2014_L'Ienterieur de La Lune_program

7/24/2019 2014_L'Ienterieur de La Lune_program

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Lintrieur

de la lune

Contemporary Enclavepresents

Tuesday, January 28, 20147 p.m.

A407, College of Music, Mahidol UniversityFree & open to the public


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Founded in 2010, Contemporary Enclave is an international group ofprofessional musicians based in Bangkok Thailand, who are dedicatedto the performance of music of recent decades. Regular members ofthe ensemble include current faculty of the College of Music, Mahi-dol University and each is an active member of the music community,performing in other groups such as the Mahidol Woodwind Quintet,BrassArts Bangkok, the Mahidol String Quartet, and the Thailand Phil-harmonic Orchestra.

Co

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por

aryEncla

ve

Judy BozoneMariangela Chatzistamatiou

Hiroshi MatsushimaPatiparn PoonsawadGrzegorz Grzeszczyk

Philip Brink

Kyle AcunciusParvati Mani

Rasikamon SiyapongParis Paraschoudis

Mahakit LeardcheewananMarcin Szawelski

James Ogburn

& the Salaya Scholarship String Quartet

Mahakit LeardcheewananKorn RoongruangchaiNawattasit KanjanajaiNantanat Supawibool

narrator/sopranomezzo-sopranoutesutesclarinetstrombone

percussionpianopianoviolinviolincelloconductor

violinviolinviolacello


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program

Love in Long Island ............................................................................................................Judy Bozone For Grace, After a Party Holding

Morning Love, New York Suite Mayakovsky

Judy BozonePatiparn PoonsawadGrzegorz Grzeszczyk

Kyle AcunciusRasikamon Siyapong


narrator/sopranoutesbass clarinetpercussionpianoviolincello

again............................................................................................................................................Martin Jaggi(b. 1978)

Philip Brink

Rasikamon Siyapong

trombone

piano

Allusions to Past Mistakes.....................................................................................James Joseph Ogburn(b. 1974)

Grzegorz Grzeszczyk bass clarinet

String quartet winner and prize announcement

These Broken Wings .................................................................................................................David Lang(b. 1957)

Patiparn PoonsawadGrzegorz GrzeszczykRasikamon Siyapong

Paris ParaschoudisMarcin Szawelski

Kyle Acuncius

utesclarinetspianoviolincellopercussion


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Transgression/Regression .....................................................................................James Joseph Ogburn

Patiparn PoonsawadGrzegorz Grzeszczyk

Kyle AcunciusRasikamon SiyapongParis Paraschoudis

Marcin SzawelskiJames Ogburn

utesclarinet

percussionpianoviolincelloconductor

Internal.................................................................................................................................Matthew Heap(b.1981)

Patiparn PoonsawadGrzegorz Grzeszczyk

Kyle AcunciusRasikamon Siyapong


James Ogburn

utesclarinet

percussionpianoviolincelloconductor

Pierrot Lunaire 1-7.......................................................................................................Arnold Schoenberg(1874-1951)

Mariangela ChatzistamatiouHiroshi Matsushima

Grzegorz GrzeszczykParvati Mani

Paris ParaschoudisMarcin Szawelski

mezzo-sopranoutesclarinetspianoviolincello

Music without ideas is unthinkable, and people who are not willing to use

their brains to understand music that cannot be fully grasped at the rst

hearing are simply lazy-minded. Every true work of art to be understood has

to be thought about; otherwise it has no inherent life.

-Arnold Schoenberg

intermission


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Compose

rs&

Program

Notes Judy Bozoneis a composer with an avid interest in both music and vi-sual art. Graduating with her Bachelors degree in music composition from

Baylor University (2005), and her Masters (2007) and Doctorate degreesfrom the University of Michigan, School of Music, Theatre and Dance in2011, Judy has enjoyed working with todays multi-faceted generation ofperformers.Often exploring texture and tonality, alongside notions of place and space;

Judys music maintains a strong perspective often inspired from a hybridof creative inuences and resources. Please visit www.judybozonemusic.com for more information.

Love in Long Island (2013-2014), a song cycle in sixmovements, is a contemporary setting of selectedlove poems by American poet Frank OHara. Nar-rative readings of his poetic texts combined with di-rect and somewhat playful musical passages evokewhat I imagine to be a classic interpretation of 1950spostwar New York.

Through his writings and a curator position at theMuseum of Modern Art, Frank OHara became aprominent member of New York Citys art world andis considered a leading gure in the New York School a group of artists drawing inspiration from Jazz,Surrealism, Abstract Expressionism, action painting

and the Contemporary Avant-Garde movements as a composer in 2014,I still share many of these interests.

I imagine Frank OHara walking the streets of New York, sky rise aftersky rise, watching, and having a heavy hand, in the citys artistic boom.

The three poems set in Love in Long Island (For Grace, After a Party,Morning, and Mayakovsky) are autobiographical and therefore set witha largely percussive accompaniment. Between the poetic readings areshort musical interludes/dance suites, non-verbally expanding the moodat the time.

-Judy Bozone

For Grace, After a Party

For Grace, After a PartyYou do not always know what I am feeling.

Last night, in the warm spring air, while I was blazing my tiradeagainst someone who doesnt interest me,It was love for you that set me are.

And isnt it odd?

In rooms full of strangers, my most tender feeling writhe andbear the fruit of screaming.

Put out your hand,Isnt there something there, beside the bed?

And someone you love enters the room and says, Wouldntyou like your eggs a little different today?

And when they arrive, they are just plain scrambled eggs andthe warm weather is holding.


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Morning

*(text has been heavily edited by the composer)

Mayakovsky (III)

Ive got to tell youhow I love you always.Ive got to tell you

How I love you still.Always and forever, I always will.

I need you!

Ive got to tell youThat I miss you

When I go the beach,The sand is wet with tears that seem like theyre mine.

