Hot Air Music Festival 2013 — Program and Notes

8/22/2019 Hot Air Music Festival 2013 Program and Notes

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march 3, 2013

san francisco conservatory of music


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HOT AIR MUSIC FESTIVAL 2013 A2

PROGRAM1:00 >> 6

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THOMAS CONROY The Brodie Set A FOOTE + CONROY

DANNY CLAYChildrens Songs, Book 2 A LIBBY + HALL + CAMP

DAVID CONTE String Quartet No. 2 A IVES QUARTET

DOMINICK ARGENTOThree Songs A VOCALLECTIVE

ALDEN JENKSHammered A ENDO + JENKS

KYLE HOVATTERThe Naughty Child

A

LOWRY + MACHIZ + CANNON

STEVE REICHElectric Counterpoint A SFCM GUITAR ENSEMBLE

CRESSWELLHesheyoumeusA

MORGAN BRENNER + CRESSWELLRANDALL-MYERSRust and Anchors A ESCAREO + NASHIMOTO + CLAY

LUCIANO BERIOOpus Number Zoo | JOSEPH STILLWELLClarinet Quartet

BYRON ADAMSSerenade for Nine Instruments

EVAN BUSHMANThese Ragged Times A LEPAGE + GINN + RODDA

KAITO NAKAHORIHidden Instincts A NARIZUKA

DOUGLAS MOOREGallantry A BRAND + OHANIAN + FRIENDS

RecitalHall

RecitalHall

RHBECKERLast Light | KNIGHTBon Voyage | WALLACEMore Gargoyles

MOBIUS T RIO

RecitalHall

ConcertHall

RecitalHall

OSEVE BEGLARIAN Until It Blazes | CHRISTIAN WOLFFAnother Possibility

ANTHONY PORTERhair of the thing that bit you | POLANSKYfreeHorn

GIACOMO F IORE

OsherSalon

ConcertHall

V AL INOR W INDS + F RIENDS


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FESTIVAL SCHEDULE A3

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JUSTIN RALLSNight-Psalms

A

GULYAS

WINTON YUICHIRO WHITETwo Japanese Komoriuta A WHITE + SEDAN

JOHN CORIGLIANOIrish Folksong Settings A WHITE + SEDAN

CLARICE ASSADDanas Nativas A COCKERHAM + FRIENDS

RENAUD CT-GIGURE Two Machines A COCKERHAM + FRIENDS

MATTHIAS MCINTIREEarthbound and Skyward A COOLIDGE

NICK BENAVIDESPain has an element of blank A REUTTER-HARRAH + LUO

STEPHEN GOSSUnder Milk Wood Songs A JARRING SOUNDS

LAURA SCHWENDINGERThe Violinists in My Life A HE + NAKAGOSHIBENJAMIN BOYLETo One in Paradise A OHANIAN + HOT AIR ORCHESTRA

HENRYK GRECKIGood Night A LIBBY + GULYAS + MACDOUGALL + GODOY

RecitalHall

OsherSalon

ConcertHall

RecitalHall

ConcertHall

OSWANGDelta | BROWN This Time Finer | WHITEGroove III

TEMPLE Triggersh | VANHASSELRevealing, Unraveling

W IL D RUMPUS

OsherSalon

RHDAN BECKERLockdown | PETERS VASKS String Quartet No. 4

GABRIELA SMITHReection Nebulae

F RICT ION QUART ET

OsherSalon

NICHOLAS WHITEstitchings | JOSEPH M. COLOMBO Ouroboros

INGRID LEEOf Monsters | ANTHONY PORTER archers | IAN DICKEDj

Dancing on the Brink of the World

BAILEY + HOT AIR FESTIVAL ORCHESTRA

NEW K EYS

L OREN JONES


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CREDITSHOT AIR FESTIVAL STAFF

Collin Boltz

Festival DirectorRed BennettFestival Co-director

Louis CruzFestival Co-director

Vasken OhanianFestival Co-director

Nicholas PavkovicCo-director of Communications

Anthony Porter

Co-director of Communications

Sasha Launer DirectorofEnsemble/AlumniAairs

Loren Jones DirectorofOutreachandEducationalAairs

Zach MileyPrincipal Recording Engineer

HOT AIR PROGRAM ANNOTATORS

Jim CoughenourEditor

Adam Cockerham, Joseph Stillwell,Sarah Wald, Winton Yuichiro White

Contributing Writers

SPECIAL THANKS

Elinor Armer

Jiayi Jiang

Alice Beckett

Dan Becker

Jason OConnell

Mary Ellen Poole

Lauren Quimby

Seth Ducey

Clay Bennett

Noam Szoke

SFCM Percussion Department


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Playing world-class music.Making life-long friends.

Re-connecting is easy.

Email [email protected] to get started.

Where it all begins.

When you attend the

San Francisco Conservatory

of Music, you gain morethan a top tier music

education. You make

friends, create ensembles

and join networks.

As an alumni of the

Conservatory you dont

just thinkthat anything is

possible. You know it.

George Duke (B.M., trombone and composition, 67) andEric Peterson (B.M., trumpet, 69) enjoy a laugh about

their college playing trio days.


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ABOUT THE BRODIE SET

The Brodie Set is a multi movement song cyclefor soprano and piano based on the MurielSpark novella, The Prime of Miss Jean Brodie.

Jean Brodie imparts life lessons and the virtuesofwomanhoodbuthardlyanyofthespeciedcurriculum to her ten-year-olds at the MarciaBlaine School for Girls in Edinburgh. The songcycleisaseriesofreectionsonsixparticular

girls who were Jean Brodies favorites, collec-tively known as The Brodie Set.

ABOUT THOMAS CONROY

Dr. Thomas Conroy has been teaching harmonyand musicianship at the San Francisco Con-servatory of Music since 2009. He earned his

DMA in composition at the Shepherd School ofMusic, Rice University (2006) and his MM fromthe San Francisco Conservatory of Music (2003).He is also a composer and teaching artist in the

ARIA NETWORK opera education program.

Conroy has taken part in the The EuropeanAmerican Musical Alliance summer course atthe cole Normale de Musique in Paris, and ispursuing a masters degree in the Great BooksProgram at St. Johns College during summersessions.

