeanette Winsor studied piano with Clifford Herzer, Lois Rova Ozanich, and Shirlet 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 2 1 st edition of Who's Who of American W orn. 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 composition with 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 Governor's School for the Arts. 

John's composition prizes include the Modem Music Festival 2000 Film Scoring Prize, 1992 and 1995 

Delius Awards, and the 1992 and 1994 VMTA Commissioned Composer Competitions. His works 

frequently appear at new music festivals, conferences, and chamber music concerts around the United 

States. He has also received grants from the American music Center and from Meet the Composer, Inc. 

Since 1992, he has received seven commissions from various Virginia arts organizations. Articles by and 

about John have appeared in com~oser USA. His book Breaking the Sound Barriea: is available at 

Barnes and Noble.com. John is the webmaster for NACUSA.

7 7 

National Association of Composers, USA East Coast Chapter 

Program 

STEFANIA DE KENESSEY Autumn Elegy (2001) 

Veterans' Cemetery 

The End of the World 

I A Curse on Geographers 

Samuel Hepler, bbitone and Stefania de Kenessey, piano 

ELIZABETH BELL Songs of Here and Forever (1970) 

Cache Lake 

Communication 

Harlem Bridge 

Light 

Song of Worship 

Stonn 

Gavla Bauer Blaisdell. somano and Max Lifchitz. ~iano 

Intermission 

MAX LlFCHITZ 

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Three Songs for Voice and Trumpet (1988) 

Do AnimaLs Think? 

Insects 

Deborah Horne, soprano and Eric Miller, trumpet 

Honey 

Yellow Ribbons No. 22 (1984) 

Ah-ling heu, viola and Max Lifchitz, piano 

MARSHALL BIALOSKY A Prologue and Three Songs 

To the Words of American Indian Chiefs (1989)" 

, 

mot Z. Levine, baritone 

Max Lifchitz, conductor 

The NorthlSouth Consonance Ensemble 

Lisa Hansen, flute 

Brenda Sakofsky, alto flute 

Frank Cassara, percussion 

Gilbert Dejean, bassoon 

Atsuko Sato, bassoon 

Christ and St. Stephen's Church, NYC 

Free Admission 

*Premiere perfovance - in honor of the composer's 80h birthday 

70th season (1 933-2003)


Soprano Gayla Bauer Blaisdell has appeared as a soloist with the Chicago Symphony 

Orchestra at the Ravinia Summer Music Festival where she had the honor of attending the Steans 

Institute for Young Artists. She made her Carnegie Hall debut as soloist in Beethoven's 9th Symphony 

with the American Composers Orchestra. 

Deborah Home, soprano, performs with the Hudson Valley Bach Fest and the Doansburg 

Chamber Ensemble. She has sung with the Aspen Opera and recently performed at St. Peter's Music 

in Chelsea Series and at Lincoln Center at the centennial concert of the Music Publishers Association. 

Elliot Z. Levine has been the baritone for the Western Wind Vocal Ensemble since its 

inception in 1969. He has appeared as a soloist with such groups as Musica Sacra, the Rome Opera, 

La Fenice, the Mannes Camerata, Music at Ascension, the Ensemble for Early Music, and the Folger 

Consort. 

Baritone Samuel Hepler has recorded for the Vox and Newport Classic labels. In the fall of 

1997 Mr. Hepler made his national television debut with "Livefrom Lincoln Center" in a production of 

Hansel und Gretel designed by Maurice Sendak. Recent concert appearances include performances of 

Handel's Messiah with the Singapore Symphony, and the Faure Requiem and Haydn's Schopfungmesse 

with the Long Island Chorale Society. 

Ah-ling Neu, violist, is a former member of the San Francisco Symphony and the Ridge String 

Quartet. Currently, she serves as principal viola for the Eos Ensemble and .the New York Philomusica 

and performs with the Brooklyn Philharmonic and the American Composers Orchestra. 

Trumpeter Eric Miller graduated from the University of Northern Iowa and Indiana 

University. He is a member of the United States Military Academy Band at West Point. 

Composer/pianist Stefania de Kenessey's most recent CD Shades of Light, Shades of Dark 

received rave reviews as "fully worthy to share a program or disc with the masterpieces by Mozart or 

Brahms" (Fanfare). Her music has been performed in Europe, Australia, Singapore and China, as well 

as throughout the United States. She is the founder and artistic director of the Derriere Guard, an 

alliance of traditionalist contemporary artists, architects, poets and composers, whose inaugural 

festival featured noted author Tom Wolfe as the keynote speaker. 



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): "suffice it to say 

that it would be hard tofind a better snapshot of what Ammican 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." 

Since 1980, the NORTWSOUTH CONSONANCE ENSEMBLE has brought to the New 

York public over 750 different works by composers from throughout the United States, Canada, 

Latin America, Africa, Asia and Europe. Albums featuring performances by the North/South 

Consonance Ensemble are available through the internet at www.northsouthmusic.org or by calling 

1 (800) 752-1951. 


Hadley served as an Associate Conductor for the New York Philharmonic during the 1930's, the 


various the activities sponsored by the National Association of Composers, USA please visit its 

website at www.music-usa.org 

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Stefania de Kenessey's music has been presented in Europe, Australia, Singapore and 

China, as well as throughout the United States. Honored repeatedly with awards from ASCAP, 

her output includes works in all genres, from chamber and vocal to opera and symphonic. 

She has written concertos for virtuosos such as trumpeter Chris Gekker and flutist 

Elizabeth Mann; she has had premieres with the Singapore Symphony, St. Luke's Chamber 

Ensemble, Manhattan Chamber Orchestra, the North/South Chamber Orchestra, and the 

Absolute Ensemble Orchestra conducted by Kristjan Jarvi. Recent successes include a double bill 

of her one-act operas by the Mannes Opera; a memorial song cycle for sculptor Frederick Hart 

at the National Cathedral in Washington D.C., and a work for chorus and orchestra premiered 

by the Turtle Creek Chorale at Carnegie Hall. 

The song cycle Autumn Elegylfor baritone and piano was inspired by the September 11 

attack on America. It employs texts ,by poet Dana Gioia who was recently appointed head of 

the National Endowment for the Arts. This evening's performers premiered the work last 

September . 

(Please see attached texts on next page) 

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 iqstruments, 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 was awarded the 

1996 Grand Prize at the Utah Composers' Guild Competition. Two all-Bell compact discs were 

released recently: one on the MMC label and the other on the North/South Recordings label 

(N/S R 1029). I 

About the Songs of Here and Forever the composer writes: 

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"This song cycle sets poems I wrote while in my teens and early 20's: mostly love poems 

to my future husband ("forever" I- or so I thought!). Those are balanced by two purely 

love ("here and forever"). , 

I 

The premiere performance of the cycle took place at Barnes Hall, Cornell University, in 

Ithaca, NY in January, 1973. It was sung by Linda Paterson, soprano, for whom it was written, 

and accompanied by composer/pianist Ann Silsbee." 

(Please see attached texts) ' 

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Autumn Elegy 

Poems by Dana Gioia 

Music by Stefania de Kenessey 

2. The End Of The World 

"We're going", they said, "to the end of the world." 

So they stopped the car where the river curled, 

1 Veterans' Cemetery 

And we scrambled down beneath the bridge' 

On the gravel track of a narrow bridge. 

The ceremonies of the day have ceased, 

Abandoned to the ragged crow's parade. We tramped for miles on a wooded walk 

The flags unravel in the caterpillar's feast. Where dog-hobble grew on its twisted stalk. 

The wreaths collapse onto the stones they Two ospreys watched from the opposite 

shade. shore 

While slowly the current built to a roar. 

How quietly doves gather by the gate 

Like souls who have no heaven and no hell. We came to a bend, where the river grew 

The patient grass reclaims its lost estate wide 

Where one stone angel stands as sentinel. And green mountains rose on the opposite 

side. 

The voices whispering in the burning leaves, My guides moved back. I stood alone, 

Faint and inhuman, what can they desire As the current streaked over the smooth flat 

When every season feeds upon the past, stone. 

And summer's green ignites the autumn's 

fire? 

Shelf by shelf the river fell. 

The white-water goosetailed with eddying 

The afternoon's a single thread of light 

swell. 

Sewn through the tatters of a leafless 

Faster and louder the current dropped 

willow, 

Till it reached a cliff, and the trail stopped. 

As one by one the branches fade from sight, 

And time curls up like paper turning yellow. I stood at the edge where the mist ascended, 

My journey done where the world ended. 

I looked downstream. There was nothing 

but sky, 

The sound of the water, and the water's 

reply. 

3. A Curse On Geographers 

We want an earth to walk upon, 

Not reasons to remain at home. 

Shall we make journeys only to see 

The same stars circling in the night? 

Breathe the same air? Sail across 

These oceans only to discover 

Our own island's other shore? 

Let oceans spill their green from off 

The edges of the earth, and let 

The curving plain unbend itself 

Behind the mountains. Put wind back 

Into the cheeks of demons. Voice, 

Pronounce your reasonable desire 

And sing the round earth flat again! 

Poems O by Dana Gioia 

(Used by permission)

Or shiver to a pale, impotent shadow 

In the twilight. 

They say there's strength to stand and wait, 

To make content with what one is, but not 

contented with. 

But I have not that strength, 

But only hope - pushing, impelling me 

Over the threshold 

Into the blinding ecstasy of light! 

V Celebration 

My heart dances, sings 

Glorifying the order of the singing world! 

Dazzle, betray thy ecstasy, 0 my soul, 

Join in the whirling announcement of bliss, 

Of sacrament everlasting! 

Joyfully I devote myself, 

Gaily, with ringing lips, 

I account myself to the service 

Of the Good which hath brought light in the 

twilight, 

Stars in the pallid purple o'erhanging of 

dawn. 

A new reign shines forth, 

Promising eternity, 

Swearing forever in joy 

To those who give themselves, 

Pour forth with glad and grateful hands 

The essence of their hearts. 

No longer one for one, 

Beating and striving to stand 

Bravely, alone in magnificent bewilderment. 

I throw myself before thy throne, 

0 king of being-brightness, 

Stopping my mouth from wonder, 

Holding my mind stiff, stem, 

That I may plunge straightly, swiftly 

Into the pool of seething delight. 

My voice weaves a pattem of praise, 

Counting, rehearsing the tolls of 

enchantment 

Reaching toward the lofty, glowing sky. 

Sing to infinity, 

Golden bird of beauty; 

In song thou art no longer brave, 

But braver than braveness -- 

Rising immortally 

Toward endless bright radiance of bliss! 

VI Storm 

High in the sky hang clouds of black and 

gray, 

And thunder rolls on distant hillsides. 

My love is far away. . . . 

How slowly rain begins to fall upon this 

roof, 

How quietly storm gathers to herself, 

Enfolds this land in gentle damp. 

My love and I have seen high mysteries; 

Tall wonders, as between us grew 

That burning mystery of all -- that charging 

pain 

Of deepest joy, deepest desire. 

The rain falls faster; wind blows in my 

window, wetting 

Cheeks grown cold from absence of delight. 

Delight is short. Love grows forever, and is 

still not done; 

It warms through time, when all about is 

cold. 

Green sky of tearing passion - 

Gusts and streaks of light, and booms of 

terror. 

Warm black -- fright for those who flee 

alone; 

Now white -- a moth falls -- 

Slaughtered by tumultuous storm; 

And leaves writhe, rudely caught in ecstasy 

of wind -- 

Oh, unrestrained! 

Oh love, oh mine, 

We sing together from our separate roads 

Leading together -- to create in peace 

What in desire we've conceived. 

The rain falls quiet now -- calm 

In the knowledge it has struck its full. 

Quiet I wait, and you wait far away; 

We hold, each one, the lamp that joins 

eternally 

Our souls -- unknown to calm, too small 

To hold this flame that bums within, and so 

Relinquished, while they live on, to desire. 

(0 Elizabeth Bell - Used by permission)

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Max Lifchitz's Three Songs lfor Voice and Trumpet were written at the request of 

soprano Judith Otten in 1988. At that time, Ms. Otten and trumpeter James Harnlin were 

involved in an extensive series of recitals exploring both baroque and contemporary repertoire 

featuring the combination of trumpet land voice. 

The vocal writing exploits a wide range of possibilities ranging from slow, lyrical melodic 

lines, to sprechsfimme (speaking voice), to instrumental-like flourishes. Diverse timbres are 

achieved by employing various trumpet mutes. A healthy, non-doctrinaire musical eclecticism 

permeates the writing, effectively higyighting the emotions inherent in the texts. 

The composer was inspired, by the poetry of Steve Levine, Ron Padgett and Gary 

Lenhart which originally appeared in' the magazine Transfer. The texts follow: 

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Do Animals Think? 

I Poem by Steve Levine 

I Music by Max Lifchitz 

Yes, they do. I 

But not of you. I 

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Copyright O 19?2, by Steve Levine. Used by permission. 

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I Insects 

Poem by ~ on~ad~ett (From "Lessons in Things") 

Music by Max Lifchitz 

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1. Insects have thin nervous bodies with little legs and feet with 

shoes, they do not have an easy existence. If even a small rock falls 

on them it will break of their legs and they cannot go to a doctor! 

2. Some insects such as the mosquito, the sand flea, and the louse, 

are nuisances. It is good when a rock1 falls on them and breaks their legs. 

3. The butterfly has two wings that look exactly alike. They flash 

colors and flutter and go nowhere in;particular. They print images 

of beauty on the air, that, like music; seem to stay there after they 

themselves have gone. 

Questions I 

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1. Have you ever had a bug fly into your mouth? What words did you say? 

2. It is said some ants form a giant army that goes along eating 

everything. Would you like to shoot ,these ants with a gun? 

3. Sometimes a stick will jump and fly away. Do you think it was an 

insect or a stick (stick with a motor)? 

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Copyright O 1993, by Ron Padgett. Used by permission. 

Reprinted from Padgett's Blood Work: Selected Prose published by Bamberger Books. 

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I Honey 

I Text by Gary Lenhart 

I Music by Max Lifchitz 

Since we've joined flesh and forces do boot, 

My desire has known no no. I 

The sky above, the earth below, 

Shine in congressional testimony. 

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We share the honey, we share the bdloney, 

Only personal failure makes us lonely. 

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Copyright O 1283, by Gary Lenhart. Used by permission. 

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Max Lifchitz's Yellow Ribbons No. 22 for viola and piano belongs to a series of works 

written as an hornmage to the former American hostages in Iran. These compositions are a 

personal way of celebrating the artistic and political freedom so often taken for granted in the 

West. 

The composition is in three contrasting movements performed without pause. The 

melodic and harmonic material for the entire composition is derived from a series of expanding 

and contracting intervals. Several rhythmic motives serve as unifying elements throughout the 

piece. The climax of the entire work occurs towards the conclusion of the second movement 

when each instrumental part is treated with the utmost degree of independence as each 

instrument moves at a different tempo. 

Yellow Ribbons No. 22 was completed in the Spring of 1984 on a commission from the 

Organization of American States in Washington, DC. 