Although I never weep,I hold you in my heart, with a very real sense of humor youd be proud of.

You know how it is.

Last night, the stars were numerous.And today, it is the snow.

If there is a place far away from me,I beg you do not go.

Ive got to tell you how I love you still.

How I love you always, and how I always will.

Now, I am quietly waiting,For the catastrophe of my personality to seem beautiful again and interesting, and

modern.The country is grey and brown and white in trees.Snows and skies of laughter, always diminishing, not just darker, not just grey.It may be the coldest day of the year.What does he think of that?I mean, what do I?And if I do, perhaps I am myself again.


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Martin Jaggi was born in Basel (Switzerland) in 1978. He has been playing the cello since the ageof seven. He received his rst lessons in composition from his father, the composer Rudolf Jaggi,and later he studied composition with the Swiss composer Rudolf Kelterborn. From 1996 to 2000 hestudied cello with Reinhard Latzko and composition with Detlev Mller-Siemens at the Basel Univer-sity of Music, graduating with distinction. He continued his studies withWalter Grimmer at the Zurich University of Music, where he gained his concert diploma with distinc-tion in 2002. During his studies he attended master classes with Marc-Andr Dalbavie and Helmut

Lachenmann (composition). From 2004 to 2006 he took further composition courses with ManfredStahnke at the Hamburg University of Music.

Martin Jaggi has performed as a soloist with orchestras and chamber ensembles in many Europe-an and South American countries. He is the principal cellist with the Basel Sinfonietta and the BaselFestival Orchestra, a member of the Mondrian Ensemble (a Piano Quartet he cofounded in the year2000) and the Ensemble Phoenix Basel. He also has played with many other groups, especially thosefocusing on new music such as Collegium Novum Zrich, Ensemble Aventure, Ensemble and theEnsemble fr Neue Musik Zrich among others. He won several prizes, among them the 1st price inthe Concours Nicati 2000 and recived the Werkjahr of the city of Zrich in 2011 with the MondrianEnsemble.

As a composer, Martin Jaggi has been commissioned to create works for many Ensembles and Fes-tivals, a.o.:

2000: Camerata Variabile Basel2001: European Music Month 20012002: Basel Symphony Orchestra / Theater Basel2003: A-DEvantgarde Festival Munich Bradyworks Montreal / Kanton Baselland2004: Pro Helvetia for the Swiss Chamber Soloists2005: Espace Sonore

Ensemble Phoenix Basel2006: Ensemble fr Neue Musik Zrich2007: Basel Chamber Orchestra Mondrian Ensemble2008: Basel Sinfonietta2009: Munich Chamber Orchestra Austrian Ensemble for New Music Basel Chamber Orchestra2010: Ensemble Zora Geneva International Oboe Competition

Pro Helvetia2011: Festival Archipel Geneva Nicati Foundation2012: Menuhin Festival Gstaad Pro Helvetia2013: Camerata Variabile Basel Geneva Camerata Collegium Novum Zrich2014: Lucerne Symphony Orchestra Trio Catch2015: Basel Symphony Orchestra Ensemble Phoenix Basel


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His music has been played in many European Countries, Canada, Argentina, South Africa, HongKong, Thailand, Malaysia and Singapore. Martin Jaggi has been featured in various articles pub-lished in magazines and lexica dedicated to new music, including a book dedicated to composerswho lived and/or worked in Basel over the last centuries. His music is recorded on various CDs,among others on the Grammont Selection CDs (published by the Swiss Arts Council) on the mostimportant Swiss premiers of the years 2007 (Trieb for Orchestra) and 2012 (Gharra for String Quartet).

again: Ever tried. Ever failed. No matter. Try again. Fail again. Fail better (Samuel Beckett, Worst-ward Ho.)

James Joseph Ogburn (b. 1974) is a US-born composer and conductor, who began his musicalcareer as a a jazz and rock guitarist. After six years working in residential treatment with severelyemotionally disturbed children, music drew him back to school, where he pursued and completeddegrees in Composition & Theory at Central Washington University (B.M.), and the University ofPittsburgh (M.A. & Ph.D.). His teachers included: Mark Polishook, David Asplin, Woiciek Widlak,Marek Choloniewski, Eric Flesher, Roger Zahab, Amy Williams, Eric Moe, and Mathew Rosenblum.Dr. Ogburn draws inspiration from politics, nature, history, and literature but does not (for the most

part) intend for his music to be understood as programmatic. For him, the central purpose of musicis extra-linguistic. Although he strives to achieve beauty in his writing, his works sometimes ventureinto ugly or outrageous sounds. This serves a most crucial and fundamental aspect of musical form:contrast. James Ogburns compositions have been featured at over a dozen international festivals in Eu-rope, Asia, and the U.S. His orchestral works have been performed by premiere ensembles through-out Europe, the US, and Asia. He been commissioned to write for groups and performers including:Ensemble Mosaik (Berlin), Thailand Philharmonic Orchestra (Bangkok), Mahidol Wind Symphony(Bangkok), Siam Saxophone Quartet (Bangkok), Central Washington University Orchestra (Ellens-burg, WA), IonSound Project (Pittsburgh), ALIA MUSICA Pittsburgh (Pittsburgh), Old Pros Trombone

Choir (Bangkok), BurnNation Quartet (Ellensburg, WA), Alvin Wong (cello), Shyen Lee (saxophone),Amy Galbraith Ogburn (oboe), Grzegorz Grzeszczyk (bass clarinet), Julieta Ugartamendia (clarinet),Matthew Gillespie (piano), Luisa Sello (ute), and more. Upcoming commissions include an accor-dion concerto (Hrolfur Vagnsson and TPO), two pianos (Tal and Groethuysen, Salzburg), and twoviolins (String Noise, NYC). As a conductor, he has performed programs with the Thailand Philharmonic Orchestra, the CentralWashington University Orchestra, the University of Pittsburgh Symphony Orchestra, IonSound Proj-ect, the University of Pittsburgh Chamber Orchestra, The Central Washington University Chorale,ALIA MUSICA Pittsburgh, the Mahidol University Contemporary Music Ensemble, Old Pros Trom-bone Choir, Contemporary Enclave and numerous other student and non-professional ensembles.