Recent performances include his homage tochoral music teachers and conductors: This isWhy I Sing, premiered by the Houston ChamberChoir and featured on NPR; and Searching for

Spinoza, a two-act musical drama premiered bythe opera department at UNC Chapel Hill.

THOMAS CONROY

The Brodie Set (2013)

I. I Am Miss Jean BrodieII. Eunice Gardiner (You Are an Ariel)

III. RoseStanley(WiththeProle)

IV. Mary MacGregor (Slowly Lumping Backand Forth)

V. Jenny Grey (A Leaven in the Lump,There Needs Must Be)

VI. Monica Douglas (Famous for CalculatingFigures in Your Head)

VII. Sandy Stranger (Sister Helena of theTransguration,ClutchingtheBars of the Grille)

VIII. I Am Miss Jean Brodie

Thomas Conroy, piano

Amy Foote, soprano

DANNY CLAY

Childrens Songs, Book 2 (2011)

I. sitting on a rock

II. the wind is a ghost

III. questions

IV. today

V. Id love to take you home

Lora Libby, soprano

Elizabeth Hall, McKenzie Camp,

percussion

RH 1:00RECITAL HALL


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RECITAL HALL 1:00 PM A7

ABOUT CHILDRENS SONGS

Childrens Songs, book 2isacollectionofvefound poems written by kids from Ohioelementary schools. Ranging from meditationson nature, to surreal evocations of lonelinessand isolation, to a pure and unbridled love song,Indthesepoemsembodymuchmorethanthe

quirkiness of childhood thoughts and musings.Tome,eachfragmentoftexttouchesonfeelings

thataredeepandoenquiteprofoundthekindoffeelingsthatallpeopleexperience,regardless of age.

ABOUT DANNY CLAY

Born in 1989, Danny Clay is a composer andgeneral noise-maker from Ohio. Clay draws

upon elements of Americana (genealogy, arteducation, childrens theater, digital media) tomake his music.

He has been commissioned and performedby the Kronos Quartet, the Cincinnati Sym-phony Orchestra, the Central Ohio Symphony,concert:nova + the Cincinnati Ballet, toy pianistPhyllis Chen, the Mobius Trio and Nonsemble6, and has released music on labels such asRural Colours, Audio Gourmet and Heat DeathRecords.

CHILDRENS SONGS TEXTS

I.

Im sitting on a rock

with the clouds above

the trees are all above the sky

the water is as chilly as can be

a bird is ying looking for his friends

and Im still sitting on a rock

waiting for my friend

II.

The wind is a ghost that whirls and twirls

Twists in moccasins - sweeps up frost

Spinning across the grey atlands.

A whirlwind is a ghost! Dancing!

III.

Winter - do you cry with snow?Trees - can you talk?

Ancestors - why are most of you family branches?

Where did I get my name?

Why am I so inventive?

Where do I store all of my pressure and anger?

IV.

The weather is the frostiest ction I have ever seen.Somewhere where your mind explodes.

Sitting somewhere where you grow your mind.

I feel multiplied!

I see the past outside the window.

V.

Id love to take you home

on a cold and wintry day.You are the one I think about everyday!

And in the day or night,

every day and night,

youre all I ever think about.

Id love to take you home.

From Cave Daze, originally published by the Ohio Arts

Council. Written by children of Ohio elementary schools.


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ABOUT THE SECOND STRING QUARTET

Of this work, the composer has written:String Quartet No. 2 was composed between July2009 and January 2010. I wrote my First StringQuartet in 1979 and was delighted to be given theopportunity by the Ives Quartet to return to thisrewarding and challenging medium.

Therstmovement,markedMolto Moderato, isthe longest of the movements. It is composed inanexpandedsonataform.withadoubleexpo -sition of an introductory theme repeated downa half-step. This introductory theme is variedand developed in several ways throughout themovement; as the basis for a faster version thatservesasthersttheme,andinthedevelopmentsection as the basis for fugal development. Thesecondtheme,rststatedbytherstviolin,and

then by the cello, has a consciously romantic andexpressivecharacter.Aeraclimacticpassagethat

includesdouble-stopsfortherstviolinandrapidsextupletsfortheaccompanyinginstruments,there is a brief transition leading to the recapit-ulation,whichissomewhatexpandedfromthe

exposition.Thereisasolemncodathatfeaturesastatement of the introductory theme in the viola.

The second movement is markedAllegro scher-zando, and is cast in 6/8 time. The character ofthe movement is slightly quirky, and is built outofcontrastingsectionsofthemainthemerst

statedintherstviolinwithpartialstatementsofthe choraleHow Brightly Shines the Morning StarbyPhilippNicolai(1556-1608)rststatedinthe

cello. All the instruments have a turn in singingsuccessive phrases of the chorale, culminating inacompletestatementofthechoralebytherstviolin at the end of the movement.

The third movement is anElegy, and is dedicatedto the memory of a dear friend of mine who diedin2009.Shewasagiedsingerandthismove -ment honors her memory through its essentiallyvocal lyricism. Marked Lento assai, the Elegy iscast in 3/4 time; it is based on a single, cantabilethemerstsungbytherstviolin,andaccom -paniedbyachordalwalkingbasstexture,thus


DAVID CONTE

String Quartet No. 2 (2010)

I. Molto Moderato; AllegroII. Scherzo/Chorale: Allegro scherzando

III. Elegy: Lento assai

IV. Allegro energico

THE IVES QUARTET

Bettina Mussumeli, violin

Susan Freier, violin

Jodi Levitz, viola

Stephen Harrison, cello

DOMINICK ARGENTO

Three songs from

To be sung upon the water (1973)I. The Lake at Evening

II. In Remembrance of Schubert

III. The Lake at Night

VOCALLECTIVE

Indre Viskontas, soprano

Luz Brahn, clarinetIan Scarfe, piano

CH 2:00CONCERT HALL


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CONCERT HALL 2:00 PM A9

giving the feeling of a rhythm section supporting

a singer.The fourth movement is a spirited and energetic

Allegroin4/4meter.Thisnaleisdesignedasamodiedrondoform,withthreecontrastingthemes. The third of these is related to thesecondthemeoftherstmovementand,likethatmelody,isconsciouslyromanticandexpressivein

character.Thenaleconcludeswithbriskcodain

compoundmeterthatconcludeswithaourishinall instruments.