Marshall Bialosky, galloping rapidly toward his 80h year, served as president of the 

National Association of Composers/USA (NACUSA) from 1977 until 2002. Along the way, he 

also served as the national chair of the Society of Composers, Inc. from 1974 to 1977 and twice 

as co-chair of this organization's Region W (the western states). He is now an Emeritus 

Professor of Music at the California State University, Dorninguez Hills where he was the 

Founding Chairman of both the Music and Art Departments in 1964. He continues to teach in 

the External Degree program for the M.A. in Humanities. His song-cycle, The Far Theatricals of 

Day won the first prize in the 2001 Division II Class A in the Mu Phi Epsilon Original 

Composition Competition. He was a student of Lionel Nowak, Luigi Dallapiccola, and Ernst 

Bacon, and is a graduate of Syracuse and Northwestem Universities. 

The composer kindly provided the following program note for his work: 

"My interest in American Indian Life emerged during the 1970's. I became friends with 

many Indians and even spent some considerable time in their homes and villages. This led to 

reading about their history in America, and a sad tale it is, continuing to this day to be fraught 

with illegal mischief and grossly unfair government treatment, often depriving them of legitimate 

royalties for the use of their lands, non-payment of grazing fees and the like, and letting their 

unspeakable poverty continue on to the present while we waste millions on missile sites and 

armaments. I like to think of this work as my contribution to protest music following the lead of 

one of my teachers, Luigi Dallapiccola, whose Songs of Imprisonment made such a strong 

statement against Fascism in Italy. 

The song cycle itself composed in 1989, whatever its ultimate merit or demerit may be, is 

a highly organized work. Elements of 'the Prologue appear in the first song as well. At an 

important point in the second song, elements of the first song re-appear, and in the third song, 

elements of the Prologue and the first song are heard again. 

The problem of writing music about the Indians without resorting to movie music cliches 

is a difficult one. Native Indian music has nothing to do with atonality or other modem devices. 

What I have tried to do here is to give the vocal part twelve-tone-like inflections of a very 

diatonic nature contrasted with an accompaniment using drones and pedal points somewhat in 

the Indian manner. For the instrumentation, I have chosen to incorporate the idea that flute 

playing is quite natural to them and, indeed, in recent times many virtuoso Indian flute players 

have become extensively recorded. Of course, the Indian association with drums is well known. 

The need to find some instruments capable of low notes led to the inclusion of the two 

bassoons, employed here to evoke some of the dry landscape one finds on the Hopi mesas in 

Arizona and on other Indian lands."

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Enna T 

Ked Cloud 

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will we let ourselves be destrdyed in dur turn without a struggle, give up our homes, our 

Tecumseh of the Shawnees 

Wovoka, The Paiute Messiah 

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Song I11 

I did not know then how much was ended. When I look back now from this high hill of 

my old age, I can still see the butchered women and children lying heaped and scattered all 

along the crooked gulch as plain as when I saw them with eyes still young. And I can see that 

center any longer, and the sacred tree is dead. 

Black Elk (on the Sand Creek massacre) 

Piano Courtesy of YAMAHA PIANOS 

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~lease'turn-ofl your-cell phone, watch alarm ind any other noise-producing device before the program 

I starts. 

Make sure :to know where the auditorium exits are. 

PLEASE REFRAIN FROM :SMOKING andlor EATING WHILE IN AUDITORIUM. 

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MARK ALBURGER is an eclectic American composer of postminimal, postpopular, and postcomedic 

sensibilities. He is Editor-Publisher of Zlst-Century Music, an award-winning ASC>AF) comqoser published by 

New Music, oboist, pianist, vocalist, recording artist, musicologist, author, and critic. Dr. Alburger teaches at 

Diablo Valley College, directs the NOW Festivals, conducts the SF Composers Chamber Orchestra, and serves 

as President of the College Music Society (PCC). He began composing in association with George Crumb and 

Richard Wernick; and studied with Karl Kohn at Pomona, Joan Panetti and Gerald Levinson at Swarthmore 

(B.A.). Jules Langert at Dominican (M.A.). Roland Jackson at Claremont (Ph.D.), and Terry Riley. Among his 

107 opus numbers are 5 concertos, 11 chamber ensemble pieces, 4 masses, 13 operhs, 3 oratorios, 2 piano 

suites, 11 song cycles, and 7 symphonies. His music has been performed recently by the American Composers 

Forum, NACUSA Philadelphia, the NorlhlSouth Consonance Chamber Orchestra WC), the Onyx Quartet, 

Orchestra 2001, and the Oregon Bach Festival. Camino Real will premiere on July 27-23 at Goat Hall (SF). A 

14th opera, 23e Playboy of the Western World, has been commissioned by Solo Opera of Walnut Creek. 

CATS, DOGS, AND DIVAS (libretto by Harriet March Page), Alburger's 1 lth opera, is a gypsy festival 

of Giuseppe Verdi's 11 Trovatore, with party crashers including Stravinsky's Mass, soft-shoe, diabolical 

rag, minimalist figuration, tango, Verdi's Aida, strip-tease allusions, organa, ecstatic 60's rock, and the 

medieval Orkney Hymn to St. Magnus. Parts I1 and I11 of this four-part composition will be performed 

tonight. 

SONDRA CLARK is a graduate of the Juilliard School (B.M.), San Jose State University (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 Rree Scenesfrom New Orleans was published in 1998 by Kjos Music and six more of her works will be 

published in 2002 by Hal Leo~lard Corp. Clark's Requiem for Lost Childen, written for the Sa11 Jo;c 

Symphonic Choir and Orchestra and the Cantabile Children's Chorus, has been performed three times to packed 

houses and critical acclaim since its premiere in 1996. Clark has been the only composer chosen to be featured 

by the award-winning Grand Piano Show in an hour-long program, 23e WondeffrAi Lpi~nzu ~Wusic of Soda 

Clark, which is being aired on cable television in 450 cities throughout the country. Current projects include a 

comic opera and a violin concerto, both of which are planned for premieres this year. 

LOUISE CONSTIGAN-KERNS has performed internationally as a concert pianist, accompanist and conductor. 1 

She is a former faculty member of New England Conservatory, Boston University, and Artist-in-Residence at 

Brandeis University. In the San Francisco Bay Area, Ms. Costigan-Kerns has been affiliated with the San 

1 

Francisco Symphony Chorus, Opera San Jose, Berkeley Opera, and West Bay Opera; and she is in demand as a 1 

coach and recitalist. She will also be heard with Sally Mouzon in a recital at The CFapel cf the San Francisco I 

Presidio on April 6. Ii 

NANCY BLOOMER DEUSSEN is well known throughout the San Francisco Bay Area as a composer, 1 

performer, and arts impresario. She is a leader in the growing movement for more melodic, tonally-oriented 

contemporary music, and is co-founder of the San Francisco Bay Area Chapter of the National Association of 

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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 Walnu~ Street Chamber Ensemble, The Bat011 Rouge Concert Band, Tl~e Bresquan 

Trio, The Santa Clara Chorale, The Women's Caucus in the Arts, OPUS 90 Charnber 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 Sandusky Music Festival, 

Jim and Pat Watt, and Mu Phi Epsilon. Some recent performances of her works include: Reflections on the 

Hudson by The Kona Community Orchestra, The Baytown Symphony, and the Santa Clara University 

Symphony, and Ascent to Victory by the Providence College Orchestra.

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ADIRONDAK MORN and SANTA BARBARA are the first two pieces of a suite for piano in progress 

entitled American Images. The next three pieces will be titled "Joshua Tree," "The Everglades," and 

"The Space Needle." The composer has traveled extensively throughout the USA and been very 

impressed with the beauty, scope and varicty of imzges in the United States. 

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ILYA DIMOV studied composition with ~.~ildanov and later with professor F.Yanov-Yanovsky at the State 

Conservatory of Tashkent city (Uzbekistan) bhere he received his Master's degrc-. 17- !;as written a number of 

compsotions for puppet theatre shows, movies, cartoon films, and chamber compositioris. In 1986 he became a 

member of the USSR Composer League. In 1990 DIMOV immigrated to Israel where he taught composition, 

harmony and music theory for 10 years at the conservatories of music of Tel-Aviv, Jerusalem, and Ashdod. 

Also, he published a number of musical pieces and arrangements for chamber ensembles that were later 

performed at various international festivals of contemporary music and piano competitions in Israel, Russia. 

Hong-Kong, USA and several Western European countries, such as Belgium, Germany, and E'ugoslavia. 

CYALIZ AND KAti17ME (1 995) begad as incidental music for Anton Checkov'r The Seagull. 

I 

JACOB ROSS FRUMKIN began music wiling at the age of ten. He is studying and performing on trombone 

and piano. 

I 

I 

ROBERT ARNOLD HALL (b. Boston, MA) has studied with Music Faculty at San Jose State University, and 

performed on reeds, cello, and voice.. He has written music over 40 years, especislly in the last ten. 

Instrumental compositions include works for ,large and small ensembles, and solo instruments. Hall is currently 

writing a series of suites fur unaccompaiiied, violin. Vocal works include many with piano and ensembles. I? 

musical theater work for broadcast, based dn Don Marquis's cockroach poet, urc:Iy!, is being sponsored by 

Vermont Public Television. He is completing a short song cycle, Nine Eleven, for voices and ensemble. With 

eminent librettist Elise Thoron, Hall is writing an opera on the Lewis and Clark story, and another on writings 

of Lewis Caroll. Information about many OF these works, including audio and visual clips can be reached at 

http://www.Music-Hall.net. These include recordings of Lullaby and other episodes fiom the opera, and a video 

of a puppet performance uT a ~ig, "a~cliyl I~t;(n liur~~ 111a.t 3." His woi k has been performed by iluliierous 

ensembles in Northern California. He is a mkmber of NACUSA, ASCAP, and the hmericaa? Music Center. 

I 

The composer and his 1 1-year old grindson, Jacob Ross Frumkin, were to;a:l-I-d Ly a lost cat notice on a 

telephone pole and used it, with elaboration, for the text of 358. The duo also collaborated on PIPER, 

fiom a text by Seamus O'Sullivan, the penname for James Sullivan Starkey (1879-1958), the Dublin 

born writer who founded and edited 7he Dublin Magazine. The anonymous Lancashire poet who wrote 

WDDING is one of many writing in !'Lanky," an ~ n~lish dialect. 

I 

SALLY MOUZON, mezzo-soprano, has appeared with many Bay Area companies in opera, operetta, and 

oratorio, including roleswith Opera San lose! West Bay Opera, and San Francisco Opera, where she created the 

role of SisterLillianne in the world premiere of Jake Heggie's Dead Man walk in‘^. M3r.t rcazntly she was heard 

in Charles Gounod's Faust with Sacramento:Opera. She is a hll-time, tenured member of the San Francisco 

Opera Chorus. I 

Mezzo-soprano HARRIET MARCH PAGE is Artistic Director of Goat Hall Productions, San Francisco's 

Cabaret Opera Company. She has directed many music dramas, including Mark Alburger's Antigone; Henry 

Miller in Brooklyn; and 7he Little Prince; ,Leonard Bernstein's Carldide and TrozrEle irl Tahiti; Gian-Carlo 

Menotti's Amah1 and the Night Visitors and, 7he Consul; Sarah Michael's Arachne; W.A. Mozart's Cosi Fan 

Tuttr and Ihe Magic Flute, Lisa Prosek's Satyrrcon; and Kurt Weill's Thr-eepen1z.v OL.era Ms Page has appeared 

on the stage as Mr. Martin in Alburger's The Bald Soprano and Baba in Menotti's 'The Mcdium, and will sing the 

role of Maurya in an upcoming presentation of Ralph Vaughan Williams's Riders to the Sea at Holy Names 

College Four of her performance pieces --' CATS, DOGS, AND DIVAS; Flying Ozct he Mouth; Out on the 

Porch; and Be Wind God -- have been set as: operas by Alburger. 

I 

I




Y ork, 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. 


NACUSA is a 501(c)(3) organization. Donations are tax-exempt, and are gratehlly accepted by the San 

Francisco chapter. Please make out donation checks to NACUSAsf, and mail to Anne Baldwin, 1243 Los 

Trancos Road, Portola Valley, CA 94028. We also accept donations of appreciated stock. For information, 

call (650) 85 1-0954. 




Mark Alburger 



Patti Deuter 


Aileen Lee 


Lyn Reyna 

B.J. Rosw 

Lusi.jah and Dainuri Rott 


Jack Morton 

Ala11 Spool 




Concert Production: Owcn Lcc, Michacl Kimbcll 



Programming: Sondra Clark, Nancy Bloomer Deussen, Kathleen Nitz 



Vice President: Michael Kimbell 

Secretary: Joanne Carey 

Treasurer: I'lana Cotton 

President Emeritus and Founder: Nancy Bloomer Deussen 

.. .

. . 

UPCOMING EVENTS. 

MARCH 2003 

11 Tuesday 8:00 PM Mid-South NACUSA Concert RH 

12 Wednesday 6:00 PM Mary Druhan DMA Clarinet Recital SOM 115 

13 Thursday 8:00 PM Sheri Oyan Graduate Saxophone Recital RH 

14 Friday 4:00 PM Jeffery McLemore Masters Saxophone Recital RH 

14 Friday 8:00 PM John Marcellus Guest Trombone Recital RH 

17 Monday 8:00 PM High Voltage Cinema for the Ears RH 

18 Tuesday 6:00 PM Benjamin Cadle Masters Horn Recital RH 

18 Tuesday 8:00 PM Paul York Guest Cello Recital RH 

19 Wednesday 8:00 PM LSU Trombone Ensemble Recital RH 

20 Thursday 8:00 PM Harumi Kurihara DMA Piano Recital RH 

21 Friday 1 :30 PM Donna Lee Piano Masterclass RH 

21 Friday 730 PM Opera Performance - Marriage of Figaro UT 

23 Sunday 3:00 PM Opera Performance - Marriage of Figaro UT 

24 Monday 10:30 AM Stefan Kamasa Viola Master Class RH 

24 Monday 8:00 PM Louisiana Sinfonietta Concert RH 

25 Tuesday 6:00 PM Chamber Singers Concert RH 

25 Tuesday - 8:00 PM- --Terwilliger-Cooperstock Duo - - - -- UT ---- 

25 Tuesday 8:00 PM Wind Ensemble Concert UT 

26 Wednesday 8:00 PM Strings of LSU RH 

26 Wednesday 8:00 PM Philharmonia Orchestra Concert UT 

27 Thursday 8:00 PM Select Women's Ensemble Concert RH 

28 Friday 8:00 PM Cara Laine McCool Masters Piano Recital RH 

29 Saturday 8:00 PM Reduced Shakespeare Company 

(Great Performances) UT , 

30 Sunday 3:00 PM Annabelle Taubl Guest Harp Recital RH 

31 Monday 4:00 PM Roland Karnatz DMA Clarinet Chamber RecitalRH 

31 Monday 6:00 PM Jennifer Dreispul Senior Clarinet Recital RH 

31 Monday 8:00 PM Louisiana Chamber Players Recital RH 


Concerts at the Recital Hall are free and open to the public (unless otherwise noted). Tickets 

for performancesat the LSU Union Theater are available through the LSU Union Box Ofice 

(388-5 128), Ticketmaster, or at the door. 