An outspoken advocate for contemporary music, he has conducted regional (& world*) premiereperformances of works by Joan Tower, Chen Yi, Zhou Long, Nancy Galbraith*, Eric Moe, ZygmuntKrauze, Roger W. Petersen*, Eric Ewazen, Houston Dunleavy*, Oscar Escudero*, Miyhun Woo, Ioan-nis Angelakis, Tetsuya Yamamoto, Federico Garcia, Roger Zahab*, Ivan Jimenez, Kerrith Livengood,Erica Kudisch*, Benjamin Harris*, Mark Fromm, and John Durham*.

Currently, Dr. Ogburn lives in Bangkok, serving as Chair of Composition and Theory at MahidolUniversity College of Music, Artistic Director/ Conductor of Contemporary Enclave Ensemble, Pro-gram Manager of the Thailand International Composition Festival, Project Director of the Siam Ce-ment Group Young Thai Artist Award, and Researcher (English Language Program Notes) for theThailand Philharmonic Orchestra. For the Ninth Season of TPO, he was recently named Compos-er-in-Residence, which will feature the premiere ve new works during the 2013-14 season.

For more information, visit: www.jamesogburn.com

The title of Allusions to Past Mistakes refers to the frequent quotations of my own works within thepiece. Allusions is very personal to me, for its coded references are meant for an audience of one


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(guess who). In the past, not all of my compositions have succeeded to the degree I would haveliked, either as a result of the performance (interpretation) or through my own choices (composi-tion). Regardless of the reason, many moments within works that have failed still appeal to me. HereI revive a few of these moments as artifacts and imbue them with new life as structural elements fora new work with, hopefully, a more successful outcome.

I wrote Allusions to Past Mistakes for my friend and colleague, the wonderful bass clarinetistGrzegorz Grzeszczyk. I am grateful to him for premiering the work on 27 August 2013, at Mahidol

University College of Music.

I wrote Transgression/ Regressionin response to a few recent and distasteful incidents involvingclashes of culture. Unfortunately, I cannot dismiss these incidents as merely cultural misunder-standings, simply because I do not believe willful ignorance serves as an excuse for anything. Ofcourse, I recognize that misunderstandings will always occur when people of different backgroundscome into contact; however, I am here speaking of the appropriation of a historical gure from onecultural tradition by the pop and mercantile culture of another. That which was borrowed, in thiscase, is extremely special and abhorrent and the use to which it has been employed is entirely rep-rehensible. I fear the cyclical nature of such social/ political constructs and I have, quite simply, beengreatly offended by this misappropriation.

I begin the work by trying to capture the collective emotions of a people, in response to atrocity.The work begins in the immediate aftermath of war, in the wake of unspeakable acts. As the pieceprogresses an event, rst presented in chorale texture, is transported through time and space, untilit becomes distorted into an unrecognizable form of itself. Eventually the chorale texture returns, inthe most abbreviated form, signifying a cyclical pattern in history, involving the brutality of peopleagainst other people.

Transgression/ Regressionwas commissioned by Enno Poppe and Ensemble Mosaik, as part ofthe Goethe Institute, Young Composers of SE Asia Competition & Workshop. It was premiered on14 December 2013, at the Princess Galyani Vadhana Institute in Bangkok, TH.

David LangPrize Work: The Little Match Girl Passion; Pulitzer Prize: 2008 Music David Lang (born 1957) is an American composer. "There is no name yet for this kind of mu-sic," writes Los Angeles Times music critic Mark Swed about the American composer David Lang,but audiences around the globe are hearing more and more of his work: in performances by suchorganizations as the Santa Fe Opera, the New York Philharmonic, the San Francisco Symphony,The Cleveland Orchestra, and the Kronos Quartet; at Tanglewood, the BBC Proms, The MunichBiennale, the Settembre Musica Festival, the Sidney 2000 Olympic Arts Festival and the Almeida,Holland, Berlin, Strasbourg and Hudderseld Festivals; in theater productions in New York, SanFrancisco and London; in the choreography of Twyla Tharp, La La La Human Steps, The Nederlands

Dans Theater and the Royal Ballet; and at Lincoln Center, the South Bank Centre, Carnegie Hall, theKennedy Center, the Barbican Centre, and the Brooklyn Academy of Music. Recent projects include The Little Match Girl Passion, commissioned by Carnegie Hall for PaulHilliers vocal ensemble Theater of Voices and for which Lang was awarded the 2008 Pulitzer Prizein Music; Writing On Water for the London Sinfonietta, with visuals by English lmmaker Peter Gre-enaway; The Difculty of Crossing a Field a fully staged opera for the Kronos Quartet; Loud LoveSongs, a concerto for the percussionist Evelyn Glennie, and the oratorio Shelter, with co-composersMichael Gordon and Julia Wolfe, at the Next Wave Festival of the Brooklyn Academy of Music,staged by Ridge Theater and featuring the Norwegian vocal ensemble Trio Mediaeval. In addition to the Pulitzer, Langs numerous honors and awards include the Rome Prize, the BMW

Music-Theater Prize (Munich), and grants from the Guggenheim Foundation, the Foundation forContemporary Performance Arts, the National Endowment for the Arts, the New York Foundationfor the Arts, and the American Academy of Arts and Letters. In 1999 he received a Bessie Award


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varied, use of the technique across the spectrum of genres, from chamber works like the StringQuartet No. 4 (1936) and the Fantasy for Violin and Piano (1949) to orchestral works like the ViolinConcerto (1935-1936) and the Piano Concerto (1942), to choral works like A Survivor from Warsaw(1947). Schoenberg ed the poisonous political atmosphere of Europe in 1933 and spent the remainderof his life primarily in the United States, becoming a naturalized citizen in 1941. During this phaseof his career, he at times returned to frank tonality, as in the Theme and Variations for band (1943),

reafrming his connection to the great German musical heritage that extended back to Bach. ForSchoenberg, the dissolution of tonality was a logical and inevitable step in the evolution of West-ern music. Despite a steady stream of critical brickbats throughout his entire career, the composer,whose life inspired one of twentieth century's great novels, Thomas Mann's Doctor Faustus, persist-ed in his aims, insisting that his music was the result of an overwhelming creative impulse. Thoughdebate over the man and his music rages on, Schoenberg is today acknowledged as one of themost signicant gures in music history. The composer, a well-known triskaidekaphobe, died in LosAngeles, CA, on July 13, 1951.