ABOUT DAVID CONTE

David Conte (b. 1955) is currently Professor ofComposition and Conductor of the ConservatoryChorus at the San Francisco Conservatory of

Music. He has received commissions from Chan-ticleer, the San Francisco Symphony Chorus, theDayton, Oakland and Stockton Symphonies, the

American Guild of Organists, Sonoma City Opera,Gerbode Foundation and the American ChoralDirectorsAssociation.Contehascomposedveoperas: The Dreamers, The Gi of the Magi,Firebird

Motel,America Tropical andFamous as well as a

musical, The Passion of Rita St. James. His operashave been produced at the Berlin InternationalOpera, USC, University of Minnesota, Hidden

Valley, and many other colleges, universities, andregional companies. A Fulbright Scholar in Pariswith Nadia Boulanger, a Ralph Vaughan WilliamsFellow and an Aspen Music Festival ConductingFellow, Conte earned his bachelors degree from

Bowling Green State University, where he studiedwithRuthIngleeldandWallaceDePue,andhismasters and doctoral degrees from Cornell Uni-versity where he studied with Karel Husa, RobertPalmer, Steven Stucky and Thomas Sokol. In 1982,Conte worked with Aaron Copland preparing astudy of the composers sketches. Contes musichas been heard in the documentariesBallets Russes,

and Orozco: Man of Fire. In 2010 he was appointedto the composition faculty of the European

American Musical Alliance in Paris.

ABOUT THE IVES QUARTET

Inspired by the passionate, artistic commitmentand unique temperament of American composerCharles Ives (18741954), the quartet has attractedcritical enthusiasm for its practice of reveling inthe unfamiliar, championing an eclectic rep-ertoire that combines established masterworkswith underappreciated gems, neglected scores ofearly-twentieth-century America, and specially

commissioned new pieces.

The Quartet has established a reputation forpassion, precision, and provocative programming,winning accolades for playing that shows bothsuper-renementandvisceral,rock-and-rollintensity. The Ives Quartet presents an annualhome concert series in Silicon Valley and the

Greater San Francisco Bay Area in addition toperforming nationally and internationally at notedchamber music series and festivals.

ABOUT VOCALLECTIVE

Founded in 2011, Vocallective is a consortiumof singers and instrumentalists dedicated to the

art of vocal chamber music. Repertoire includesboth world and west coast premieres of piecesby American composers Mohammed Fairouzand Giancarlo Aquilanti, as well as thoughtfulreinterpretations of well-known classical works.The variety of music presented by the ensembleunderscores a commitment to present not onlypieces that have stood the test of time but tochampion living composers and commissionnew works of vocal chamber music. Vocallectivehas been featured on 91.7 KALW and KUSC inLosAngeles,onVoiceBox.LedbysopranoIndre

Viskontas,theensembleisanaliateoftheSanFrancisco Friends of Chamber Music. Moreinformation and sounds clips can be found atwww.vocallective.com.


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ABOUT HAMMERED

Of this work, the composer has written:Thispieceisanexperiment,usingthecomputerto modify the sound of the piano. The listenerhearsboththepianodirectlyand(viaAbletonLIVEsowareacoloredversionofthesamesound.Thetwoshouldmixabout50:50inthehall.

The computer operator is responsible for chang-ing the character of the coloration as the piece

progresses. At points the computer contributesanother voice, a ghost piano, with which the livepiano interacts.

ABOUT ALDEN JENKS

Alden Jenks (b. 1940) teaches composition and isDirector of the Electronic Music Studio at the San

Francisco Conservatory of Music. His music hasbeen performed in the San Francisco Bay Areaand around the world. He was born in Michigan,attended Yale University and the University of Cal-ifornia, Berkeley, from which he received BA andM.A. degrees. Among his composition teacherswere Darius Milhaud, Ben Weber, Andrew Imbrie,and Karlheinz Stockhausen. He studied piano

withRobertHelpsandBarbaraShearer.Aerhisacademic work was completed, he collaboratedwith David Tudor and John Cage in several per-formance presentations. With composer MartinBartlettheperformedasDeusexMachina,using

home-made electronic devices and materials scav-enged from second-hand stores. His work includeselectronic music for recorded media alone and

withliveperformers,andasignicantamountofmusic for live performers alone as well.

Mr. Jenks has premiered two works at past Hot AirMusic Festivals: War of Words in 2010 and UnrestfulSleep in 2011.


ALDEN JENKS

Hammered (2013)

Mikako Endo, piano

Alden Jenks, laptoppist

KYLE HOVATTER

The Naughty Child (2013)

ElisabethLowry,ute

Doug Machiz, cello

Matthew Lee Cannon, marimba

STEVE REICH

Electric Counterpoint (1987)

SFCM GUITAR ENSEMBLE

Travis Andrews, solo electric guitar

Renaud Ct-Gigure, Tatiana

Senderowicz, Tim Sherren, Matt Bacon,

Alexandra Iranfar, Matthew Lyons,

Paul Morton, Christopher Hague,

John Zientek, Sarah Stallings,J.C. de Luna, Kyle Sampson, guitars

Adam Cockerham, bass

Nahuel Bronzini, bass

David Tanenbaum, conductor

RH 2:00RECITAL HALL


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melodic patterns that result from the contrapuntal

interlocking of those eight prerecorded guitars.The second movement cuts the tempo in half,changes key and introduces a new theme, which isthen slowly built up in nine guitars in canon. Onceagain, two other guitars and bass supply harmony,while the soloist brings out melodic patterns thatresult from the overall contrapuntal web.

The third movement returns to the originaltempo and key and introduces a new pattern intriplemeter.Aerbuildingupafour-guitarcanon,

two bass guitars enter suddenly to further stressthe triple meter. The soloist then introduces anew series of strummed chords that are built upin three-guitar canon. When these are complete,the soloist returns to melodic patterns that result

from the overall counterpoint, suddenly, thebasses begin to change both key and meter backand forth between E minor and C minor, andbetween3/2and12/8,sothatonehearsrstthree

groups of four eighth-notes and then four groupsof three-eighth notes. These rhythmic and tonalchanges speed up more and more rapidly until atthe end the basses slowly fade out and the ambi-

guitiesarenallyresolvedin12/8andEminor.ExcerptedfromWritings on Music, 1965-2000(Reich,SteveandPaulHillier,Oxford:OxfordUP,2002)

ABOUT THE NAUGHTY CHILD

The Naughty Child is based on the poem byLangston Hughes:

The naughty child

Who ventured to go cut owers,Fell into the mill pond

And was drowned.