FOUNDED ON ME BATON ROUGE CAMPUS IN 1931, mE LSU SCHOOL OF MUSIC 

NOW BOASTS A FACULTY AND STAFF NUMBERING OVER 70, AND A MUSIC MAJOR 

CONCENTRATION OF NEARLY 450 STUDENTS. THE SIZE AND SCOPE OF ITS CUR- 

RICULA4OMPREHENSIVE PROGRAMS FROM THE BACCALAUREATE THROUGH THE 

DOCTORATE-PLACE IT IN THE TOP CATEGORY OF MUSIC SCHOOLS NATIONWIDE. 

NUMEROUS FACULTY MEMBERS HAVE EARNED NATIONAL AND INTERNATIONAL REPU- 

TATIONS THROUGH PERFORMANCE AND RESEARCH PURSUITS AND THUS ATTRACT 

STUDENTS FROM ALL PARTS OF THIS COUNTRY AND THE WORLD. MANY OF THE 

SCHOOL'S PERFORMING ENSEMBLES ENJOY WIDE ACCLAIM, APPEAR~NG AT ME BER- 

LIN CATHEDRAL, THE VATICAN IN ROME, CARNEGIE HALL IN NEW YORK Cln AND THE KENNEDY CENTER IN WASHINGTON, D.C., AMONG OTHER NOTABLE 

VENUES. LSU School of Music Website: www.music.lsu.edu 




PRESENTS

The Bucket (1991) Bill Kelley 

Kelli Sco,tt Kelley, keyboard, percussion, voice 

Trip Fuchs, percussion 

Bill Kelley, string-can-board, pipe, voice 

Ensaios Para Violino e Piano (2003) Maria Di Cavalcanti 

James Alexander, violin 

Maria Di Cavacanti, piano 

Sfogato (2002) 

Childhood Dreams (2001) 

.I. Iwe Kiko 

11. Iya ni Wura 

111. Sasa Kroma 

IV Olurombi 

V Variations on Ise Oluwa 

VI. Nkosi Sikelel' Africa 

VII. Uqongqotlhwane 

VIII. Omo Oba Sokoto 

IX. Badagry 

X. Nigerian Wedding Dance 

Sallye Jeffcoat, piano 

Godwin Sadoh 

Grey Mrjt (2000) 

The Clocktower 5 Nightmare 

Surf Bites (2002) for tape alone 

Six Bagatelles (1991) 

Carlo Vincetti Frizm I. Allegretto Giocoso 

Kristen Kean, flute 11. Lento ma non troppo 

111. Allegro con moto 

IV. Moderato cantabile . 

V Scherzando 

VI. Maestoso 

Robert Peck, cello 



Octatonic Theme and Variations (2002) 

Chris Gongora, euphonium 

The Hollow Earth, Op. 70a (2002) 

Anne Chabreck, alto flute 

' Roland Karnatz, bassett horn 

Ileana Colon, harp 


Andrea Mitternight 


Stephen Kemp 

Dorian Wesley 

Liduino Pitombeira

. . 

.UPCOMING EVENTS 

LMU Guitar and Master Class Series Prese~tts Murphy Recital Hall 

I'he Amadeus Duo in Concert 

Saturday, March 29,2003, 8:OorM 

For Tickets Call 310.338.7588 

,:. . . . . 

An Afternoon of chamber Music ~ & ~&ital ~ Hall h ~ 

Saturday, April 12, 2003, ~:oo~M. .... ,. : 

Free 

. .,, . 

Spring Concert of World Music & Dance . . r Murphy Recital3Hall 

Dr. Paul Humphreys, director . . . .. . _ . 

Saturday, April 12, 2003,8:00~~ 

Free 

. , , .z . . %. , 

38"' Annual Spring Chorale: 

LMU Choruses 

Sacred Heart Chapel 

Saturday, Ma 

For T~ckets E a11 3rd1 310.338.7588 2003/ 8PM 

. . . . . 

.... - . . - . 

Robert B. Lawton, S.J.. ...................... :... ....................... i... ... President 

. . ... 

Dr. Joseph G; ~abbra. ; .................................... ;..~cademic vice Presid~kt 

Barbara Busse ........... .~cting Dean, College of Communication & Fine Arts 

Dr. Suzanne Frentz ..... Assoc. Dean, College of Communication &Fine Arts 

.

Three Mtisings of Kyekye (1999-2000) Paul Humphreys 

... 

1. Takada. 

2.. Slow Blues . 

3. Toccata 

Paul Humphreys, piano 

Excerpts from.Collage Stiite ~ichael Williams : ., 

1. Physique 

2. The Cock and the Swan 

3. Beautiful Spanish ~Ancer . . . 

4. Lullabye 

7. Brigades 

. 

; - 

. 

. 

, . 

... 

... . 

. ,. . . . . 

Michael Williams, piano 

. , . . 

.... 

Cosmopolitan Etudes (2002) Garrett Byrnes 

1. Moderato, meditativo 

2. Preciso 

3. Tagliente, articolato . 

4. Con fuoco 

5. Lent0.e sostenuto 

6. Vorace e presto 

. . 

Michael Will'iams, piano . 

- Intermission - 

I 

I 

-. 

7 Preludes Revisited Mark Saya 

No. 14* in E-flat minor (Buoyant, dancing) 

No. 4 in E minor (Fie y) 

No. 7 in A major (Serene, expressive) 

.No. 5 in D major (Racing) 

No. 10 in C-sharp minor (Fierce) 

No. 11 in B major (Flowing, tempo rubato) 

No. 19 in E-flat major (Radiant) 

* Number in Chopin's Op. 28 

. . : - 

. . . . . . . 

:., 

Wojciech Kocyan,. piano 

.. , . 

. . < ... 

. . . . 

. . . . . . 

. . . . 

..~. 

. *. 

,.. -(Sur-)Real (cine-)~usic I: The Chase 

>-i. .? . Through 

..... . Escher's Metamorphosen (2000) David S. Lefkowitz 

:.. 8 

... . Jennifer Rotli; flute 

.i,? . .' ,i,.: -. Daphne Chen, yiolin 

. . . 

....... . . . . . 

. ... 

.< . . : ,. 

. . 

waiter Marsh, Buzz Gravelle, guitar 

Rhapj;dy '. Duane ~a tro 

. . . . . 

..I . . 

..: . . 

. . . ' . ~ruce Broughten, piano 

-Belfnda Broughten;.violin : 

\I 

. . . 

i . ... . . 

This performanceis bekg recorded for archiJe and broadcast purposes. 

.Kindly reserve your applause until the end of each section of the program. 

. . .

11 PROGRAM N O T E S 11 

Paul Humphreys teaches, composes, writes, and pdrfoms in Los,Angeles where he is Assistant Professor of Music and 

Director of World Music Ensembles at Loyola Marymount University. He has published and presented papers based 

upon ethnomusicological field work conducted in Ghana, Japan, and the Southwest Pueblo region of the United States. In 

addition to the work presented on this program, compositions that reflect and interpret culture-specific sensibilities of 

place include a chamber opera Cabeza de Vaca-A Ghost Play in the Style of Noh (1987), A Legend of Lao Tse-Thirteen Scenarios 

for Mezzo Soprano and Piano (1998), and Gending ~~bekor (with I Dewa Berata; 2001). 

In Three Musings of Kyekye, I draw upon experiences as a student of traditional West African xylophone or gyil. 

Within the repertoires of this instrument, a song frequently serves as the basis for compositions that combine 

accompanying ostinati and variation procedures to produce a clearly etched, almost "tactile" form of two-part 

counterpoint. The performer has considerable liberty in realizing such compositions, allowing the pace of variations and 

incidence of reprise elements to be suggested by circumstances of a specific occasion. In Northern Ghana, for example, 

gyil are frequently used to provide music for dancing that celebrates the memory of an individual who has recently 

passed away. Movement one beg& with a melodic figure that "cuts across" the metric framework of a rhythm in 128 that 

is associated with takada, a dance genre of tlie Volta, Region in Eastern Ghana. The ostinato that embodies this rhythmic 

phrase continues with variations throughout two large cycles that comprise the body of the piece. Ideas within 

Movement two are unified within the framework of another cyclic form, the African-American twelve-bar blues. 

Polychords enrich the traditional harmony in both eycles of the progression. The third and ha1 movement is a lyric 

toccata in lo8. The title of the work makes referenck to a Ghanaian (Akan) proverb: "Kyekye (the North Star, pron. 'chyeh- 

chyeh') is fond of marriage." Each "musing" celebrates a marriage and is dedicated to the couple whose wedding 

ceremony it commemorates. The work as a whole is dedicated to J. H. Kwabena Nketia. 

Michael Williams composes for a wide range of musical styles and purposes, from prize winning contemporary 

symphonic concert music, concert choir, chamber and solo piano works to avant-garde electronic music. Christian, 

Hebrew and popular songwriting, jazz, television ahd film. His new jazz group "1 40 4 2 0 has released two albums (on 

Pocket Jazz Records): Jazz Trespassers and Wet, to critical acclaim. Mr. Williams' music and piano performance is featured 

in the recent film The Limey from Universal Pictures. 

As a columnist, his articles have appeared in Electronic Music Educator, Klavier and Computer Music Journal. MGW 

is well kriown in the computer industry as an expert in operating system design, system hardware design and computer 

chip functional design. He serves full time as the Chief Technical Architect for Nokia's Internet Communications 

division. He was the author of the music, MIDI seq~encing, typesetting and printing program Superscore, and consulted 

on the design of the original music font for general use "Sonata" with Adobe Systems. His name appears in two IEEE 

international computer standards. I 

Mr. Williams has served as director of contemporary music at Ascension Lutheran Church in Thousand Oaks, and 

for the Rothstein conservative temple in Woodland.Hills, CA. He has served as accompanist or organist for numerous 

churches, temples, colleges and master classes in Southern California. As an accomplished classical pianist, Michael 

Williams twice won the Northridge Chamber Music award, and has premiered works written for bun by composers such 

as Jeffery Cotton and Jeff Rona. In the last five years, Michael Williams has composed five musicals for children and 

youth; music for the television series Chicago Hope; scored scenes for movies such as King of the Hill, Forever Younger and 

House of Yes; a new trio for the Westlake Chamber Ensemble; over sixty songs for use in Christian worship; over forty 

songs for his instrumental jazz group; a concert march for symphonic band; an orchestral tone poem; and numerous 

contemporary pieces for solo piano. 

I 

Mr. Williams taught music composition at UCLA extension. He studied composition and piano performance at 

California State University Northridge and at the Eastman School of Music, where he won the Howard Hanson Prize for 

orchestral composition. He lives in Ventura County, California. Italian concert pianist Roberto Prosseda recorded a 

collection of Michael Glenn Williams piano works for AIX media group.

Garrett Byrnes is currently pursuing his doctorate at Indiana University where he is associate instructor of compositioni: B 

Principal teachers have included Sven-David Sandstrom, Chen Yi, Don Freund, David Dzubay, and Larry Bell. He has 

received awards and scholarships from the National Association of Composers USA, Southeastern Composers' League, 

Tampa Bay Composers Forum, Contra Costa Chamber Orchestra, Indiana University, Peabody Conservatory, the Boston 

Conservatory and ASCAP. Recent performances have included The Stars Shall Look Not Down for flute choir and orchestra, 

Five Pieces for Cello & Piano, Triptyclysm for percussion trio, and Visions in Twilight for solo harp, performed at the 8th 

World Harp Congress in Geneva, Switzerland. 

This set of six etudes for piano was written while on vacation in Europe at the end of July 2002. Four of the etudes 

were written in Italy, one in France and one in Switzerland. All were written during the tranquil train rides from one city 

to the next. I consider them etudes in composition as well as technical etudes for the pianist since I was determined to 

compose one etude per train trip. I relied on familiar procedures and techniques, established simple forms and 

guidelines, and except for the last etude in the set, managed to complete them all within the beautiful two to five hour 

rides. 

Mark Saya (b. 1954, Michigan City, Indiana) studied composition at Indiana University South Bend and the University of 

Cincinnati College-Conservatory of Music. He currently is an Associate Professor of Music at Loyola Marymount 

University in Los Angeles. An active composer, his works have been performed throughout the country, including 

performances at the Great Hall of Cooper Union, Alice Tully Hall, the Kennedy Center for the Performing Arts, and many 

major universities. Although he writes for a variety of genres, he specializes in vocal works, both solo and choral, and 

works for instrumental chamber ensembles, particularly percussion. Several of his works, including The Murphy Sonata, 

for solo vibraphone, 7 Preludes Revisited, for solo piano, and From the Book of Imaginary Beings, for three percussionists, 

have been published by Inter-~edia'press Music. He has received awards from ASCAP, BMI, New England 

Conservatory, the Ohio Arts Council, and the Society of Composers, Inc. 

Each piece in 7 Preludes Revisited is a transformation of one of Chopin's Op. 28 preludes. The basic method of 

transformation is to eliminate much of the original prelude, then manipulate the remaining material in a variety of ways 

with one important restriction: each chosen note must remain in the same rhythmic place as it was in the original. Thus 

the transformed preludes accurately map back onto their sources. In a sense these new pieces have always been there, 

waiting to be extracted, waiting for someone to "let them out." 

In some of the preludes, such as the A major, the selected notes were chosen intuitively; in others, like the E-flat 

minor and D major preludes, a pre-compositional rhythmic frame helped to lirmt pitch choices. In the B major prelude 

pitches are both eliminated and accumulated. Repeat signs as used in the E minor, D major and E-flat major preludes 

create temporal "bulges" in the music, transforming the structural shape of the original without violating the mapping 

restriction. Parallels to this technique can be found in the writings of Tom Phillips, the paintings of Mark Tansey, the 

graphic analyses of Heinrich Schenker, and the music of John Cage. 

David S. Lefkowitz was born in 1964 in New York City. As a child he studied bassoon, clarinet, and piano. He received 

his bachelors degree from Cornell University where he studied composition with Pulitzer Prize winning composer Karel 

Husa. He then went on to University of Pennsylvania, studying with Pulitzer Prize winner George Crumb and receiving 

his M.A. in 1990, and The Eastman School of Music, studying primarily with Pulitzer Prize winner Joseph Schwantner 

and Samuel Adler, completing his Ph.D. in 1994. As a composer Lefkowitz has won international acclaim, having works 

performed in Switzerland, Japan, China, Hong Kong, the Netherlands, Great Britain, Canada, and Israel. He has won 

National and International Competitions, including the Fukui Harp Music Awards Competition (twice), and the 

American Society of Composers, Authors, & Publishers (ASCAP) Grants to Young Composers Competition. In addition, 

he has won prizes and recognition from the National Association of Composers, USA, the Guild of Temple Musicians, 

Pacific Composers' Forum, Chicago Civic Orchestra, Washington International Competition, Society for New Music's 

Brian M. Israel Prize, the ALEA I11 International Competition, and the Gaudeamus Music Week. He has also been a Meet- 

The-Composer Composer in Residence. He is currently writing the music for a ninety-minute dance-drama, 

commissioned by the Chma National Opera and Dance-Drama Theatre of Beijing, China. He is an Associate Professor of 

music theory and composition at University of California-Los Angeles (UCLA). 