By Rovi Staff

Igor Stravinsky famously called Pierrot Lunairethe solar plexus as well as the mind of early Twen-tieth Century Music. Written a little more than a hundred years ago in 1912, Pierrot Lunairestillsounds fresh, provoking and often shocking to the audiences while challenging its performers eventhough it is probably the most performed and recorded of Schonbergs compositions, more thanany other vocal work by Second Viennese School composers (Elliot.)Pierrot Lunairewas a revolu-tionary work for the way it treated the voice, its construction as a song cycle and its instrumentationthat resulted in it becoming the standard twentieth century ensemble of choice (Elliot.) Schoen-bergs Op.21 is the last piece of his atonal period (1908-1921) before he developed the twelve-tone method.

In 1912 well-known Viennese actress Albertine Zehme who specialized in melodrama askedSchoenberg to compose one melodrama on the Pierrot Lunairepoems by Belgian poet Albert Gi-raud using the German translation by Otto Erich Hartleben. Zehme had been already reciting thepoems to other music that she felt as unsuitable so she requested Schoenberg to create a piano ac-companiment. As he worked on them Schoenberg asked for her permission to add a clarinet, thena violin, a ute and then a cello resulting in the nal formation of the ensemble (Elliot.) After more than twenty ve Schoenberg-conducted rehearsals, the piece was performed on Oc-tober 16, 1912 in Berlin with Zehme dressed as a Pierrot, the commedia dellarte clown, being aloneon stage with the rest of the ensemble and the conductor behind a screen where they were onlyvisible to her but not to the audience. The premiere received a huge ovation and some pieces wereperformed twice. Critics expressed mixed opinions but the piece was overall a big success. Afterthe premier Pierrotwas performed in eleven cities in Germany and Austria and later toured around

Europe with the support of many important composers like Milhaud and Busoni. The support thatPierrot received from composers around Europe was remarkable. Among the big funs of the piecewas Igor Stravinsky who was so stunned by this work that for years he could not admit its impact,although decades laterafter Schoenberg had died, not coincidentallyhe called the experiencethe most prescient confrontation in my life. Pierrot is the white-painted-face clown of French pantomime directly related to the Italian com-media dellarte. Pierrot is moonstruck for love. Since the 19th century Pierrot has been the vehiclefor the depiction of deep emotions masked by a carefree appearance symbolizing the sufferings ofa sensitive person showing a happy face to the world (Rodda.) Pierrot Lunairetakes the shape of asingle large melodrama in which the female voice gives the text a treatment that is midway between

speech and song or Sprechstimme. The cycle consists of three sets with seven songs each where thenarrator tells the wandering of moonstruck Pierrot. In part I Pierrot is drunk and lost in dreams andfantasies about sex, longing, love, religious hysteria and neurasthenia. In part II his world becomesone of violence, blasphemy and nightmares. In the third part Pierrot nally goes back home, to sun-ny Bergamo and to the daylight world.

by Mariangela Chatzistamatiou


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Den Wein, den man mit Augen trinkt,Giet Nachts der Mond in Wogen nieder,

Und eine Springut berschwemmtDen stillen Horizont.

Gelste schauerlich und s,

Durchschwimmen ohne Zahl die Fluten!Den Wein, den man mit Augen trinkt,

Giet Nachts der Mond in Wogen nieder.

Der Dichter, den die Andacht treibt,Berauscht sich an dem heilgen Tranke,

Gen Himmel wendet er verzcktDas Haupt und taumelnd saugt und schlrit er

Den Wein, den man mit Augen trinkt.

The wine that one drinks with the eyesThe moon spills nights into the waves,And a Springood overowsthe silent horizon.

Desires, visible and sweetCountless swim across the ood.The wine that one drinks with the eyesThe moon spills nights into the waves.

The poet, who practices devotion,Enrapts himself on the holy drink,He turns against the sky ecstaticHeadlong reeling sucks and slurpsThe wine that one drinks with the eyes

Mondestrunken

Des Mondlichts bleiche Bluten,Die weien Wunderrosen,

Blhn in den JulinachtenO brach ich eine nur!

Mein banges Leid zu lindern,Such ich am dunklen Strome

Des Mondlichts bleiche Blten,Die weien Wunderrosen.

Gestillt war all mein Sehnen,Drft ich so mrchenheimlich,

So selig leis - entbltternAuf deine brauenen Haare

Des Mondlichts bleiche Blten!

Moonlights pale blossoms,The white wonder-roses,Bloom in July eveningsO Id pluck just one!

To ease anxious suffering,I search on dark streamsMoonlights pale blossoms,The white wonder-roses.

All my longings would be stilled,If I might, fabled, stalkSlightly tipsy--strew petalsIn your brown hair (of)The moonlights pale blossoms.

Colombine

Mit einem phantastischen LichtstrahlErleuchtet der Mond die krystallnen Flacons

Auf dem schwarzen, hochheiligen WaschtischDes schweigenden Dandys von Bergamo.