But the good children allAre living yet,

Nice folks nowIn a very nice town

ABOUT KYLE HOVATTER

Kyle Hovatter (b. 1986) is a composer, organist,pianist, and founding member of SFNewMusic.His works range from orchestral, choral, chamber,and electronic. He has had the privilege to studywith Robert Coburn, Francois Rose, and ElinorArmerattheUniversityofthePacicandthenatthe San Francisco Conservatory.

He has collaborated with Paula Brusky, CorneliaPetroiu, the Third Wheel Trio, and Nonsemble 6.

Among his favorite premieres was that of PlumGreen a multi-movement work for piano andbassoon. Currently Mr. Hovatter is an activemusician in San Francisco and a member of theInternational Orange Chorale.

ABOUT ELECTRIC COUNTERPOINT

Of this work, the composer has written:Electric Counterpoint was commissioned by theBrooklynAcademyofMusicsNextWaveFestivalfor the guitarist Pat Metheny.

Theworkisinthreemovementsfast,slow,

fastplayedoneaertheotherwithoutpause.Therstmovement,aeranintroductorypulsing

section where the harmonies of the movement arestated, uses a theme derived from Central Africanhorn music. That theme is built up in eight voicecanon and, while the remaining two guitars andbass play pulsing harmonies, the soloist plays



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ABOUT LAST LIGHT

The last light of any phenomena is a mysteriousandmagicaloccurrence,andoenjustthebegin-ning of something, not the end. Whether its thatmoment when the sun dips below the horizon, orthat moment when a loved one passes from thisworld,veryoentheenergysurroundingsuch

an event increases rather than diminishes. ThepieceLast Light was commissioned by and written

expresslyforthethreeyoungmenofMobius,fantastic players all. It is ultimately and simply aplay of patterns, spinning out personal musicaltranslations of the thoughts, emotions, and statesofmindconjuredupbyitstitle

ABOUT DAN BECKER

Dan Becker (b. 1960) is a San Francisco-basedcomposer whose artistic work has been describedaspost-minimalistduetothestronginuenceofworks by Terry Riley (with whom he studied) andother minimalists of the early 1960s: La Monte

Young, Steve Reich and Philip Glass. Becker is thefounder and Artistic Director of the CommonSense Composers Collective, a member of the

Board of Directors of the American Music Center,and a professor of composition at the San Fran-cisco Conservatory of Music.

Becker received his DMA in Composition fromYale University, where he earned his masters ofmusic and masters of arts degrees. His teachersinclude Terry Riley, Jacob Druckman, MartinBresnick, Elinor Armer, Poul Ruders and Louis

Andriessen. He is the recipient of awards andgrants from the American Academy of Arts andLetters (2001), Meet the Composer (2002/2008),

American Music Center (2006), Live Music forDance (2006), the America Composers Forum(2004), and the Mary Flagler Cary Charitable Trust(2003). His music has been performed at universi-ties and festivals large and small, across the United

States, including the Norfolk Summer Festival,Chicago Arts Series, Park City String QuartetFestival, Bates College American Music Festival.

RH 3:00RECITAL HALL

DAN BECKER

Last Light (2013)

ADRIAN KNIGHT

Bon Voyage (2013)

FRANK WALLACE

More Gargoyles (2013)MOBIUS TRIO

Robert Nance, Mason Fish,

Matthew Holmes-Linder, guitars

CHRIS CRESSWELL

Hesheyoumeus (2013)

JillMorganBrenner,soprano(amplied)

Chris Cresswell, electronics

BRENDON RANDALL-MYERS

Rust and Anchors (2012)

Luis Escareo, viola

Ami Nashimoto, violoncello

Danny Clay, toy piano


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ABOUT FRANK WALLACE

Frank Wallace (b. 1952) is an American compos-er, guitarist and baritone.Fanfare magazine haspraised him as a composer with an authenticexpressivevoiceandahighstandardofmusicalinterestwhoperformswithawlesstechnical

prociency.Self-taughtasacomposer,hisstylehasinuencesfromthebluesandjazztomedi-eval and avant-garde. Wallaces works showcasethe classical guitar in solo, duo, ensemble worksfrom 3-6 guitars, and in chamber works. He haswritten works for Nancy Knowles, ChromaDuo,JugendZupfOrchesters NRW, Mare Duo, MarekPasiezcny, Norbert Dams, Olson/De Cari Duo,Providence Mandolin Orchestra and others.

Frank Wallace founded and directed the BostonClassical Guitar Societys Festival 21. He was also

a founder and co-director of the Second SundaysClassical Guitar Series in New York. He has taughtat the New England Conservatory, Plymouth StateCollege, Emmanuel College, Keene State Collegeand Franklin Pierce College and has a bachelorsdegree from San Francisco Conservatory.

ABOUT MOBIUS TRIO

Described by the eminent Sergio Assad as themostinventiveandexcitingyoungguitarensemble today, Mobius Trio has made it itsmission to fully integrate the classical guitar intothe21stcenturysnascentmusicallexicon.Thetrioexclusivelyperformsmusicthattheyhave

commissioned;theyseektoexpandtheguitar

ensembles repertoire to encompass all of themyriad currents of contemporary art music.Formed in 2010 by guitarists and SFCM studentsRobert Nance, Mason Fish, and Matthew Holmes-Linder, the Trio has already commissioned morethan a dozen compositions and performed atthe Kennedy Center. They recently released theirdebut album,Last Light, following a successful

Kickstarter campaign.

ABOUT BON VOYAGE

Witharunningtimeofapproximatelysevenminutes,Bon Voyage consists almost entirely ofarticialharmonics,demandinggreatstaminafrom its performers. As in many of his otherworks, Knight focuses here on creating a tranquil,immersive ambience rather than a fast-paceddrama. The stasis of the works harmonies andtonality are underscored by an arppeggiated

ostinato which permeates the piece. A simple,fragmentedmelodylineoccasionallyoats

abovethetextureandharmony.Knightgivestheimpression of rubato to the melody lines throughthe use of uneven divisions of the beat, includingquintuplets and rhythms of two against three andthree against four. SARAH WALD

ABOUT ADRIAN KNIGHT

Adrian Knight (b. 1987) is a Swedish composerand musician who currently lives in New York. HewritesandperformswithMaxZuckermanasBlue

Jazz TV.