[Sur-)Real (Cine-)Music I, written for and commissioned by the Cygnus Ensemble, is a musical' analogue to a 

combination of two different cinematographic-or at least visual-images. The first image was that of a frenetic movie 

"chasew-not of one person chasing another, though, but rather one person frantically chasing time, and losing in the 

process. The second group of images was M.C. Escher's Metamorphosis I, II, and III in particular (and much of ~scher's art, 

in general), in which checkerboards turn into reptiles, which turn into birds, and so on, and in which vertical surfaces 

quite suddenly and unexpectedly turn into horizontal surfaces, up turns into down, and in which people can climb up 

stairs indefinitely while continuing to descend. Similarly, in the music twelve-tone lines suddenly and unexpectedly turn 

into tonal lines and vice-versa. In sum, the listener is invited to imagine any surreal chase scene, in which the chaser 

becomes the chased, the faster they move the slower the motion, and opposites are impossibly similar. (Sur-)Real (Cine- 

)~usic I was written in less than two weeks, from February 4 through February 17,2000, originally with oboe. This is the 

premiere of the version with flute.

A 

I 

. Duane Tatro, a native of Van Nuys, California, has composed extensively for television and film as well as writing live 

concert media works for orchestra, wind ensemble, chamber ensembles, and electronic instruments. In his early career, he 

worked professionally as an instrumentalist, playing clarinet, saxophone and bassoon. Mr. Tatro studied with composers' 

Arthurs Honegger, Darius Mihaud, Halsey Stevens, and George Tremblay. He received his Bachelors degree from the 

University of Southern California, with additional studies in Paris France. He is listed in the lnternational Who's Who in 

Music (1975), the Encyclopedia of Jazz (1955), and the Dictionary of International Biography (1976). His film and television 

credits include: Hotel, Dynasty, Loveboat, Matt Houston, Glitter, Hawaii Five-0, Bamaby Jones, Tales of the Unexpected, Most 

Wanted, Super Star, Manhunter, Cannon, Streets of San Francisco, Cades County, M.A.S.H., Mission Impossible, Mannix, 

Australia, A Timeless Land, and many Movies of the Week. Mr. Tatro has participated in Meet the Composer programs at 

both San Diego and New Mexico State Universities, where he lectured on 20th century music and composing for films. A 

selection of his most recent concert works includes "Fantasia", for concert band, premiered at the Society of Composers, 

Inc. Conference, University of Hawaii (1999), "Untitled Lament" for Mixed Chorus and Chamber Orchestra (1999), and 

1 

"Capriccio" for flute, viola, and harp (2000). 

The "Fantasy Variations" are dedicated to my wife Franqoise. 

I 

P E R F O R M E R S 

I 

Belinda Broughton began performing concertos is a child with the New Zealand Symphony Orchestra. At the age of 12, 

she performed the Mendelssohn Concerto for Queen Elizabeth I1 at a Royal Command performance in New Zealand. At 

18, having moved to London two years earlier to study with Alfredo Campoli, she joined the London Philharmonic 

Orchestra and was later assistant concertmaster with the London Symphony Orchestra. She has performed as 

concertmaster with the Royal Opera House Covent Garden, English National Opera and BBC Symphony Orchestra. She 

eventually left the orchestra to work freelance in London, recording music for films, television and records. She toured 

England, Europe and the Middle East as a member of the Lake Piano Trio. 

In 1997, she married composer Bruce Broughton and moved to Los Angeles with her two sons, where she has 

continued her recording and performing career. In addition to her studio work, she has played with various chamber 

ensembles, including the Maestro Foundation and Pacific Serenades, and has been guest concertmaster with the Los 

Angeles Chamber Orchestra and the New West Symphony. 

I 

I 

Bruce Broughton has composed numerous scores for film and television, receiving an Oscar nomination for Silverado and 

seven Ernmys for his work in television. His concert works include Fanfares, Marches, Hymns 6 Finale for brass and 

percussion, English Music for horn and strings, a piccolo concerto, a tuba concerto and many pieces for solo and chamber 

ensembles. 

I 

Daphne Chen is a freelance musician in Los Angeles. She has played in the orchestras of Spoleto Festival (Italy) and 

Pacific Music Festival (Japan), performed new music for the Green Umbrella series of the L.A. Philharmonic and 

Microfest 2002, and served as string contractor/leader with such popular artists as Mariah Carey, 'N Sync and Destiny's 

Child for shows such as the ~rarnm~s and American Music Awards. In addition to classical and recording work, she 

performs regularly with rock string quartet, The Section, as well as a new band, Tango Nuevo. Most recently, she 

performed on the American Music Awards with Christina Aguilera, as the newest member of MASS Ensemble for the 

opening of the new Mondavi Performing Arts Center in Davis, California, with the New Century Players in a world 

premiere Green Umbrella concert, for an event benefiting Aids Project Los Angeles, and with multi-media theatrical 

production By the Hand of the Father on PBS' Austin City Limits. 

I 

Buzz Gravelle is a music educator, scholar, and performer. As a member of the Modem Arts Guitar Quartet (1990-1995) 

he performed regularly in Southern California, as well as Germany, Austria, Italy, Mexico, and the Pacific Northwest. He 

currently performs frequently in the Los Angeles area in both classical and jazz settings. 

Buzz and his wife are the founders and directors of the Santa Monica Academy of Music. Buzz teaches 

approximately forty guitar and piano students each week, in addition to managing the Academy's fourteen instructors 

and staff. He holds both a Master in Fine Arts and Doctor of Musical Arts degree from University of California, Los 

Angeles, with classical guitar as his primary instrument. He enjoys performing and composing modem music for the 

guitar.

Walter Marsh studied classical guitar and composition with Theodore Norman at UCLA where he received his MFA in 

Classical Guitar Performance in 1995. From 1991 through 1995 he was a member of the Modem Arts Guitar Quartet, 

performing new works written for and by the quartet. Since 1994, Mr. Marsh has been at the Pasadena Conservatory 

where he has worked as a ptar instructor and administrator. He is currently the Associate Director of the school. 

Wojciech Kocyan was born in Poland. He studied piano with Krystyna Moszynska in Gliwice and with the renowned 

Professor Andrzej Jasinski at the Karol Szymanowski Academy of Music in Katowice, from which he graduated with the 

highest honors. He received the Doctor of Musical Arts degree from the University of Southern California where he 

studied with Master Teacher John Perry. Currently, Dr. Kocyan serves on the faculty of Loyola Marymount University in 

Los Angeles. Mr. Kocyan is the First and Special Prizes winner of the Paderewski Piano Competition in Bydgoszcz and a 

laureate of several international piano competitions, including the Busoni in Bolzano, Viotti in Vercelli, and Bellini in 

Sicily as well as of the Wideman Piano Competition in United States. He has received special prizes at the M Chopin 

International Piano Competition in Warsaw and awards from the Minister of Culture of the Republic of Poland and from 

the Barbara Piasecka-Johnson Cultural Foundation. 

His concerts have taken him to all continents. He has performed in recital and with orchestras; participating in music 

festivals such as Musica Antiqua Europae Orientalis, Bydgoszcz International Music Festival, Festival Noord Holland, 

Capri Summer Music Festival, FestivAlps and the Paderewski Festival. He was honored to be the final gala concert soloist 

of the Polish Piano Festival and performed at the opening concerts of the Fourth International Paderewski Piano 

Competition (with Maestro Jerzy Maksyrniuk) as well as the H.M. Gorecki Festival. 

Mr. Kocyan has recorded for the Hungarian Radio and Polish Radio, Television and film. His performances have 

been broadcast in America and Australia. His recordings of music by Schumann can be found on the Studio Classics label. 

His chamber music CD Hommage a Carlos Guastavino with clarinetist Jan Jakub Bokun was released in 2001 on the DUX 

label. A solo CD with works by Radunaninoff, Scriabin and Prokofieff, released on the same label in October 2002, was 

recently nominated for the "Fryderyk" Awards in the Best Solo Album of the Year category. (The Fryderyk Awards are a 

prestigious Polish Recording Academy Award, similar to the Grammys.) 

Jennifer Roth is a graduate of Eastman School of Music andCalifornia Institute of the Arts. She is a soloist and chamber 

player, and an avid performer of new and improvised music for flutes. Jennifer performs regularly with the Los Angeles 

Flute Orchestra, the West Coast's only 12-member flute choir. They will be featured in concert at the 2003 National Flute. 

Association Convention in Las Vegas this year. Jennifer has appeared with Vinny Golia's Large Ensemble, MESTO 

(Multi-Ethnic Star Orchestra), and as a soloist at The Smell, Rocco's and Cantor's Kibbitz Room in Los Angeles. Jennifer is 

an accomplished instructor of flute and woodwinds, and teaches at Santa Monica Academy of Music, Plaza de la Raza 

(Los Angeles), and Canoga School of Music (Canoga Park). She also maintains a studio of private students in Los 

Angeles. 

-


& D WTIC ARTS 


PRESENTS 




PRESENTS

Ghost Orchid (2004) 

Ethnic Mosaic (1 978) 

Two Absinthian Dances (2003) 

I - Submersion 

I1 - Undertow 

Four Characteristic Pieces (2002) 

I - Eccentric 

I1 - Nostalgic 

III - Bureaucratic 

IV - Academic 

Re:pair for Flute and Bassoon (2001) 

Repercussions and Reflections (2002) 

Intermission 

Please join us for a reception following the concert. 

PROGRAM NOTES 

Stephen Yip 

Max Lifchitz 

Anthony Wardzinski 

William Toutant 

Alex Shapiro 


Born in Los Angeles in 1946, Daniel Kessner received his, Ph.D. with Distinction at UCLA in 1971, 

studying with Henri Lazarof. He joined the faculty at California State University, Northridge in 1970, 

where he has taught composition and theory ever since. In 2001 he entered an early retirement program 

which has him teaching every other semester. He has written 90 compositions to date, which have 

received more than 450 performances worldwide, and of which 15 have been commercially recorded. 

Recipient of numerous prizes, including the Queen Marie-Jose Prize in Geneva, he was honored last 

year with an appointment as Fulbright Senior Scholar to lecture at the Musikhochschule in Trossingen, 

Germany. 

A native Californian, Anthony Wardzinski was born in Northridge in 1973. He studied composition 

with Daniel Kessner, Mark Bobak and George Heussenstamm at California State University, Northridge 

receiving his Bachelor of Music, Cum Laude in 1997 and completed his Master of Music, with Distinc- 

tion in 2000. Mr. Wardzinski is an active performer on the bassoon, mostly playing contemporary 

chamber works in the Los Angeles and Conejo Valley area. His primary teacher was Michele Grego of

the Los Angeles Philharmonic. Currently, he is Adjunct Professor of Music Theory at Moorpark College. 

, I 

Joe Lawrence, born in Long Beach and raised in a suburb of Seattle, has been performing and teaching 

in Los Angeles since 1985. He is on call as a solo pianist, rehearsal pianist for operas, musicals and 

voice classes, accompanist, arranger and teacher. Graduating &om California State University, Northridge, 

he studied piano under Dr. Charles Fierro and Ms. Francois Regnat. He studied composition under Dr. 

Daniel Kessner. Currently, he is on stlaff at Los Angeles Pierce College as dance class accompanist. 

Also, Mr. Lawrence is music director at Mt. Hollywood Congregational Church where he is the pianist 

and choir director. I 

Stephen Yip was born in Hong Kong, '1 971. He obtained his bachelor degree with first-class honors in 

music composition at the Hong Kong Academy for Performing Arts. In the summer of 1995, he at- 

tended Aspen Music festival with a fellowship. In 1997, he attend the Asian Composers' League in 

Manila, Philippines as a representative of Hong Kong and the same year, he came to the United States 

to begin graduate studies at Rice University, Houston, Texas with Professors Ellsworth Milbum and 

Arthur Gottschalk. He received the Doctorate of Musical Arts in composition in 2000. Dr. Yip has 

served as Music Director at Notre Dame Church 1999-2003 and as one of the music panelists for the 

Cultural Arts Council of Houston 2001-2003. Now he serves Christ the Redeemer Church as Music 

Director. His Flute Concerto, "Shun" :won the "Haifa International Composition Prize" in the year of 

2003 in Haifa, Israel. 

Ghost Orchid was inspired by a Japanese floral design exhibition, "Origin on Ikenobo" in Houston. 

One of the floral designs in Ikenobo's style is "Shoka," which originates in the 18th century. It is simple 

and traditional. However, it has unlimited possibility to create natural beauty. It uses only one theme 

with three materials: flower, leaves, and branches to express life's perpetual change and renewal. The 

passage of leaves through branches, arid buds, to open blossoms suggests the flow of time from past, to 

present, to future. In this composition, flute, bassoon, and piano are my basic materials. And I tried to 

There -are four sections linked together in this piece, without break. In the first section, it starts in a 

moderate and flowing tempo with different long and short melodic lines. The second section is more 

sustained, simple and siciliana dance style. The third section is fast and emotional. It has a contrasting 

idea, which emphasizes short notes. The final section is slow and calm. 

Max Lifchib was awarded first prize' in the 1976 International Gaudeamus Competition for Perform- 

ers of Twentieth Century Music held in Holland. Trained at The Juilliard School and Harvard Univer- 

sity, Mr. Lifchitz has appeared in concert and recital throughout the US, Latin America and Europe. His 

latest CD, Diversions CNorth/South Recordings No. 1026). elicited the followine comments from 

Gramophone Magazine: "Lifchitz has devised a charmingprogramme ofpreviously unrecordedpieces . . . 

His affectionate playing provides surprising emotional weight ... Beautifully recorded album ... Recom- 

mended " 

Ethnic Mosaic was written in 1978 with the assistance of a Meet the Composer grant. It is in three 

movements performed without pause. The first movement features the bassoon; the second, bassoon 

and flute; and the third, flute, bassoon and piano. Its language is very eclectic, incorporating musical 

materials commonly perceived as contradictory and mutually exclusive. Elements culled from these 

contrasting sources appear and reappear at unexpected moments in the musical discourse. The music is

demanding and affords the performers ample opportunity for technical display. 

The first movement opens with a mysterious timbre trill in the bassoon's high register. It gradually 

gives way to a boogie-like middle section before concluding by combining keystrokes with vocal sounds. 

The second movement opens with the flute imitating the key slaps of the bassoon. Eventually the 

music moves into dance-like sections, one built around the clave rhythm and the other in 7/8 meter built 

around a Greek scale with two augmented seconds. A few metrical modulations ensue. The liquidation 

of the dance like motives brings the movement to a close. The third movement opens with consecutive 

lyrical solo lines in the flute and bassoon. The first piano gesture calls for plucking directly on the 

strings of the instrument. The three instruments engage in an eclectic conversation that grows in inten- 

sity. The climactic moment for the piece is reached when the piano starts playing a blues-derived figure 

in 4/4 while the winds recapitulate previous materials in 3/4. The timbre trills in the bassoon that 

opened the piece make a reappearance to signal its conclusion. 