In tnender, bronzener Schale

Lacht hell die Fontaine, metallischen Klangs.Mit einem phantastischen Lichtstrahl

Erleuchtet der Mond die krystallnen Flacons.

Pierrot mit dem wchsernen Antlitz

Steht sinnend und denkt: wie er heute sichschminkt?

Fort schiebt er das Rot und das Orients GrnUnd bemalt sein Gesicht in erhabenem Stil

Mit einem phantastischen Mondstrahl.

With one phantastical light beamThe moon lights the crystal aconsOn the black, high holy washstandOf the silent dandy from Bergamo

In the resonant bronze basinThe fountain laughs light, metal clangsWith one phantastical light beamThe moon lights the crystal acons

Pierrot of the waxen countenance

Stands musing and thinks: how shall he make-uptoday?Shoves aside the rouge and the Orient greenAnd paints his face--sublime styleWith one phantastical moonbeam.

Der Dandy


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Eine blasse WscherinWscht zur Nachtzeit bleiche Tcher;

Nackte, silberweie ArmeStreckt sie nieder in die Flut.

Durch die Lichtung schleichen Winde,

Leis bewegen sie den Strom.Eine blasse WscherinWscht zur Nachtzeit bleiche Tcher.

Und die sanfte Magd des Himmels,

Von den Zweigen zart umschmeichelt,Breitet auf die dunklen Wiesen

ihre lichtgewobnen LinnenEine blasse Wscherin.

A faded laundressWashes nighttimes pale clothesNaked, silver white armsShe stretches down into the ood.Through the clearing creeping winds

Slightly agitate the stream.A faded laundressWashes nighttimes pale clothes.

And the calm maid of the skyBy twigs tenderly atteredSpreads across the dark meadowsHer light-woven linen--A faded laundress.

Eine blasse wsscherin

Wie ein blasser Tropfen BlutsFrbt die Lippen einer Kranken

Also ruht auf diesen TnenEin vernichtungsschtger Reiz.

Wilder Lust Accorde strenDer Verzweiung eisgen Traum

Wie ein blasser Tropfen BlutsFrbt die Lippen einer Kranken

Hei und jauchzend, s und schmachtend,Melancholisch dstrer Walzer,

Kommst mir nimmer aus den Sinnen!Haftest mir an den Gedanken,Wie ein blasser Tropfen Bluts!

Like a pallid drop of bloodColors a sick mans lipsSo reposes in these tonesA charm seeking annihilation.

Wild airs accords disorderDespairs glacial dream-Like a pallid drop of bloodColors a sick mans lips

Hot and jocund, sweet and tastyMelancholic dusty waltzes,Never come into my senses!Hasten me on my conceptionLike a pallid drop of blood.

Valse de Chopin

Steig, o Mutter aller Schmerzen,

Auf den Altar meiner Verse!Blut aus deinen magren Brusten

Hat des Schwertes Wut vergossen.

Deine ewig frischen WundenGleichen Augen, rot und offen.

Steig, o Mutter aller Schmerzen,Auf den Altar meiner Verse!

In den abgezehrten Hnden

Hltst du deines Sohnes Leiche.Ihn zu zeigen aller Menschheit -Doch der Blick der Menschen meidet

Dich, o Mutter aller Schmerzen!

Rise, o mother of all sorrows

The altar of my verses!Blood from your meager breastsThe swords anger has spilled

Your eternally fresh woundsResemble eyes, red and open.Rise, o mother of all sorrowsOn the altar of my verses!

In emaciated hands

You hold your sons corpseTo show all mankind--But the gaze of men shunsYou, a mother of all sorrows.

Madonna


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Matthew Heap, born in 1981, is an internationally performed composer whose music has beenfeatured in several American and English cities and on WQED and WCLV radio. He is also veryinvolved in the theatre community as an actor, director, and writer. Matthew received his BFA fromCarnegie Mellon University, MMus from the Royal College of Music in London, and Ph.D. from theUniversity of Pittsburgh. He has studied with Leonardo Balada, Eric Moe, Nancy Galbraith, MathewRosenblum, Amy Williams, and Timothy Salter. Matthew is also a member of Alia Musica Pittsburgh,an ensemble dedicated to the performance of new concert music from Pittsburgh composers.

One of his recent works, Loki, for orchestra, was selected by the Pittsburgh Symphony Orchestra

for a reading. He has been a nalist and participant in the Iron Composer Competition and fellow atthe June in Buffalo festival, where Allan Kozinn of the New York Times called his music engaginglynoisy[and] rhythmically sharp-edged. He has recently written works for the Talea Ensemble andDuo Scordatura, and is currently working on a piece for percussionist Nobue Matsuoka.

Internalis an attempt to be a little more direct with my music. It features three ideas that are rstharshly or abruptly juxtaposed, and that are nally woven together into a larger texture. The melodicand harmonic materials are derived from two competing hexachords that are themselves derivedmostly from a mixture of perfect fourths and tritones. The piece represents personal elements but Ifear the specics, being personal, will remain mysterious.

Du nchtig todeskranker MondDort auf des Himmels schwarzem Pfhl,

Dein Blick, so ebernd bergro,Bannt mich wie fremde Melodie.

An unstillbarem LiebesleidStirbst du, an Sehnsucht, tief erstickt,Du nchtig todeskranker Mond

Dort auf des Himmels schwarzem Pfhl.

Den Liebsten, der im SinnenrauschGedankenlos zur Liebsten schleicht,

Belustigt deiner Strahlen Spiel -Dein bleiches, qualgebornes Blut,

Du nchtig todeskranker Mond.

You nocturnal deathsick moonThere on the skys black pillow.Your gaze, gross with feverEnchants me like alien melody.

On insatiable loves bodyYou die, of longing, buried deep,Your nocturnal deathsick moonThere on the skys black pillow

The beloved, who in senses riotThoughtless creeps to the beloved,Is amused by your beams play--Your pale blood wrung from torment,Your nocturnal deathsick moon.