Recent activities include performances at TheStone, New York; San Francisco Conservatory ofMusic (The Living Earth Show); Orchestra Hall(Minnesota Orchestra); Yale School of Drama, NewHaven; and (Le) Poisson Rouge, New York

Since 2008, he has operated the smallest recordlabel in the world, Pink Pamphlet.

ABOUT MORE GARGOYLES

About this work, the composer has written:More Gargoyles [was written] for the Mobius Trioof San Francisco. Gargoyles seem to represent thetwosidesofhumanitytheyprotectthesacredspace within the walls they adorn, frighten usaway. They are ugly by design, but beautiful intheirintensityandinthesculptorsexecution.In

factitisoenthemostgrotesquethatfascinateand inspire. Yet it is the sacred space we mustenter by facing the gargoyles.



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ABOUT RUST AND ANCHORS

About this work, the composer has written:Rust and Anchors is a somewhat nautically-themedpiece about pressure. The toy piano is squeezedbetween the two string parts, the sound emergingonly for a second. The string players are asked tobow with increasing amounts of pressure, whichgradually squeezes the pitch out of the sound.Much of the piece is unmeasured and the players

are asked to avoid visual cues, putting pressureon them to listen carefully to each other in orderto stay synchronized. I hear the groans of sunkenwrecks collapsing under the weight of the ocean,littlebubblesescaping.Butmaybethatsjustme.

ABOUT BRENDON RANDALL-MYERS

Brendon Randall-Myers (b. 1986) is a composer,guitarist,andimproviser.Hismusicexaminespeoplesinteractions,expectations,andbound-aries,oenthroughjuxtapositionsandcombi-nations of music for bars and music for concerthalls.Brendonco-foundedthepunk-inectedcomposing/improvising group Grains, and wasa fellow in guitar at the Bang on a Can summer

festival in 2012. He has been commissioned by theGuitar Foundation of America and the GuerillaComposers Guild, and by performers such asTheLivingEarthShow,Friction,AlienBoxMan,Sqwonk, Celliola, Nonsemble 6, Mobius Trio, andutistEstherLandau.Brendongrewupinrural

WestVirginia,attendedPhillipsExeterAcademyand Pomona College, and is currently pursuing

an masters in composition at the Yale School ofMusic, studying with David Lang and Chris Theo-fanidis. His primary guitar teachers have been BobSquires and Jack Sanders, and past compositionteachers include Kurt Rohde, Belinda Reynolds,and Tom Flaherty.

ABOUT HESHEYOUMEUS

About this work, the composer has written:hesheyoumeusisaworkforampliedsopranoandelectronics.Itisanexplorationofloveandcreativityparticularlywhathappenswhenyouridentity is wrapped up in these two concepts andtheybegintosimultaneouslyfallapart.Intherst

twomovements,thesingerbeginstoconatetheconceptsuntiltheylosetheirdenition.Aseach

movement develops we lose sense of what wordsthesingerissingingandareleonlywiththevowels.Inthenalmovement,wehearmorestory,

buteventhisdisintegratesintheclimax,whereweareleonlywiththesound i as the singer losesherself in the cascading waves of electronic sound.

The electronics are constructed around thenotion of lost identity. Sounds develop by takingfragments of popular songs and manipulatingthesewithvariousltersandeects.Builtalmostentirely out of loops, drones, and with diatonicmelodic material, these three movements aremoreakintopopsongsthanclassicalmusic

popfromaplanetinagalaxyfarfaraway.

ABOUT CHRIS CRESSWELLChris Cresswell (b. 1988) is an award-winningcomposer whose music includes works for largeand chamber ensembles, voice, solo instruments,as well as electro-acoustic music. Commissionedby the American Composers Forum, The JeromeFoundation, The Society for New Music, TrudyChan, Sar-Shalom Strong, and Melissa Wid-

zinski, his music has been presented by KathleenSupoves Music with a View Festival, the Museumof Modern Art and the Kennedy Center.

Upcomingprojectsincludetheworldpremiereof

Description of a Lost Thing, written for Phillip Cheahand Trudy Chan, and Stone Seeking Warmth, a songcycle written for tenor Jon English.

Cresswell graduated magna cum laude fromSyracuse University in 2011. He currently livesin Brooklyn, NY and studies with ZibuokleMartinaityte.

RECITAL HALL 3:00 PM


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ABOUT UNTIL IT BLAZES

Ihavecastreupontheworld,andwatch,Iamguarding it until it blazes.

Jesus,GospelofThomas

This piece sets up repeating patterns, thengradually groups notes until new melodies growoutoftheaccents.Forexample,whenyouareplaying a three-note pattern, if you accent everyfourth event, you will get one melody; if youaccenteveryhevent,youwillgetadierentmelody.TherearesixpatternsinUntil It Blazes,each an outgrowth of the previous pattern. Thepatternisplayedverysolywithnoaccentsatall,

thengraduallyexpressesagroupingthatcreatesa slower melody arcing across the pattern. Theaccents occur within a slow crescendo, reach aclimax,thenrecedeindiminuendo.Thelengthof the piece varies depending on how slowlycross-melodiesarebuilt,thenrecededallowingthe listener to hear both the pattern and themelody that it intersects.

ABOUT EVE BEGLARIAN

Eve Beglarian (b. 1958) is a contemporary Amer-ican composer, performer and audio producerofArmeniandescent.Hermusicisoencharac -terized as postminimalist. Her chamber, choral,and orchestral music has been commissionedand widely performed by The Los Angeles MasterChorale, the Bang on a Can All-Stars, The Cham-ber Music Society of Lincoln Center, The Califor-nia EAR Unit, The Orchestra of St. Lukes, Relche,The Paul Dresher Ensemble, Sequitur, and The

American Composers Orchestra.