Two Absinthian Dances is a piece, though not entirely programmatic nor biographical, of despair and 

ultimately selfdestruction. They are not true dances, but both begin with a very strong metric ground- 

ing and constant subdivision of the beat, which gave me a feeling of a waltz in the case of the first 

movement and images of a dervish for the second. The relation to absinth is one of distant association; 

the music is inspired by bitterness like that of wormwood, once a primary ingredient of the liqueur. 

Both movements are composed fiom a four note motive that is developed throughout the entire work. 

William Toutant was born in 1948 in Worcester, Massachusetts. Educated at The George Washington 

University and Michigan State University, he received training in composition, musicology, and con- 

ducting. Robert Parris, George Steiner, H. Owen Reed, and Jere Hutcheson were his principal teachers. 

His music has been performed in the United States, Latin America, and Europe. He was an annual 

participant in the "Romanian-American Music Days" festival in Constants, Romania fiom 1995 through 

1998. In 1997 and 1998 he served as the American Executive Director of the festival. He joined the 

faculty of California State University, Northridge in 1975, and is Professor of Music and Dean of the 

College of Arts, Media, and Communication. He hosts the weekly radio show "The KCSN Opera 

House" on the Los Angeles station KCSN, broadcasting at 88.5 FM, and over the internet at 

www.kcsn.org. 

The Four CharacterMc Pieces were originally composed in 1993 for the Trio Neos, who premiered it 

that year in Mexico City. The original instrumentation is clarinet, bassoon and piano, but the composer 

arranged the clarinet part for flute in 2002 for the present performers. The first movement is "Eccentric" 

in that the main musical motif is "eccentrica11y~' notated, sometimes on the beat, and sometimes off the 

beat. The "Nostalgic" movement has several quotations fiom pieces I composed in the 1980s. The third 

movement is a musical exercise in motion without movement, and the fourth is a fugue, sometimes 

considered a rather "academic" musical process. 

Alex Shapiro (Born in NYC, 1962) was educated at The Juilliard School and Manhattan School of 

Music, with additional studies at Mannes College of Music and the Aspen Music School. She studied 

composition with Ursula Mamlok and John Corigliano and later moved to Los Angeles, where she 

composed scores for feature films, television shows and documentary projects for many years before 

returning her focus to concert music. Published by Activist Music, her chamber works are heard weekly 

in concerts and broadcasts across the U.S. and internationally, and can be found on the Cambria Master 

Recordings, Innova Recordings and Millennia Arts labels. Ms. Shapiro is an active participant in the 

Southern California music community, and is President of the Board of the The American Composers 

Forum of Los Angeles, as well as the moderator of ACF5A's popular Composer's Salon series in

Hollywood; she has also senred as an officer of national music organizations including NACUSA, The 

College Music Society, and The Society of Composers & Lyricists. Among Ms. Shapiro's honors and 

grants are those from The American Music Center, ASCAP, the American Composers Forum and Mu 

Phi Epsilon, and she has been awarded artist fellowships from The California Arts Council and The 

MacDowell Colony. Alex resides in Malibu and Santa Barbara, California, and when she's not explor- 

ing the tide pools, she fiequently updates her website, http://www.alexshapiro.org with concert infor- 

mation and audio clips of each of her pieces. 

I 

Re:pair was originally written for two baroque flutes, and much of the piece was inspired by the meters 

and modality of early music. I had fbn breaking some moldy rules against parallel motion in the recur- 

ring theme of bouncy intervals of fifths. The duo begins tranquil and paired and gradually journeys 

toward moments of isolation and bitonal conflict before once again pairing up and ending sweetly. 

triple entendre: fixing something that, in some cases is ... baroque (ouch), having to do with a duo, and 

then having that duo musically deconstruct and pair up again. 

Repercussions and Reflections was written for tonight's performers. The first section is extremely 

opening, eventually moving smoothly into an extended allegro and a closing return which exceeds the 

aggressiveness of the beginning.

Tonight S Trio will performing on Sunday aflernoon at 4pm on the In Praise of Music Concert Series at 

Church of thr Lighted mndow in La Canada, California. They will be joined by violinist Claire Mar- 

tin, clarinet Gary Robertz andpianist Joseph Klice. The concert includes music by C. Saint-Saens, 

Michael Pepa, William Toutant, Alex Shapiro, Anthony Wardzinski and Daniel Kessnel: There will be 

apanel discussion of the composers at 3pm fiefore the concert). The church is locatedat 1200 Foothill 

Blvd. in La Canada, near the intersection of the 2 and 21 0 Freeways. A donation is requested at the 

door. There is convenient fiee parking at the church. 

This concert is funded in part by a grant from the City of Culver City Art in Public Places, 

NACUSA-Los Angeles and private donors. 

In granting the Civic Center Permit to use West Los Angeles College Fine Arts Theatre, the Board of 

Trustees does not sponsor or endorse NACUSA's use of the District facility. 

The National Association of Composers 

Oficers' Council - 

President: Deon Nielsen Price 

Vice Presidents: David Lefkowitz, Barbara Bennett, Daniel Kessner 

Treasurer: Anthony Wardzinski 

Secretary: Jeannie Pool 

President Emeritus: Marshall Bialosky 

Board of Directors, Chair: Jeannie Pool 

Webmaster: John Winsor 

ComposerNSA Editor: A1 Benner 

Los Angeles Chapter President: Daniel Kessner 

Upcoming - 

On May 22,2004, NACUSA-Los Angeles will present the final event in its 2004 series of Concerts 

of Living Composers. A Choral Concert of Music for Worship by Deon Nielsen Price in Celebration 

of her 70th Birthday will be presented at 7:00 pm at the historical Los Angeles Stake Center, 1209 

South Manhattan Place, Los Angeles (near Western and Pico). Voce Angelicus (El Camino College 

women's choir) and the Southern California Mormon Choir will be featured. Free admission, parking 

and refreshments! For more information call: 8 18-249-5676

Deon Nielsen Price

The El Camino College Women's Chorus, Voce Angelcus, smgs many styles of choral literature 

on campus and community concerts. Dr. Joanna Nachef is Director of Choral Activities at El 

Camino College, h stic Director of Los Cancionem Mmier Chorah and Choir Director at Peninsula 

Community Church. 

The Southern Calibm'a Mormon Choir, organized under the auspices of the Church of Jesus 

Christ of Latter-day Saints, is a founding member of the Los Angeles Music Center and has been 

performing concerts of classical, sacred, folk, patriotic and popular choral music throughout the 

Southern California area since 1953.' Recordings include. We Sing Amerito and Songs $ Chndma~. 

Frank Turner, Professor of Music at Santa Monica College, has directed more than fifty musical 

thea~e and opera productions. 

Deon Nielsen Pn'ce, Doctor of Musical Arts, is a commissioned composer, prize-winning pianist, 

published author, and veteran music educator. Studying composition with Samuel Adler, Leslie 

Bassett and Halsey Stevens, and piano solo and collaboration with Carl Fuerstner, Benning Dexter, 

Aube Tzerko, Daniel Pollack, Brooks Smith and Gwendolyn Koldofsky, she earned degrees with 

honors at Brigham Young University and the Universities of Michlgan and Southern California. 

President of the National Association of Composers, U.S.A., she also is a foriner president of the 

International Alliance for Women in Music. A recipient of grants and commissions from Arts 

International, Barlow Foundation, ASCAP, American Composers Forum, Mu Phi Epsilon, Alaska and 

Midwest Arts Councils and Meet the Composer, she performs and lectures throughout the United 

, States, Europe, and Asia. Her insmental chamber music is recorded on Cambria Master 

Recordings: SwnRqs, SwnRqs II:City Views, Chrphonia, and Amerito Themes. Audio' excerpts and a 

catalog of her published compositions and texts for pianists are o&e at www.CulverCrest.com 

Dr. Price has served on the adjunct music faculties of California State University at Northridge, the 

University of Southern Califoinia, University of California at Santa Barbara, and El Camino College. 

In her role as church organist and choir director, she has arranged Eamiliar hymns and composed 

many new chorales, hymns, anthems and cantatas for ensembles ranging from quartets to large festival 

choirs of 250 - 1000 at the Sports Arena, Rose Bowl, and S h e Audtorium. From 1982 through 

1996, she directed the annual Santa Monica Community Messiah Sing-Ins, which featured a Baroque 

orchestra, soloists, and singers of many faiths. Deon is married to KenahIlr 0. Price, PPD. They are 

parents of five children and grandparents of sixteen many of whom are performing musicians. Deon 

and son, Dr. Berkehy Pke, tour internationally as the PRICE DUO. 

Jeannie Pool, Ph.D., Chaqerson of the Board of the National Association of Composers 

(NACUSA), is the producer of this fourth and final concert in the Spring 2004 series of Murit 5~ Living 

Composers presented in Los Angeles by NACUSA. The support of the Los Angeles, Santa Monica and 

surrounding Stakes of the Church of Jesus Christ of Latter-day Saints, the help of many family and 

friends, and the rehearsal time and performance by all the singers is greatly appreciated. 

For CD recordings of this program ($lo), write Culver Crest Publications, PO Box 4484, Culver City, 

CA 90231-4484; OR telephone 310/838/4465; OR visit www.culvercrest.com

NACUSA HOUSE CONCERT 

December 5, 2004 

Culver City, CA 

Program 

Mary Lou Newmark: from "Street Angel Diaries" for violin, percussion and 

boombox. Performed by the composer. 

Mary Lou Newmark, violinist, composer, and poet holds Masters Degrees 

in Violin Performance and Composition. Currently, she is on the performing 

arts faculty at the Windward School and will be performing her latest 

multimedia work about the homeless, "Street Angel Diaries" on February 

27,2005 on the Leo Baeck Temple Concert Series. 

Margaret S. Meier: "Morning in the Garden" for piano solo. Performed by 

the composer. 

This piece was commissioned for Estelle Broussard Schlueter, and the 

themes are based on the letters of her name. 

A 15-year ASCAP award winner, Meier teaches at Mt. San Antonio 

Community College and maintains a private studio. Two of her orchestral 

works and her a cappella Mass for the Third Millennium are recorded on 

the Vienna Modern Masters label. Her piano concerto, For Joy that a 

Woman Child is Born, will be premiered by the Claremont Symphony 

Orchestra with pianist Barbara Rogers on March 13, 2005. 

Carol Worthey: "Cadence for Olivia" for Flute & Piano - premiere. 

Performed by Dan Kessner, flute and Michael Williams, piano. 

Carol Worthey has had works at Carnegie Hall, Dorothy Chandler Pavilion, 

St. Martin-in-The-Fields and Aspen Music Festival. A student of Darius 

Milhaud, Vincent Persichetti and Walter Piston, her works have been 

performed in nine countries to date. She is proud to be a member of Mu 

Phi Epsilon LA Chapter, NACUSA and IAWM. "Cadence for Olivia" is a 

joyous work written for the birth of a baby, Olivia Cade, hence is in the spirit 

of Christmas. Carol uses the baby's name for inspiration, C-A-D-E, circular

I 

' melodies to reflect the ."0" in "Olivia" and falling rnotifs,.after one of the 

,- 

meanings of."cadence" from the Latin "cadere", to fall. 

David Rubenstein: frorri Curious Assortment The Ping Pong Prelude; 

Short Piece with Tango Inside 

http:l/shadowhillsmusic.com/AboutDavidRin. html 

i 

1 

The pieces in this collection are ... meant to represent the peculiarity of the 

subconscious world rather than reality. What does a volley of ping pong 

sound like on thepiano. .. the results of my research are heard in The Ping 

Pong Prelude. . .: short ' Piece. with Tango Inside: begins with .short, 

conversational motifs against an ostinato accompaniment. A tango 

inexplicably appears on the scene and promptly departs as the opening 

ostinato reappears. It is up to the listener to decide the raison d'etre of this 

tango." - I 

I ' 

Daniel Kessner: Tous les matins ... (1997) for solo bass flute 

I - Tous les matins ...; II - Dance; Performed by the composer. 

I 

I 

Daniel Kessner is. ~rofe'ssor Emeritus at California State University, 

Northridge, where he has: taught composition and theory for the past 34 

years. He has been a member of NACUSA since the late sixties, currently 

serving as National Vice President and Los Angeles Chapter President. 

I 

Marshall Bialosky: Four isketches on Jewish Folksongs. Performed by 

I 

Delores Stevens, piano. 

I 

Marshall Bialosky is President Emeritus of NAC USA and Professor 

Emeritus of California State University, Dominguem Hills. Delores Stevens 

is one of NACUSA's ohtstanding honorees, awarded for her many 

performances of new music. 

Desn Wielsen Price: "Rise Up!" from the film, The Light - premiere. 

I 

Performed by PRICE DUO, Berkeley Price, clarinet; Deon Nielsen Price, 

. . 

I 

" piano . . , . . 

. . , .. 

... I . . 

. . I 

"Rise Up" is comprised of hvo cues from the film trilogy, The Light, which 

have been freely adapted for clarinet and piano. 

I

Deon Nielsen Price, D. MA., is President of NACUSA and on the Board and 

former president of the International Alliance for Women in Music (IAWM). 

Her degrees in piano and composition are from Brigham Young University, 

University of Michigan and University of Southern California. She performs 

widely in the PRICE DUO with her son Berkeley Price (D.M.A. Eastman 

School of Music). 

Jeannie Gayle Pool: "Otoiion from The Four Seasons - for clarinet and 

piano. Performed by PRICE DUO. 

A celebration of autumn, the joys of the changing season, the cooler 

temperatures, the renewed vigor and commitment to life's work that 

sweeps us through the season in the winter holidays, this work was 

composed for the Price Duo in 2002 

Jeannie Gayle Pool, Ph.D., currently teaches undergraduate harmony, 

solfege, and music history at Mount Saint Mary's College Chalon campus. 

She is a music consultant to the music department of Paramount Pictures, 

where she has archived its film scores. 

Michael Williams: Two Airs from "Sad, Lovely and Melancholy Airs" for 

flute and piano . Daniel Kessner, flute; Michael Williams, piano; "Sprite" for 

solo piano - premiere. Performed by the composer 

The airs were written for the Danish flutist Janne Thomsen and the Italian 

pianist Roberto Prosseda. I was hoping to give them some inspiration to 

grow their relationship around. Since I sent 'the piece they haven't seen 

each other due to schedules! "Sprite" was composed for this occasion. The 

title refers to something small and magical, not the computer kind. A 

biography of !multi-faceted Michael Williams,. Treasurer of NACUSA, 

appears in the current issue of ComposerIUSA. . 

Adrienne Albert: "Windswept" for clarinet and piano. Performed by 

PRICE DUO . , 

. . 

Besides keeping up with her many composition commissions and activities, 

Adrienne Albert is currently serving as President of Mu Phi Epsilon, Los 

. Angeles-A1umn.i Chapter. , . . . 