Der Kranke Mond


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Mariangela Chatzistamatiou was born and raised in Greece.She spe-cializes in music of the Italian Baroque and French post-romantic reper-tory, with emphasis on aspects of performance practice. She has been re-cently engaged in exploring the similarities in the singing technique andaesthetics of Renaissance and New Music and as a result she is active inperforming contemporary compositions mainly of living composers. Asa classical performer Ms. Chatzistamatiou made her professional debut

at the age of 21, when she performed the role of the Third Boy in Mo-zarts Die Zauberteat the National Theater of Northern Greece.Sincethen she has been active performing chamber music, religious vocal mu-sic of the Renaissance and early Baroque and also opera and has ap-peared in productions such as Monteverdis Il Combattimento di Tancre-di e Clorindaand Madrigali guerrieri ed amorosi, Gilbert and SullivansPatience(Patience,) Le Nozze di Figaro(Susanna,) Suora Angelica(Suo-ra Gienovefa,) Il segreto di Susanna (Susanna,)Don Giovanni (Zerlina,)Pellas and Mlisande(Genevive,) Lincoronazione di Poppea(Ottavia),Orphe aux Enfers (Cupidon,) Cavallis La virt de strali damore(Psiche)and Dido and Aeneas(Bellind & Dido.) She is active as a chamber musicperformer and regularly collaborates with ensembles in Europe, UnitedStates and recently in Thailand. She holds degrees from Bowling GreenState University, Universit per Stranieri di Perugia(Italy) and the Coursde Civilisation Franaise de la Sorbonne(France.)

Ms. Chatzistamatiou is an active freelance photographer and hasworked as such in the United States, France and Greece. She specializesin music photography, and has photographed sucht artists as BranfordMarsalis, Arturo OFarrill, David Lang, Marin Alsop, David Bixler, RodneyWhitaker, New York Voices and more. She is a member of the facutlty atthe College of Music of Mahidol Universityin Thailand where she teach-

es applied voice and language-oriented courses.

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Hiroshi Matsushimacurrently teaches ute at the Mahidol UniversityCollege of Music and serves as the principal ute of the Thailand Philhar-monic Orchestra. Prior to his appointment at Mahidol, Matsushima has performed as ut-ist in several professional orchestras in Germany, such as Hof Sympho-ny, Munich Symphony, Munich Chamber Orchestra and Philharmonia of

the Nations, and appeared at major music festivals, such as Reichenau/Bodensee, Rheingau, MDR-Musiksommer and Schleswig-Holstein. Since his arrival in Thailand in 2002, Hiroshi Matsushima is highly re-garded as a thoughtful, engaging, and challenging teacher, and has beendevoting himself for raising the standard of musicianship of Thailandtruly to the international level. In 2005, he formed the Flute EnsembleSiang-Nanachart, which consists of 6 musicians playing a variety of utesfrom piccolo to sub-contrabass ute, and has been touring throughoutThailand for concerts, workshops, lectures, and outreach activities thatcan interchange with people among country.

Hiroshi is frequently demand on teaching masterclasses in Thailandand the neighboring countries. He has been serving as an Artist/facultyof Southeast Asian Youth Orchestra and Wind Ensemble (SAYOWE) sinceits foundation in 2003. He was invited as a Flute tutor of the PESTA musiccamp in Malaysia in 2006 and 2008, held workshops at the Gitameit


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Music Center in Yangon, Myanmar since 2007, and gave masterclass in the Singapore Flute Festivalat Yong Siew Toh Conservatory of Music in 2010 and 2012. Matsushima has also been acting as an adjudicator for Thailand International Wind EnsembleCompetition (TIWEC, former Asian Symphonic Band Competition ASBC), Osaka International MusicCompetition (Bangkok Regional Round) and Thailand Youth Musician Competition. His articles onute playing have published in the Music Journal magazine A graduate of the University of Music Karlsruhe (Germany) and guest student at the University

of Music and Fine Arts Mozarteum in Salzburg, Matsushima has extensively studied with RenateGreiss-Armin, Matthias Allin and Irena Grafenauer. While spent in Europe, Hiroshi Matsushima alsostudied with Andrea Lieberknecht, Andreas Blau, Dieter Flury and Jean-Pierre Rampal. In his nativeJapan, Mr. Matsushima studied with Etsuro Sano and Kan-ichi Tanaka.

Patiparn Poonsawad was born in Bangkok in 23 June 1986. He started playing ute when he was12 at Watsuthiwararam School with Mr.Surapol Thanyawibool. From 2004 to 2007 he studied utewith Bannaphat Tangphaiboon at Kasetsart University where he joined Kasetsart Unniversity WindSymphony and Kasetsart University Symphony Orchestra.

In 2012 he start his graduated student life at College of Music,Mahidol University and studied

ute with Hiroshi Matsushima. He also attended master class with many well known utist included:Sabine Morrel, Jose Daniel Castellon, Robert Aitken, Kazutaka Shimizu and Vivianna Guzman.

Patiparn joined Bangkok Symphony Orchestra, Thailand Philharmonic Orchestra, Siam Philhar-monic Orchestra. Now he is a member of Nontri Orchestra Wind and ute instructor at KasetsartUniversity.