EVE BEGLARIAN

Until It Blazes (2001)

CHRISTIAN WOLFF

Another Possibility (2004)

ANTHONY PORTER

hair of the thing that bit you (2011)

LARRY POLANSKY

freeHorn (2012)

Giacomo Fiore,

solo electric guitar, electronics

OS 3:00OSHER SALON

HOT AIR MUSIC FESTIVAL 2013


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ABOUT HAIR OF THE THING THAT BIT YOU

Commissioned by Matthew Holmes-Linder of theMobiusTrio,thisfantasyexplorestheaermathin four sections:

I. Contemplative and earnestII. Spritely and a bit naveIII. Sharp and frustratedIV. Very sentimental (like a love letter)

ABOUT ANTHONY PORTER

The composer writes:I started playing piano at around age 10 thanks toa generous nudge from my Italian grandma, anditwasnttoolongaerthatIbegansharingtheleside of the bench with her playing old standardslike Caravan and Up a Lazy River as shed shout

out the chords to play while she improvised themelody on top. I began writing songs in highschool imitating this improvisatory style untilarriving at UC Berkeley where I started to honemycrastudyingpianowithMichaelSethOrlandandcompositionwithJohnThow.Beforenishingat Cal, I went to Bologna, Italy to study music (atthe G.B. Martini Conservatory and the University

of Bologna), but ended up learning much moreaboutlanguage.There,Iexperiencedrst-handhowdierentpatternsofspeechandbodycues

andexpressions(ofwhichItaliansare,ofcourse,notorious)justsimplycouldnotbetranslated;most of my compositions to this day focus on thisconcept of meaning being lost in translation. InishedmymastersincompositionattheSan

Francisco Conservatory of Music in 2011; there Istudied with Dan Becker.

ABOUT ANOTHER POSSIBILITY

In 1966, Morton Feldman wrote his friend andcolleagueChristianWolapieceforsoloelectric

guitar entitled The Possibility of a New Work forElectric Guitar.Wolwhowasnotaguitaristperformed the piece a few times in concert andon various radio stations, until the guitar (and thecase in which he kept the only copy of the music)was stolen from his car one night.

In 1994 composer Larry Polansky wrote 34 Chords,an electric guitar orchestration of Feldmans shortchoral work Christian Wol in Cambridge as a nod tothelostguitarpiece.Thisunexpectedreminder,inturn,promptedWoltocomposeAnother

Possibility, in part from what he remembered ofthe Feldman original.

ABOUT CHRISTIAN WOLFF

ChristianWolwasbornin1934inNice,France,

but has lived in the US since 1941. He studiedpianowithGreteSultanand,briey,composition

with John Cage. Though mostly self-taught as acomposer, his association with John Cage, MortonFeldman, David Tudor, Earle Brown, FredericRzewski and Cornelius Cardew has been import-ant. His music allows performers to freely interactas it is performed. A number of pieces have beenused by Merce Cunningham and the CunninghamDance Company, starting in 1953.

Wolhasbeenactiveasaperformerandasanimproviser. His writings on music, up to 1998, are

collected in the book Cues: Writings and Conversa-tions. He has received awards and grants from the

American Academy and National Institute of Artsand Letters, DAAD Berlin, the Fromm Foundation,the Foundation for Contemporary Performance

Arts and the Mellon Foundation. He is a memberof the Akademie der Knste and has received anhonorary doctorate degree from the California

Institute of the Arts. Trained at Harvard as a classi-cist,WoltaughtclassicsatHarvardandfrom1971to 1999 was professor of Classics and Musicat Dartmouth College.

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OSHER SALON 3:00 PM A17

ABOUT FREEHORN

Of this work, the composer writes:freeHorn is a live computer work meant to beperformed with live instruments. Its a gener-alization of a set of my previous works, which Irefer to as the psaltery set. Its designed so thatperformers can make their own versions of thepiece. LikePsaltery (1978), this version offreeHornmoves through three related harmonic series,

tunedapuremajortriadabovethefundamentalA.Theoverallharmonictrajectoryofthisversion

ifAC#EA.Aerthebuild-upoftheoriginalseries, each new series is introduced in reverseprime order, from the 17th harmonic down:1713111471510591263168421).Harmonics are substituted through a nearestavailable pitch algorithm. The guitar is tuned in

harmonic tuning, and the guitarist is free to matchthe pitches produced by the live computer part.Or not.

ABOUT LARRY POLANSKY

Larry Polansky (b. 1954) is a composer, theorist,teacher, writer, performer, programmer, editor

and publisher. He lives in Hanover, New Hamp-shire, is co-director and co-founder of Frog PeakMusic, and teaches at Dartmouth College.


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BYRON ADAMS

Serenade for Nine Instruments (2012)I. Allegro amabile

II. Ballade: Andante moderato eteneramente

III. Intermezzo: Allegretto grazioso ma pocoscherzando

IV. Finale: Allegro giocoso

SashaLauner,ute

Jessica Huntsman, oboe

Brenden Guy, clarinet

Alexis Luque, bassoon

Caitlyn Smith, horn

Tess Varley, violin

Emily Botel, violin

Vijay Chalasani, viola

Erin Kelly, cello

Alanna Jones, bass

John Kendall Bailey, conductor

ABOUT THE QUARTET FOR CLARINET, VIOLIN,CELLO AND PIANO

Of this work, the composer writes:The idea of composing a chamber work for clari-net has been on my musical to-do list for years. Infact, a number of times I began sketches for such apiece, though all occupied a much lighter emo-tional landscape than the piece on this program.

While I typically do not subscribe to the notion ofcompositionasself-expression,Icannothelpbutconsider this piece my most personal to date.

The work is cast in a two movement, slowfastform.Therstmovement,markedAdagio seriobegins with a somber melody that appears in anumberofdierentguisesthroughoutthemove-

ment.Theunfoldingofthemovementreectsmy desire to employ a more organic approach tocompositionwithoutsacricingformalintegrity.

LUCIANO BERIO

Opus Number Zoo (1950/1970)

I. Barn DanceII. The Fawn

III. The Grey Mouse

IV. Tom Cats

VALINOR WINDS

SashaLauner,ute

Jessica Huntsman, oboe


Alexis Luque, bassoon

Caitlyn Smith, horn

JOSEPH STILLWELL

Quartet for Clarinet, Violin, Cello,

and Piano (2012)

I. Adagio serio

II. Allegro con malizia


Kevin Rogers, violin

Erin Kelly, cello

Joseph Stillwell, piano

CH 4:00CONCERT HALL


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provided the key that unlocked the portal to

sustained invention. I have sought to honor Husabypayinganaectionatetributetohismusicinparticular and Czech music in general. Finally, Isoughttocreateapiecelledwithlyricism,charm,

and gentle wit but leavened by an occasionaltouch of melancholy.