. . . , .

The proclamation was signed by Deon Nielsen Price, President; Marshall 

Bialosky, President Emeritus; and Jeannie Pool, Secretary. Mu Phi Epsilon, 

represented by David Champion of California State University, Dominguez Hills, 

also presented Delores Stevens with a certificate of honor for her service to Mu 

Phi Epsilon and for advancing the cause of contemporary music. 

A pianist whose professional career has shined with many facets, Delores 

Stevens achieved early success by winning the coveted Coleman Chamber Music 

Competition in Pasadena California. Later, as a member of the Montagnana Trio, 

she was to give over 500 concerts throughout Europe and IVorth America. She 

has received many accolades for her inispired performances of contemporary 

music. For example, Los Angeles Times music critic Daniel Cariaga described her 

collaboration with violinist Paul Zukovsky as "...the definitive performance." And 

Newsweek's Alan Rich wrote, 'She tamkd (this) energetic, unruly, immensely 

challenging music with splendid technique ... All of her program demonstrated her 

special mastery." 

At home on the international concert stage, Delores Stevens toured Japan twice 

in the 1990s; most recently under the auspices of the US State Department. She 

has recorded for 16 different record labels in all genres of music from Hindemith 

to Mozart, and her solo piano CD recording Pilgrimage is available on the 

Dominguez Digital label. Always a tireless champion of new music, she has 

commissioned and premiered works by' more than three dozen composers. In 

addition, in 1988 she was awarded a 6-year Touring Solo Artist Grant from the 

California Arts Council. 

Co-founder and co-artistic director of the Martha's Vineyard Chamber Music 

Society, she has also served three terms as governor of the National Association 

of Recording Arts and Sciences (NARAS) in Los Angeles. Delores Stevens served 

as director of piano studies at California State University Dominguez Hills and of 

chamber music at Mount Saint Mary's College. She is Director of the Young 

Musicians' Foundation Chamber Music program and co-Director of Chamber Music 

Palisades. 

The concert was introduced by Sister Teresita Espinosa, Chair of the Mount 

Saint Mary's College Music Department, where Delores Stevens has taught since 

1960. I 

Photo: Delores Stevens and sister: Teresita Espinosa, Chair of Mount Saint 

Mary's College Music Department. Photo by Jeannie Pool.

I 

I 

Photo: Marshall Bialosky, Deon Nielsen Price and Delores Stevens. Photo by 

Jeannie Pool. 

I 

I 

1 

I 

, 

I 

I 

1 

I 

I 

I 

I 

, 

I 

I 

I 

I

Character Matters (2004) 

I. Gentle Character 

11. A Matter of Character 

111. Honor 

IV. Strength of Character 

String Quartet (1 995) 

I. Moderato 

11. Cadenza 

111. Nocturne 

IV. Finale 

Prologue from ~unchmusie (2002) 

String Quartet No. 2 (2004) 

Church of the Lighted Window 

In Praise of Music Concert Series 

Composers Ensemble Los Angeles 

Sunday 4 pm March 13,2005 

Program 

Intermission 

. . . 

Darius Campo - violin I 

Mark Robertson - violin I1 

Andrew Duckles - viola 

Larry Corbett - violoncello 

Jeannie Pool (b. 195 1) 

Frank Campo (b. 1 92.7) 

David Zea.(b. 193 1) 

Daniel Kessner (b. 1 946) 

Pfeae join usfor a reception in honor of the composers andper/omers in Feffowship Haff immediate~foffotving the concd 

This is the sixth concett in the Sixth Season of the In Praise of Music Series. Jeannie Pool is the Artistic Director 

for the Series. Elliott Barker is the Production Coordinator. For more information, call 818-790-1185. Upcoming 

Concerts: April 24,2005 with Composers of the Foothills performed by Michael Kibbe, oboe, Vanessa Kibbe, 

violin, Peter Kibbe, cello, and Gregg Nestor, guitar; with new works by Michael Kibbe, Dell Hake, Jeannie Pool, 

Beverly Grigsby, and Rafi Esmaielian. June 26, 2005 CLW Chamber Orchestra, Joe Lish, conducting works by 

Ronald Royer, Philip McConnell, Mary Gardiner, Deon Price, Jeannie Pool, Adrienne Albert, and Catherine Urner. 

Special guest clarinetist Kaye Royer. 

.

Biographies and Program Notes 

Jeannie Pool's music was heard this last year in California, Washington, D.C., Ohio, New Hampshire, 

Beijing, China, and Toronto, Canada. Her string orchestra piece, Cinematic Suite I, was premiered by 

the Toronto Sinfonietta in January at the Royal Ontario Museum. As a music historian and producer, 

she frequently lectures on film music history and preservation and serves as an independent music 

consultant to Paramount Pictures Features Music Department. She holds a Ph.D. in musicology from 

the Claremont Graduate University and is currently teaching at Mount Saint Mary's College in Los 

Angeles. She is on the Board of the American Society of Music Arrangers and Composers (ASMAC), 

Secretary ofthe Officers Council of the National Association of Composers, U.S.A. (NACUSA) and 

serves as an Advisor to the International Alliance for Women in Music (IAWM) which she helped to 

establish. Her web site address is: jeanniepool.org. 

Character ~~tters'was composed for the Kirby Quartet and premiered October 17,2004 in Toronto, 

Canada on the Les Arnis Concert Series, under the direction of Michael Pepa, who asked her to write it. 

Most of fie piece was composed in June and July while she was participating in a Gregorian chant 

workshop with the monks of the Abbey des Solesmes, France. The work contemplates issues of character 

and fie double entendre of the cliche "character matters." As with some of her other chamber 

works, it incorporate riffs from popular music, including ragtime, jazz, Cajun, and late 19th century 

Victorian parlor traditions. The work is unabashedly sentimental, expressing a yearning for a simpler, 

more innocent time, and is dedicated to the memory of dear friend, David Raksin, who died last surnmer 

at the age of 92 

Frank Campo, born in New York City in 1927, studied composition with Ingolf Dahl in Los Angeles, 

with Arthur Honegger in Paris and with Gofiedo Petrassi in Rome as a Fulbright scholar. His many 

works include an opera The Mirror, three secular cantatas, five concertos including one for violin and 

six players, one for bassoon and string orchestra, one for trumpet and orchestra, one for clarinet and 

orchestra and one for piano with wind orchestra. In addition, he has composed a large amount of or- 

chestral music, works for wind orchestra, several song cycles, much piano music and a wide variety of 

chamber music for diverse ensembles. 

Dr. Campo has taught Music Composition and Theory at various Universities including California 

State University Northridge from 1967-1 992 and is now an Emeritus Professor at that school. He also 

taught composition at the Claremont Graduate University from 1992-2000. He is, in addition, an ac- 

complished clarinetist and appeared as soloist with the Topanga Symphony in 1991 performing the 

Mozart Clarinet Concerto. He was also one of the soloists with the same orchestra in the late Robert 

L~M's Concerto for Woodwind Quartet and String Orchestra and has performed a great amount of 

chamber music both new and old. 

"As a very young composer, it occurred to me to compose a String Quartet every year in order to 

follomy own musical development. That idea quickly evaporated with my growing interest in other 

color combinations and with the &val of requests from varied instrumentalists - mainly woodwind 

and brass - and my own life-long interest in the human voice. Despite all this, I have produced four 

quartets of which this is the latest. My style and approach have changed over the course of a lifetime 

and, briefly stated, this works reflects my musical thinking in the mid 90s."--F.C. 

David Zea is a composer, pianist, and music editor. He is a graduate of California Institute of the Ms 

and has performed extensively, often programming his own compositions on his piano recitals. He 

studied with Los Angeles composer and pianist Hugo Davise and composer Mario Castelnuovo-Tedesco.

among others. Born in San Diego, he has taught several generations of piano studients and has worked 

for the F. Eugene Miller Foundation in editing the music of Catherine Urner. He is well-known as an 

advocate for 20th century music. He is currently completing a piano concerto. 

~mchmus&com~rises musical delineations of three famous paintings by Edvard Munch--The Scream, 

Melancholy, and The Dance of Life--as well as a movement entitled Prologue (From Northern Lands), 

which preceds the other three and sets the scene for the entire work.--David Zea. 

Stnhg QuartetNo. 2was performed this past summer by the Amar Corde Quartet (of Krakow, Poland), 

first at the XXXIII Festival de Musica de CadaquCs, Spain, then the following evening at the n! Festival 

International de Musique en Catalogne in CCret, France. An extremely aggressive and challenpg work, its 

single movement is clearly divided into five sections, fast-slow-fast-slow-fast. The beginning of the piece 

features fairly discontinuous motion, becoming increasingly continuous as the piece progresses, and also 

accumulating material fiom all of the previous sections.--DK 

Daniel Kessner received his Ph.D. with Distinction at UCLA in 1971, studying with Henri Lazarof. He 

joined the faculty at California State University, Northridge in 1970, where he has taught composition and 

theory ever since. In 2001 he entered an early retirement program which has him teaching every other 

semester. He has written 90 compositions to date, which have received more than 450 performances 

worldwide, and of which 15 have been commercially recorded. Recipient of numerous prizes, including 

the Queen Marie-JosC Prize in Geneva, he was honored last year with an appointment as Fulbright Senior 

Scholar to lecture at the Musikhochschule in Trossingen, Germany. 

Darius Campo is one of the most recorded violinists in the world. He has recorded on over 1,000 

motion pictures and records. The list of artists include Frank Sinatra, Barbra Streisand, Natalie Cole, 

Tony Bennett, Rod Stewart, Madonna, The Eagles, Barry Manilow, Luis Miguel, Elvis Costello, Ricky 

Martin, Gloria Estefan, Harry Conick Jr., Rosemary Clooney, Neil Diamond, Diana Ross, Michael 

Jackson, A1 Jarreau, Merv Griffin, Celine Dion. 

Born in New York City and raised in Los Angeles. He began playing the violin at age nine destined to be 

a third generation family musician. He received his BM and MM from the University of Southern 

California where he was awarded "most outstanding graduate" at both ceremonies. While still in school 

he was invited to audition with the Los Angeles Chamber Orchestra where he spent the next eight years 

as armbeTaiiil frequently appearing as principal and soloist as-well as touring throughout the U.S ,A., 

Europe, South America and Japan. He has appeared as Concertmaster with the Los Angeles Chamber 

Orchestra, and the Symphonies of USC, Santa Barbara, Riverside, Indian Wells, Conejo, and Los Ange- 

les Philharmonic Institute. 

Mark Robertson hails from Fort Wayne, Indiana, where he started violin and piano at age five. He 

received his Bachelor's Degree from Boston University, where he studied with Roman Totenberg; and 

his Master's Degree from the Juilliard School, where he studied with Dorothy DeLay and Piotr Milewski. 

Since coming to Los Angeles in 1995, Mark has been a member of the Long Beach and Pacific Sym- 

phony Orchestras and also served on the faculty at California State University at Long Beach. 

Andrew Duckles was born in Vancouver, Canada, and began his viola studies at the age of six. At 

sixteen, he made his solo debut with the Oregon Symphony. Andrew holds degrees fiom the Eastman 

School of Music and New England Conservatory where he studied viola with James Dunham, violist of 

the Cleveland Quartet. In 1996, Andrew was the top prizewinner in the Petri Competition, and has 

since been performing extensively throughout North America and Europe. While in Boston, he worked

A 

b 1 

closely with composer John Harbison on his viola concerto and gave a critically acclaimed perfor- 

mance of this new work in 1998. In February of 1998, Andrew was featured as soloist on a recording of 

Richard Strauss' Don Quixote with the NEC Symphony Orchestra. In the summer of 1998, he was 

selected to perform in a master class for Mstislav Rostropovich at the Tanglewood Music Center. In 

addition to this honor, Andrew was chosen by Maestro Seiji Ozawa as the recipient of the Cabot Out- 

standing Achievement Award and was featured in the New York Times and the Berkshire Eagle. 

Andrew's diverse musical life has led to recordings on the Telarc label with the Los Angeles Philhar- 

monic and recordings for numerous television and motion picture studios. In March of 2002, Andrew 

was appointed Principal Viola of the Houston Grand Opera and the Houston Ballet. In addition to his 

duties in Houston, Andrew teaches viola and coaches chamber music at the University of Nevada, Las 

Vegas. Andrew comes from a family of musicians and frequently performs chamber music concerts 

throughout the United States with his brother Jason, cellist of the celebrated Amelia Piano Trio. 

While in Oregon Andrew studied with Pierre d'Archambeau. He played in the Corvallis and Salem 

Youth Symphonies, was principal viola of the All-State and All-Northwest Orchestras, and took first in 

the state solo contest on viola. In 1990 he won the Oregon Symphony's concerto competition (open to 

all instruments) and performed the Handel viola concerto with the Symphony. 

Cellist Larry Corbett is heard on hundreds of movie and television soundtracks, and ~omtnercial 

recordings, playing in all styles and genres, ranging from the Manhattan Transfer Christmas Album to 

b i a t e Events. and Constantine. 

This concert is presented in cooperation with the Los Angeles Chapter of the National Association of 

Composers, U.S.A.. NACUSA is a 501(c)(3) non-profit organization. Founded by Henry Hadley in 

1933, it is one of the oldest organizations devoted to the promotion and performance of American 

concert hall music. Many of America's most distinguished composers have been among its members. 

NACUSA presents several chamber concerts each year that feature music by its members. for more 

information write, The National Association of Composers/USA, P.O. Box 49256, Barrington Station,

g* 

RAZZMATAZZ 

. b : 6 - a . .; 

A- S w 

7517 Foothill Boulevard 

s@ 

r Tujunga, CA 91042 Jason Abbott 

818-353-8027 Owner/Technician 

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Virko Baley 

President 

(702) 457-3623 voice 

(702) 457-0199 fax 

tncmusic@aol.com 

Road Suite jo8 

Las Vegas, Nevada 89119 U.S.A. 

e 

Culver 

Flashl CCllver Crest Publications announces 

the release of "America Themes" and thirty more 

hymns and anthems in the ChorallWusic for 

Worship series, all composed and arranged by 

Deon Nielsen Price, Doctor of Musical 

Arts. See catalog and excerpts of scores 

online at http:llwww.culvercrest.com. 

Crest Publications 

P.0. Box 4484 

city, 9023 14484 

TeVFax 3 1 0 838 4465 

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Ambient jazz and bouncy popu lar 

dance music from the 1940s to the 

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versatile and talented combo of 

West Los Angeles musicians. Call 

Stephen Fry: 310 397-0032. 

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"Perfect soft jazz for our afternoon 'Tea 

and AM ThLt t Jazz' proyram." 

Church of the Lighted Window, La Canada 

" Razzma tazz brings ec/ec tic Jazz fo the 

Culver Ho fel. " LA Weekly 

"TeM your e mb/e the)i were d terrfic!" 

UCL A Class of 52 Reunlbn 

Best Wishes for a S ixth 

Season of the 

In Praise of Music 

Concert Series! 