Grzegorz Grzeszczyk is one of the few representatives of younger generation of bass clarinetplayers in Europe. He devoted his musical life to specialize in bass clarinet. To achieve this he de-cided to study in Rotterdam under a famous bass clarinet professor and a great performer prof.Henri Bok. He also graduated the clarinet class of prof. Bogdan Ocieszak at the Stanislaw MoniuszkoAcademy of Music in Gdansk, Poland. Grzegorz Grzeszczyk began to play bass clarinet in secondary music school and soon he startedbeing recognized on the Polish clarinet scene as one of the rst Polish bass clarinet solo players.During his academic years he won many prizes in competitions and clarinet festivals including:- 2nd prize in the clarinet ensemble category at the 2nd Clarinet Festival in Szczecin, Poland (2006)- Special Prize in the soloist category at the 3rd Clarinet Festival in Szczecin, Poland (2008)- 3rd prize in the clarinet ensemble category and a Special Prize in the soloist category at the 8thClarinet Festival in Piotrkow Trybunalski, Poland (2009)- Special Prize in the soloist category and 2nd prize in the clarinet ensemble category at the 4thClarinet Festival in Szczecin, Poland (2010)

- 3rd prize in the soloist category and 2nd prize in the clarinet ensemble category at the 9th ClarinetFestival in Piotrkow Trybunalski, Poland (2011)- 1st prize in the clarinet ensemble category at the 5th Clarinet Festival in Szczecin, Poland (2012)- 3rd Prize at the rst Bass clarinet competition in Avila, Spain (2012). Mr. Grzeszczyk worked with many symphonic orchestras playing the bass clarinet: SymphonyOrchestra of India (Mumbai), Baltic Philharmonic Orchestra (Gdansk), Baltic Opera (Gdansk), Wo-

jciech Rajski Chamber Orchestra, Polish Philharmonic Orchestra in Kalisz just to name a few. Healso worked with a great Polish jazz trumpet player Piotr Wojtasik in his project Circle (concertsin Berlin, Paris, Warsaw) and also with a Polish jazz pianist and composer Nikola Kolodziejczyk in hisChord Nation project and Progressive Baroque project.

At the moment Grzegorz Grzeszczyk is a bass clarinet instructor at the College of Music at Mahi-dol University in Thailand and a bass clarinet player of the Thailand Philharmonic Orchestra.


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Philip Brink, a graduate of Northwestern University with Bachelors and Masters degrees in The-ory and Composition, he has also studied at the University of Illinois and at the Juilliard School. Asa teacher he has worked at the Universidad Catlica de Chile, the universities of Alaska, Calgary[Canada], Washington and Northeastern Illinois. He also taught his instrument at the Hong KongAcademy for Performing Arts [HKAPA]. Since 2007 he has served as instructor of Trombone at Mahi-dol University College of Music. Mr. Brink has been a member of the Calgary Philharmonic, the Pacic Northwest Wagner Festival

Orchestra, the Seattle Brass Ensemble, the New Mexico Symphony, the Southwest Brass and theHong Kong Philharmonic Orchestra, a post he held for 12 years. Returning to the US he performedand arranged for the Ralph Wilder Dance Orchestra and served as bass trombonist with severallocal orchestras. After his arrival in Thailand he took the job of Low Brass Principal of the ThailandPhilharmonic, playing bass trombone all of the remaining members of the section are his students.

Kyle Acuncius wasappointed professor of percussion at Mahidol University and Timpanist ofthe Thailand Philharmonic Orchestra in 2012. Before joining the TPO he held positions as PrincipalPercussionist with the Terre Haute Symphony and Section Percussionist with the Ann Arbor Sym-phony. He has also performed with the Syracuse Symphony, Rochester Philharmonic, Owensboro

Symphony, Columbus Philharmonic, Rome Festival Orchestra, OSSIA, Musica Nova, ContemporaryDirections Ensemble, Latitude 49 and the Eastman Wind Ensemble. He has performed as a soloistand chamber musician throughout the United States, Europe, and Asia including international tourswith the Eastman Percussion Ensemble and the University of Michigan Symphony Band. His primaryteachers include John H. Beck, John Tafoya, Kevin Bobo, Michael Spiro, Richard Holmes, Ian Ding,Brian Jones, Jonathan Ovalle and Joseph Gramley. Kyle is an active member of the Percussion ArtsSociety (PAS) and serves as a member of their International Committee.

Parvati Maniwas raised in Vienna, VA where she began her piano studies with Diann Clark. She

went to the Interlochen Arts Academy as a piano performance major for three years of high school,studying with Yoshikazu Nagai. Following Interlochen, she went on to study at the Eastman Schoolof Music, with Professor Emeritus Thomas Schumacher. She received her BM Degree from East-man in 2008, followed by her MM degree from the San Francisco Conservatory in 2010, where sheworked again with Yoshikazu Nagai.

Parvati has received awards including the Beatrice M. Rine Piano Scholarship at the San Francis-co Conservatory, the Gordon and Lillian Hardy Scholarship to study at the Aspen Music Festival,and the Howard Hanson Scholarship for her studies at Eastman. She has participated in numeroussummer festivals including the Aspen Music Festival and School in 2009, the Beijing InternationalMusic Festival and Academy in 2008, and the Eastern Music Festival in the summers of 2003, 2005,and 2007. She has performed in the United States, Thailand, and Japan, including at the KennedyCenter in Washington, D.C., and the Kobe Asahi Hall in Japan. She performs regularly, includingcollaborations with other faculty for recitals and guest appearances at international conferences andfestivals at the College of Music, Mahidol University. She has also accompanied for internationalcompetitions. She has been a faculty member at the College of Music, Mahidol University since2010.

Rasikamon Siyapong was born on 13th May, 1992. She started her piano lesson with Mr.Boonl-hong Nithiuthai at the age of 5. After she moved to Hatyai to study in junior high school, she beganher piano lesson with Miss Akiko Fujie. In 2006, she received The Best Performance of Bach 3-part

Inventions Prize in the Nat 8th Studio Piano Competition. She also passed ABRSM (AssociatedBoard of the Royal Schools of Music) piano performance grade 8 and theory grade 7 with merit.Then, she was accepted to be a piano major student of the Pre-College Program, College of Music,


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Mahidol University with a Young Artist Scholarship in 2007. Later in 2008, she received a special Prizein the 8th Bangkok Chopin Piano Competition. She graduated from the Pre-College Program withthe Valedictorian Awards in 2010. In the same year, she was awarded a Silver Medal Prize in the 14thSettrade Youth Music Competition.