ABOUT BYRON ADAMS

Byron Adams is a composer, conductor, andmusicologist.Hisessayshaveappearedinjournals

such as19th-Century Music, The Musical Quarterly,Music and Letter; Twentieth-century Music and The

John Donne Journal, and have been included in avarietyofscholarlyjournals.In2000,theAmeri -can Musicological Society presented him with thePhilip Brett Award and in 2007, he was appointedscholar-in-residence for the Bard Music Festival,and edited Edward Elgar and His World (Prince-ton, 2007).

Adams music has been performed at the26th Warsaw Autumn International Festivalof Contemporary Music, the Leith Hill Festi-val in England, the Conservatoire Amricain

in Fontainebleau, France, and the ArmenianPhilharmonic Orchestra. A recipient of numer-ous awards and grants, he has had his scoresprogrammed in America by such ensembles asthe Syracuse Symphony; Cantori New York; andBoston Secession. Recent commissions includethe Variationes alchemisticae for Chamber MusicPalisades;LeJardinProvenal;forPacicSere -

nades; and Illuminations for piano commissionedby the distinguished pianist Armen Guzelimian.In the summer of 2011, The PhilharmoniaOrchestra performed his Midsummer Music fororchestraunderthebatononPeterOundjianfora

performance in Great Britain. That same year theChautauqua Symphony Orchestra performed hisCapriccio concertante, conducted by Grant Cooper.

Iftherstmovementseemstolookinward

emotionally, the second,Allegro con malizia (withmalice), is surely an outward reaction to suchinner contemplation.

ABOUT JOSEPH STILLWELL

Joseph Stillwell (b. 1984) began composing at age17. He currently resides in San Francisco where hemaintains a busy schedule teaching, performing,and composing. Stillwell received his mastersof music degree in 2010 from the San FranciscoConservatory of Music, where he studied com-position with David Conte. In 2007, he graduatedmagna cum laude from the University of Wiscon-sin-Stevens Point where he studied compositionwith Charles Rochester Young, piano with J.Michael Keller, and conducting with BrendanCaldwell. Stillwell has composed works for avariety of genres, ranging from solo piano and artsong to wind ensemble and orchestra. In additionto composing, Joseph is active as a performer ofnew music, and also maintains an avid interest inmusic and art history.

In a review for the San Francisco Classical Voice,

critic Janos Gereben described Stillwells music as,complexandyetinstantlyappealing,gorgeouslytonal but not old-fashioned. Awards include the2010 James Highsmith Composition Competitionfor his orchestral workMusic for a Forgotten City.His String Quartet No. 1wasoneofthreenalistsinthe 2009 Lyrica Chamber Music Young Compos-ers Competition.

ABOUT THE SERENADE FOR NINE INSTRUMENTS

Of this work, the composer has written:For many years, I wanted to compose an homageto the great Czech-American composer KarelHusa, who was my composition teacher at CornellUniversity. I hesitated for a long time, as I was

unsure what musical form such an homage mighttake.TheconuenceofacommissionfromMark Mandarano for the Sinfonietta of Riverdaleand Professor Husas ninetieth birthday in 2011

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RH 4:00RECITAL HALL

EVAN BUSHMAN

These Ragged Times (2013)

BrandonLePage,ute/piccolo

James Thomas Ginn, trombone

Jess Rodda, tuba

KAITO NAKAHORI

Hidden Instincts (2012)

I. Opening my eyes

II. Beingwiseaertheevent

Mona Narizuka, piano

DOUGLAS MOORE

Gallantry (1958)

Announcer:

Amber Rose Johnson, mezzo-soprano

Doctor Greg:

Alexandre Tarczynski, baritone

Lola Markham:

Sarah Eve Brand, sopranoDonald Hopewell:

Brandon Casbeer, tenor

Dancers:

Katya Lohngoen and Annie Smith

Ted Zoldan, stage director

James MacDougall, piano

Vasken Ohanian, conductor

ABOUT THESE RAGGED TIMES

These Ragged Times is the most recent in a seriesof collaborations between Evan Bushman andBrandonLePage(ute),spanning6years.Danceforms and the theatrical have a prominent place inhis work (including three operas and two ballets),and this piece draws inspiration from the ragtime/cakewalk idiom. Throughout, the ragged rhyth-micavorandsubdivisionfamiliarinJoplins

ragtime is taken to another level with the heavyuseofmixedmeter,andthestratifyingofdierentlevels of metric subdivision being implementedsimultaneously. The pieces slow introductionpresents several ideas which later develop and playprominent roles. These include several simplerhythmic and melodic motives, as well as somemarkedly dissonant harmonic ideas which color

the fundamentally tonal thematic material of thequicker rag section which follows. The rest of thepieceunfoldsinseveralclearlydenedsections,

includingamuchfasterandmetricallystratiedsection,areectionoftheintroductorymaterialmixedwiththemainragtheme,andapresto

tag-oncodatonishwithstyle.

BIOGRAPHY

Evan Bushman (b. 1988) received his bachelorsdegree from Michigan State University in 2010,where he studied composition with CharlesRuggiero and Jere Hutcheson. His masters degreewas completed at Florida State University in 2012,where he studied composition with Dr. Ladislav

Kubik, and was also employed as an aural skillsinstructor.

Evans oeuvre of over one hundred works includesavarietyofchamberandorchestralworks,sixsymphonies, art songs, operas, and ballets. HisballetRumpelstiltskin was selected by competitionfor a reading session with the Detroit SymphonyOrchestra in 2010.


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Moore uses several musical devices to represent

soapoperas:jazzyguresformutedtrumpetandtunesreminiscentofjinglesduringtheAnnounc-ersintroduction;animpressiverangeandoendisjunct,dramaticmelodiesfortheleadsoprano;

and constant tonal uncertainty throughout thework,thusreectingtheconstantdramatictwists

in soap opera plots.