Alf Clawen 

Cmgratu~'atims to C ~ U of E ~ 

the L~ghted Window on jfs 

Sixth Season of the 

INPRA~E OFMUSIC 

CONCERT SEplES! 

Dr. Beverly Grigsby

I 

Subj: Program for April 26 

I 

Date: Wednesday, April 20, 2005 12:48:28 PM 

To: debbie.cahillQculvercity.org 

Here is the program for Tuesday: 

Windswept ("--------; 

Music Composed for the Film, "The Light" : 

March to the Clariphones; Dance on A; Basset Horn Romance; 

Eb Soprano Scherzo; Eb Contrabass 

I Finale 

'CD recordings of Clariphonia and ~merica Themes are available. 

4/20/05 i America Online : DeonPrice Page 1 

Adrienne Albert 

Deon Nielsen Price

NACUSA PRESENTS 

THE DEBUSSY TRIO 

SPIRALS ON LIGHT 

-: -RAGE, DENIAL, HOPE 

' (1995, 10') 

REVERTIGO 

(2000, 5') 

The interactive Musical Adventures designed by The Debussy Trio 

for children have been a favorite component of the its tours and was 

a featured segment on the TV show "Life and Times" in November, 

2003 over southern/central California' s PBS station KCET. 

FRIDAY, 28 OCTOBER, 2005,8:00 PM, The Trio's CD Three Friends was a recent "best pick" by Gramo- 

MURPHY RECITAL HALL, LMU CAMPUS phone Magazine of London (UK). This CD and others are available 

on the RCM, Koch, Harmonia Mundi and First Edition labels at 

DUANE TATRO 

(B. 1927) 

DAVID S. LEFKOWITZ 

(B. 1964) 

DOPPLER EFFECT ADRIENNE ALBERT 

(1998, 5') 

AN IRIDESCENT SPLASH CAROL WORTHEY 

IN LIQUID TIME (2004, 5') (B. 1943) 

A TWO FOR ONE TRIO 

(2004, 17') 

SUNDAY, 30 OCTOBER, 2005,8:00 PM, 

DANIEL RECITAL HALL, CSULB CAMPUS 

r. www.fatrockink.com. Grants have come from such entities as the 

Aaron Copland Fund of New York, National Endowment for the 

Arts, United States Fund for Artists at International Festivals, 

California Arts Council and Cultural Affairs Department of Los 

Angeles . 

Individually, the Trio members perform with the Los Angeles Opera, 

Long Beach Symphony, Santa Barbara Chamber Orchestra and freelance 

in film studios in hundreds of films such as Toy Story, The 

Royal Tennenbaums, Minority Report, Matrix Trilogy and Memoirs 

of a Geisha. 

DAVID WALTHER 

(B. 1974) 

RECEPTION TO FOLLOW THE OCTOBER 28 CONCERT 

t 

Founded by Henry Hadley in 1933, NACUSA is one of the 

oldest organizations devoted to the promotion and performance of 

American concert hall music. Many of America's most distinguished 

composers have been among its members. NACUSA presents several 

chamber concerts each year that feature music by its members. It 

has seven chapters: East Coast, Mid-South, Tennessee, Virginia, 

Texas, Los Angeles, and San Francisco. 

For the past twenty-seven years, NACUSA has sponsored a Young 

Composers Competition, for composers between the ages of 18 and 

30. Many of today's best known American composers have won 

this competition early in their careers, and their association with 

NACUSA has often helped launch these careers. 

NACUSA also publishes Composer/USA three times a year, in 

which issues important to composing concert music are discussed.

ACDA Choral competition and "Search for New Music." She has 

just been elected to the Board of International Alliance for Women in 

Music and has completed a commission for a Florida concert pianist. 

Happily married to Ray Korns for 25 years, Carol teaches piano and 

composition from her home and welcomes you to visit 

www .carolworthey .corn. 

A TWO FOR ONE TRIO was written in 2004 celebrating the 

births in 2003 of my son Logan and his two cousins Sam and Lucy 

Rose. It is dedicated to these -three unique young people and is meant 

to express my love for them. The first movement consists of a theme 

followed by a set of variations and episodes. The second movement 

is a Jazz and Rock inspired fmale. -DW 

DAVID WALTHER. The doubly talented violist/composer of 

The Debussy Trio received his early training in his home region of 

New England and completed a Masters Degree at University of 

Southern California. 

PERFORMER BIOGRAPHIES : 

Audiences love the relaxed flow of music and lively comments from 

the stage as THE DEBUSSY TRIO, harpist Marcia Dick- 

stein, flutist Angela Wiegand and violist David Walther presents a 

unique intimate concert experience of chamber music in the 21st 

Century, Innovative repertoire includes styles from French Impres- 

sionism to American jazz-fusion and works of famed film compos- 

ers. 

The Trio has excited the international concert scene at appearances in 

Prague, Copenhagen and Geneva; at festivals, nationwide tours inclu- 

ding Louisville, San Francisco, Washington DC, Honolulu, and 

numerous California venues; over 1,000 concerts and community 

outreach programs for 250,000 children and families; and on NPR's 

St. Paul Sunday, Performance Today and Voice of America. The 

Trio has also been visiting Artist-in-Residence at such campuses as 

Bard College (NY), Curtis Institute of Music (PA) and Universities 

in Oregon, Hawaii, Mississippi, North Carolina, Idaho, Iowa and 

Virginia. 

* 

PROGRAM NOTES/COMPOSER BIOS: 

SPTRALS ON LIGHT was inspired by a beautiful carved wooden 

statue of two lovers in mid embrace, created by an American student 

of CCzame at the turn of the century. As I walked around the sculp- 

ture in the gallery, I was struck by the way the lights reflected off of 

the dark wood - shaping it, giving it colors and hues beyond what the 

sculptor had intended, defining it in terms of its surroundings, 

providing it space in which to resonate. The piece was a tribute to the 

lovely work, and the deep feelings it provoked in me. -RE 

REENA ESMAIL graduated from The Juilliard School this past 

May with a BM in Composition, studying with Samuel Adler. As a 

pianist, Reena has performed at the Hollywood Bowl Museum, 

Zipper Hall at the Colburn School, and the Luckman Fine Arts 

Complex in Los Angeles, CA. She was a winner in the Los Angeles 

Philharmonic Chamber Music Competition, and performed with 

violinist Mark Baranov and cellist Barry Gold from the LA Phil. 

Reena's recently premiered works include a large ten-song cycle on 

the poems of Dorothy Parker, called "Unfortunate Coincidence" for 

soprano and chamber ensemble, an oboe sonata for oboist Josiane 

Henry. She has also written music for NYU filmmaker Heather 

McCalden's new film "Figures of Speech" and SVA filmmaker 

Ludwing Amadeus Montoya's film "Circumstances," which has 

premiered in New York and throughout South America. Reena was a 

recipient of a Morton Gould Young Composers Award from 

ASCAP, and her works have been programmed at festivals in New 

York, California, Thunder Bay Canada and Budapest. Upcoming 

projects include a new work for harp and organ, for organist Chelsea 

Chen and harpist Arielle. 

DUANE L. TATRO, a native of Van Nuys, California, has 

composed extensively for television and film, as well as writing live 

I 

concert media works for orchestra, wind ensemble, chamber 

ensembles, and electronic instruments. In his early career, he worked 

. professionally as an instrumentalist: playing clarinet, saxophone and 

bassoon. 

Mr. Tatro studied with composers Arthur Honegger, Darius 

Milhaud, Halsey Stevens, and George Tremblay. He received his 

Bachelor Degree from the University of Southern California, with 

additional studies in Paris, France. He is listed in the International 

Who's Who in Music, the Encyclopedia of Jazz, and the Dictionary 

of International Biography.

A selection of his most recent concert works includes 

"Fantasia," for concert band, premiered at the Society of 

Composers, Inc. Conference, University of Hawaii (1 999), "Untitled 

Lament" for Mixed Chorus and Chamber Orchestra (1999), and 

Fantasy Variations for violin and piano. 

RAGE, DENIAL, HOPE. This work is meant to portray the range 

of emotions one might feel if faced with conflicting re~orts of the 

death if a close fady member - of which Rage, D ~ G and , Hope 

are three of the many possible. In the face of such a situation, these 

emotions co-exist to varying degrees, the relative strength of each 

changing over time. One might think of the ensemble as having two 

parts: the harp and the flute represent the body and the more 

"visceral" emotions, while the viola represents the heart and the 

more "sorrowful" or "loving" emotions. These roles interact and 

affect one another throughout the work. The feelings progress from 

the "unfocused" rage at the beginning, overlaid with an emerging 

sadness. to the sense of determination found at the end. Rage. 

Denial,'~bpe was commissioned by The Debussy Trio, and was 

completed in October, 1995. -DSL 

"REVERTIGO" is meant as a playful mixture of the words 

"Reverie" and "Vertigo"-as the principal material of the piece is 

drawn from Debussy's Reverie, but is given a decidingly 

"dizzying" spin. -DSL 

DAVID S . LEFKOWITZ'S works have won international acclaim, 

having been performed in Israel, Japan, Germany, Hong Kong, 

the Netherlands and Canada, and winning National and International 

Competitions, including the Fukui Harp Music Awards Competition, 

and the American Society of Composers, Authors, & Publishers 

Grants to Young Composers Competition. He is currently writing 

the music for a dance-drama adaptation of Eugene O'Neill's Desire 

Under the Elms with the China National Opera and Dance Drama 

Theater Company, and is completing a harmony textbook. 

- 

DOPPLER EFFECT is named after the Austrian mathematician 

who observed the increase in the pitch of sound as the source and 

observer get closer, and the decrease in pitch when the source passes 

by. The notion of writing a work based on this effect came to me 

while visiting Rome, Italy and hearing the cacophony of sounds as 

sirens passed by through the chaotic streets. The motif begins, then 

descends by a minor second returning to the original pitch portray- 

ing the incessant sounds of car horns. The melodic lines allude to 

the vibrancy, joy and sensuality of the people in contrast to the crazi- 

ness around them. "Doppler Effect" was originally written for 

flute, viola and harp. Transcriptions are available for flute, bassoon 

and harp, flute, bassoon and piano, and flute, viola and piano. For 

more information, please visit: www .adriennealbert.com. -AA 

Award-winning composer, ADRIENNE ALBERT has had her 

t 

compositions performed throughout the United States, Europe, 

Thailand, South Africa, and Australia. Long a collaborator with other 

. composers as a singeriperformer (Igor Stravinsky, Leonard 

Bernstein, Gunther Schuller, and Phillip Glass to name a few), Ms. 

Albert began composing her own music in 1992. Her catalog of 

works includes orchestral, chamber, choral and vocal music. A 

recipient of numerous commissions and grants including a new 

2005-2006 grant from The American Composers Forum and the 

NEA for Continental Harmony Projects, Albert is the current 

President of the Los Angeles Alumni Chapter of Mu Phi Epsilon 

Music Fraternity. She is on the Advisory Council of the Los 

Angeles Chapter of The American Composers Forum and is a 

member of SAG, AFTRA, The American Music Center, The 

International Alliance for Women In Music, Chamber Music 

America, The Dominant Club, NACUSA and ASCAP Her music is 

published by Kenter Canyon Music (ASCAP). More information 

about Adrienne and her music, audio clips, and scores can be found 

on her web site: www.adriennealbert.com or by emailing 

adriennea adriennealbert .corn. 

L 

AN IRIDESCENT SPLASH IN LIQUID TIME was inspired by 

Ihe rich. glowing sonorities inherent in the instrumental blend of the 

~ebussyk-io. fwanted splashes of color and free, flowing rhythm 

to take the listener on a magical excursion. -CW 

Inspired by family friend Leonard Bernstein, C A R 0 L 

WORTHEY began composing at age three and a half. At ten a 

work she wrote was performed at Carnegie Hall. Carol won First 

Prize in Composition at Columbia. Notable mentors have been 

Darius Milhaud, Vincent Persichetti, Otto Luening, Grant Beglarian, 

John Harbison, Dick Grove and Walter Piston. Her works have 

been perforrned at St. Martin-in-The-Fields, Aspen Music Festival, 

Dorothy Chandler Pavilion and seven countries to date. Her 

children's musical played five years in LA; in 1990 she won Inner 

City Cultural Center's Competition. Carol was finalist in the 2004

d 

NACUSA House Concert 

Home of Deon Nielsen Price, Culver City, California 

December 10,2005 2:00 pm 

Program 

National Association of 

Composer% USA Snow Flumes Carol Worthey 

Composer at the piano 

- - --- - 

Guitarando Marshall Bialosky 

Peter Y ates, guitar 

Epitaphs Deon Nielsen Price 


Sequestration David Lefkowitz 

Miniature I1 for Flute 

Daniel Kessner, flute 

I 

Collage Suite Michael Williams 

#5 Rcxancc-- -' -- --- -- - -- --' - - -- -- 

#8 Nocturne 


Four Seasons Jeannie Pool 

Inviemo 

Price Duo: Berkeley, clarinet: Deon, piano 

Morning at Bird Rock and Legend 

David Zea, piano 

Seven Studies in Melodic Expression 

Cantilena (bass flute) 

Outward Spirals (alto flute) 

Fantasia upon Four Tones (bass flute) 

Composer on flute 

Charles Shatto 


Huangxo Chinese ~ an~uet Deon Nielsen Price 

Oyster Sauce Beef Soup - Exotic Pork and Japanese Cucumber Salad - 

Lemon Fried Fish - Beijing Lamb with Multicolored Peppers

MEET THE PERFORMERS 

Composer-conductor-flutist Daniel Kessner received his Ph.D. with Distinction at The University 

of California, Los Angeles, in 1971, studying with Henri Lazarof. His more than 95 compositions have 

received over 500 performances worldwide, and 15 works are recorded commercially. Most of his scores 

are available from Theodore Front Musical Literature. 

Kessner's awards include the Queen Marie-Jose International Composition Prize in Geneva (1972) 

and a 2003 Fulbright Senior Scholar Award to lecture and perform at the Musikhochschule in Trossingen, 

Germany. He has taught at the California State University, Northridge, at the University of Hawaii and 

at the University of Southern California's Thornton School of Music. 

Kessner has given solo recitals in France, Italy, Germany, El Salvador, England, and the Czech 

Republic. He has appeared as Guest Conductor of the Los Angeles Philharmonic New Music Group, the 

Black Sea Philharmonic of Romania, and recently the Moorpark Symphony Orchestra, among others. 

Susan Jolles, harpist, is a versatile musician well known as a gifted interpreter of the music by 

composers from our time. She has premiered and recorded works by, among others, Luciano Berio, 

Elliott Carter, George Crumb, Hans Werner Henze and Charles Wuorinen. 

A founding member of the Naumburg Award winning Jubal Trio, Ms. Jolles serves as principal 

harpist with the American Composers Orchestra, Musica Viva and the Queens Symphony Orchestra. She 

also performs regularly with the Metropolitan Opera Orchestra. She has toured throughout Europe and 

the US and has collaborated with Hubert Lucarelli, Dawn Upshaw and Giora Feidman, to name but a 

few. 