She has performed in many solo and chamber music concerts. She has also played in numerousmasterclasses with many international artists including Rolf-Dieter Arens, Tomasz Herbut, Dr. PngTear Hwa& Dr. Lim Pei Sien, Kemal Gekic, Julie Bees, Susan Gray, Gustavo Romero, Istvan Bonyhadi,

Robert Satterlee, Lambis Vassiliadis and Wolfram Schmitt-Leonardy. She is currently an undergraduate student at the College of Music under the tutelage of Assist.Prof.Dr.Eri Nakagawa.

Greek violinist Paris Paraschoudis currently serves as Chair of the String Department & Cham-ber Music Academy (CMA) on the faculty of the College of Music at Mahidol University. A nativeof Thessaloniki, Greece, Mr. Paraschoudis was awarded a Bachelor of Music degree in violin perfor-mance and a Bachelor of Music degree in instrumental pedagogy from the Hochschule fr MusikNrnberg-Augsburg in Nrnberg; a Master of Music degree in violin performance from BowlingGreen State University, Ohio; and is currently a Doctoral candidate in violin performance with a mi-nor area in music composition at Louisiana State University (LSU). An active performer, Mr. Paraschoudis has traveled extensively throughout Europe (Germany,Austria, Italy, Greece, Belgium, Scotland and Luxemburg), United States (Ohio, Michigan, Louisiana,Alabama and Mississippi) and Asia (Thailand, Korea, Laos, Cambodia, Vietnam, and Indonesia), aschamber musician, orchestra musician, and soloist. As soloist he has appeared with the TuttlingenChamber Orchestra, and the Louisiana Sinfonietta in several occasions. As orchestra musician hehas played regularly with the following orchestras: Tbingen Chamber Orchestra, Louisiana Sinfo-nietta (associate concertmaster), Louisiana Philharmonic, LSU Symphony Orchestra & Philharmonia(concertmaster for several concerts), Baton Rouge Symphony Orchestra, Bowling Green Philhar-monia, and others. He has also worked with such ne conductors as Zubin Mehta, Gudni Emilsson,Gustav Meier, Leonard Slatkin, Murry Sidlin, Carlos Riazuelo, Timothy Muft, Carlos Miguel Prieto,

and Emily Freeman-Brown to name a few. His primary teachers include Valerie Rubin, Vasile Beluska, Csaba Erdlyi, Espen Lillesltten andDr. Dinos Constantinides. Mr. Paraschoudis has also participated in many master classes with severaldistinguished artists such as Leonidas Kavakos, Ara Malikian, the Pacica Quartet, Walter Verdehr,Herbert Greenberg, Davis Brooks, Stelios Kafandaris, Angel Stankov, Yossif Radionov, Martin Kos,and Marianne Petersen among others. A versatile musician, Mr. Paraschoudis also enjoys playing the Oud as he is an advocate of Greektraditional and Middle Eastern music. He is a founding member of the Greek-Turkish oriental en-semble Trio Bros (1999-2005) as well as member of the contemporary music ensemble DramaEnsemble (2000-2005). In 2002 the ensemble was invited by the ethnomusicology department of

the University of Edinburgh, Scotland to perform a concert of Greek-Turkish music. Other engage-ments include a live television performance for the Kurdish TV channel in Brussels and numerousconcerts throughout Germany and Greece. As a composer Mr. Paraschoudis has had some of his works performed in the United States andGreece. Among his most successful compositions are the Middle Eastern Presto for two violins,and the Homage to Louisiana Sinfonietta which was premiered by the Louisiana Sinfonietta inMarch 2011.

Mahakit Lerdcheewanan was born in Bangkok in 1990. He began his violin lessons with Mr.Pichet Waitrakul and has since developed genuine interests in the instrument. He attended the

College of Music Mahidol University in 2008 under supervisions of Mr.Sittichai Pengcharoen andMs.Inga Causa. In 2010, he won the second prize at the Beethoven Thailand National String Com-petition in Bangkok. He received his Bachelor degree in 2012 with First Class Honours. He also tookmasterclasses with Andrey Baranov(The Winner of the Queen Elizabeth Competition 2012), MaratBisengaliev, RomanPatocka and Simone Zgraggen. In 2012, he joined Siam Sinfonietta as an assistant


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concertmaster and obtained rst prize in Youth Orchestra Competition, Summa Cum Laude in Vi -enna, Austria. In 2013, he became a member of the Unisono Ensemble and won the rst prize inPrincess Galyani Vadhana International Ensemble Competition. Currently he is pursuing his MasterDegree, majoring in music performance and working as a part-time violin teacher at the College ofMusic, Mahidol University. He is now also a member of Thailand Philharmonic Orchestra (TPO).

Marcin Tomasz Szawelski, a native of Gdansk, Poland, started his musical education at age of7 with Andrzej Filar. He graduated with Master of Arts diploma from Stanislaw Moniuszko Academyof Music in Gdansk, Poland (2005), where he studied cello performance, chamber music and musicpedagogy under Krzysztof Sperski, Anna Prabucka-Firlej and Tadeusz Samerek. He also took mas-terclasses with Stefan Popov, Maria Tchaikovska, Peter Leisegang and Roman Jablonski. Mr. Szawelski has received many awards, such as: 1st prize in Competition for young Cellists inMalbork (1992), 2nd prize in national Competition for Young Musicians in Wloszakowice (1995) and4th award in national Competition for Chamber Ensemble in Wroclaw (1999). Currently Marcin T. Szawelski is a cello and chamber music instructor at the College of Music,Mahidol University in Thailand. He is also a member of Thailand Philharmonic Orchestra (TPO).Since 2007 he serves as a cello instructor for SAYOWE (Southeast Asian Youth Orchestra and Wind

Ensemble).

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2014_L'Ienterieur de La Lune_program