Ms. Jolles teaches at both the Manhattan School of Music and the Mannes College of Music. 

International Music Company and Lyra Music publish many of her harp transcriptions and 

arrangements. 

William Anderson, guitar, has appeared on concert stages throughout the US, Latin America, 

Europe and Asia. He is the founder of the acclaimed Cygnus Ensemble and the director of the New 

Jersey Composers Guild. He may be heard on recordings issued by the Bridge, Koch. CRI, Soundspells, 

Furious Artisans and North/South labels. A graduate of SUNY Purchase he has taught at Sarah 

Lawrence College and will be one of the featured instructors and performers at the upcoming New York 

Guitar Seminar sponsored by the Mannes College of Music. 

Max Lifchitz, conductor, was awarded 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 New York Times music critic Allan Kozinn praised Mr. Lifchitz for his "clean, 

measured and sensitive perforrnances" while Anthony Tommasini remarked that he "conducted a strong 

performance." Payton MacDonald writing for the American Record Guide remarked, "Mr. Lifchitz is as 

good on the podium as he is behind the piano." 

Since 1980, NORTHISOUTH CONSONANCE, Inc. has brought to the attention of the New York 

public over 850 different works by composers from every comer of the world. The press has favorably 

acknowledged the many attractive CD albums issued by NORTHISOUTH RECORDINGS. "Enthusiastic 

performances ... enough to express the boiling power of the music" is how The Philadelphia Inquirer greeted 

North/South Recordings No. 1003. The Washington Post declared that N/S R No. 1004 contains 

"intriguing instrumental works, works that span the emotions from pain to ecstasy." Fanfare Magazine 

remarked as follows on the recently released Carnaval/Carnival (N/S R 1028): "Recorded within days of the 

September 11 attack, the performances all glow." Albums featuring performances by the North/South 

Consonance Ensemble are available through the internet at www.northsouthmusic.org or by calling 1 

(800) 752-1951. 


Please turn-off your cell phone, watch alarm and any other noise-producing device before the program starts. 



,i 

PROGRAM NOTES - Compiled and edited by Max Lifchitz 

, 

. . 

Beth Anderson is a composer of neo-romantic, avant-garde music, text-sound works, and 

musical theater. Born in Kentucky, she studied primarily in California with John Cage, Terry Riley, 

Robert Ashley and Larry Austin at Mills College and University of California at Davis. She lives in New 

York City where she produces Women's Work, a concert series, for Greenwich House Arts each March. 

Her early work was considered post-Cagian, non-academic but her more recent music is more lyrical 

while retaining the cut-up quality of the minimalists. 

Her all-Beth Anderson recordings are out on Albany (QUILT MUSIC, 2004), New World 

(SWALES & ANGELS, 2004), and Pogus (PEACHY KEEN-0, 2003). Other Minds (10+2=12 American 

Text-Sound Pieces, 2003) includes TORERO PIECE and AMERICAN WOMEN: Modem Voices In Piano 

Music recorded by Nancy Boston includes SEPTEMBER SWALE. Her publishers include Joshua 

Corporation. 

In the preface to her score, Ms. Anderson writes: 

"Comment for solo flute is a series of variations on a theme derived from setting the words to 

Dorothy Parker's four line poem, of the same name. The poem compares life to song and experiences 

that happen by chance, and makes fun of the idea that relationships are likely to succeed. 

The music begins cheerfully but very soon there is a little theme signifying that sadly, love has 

gone wrong (dotted half-notes a Major sixth up and then a minor second down). This is followed by a 

variation on the cheerful section, an older but wiser variant (with one note missing and a minor second 

down). Then the love has gone wrong theme with longer note values (in augmentation) is followed by a 

hyperactive variant of the lost love idea and an inverted variant because life is sometimes upside down. 

The love has gone wrong theme is now upside down, lost & depressed (Major sixth down followed by 

minor second up; inverted). The soloist trills and slides down to the lowest note on the flute, middle-C. 

There is a manic variant with lots of running around followed by an introspective variant with longer 

note values. The next one is a variant entitled tensely cheerful despite all odds. The last comment is 

appearing calm while getting ready to be hysterical within 6 bars of the end." 

David S. Lefkowitz received his BA from Come11 University where he studied composition with 

Karel Husa. He then went on to University of Pennsylvania, studying with George Crumb and receiving 

his MA in 1990, and The Eastman School of Music, studying primarily with Joseph Schwantner and 

Samuel Adler, completing his Ph.D. in 1994. 

Lefkowitz has won international acclaim, having works performed in China, Japan, Hong Kong, , 

Switzerland, the Netherlands, Canada, and Israel, and winning National and International 

Competitions, including the Fukui Harp Music Awards Competition (twice), and the American Society 

of Composers, Authors, & Publishers (ASCAP) Grants to Young Composers Competition. In addition, 

he has won prizes and recognition from the National Association of Composers, USA (NACUSA), the 

Guild of Temple Musicians, Pacific Composers, Forum, Chicago Civic Orchestra, Washington 

International Competition, Society for New Music's Brian M. Israel Prize, the ALEA 111 International 

Competition, and the Gaudeamus Musia Week. Upcoming and recent performances are in such diverse 

locations as Alaska, California, Colorado, Spain, and Israel. 

Dr. Lefkowitz kindly provided the following program note for his piece: 

"In the summer of 2000 I wrote ,a spate of three pieces for harp-my first efforts since the two 

works I wrote for harp in 1995, bringing the total number of chamber works I have written for harp to 

seven. In general, modem composers have taken one of two approaches to this sometimes-difficult 

instrument: either to think about the pedals, strings, and hands and to make the harp's limitations a 

positive feature of the music, or to imagine that there are no limitations to the instrument and to adjust 

the music after completion of the composition. My approach falls into the second of those two 

categories. It was in the middle of writing both Revertigo and ... who write on clouds ..., then, that I 

found myself thinking somewhat too much about pedals. So to ease my mind, I wrote apiece which 

from my perspective is completely about pedals. From the listener,^ perspective, however, Etude should 

be thought of as being about steady although sometimes surprising harmonic change."

Daniel Adams (b. 1956, Miami, FL) is a Professor of Music at Texas Southern University in 

Houston. He has previously held positions at the University of Miami and Miami-Dade Community 

College. Adams holds a Doctor of Musical Arts (1985) from the University of Illinois at Urbana- 

Champaign, a Master of Music from the University of Miami (1981) and a Bachelor of Music from 

Louisiana State University (1978). Adams currently serves as a member of the Percussive Arts Society 

Composition Committee, the Board of Directors of the National Association of Composers, USA 

(NACUSA), and as treasurer of the Texas Chapter of NACUSA. 

Adams is the composer of numerous published musical compositions and the author of several 

articles and reviews on various topics related to Twentieth Century percussion music, musical 

pedagogy, and the music of Texas. His music has been performed throughout the United States, and in 

Spain, Germany, Belgium, Sweden, Turkey, Argentina, and South Korea. In 1994 he appeared as an 

invited guest conductor for the premiere of a commissioned work at the Teatro Nan ional in San Jose, 

Costa Rica. HoneyRock Publishing released his book, The Solo Snare Drum: A Critical Analysis of 

Contempora y Compositional Techniques in March of 2000. 

He has received grants and awards from ASCAP, the Percussive Arts Society, the American 

Symphony Orchestra League, Meet the Composer, the Greater Miami Youth Symphony, the Minnesota 

Composers Forum, the Maryland Clarinet Composition Contest, and the Music Teachers National 

Association. His music is recorded on Capstone Records and Summit Records. 

Concerning his solo flute composition Ambivalence Recalled, Mr. Adams writes: 

"The term ambivalence, coined in 1911 by psychologist Eugen Bleuler, is the coexistence of two 

opposing drives, desires, feelings, or emotions. It may manifest itself in either the conscious or 

unconscious parts of the mind. In Freudian psychoanalysis, ambivalence is described as "feelings of love 

and hate toward the same person". The concept of ambivalence is represented in this solo by the 

interplay of two distinct motives, each derived from separate matrices and varying in rhythmic 

character. In the beginning section, one motive is mostly legato and lyrical and the other is more strident 

and complex. Both are transformed through meter changes, shifting rhythmic subdivisions, and changes 

of tempo and register. As a result, they become nearly indistinguishable, neither one prevailing over the 

other. In several passages repeated notes are played with subtle variations of timbre through changes of 

fingering. The coda is a variant of the introductory passage, played as harmonics" . 

A native of Moline, Illinois Marilyn J. Ziffrin (b. 1926) was educated at the University of 

Wisconsin in Madison and at Columbia University in New York City. Her composition mentors 

included Alexander Tcherepnin and Karl Ahrendt. She has received commissions from the New 

Hampshire Music Festival, the American Guild of Organists, the Hope College Concert Choir and the 

Concord Chorale, to name but a few. 

Ms. Ziffrin has been honored with awards from ASCAP and the, New Hampshire Council on the 

Arts. Most notably, she received the 1972 Delius Composition Award for her song cycle Haiku. Her 

music may be heard on the Crystal, Capra, CRS, Opus One, and MMC record labels. North/South 

Recordings recently released an album devoted entirely to her vocal music featuring mezzo-soprano 

D'Anna Fortunato (N/S R 1041). Also active as a writer, Ziffrin is the author of a much-acclaimed 

biography of the distinguished American composer Carl Ruggles. 

Rhapsody for Guitar was written in 1958 shortly after Ms. Ziffrin completed her composition 

studies with Alexander Tcherepnin. But is was not until February 12,1979 that it was given its premiere 

performance by David Leisner at New England College in Henniker, NH. Published by Editions 

Orphke, the work has been widely performed throughout the US and abroad. The single-movement 

composition employs a straight-forward language built around the timbric and harmonic possibilities 

inherent in ihe instrument. 

Daniel Kessner kindly provided the following statement concerning his work Genera for bass 

flute and bass clarinet: 

I 

.

'b 

"In ancient Greek music, the genera were three tetrachords from which scales were built: the 

diatonic, the chromatic, and the enharmonic (which contains two quarter-tones). While the form of my 

c Genera moves continuously into new areas, hardly ever referring back to earlier material, there are two 

larger patterns which emerge. The piece moves from fairly equal use of the three genera at the 

beginning, gradually losing the enharmonic, then the chromatic, leaving only the diatonic genus at the 

end. The use of register is related, beginning with a very small, confined range, featuring the smaller 

melodic intervals, gradually moving to the broadest range at the end, incorporating larger melodic 

gestures. I premiered it with clarinetist Gareth Davis at the Interensemble series in Padua in 2003." 

Angel Lam grew up in Hong Kong and Los Angeles. She attended festivals worldwide since her 

undergrad and her compositions have been performed in Japan, Hong Kong, Austria, France, Korea, 

Argentina and the United States. ~ecent'and upcoming performances include Carnegie Hall commission 

in the Osvaldo Golijov and Dawn Upshaw Professional Training Workshop, which premiered at Weill 

Recital Hall in April; theater and dance composition Midnight Run created under the mentorship of 

renowned theater artist Martha Clarke; Yo-Yo Ma and the Silk Road Ensemble's touring in U.S., 

Switzerland and China of her work Empty Mountain, Spirit Rain, which debuted at Carnegie's Zankel 

Hall last September; and a commissioned work for orchestra and Australia's Grainger Quartet at the 

2007-08 season opening concert of Hong Kong Sinfonietta. She is now a doctoral candidate at the 

Peabody Conservatory of Music. 

In the preface to her score Imagery of Water, Ms. Lam states: 

"The Heart Sutra of Zen Buddhism says: 

Form is no other than emptiness; 

emptiness no other than form; 

form is exactly emptiness; 

emptiness exactly form. 

In Zen Buddhism all perceptions and things perceived are essentially empty. 

The form may be a thought or an emotion or an object. Drops is an imagery of a form-like dew drops 

falling upon still water, they create a graceful, subtle wave of ripples ... it is a beautiful sight, that comes 

into being, and goes out of being ... 

Rain is a process. The music is inspired by the myth of the forbidden sight of a fox wedding in the deep 

forest of Japan. 

Icy is coming back to form again." 

James Michael David (b. 1978) has been active as a composer, arranger, educator and performer 

for more than seventeen years. His works have been recognized in several competitions including an 

ASCAP Morton Gould Young Composer Award, national first-place winner in the MTNA Collegiate 

Composition Competition, first prize in the NACUSA Young Composers' Competition, and first prize in 

the Eppes String Quartet Cornposition Contest. 

David has been commissioned by numerous individuals and organizations including Joseph 

Alessi (principal trombone, Nc\\ York Philharmonic), John Bruce' Yeh (associate principal clarinet, 

Chicago Symphony Orchestra), The Commission Project, the Columbus State University Wind 

Ensemble, the Fountain City Ensemble, Georgia Southern University, Exit 18 Contemporary Music 

Ensemble, and the Georgia Governor's Honors Program. Performances of his compositions have been 

heard at national and international conferences including the Society of Composers, Inc. National 

Conference, the ASCAP Concert Music Awards, the International Clarinet Fest in Tokyo, Japan, the 

World Saxophone Congress, the International Trombone Festival, and the Florida State University 

Festival of New Music. As a performer, he served as second trombone in the American Wind Symphony 

Orchestra's 40th season and has been a featured artist at the Eastern Trombone Workshop in 

Washington, DC.

Mr. David graduated with honors from the University of Georgia in 2000 and completed his 

doctorate at the Florida State University College of Music where he studied with Ladislav Kubik and 

Ellen Taaffe Zwilich. He currently teaches music theory and composition in the Schwob School of Music 

at Columbus State University. His music is available through Pebblehill Music Publishers and has been 

recorded on the Summit label. 

In the preface to his score, Mr. David writes: 

"Found Objects is a set of short works that complement each other while maintaining a strong 

sense of individual identity. The primary inspiration of the work is the similarly diverse genre known 

as the Baroque dance suite. The first movement, Funk, owes much to the great rhythm sections of Tower 

of Power and Earth, Wind, and Fire with a slight nod to Frank Zappa. Sigh is a quasi-toccata for Peking 

Opera gong-like sounds with monophonic/heterophonic accompaniment in the winds. The brief 

scherzo Spin recalls Ellington's frenetic saxophone section and hyper-virtuosic drum corps rudiments 

played on a traditional Brazilian samba drum. The last movement draws from Stravinsky's L'histoire 

while revisiting techniques heard earlier." 

Henry Hadley founded the National Association of Composers, USA in 1933. 

Mr. Hadley served as an Associate 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 National Association of 

Composers, USA please visit its website at www.music-usa.org. 

CREDITS 

Concert made possible with funding and invaluable assistance provided by the 

NACUSA National Office, 

the NACUSA Los Angeles Chapter,. 

and the NACUSA East Coast Chapter. 

The activities of North/South Consonance, Inc. are funded in part by 

The New York State Council on the Arts, a state agency 

and the 

New York City Department of Cultural Affairs. 

Contributions by many generous individuals and corporations are also gratefully acknowledged. 

C 

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1

1999-2007 - Music-USA.org

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