Synopsis. AertheAnnouncerpromotesLoch-

invar Soap (the operas sponsor), the surgeonDoctor Gregg confesses to the anesthetist LolaMarkham that he has fallen in love with her.Lola, however, is engaged to one of the hospitalspatients,DonaldHopewell.LolarebusDoctorGregg,andacommercialforBillyBoyWax

follows. Donald later reveals to Lola that DoctorGregg is a married man. When Lola confronts

Doctor Gregg and threatens to reveal his philan-deringwaystothepublic,theDoctorexpresseshis anger by attempting to stab Donald. Lola savesDonald from the Doctors wrath, and the dramaends with a quartet, with Lola and Donald declar-ing their passion for one another on the one hand,and the Announcer and Doctor Gregg advocatingLochinvar Soap on the other.

ABOUT DOUGLAS MOORE

Douglas Moore (1893-1969) was an Americancomposer remembered primarily for his operas.Theseareoenreferredtoasfolkoperas,as

they center on themes in American rural life oron aspects of contemporary American culture,

as in the case with Gallantry. Moores best-knownopera is The Ballad of Baby Doe, which premieredin1956.Mooreseducationwasheavilyinuencedby French musical traditions, as he studied with

Vincent DIndy and Nadia Boulanger in Paris.He served as a professor at Columbia Universitybetween 1926 and 1962, during which time hewrote many of the works he is known for today.

PROGRAM NOTE AND BIOGRAPHY BY SARAH WALD


ABOUT HIDDEN INSTINCTS

This two-movement work based on the HarukiMurakami novelLederhose and dedicated topianist Aki Takahashi, who performed theworks 2012 premiere in Tokyo, Japan.

ABOUT KAITO NAKAHORI

Kaito Nakahori (b. 1989) is a Japanese composer

based in Tokyo and San Francisco whose workshave been described by Timeless Atmosphereas, Very Asian, very elegant. He is well knownfor his string ensemble and orchestral worksandmakesheavyuseofextendedtechniques.

He received his bachelors degree from theToho College of Music and is currently pur-suing a masters degree at the San Francisco

Conservatory of Music, where he studies withConrad Susa. His past compositional teachershave included Jun Nagao, Kazuaki Ogikubo andRen Staar. He has written for the theater incollaboration with company Keizaito H. Naka-horis works have been performed in Europe,

America and Japan by well-known musicianssuch as Aki Takahashi. He has recently taken

partintheinternationalA-ENProjectwithHikari Kiyama and is a member of the TokyoInternational Association of Artists as well as the

Japanese composer group The Sound Set.

ABOUT GALLANTRY

Douglas Moores short opera Gallantry was

composed with a libretto by Arnold Sundgaardand was premiered at Columbia Universityin 1958. The works subtitle is A Soap Opera,and indeed, Gallantry is a parody of televisionsoapoperasthatisstillrelevantoveryyearsaeritspremiere.Theplotrecallssoapoperaclichs (it centers around a love triangle andindelityinahospital)andeveninterrupsthe action with commercial breaks at criticaldramaticmomentstohumorouseect.


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JUSTIN RALLS

Night-Psalms (2013)

GinaGulyas,ute

WINTON YUICHIRO WHITE

Two Japanese Komoriuta (2013)

I. Edo no Komoriuta

II. Takeda no Komoriuta

Winton Yuichiro White, tenor

AmySedan,ute

JOHN CORIGLIANO

From Three Irish FolksongSettings (1988)

I. The Foggy Dew

III. She Moved Through the Fair

Winton Yuichiro White, tenor

AmySedan,ute

CLARICE ASSAD

Danas Nativas (2006)

I. Twisted Samba

II.ReectiveCano

III.MadBaio

Renaud Ct-Gigure, Paul Morton,

Chris Hague, Adam Cockerham, guitars

RENAUD CT-GIGURE

Two Machines (2013)I. Machine with Abandoned Doll

II. Thinking Chair

Renaud Ct-Gigure, Paul Morton,

Matthew Lyons, Adam Cockerham,

guitars

ABOUT NIGHT-PSALMS

Of this work, the composer has written:Night-Psalms was composed as an homage to thehermit thrush, one of the most beautiful songbirds. The harmonic and melodic material isentirely derived from its song, making use of theidiomaticandtimbrevariationsoftheute.Thesong is a unique whistled prelude accompaniedbyarpeggiatedourishes,mysterious,barelydecipherable to human ears. Phrases vary throughindividuals and regions, yet all share a simple,rmmusicalframeworkofcontrastingvariations.The hermit thrush, which nests on the ground,climbstoahighperchlateatnight,oensinging

in the twilight alone. It prefers the pine barrensabove open woodland, its ethereal whistle echoingothetreesapowerfulpsalminthenightini-tiating travelers to the temples of North Americasmountain forests.

ABOUT JUSTIN RALLS

Composer Justin Ralls (b. 1987) has premieredworks at the Hydansaal in Eisenstadt, Austria, theLucca International Youth Orchestra Festival in

Albano Terme, Italy, Oregon Bach Festival, aswell as other venues in Salzburg, Rome, Portland,Los Angeles, San Francisco, and Boston. Winnerof Third Angle Ensembles inaugural 2012 NewIdeas in Music Competition, he conducted his

winning work,Anthrophony, at two of the groupsNew Ideas in Music Concerts. In July 2012 heparticipatedintherst-everComposinginthe

Wilderness workshop in Denali National Park, in

RH 5:00RECITAL HALL


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Colorado, and National Symphonies as well asby colleagues in Japan, Singapore, France, andthroughout the United States. During his time inLos Angeles, he was active as a tuba player andbassist. Still active as a performer, Winton nowsings as a tenor and countertenor with a variety ofBay Area ensembles.

ABOUT THREE IRISH FOLKSONG SETTINGS

The simple instrumentation that Corigliano com-posed for this cycle evokes a setting of musiciansin old Ireland; this type of music may have beenperformedwithjustvoiceandute. The Foggy

Dew is a classic and familiar Irish folk tune abouta mans pursuit of a woman. She Moved Throughthe Fairisalsoatraditionalfolktune;itssubjectisthe awaited union between the man and woman.Corigliano creates a celestial, religious tone thatis reminiscent of medieval music, building onsimilarities between music of that period andIrish folk music. WINTON YUICHIRO WHITE

ABOUT DANAS NATIVAS

Of this work, the composer has written:Danas Nativas is a collection of four Braziliandances in three movements, written for the

Aquarelle Guitar Quartet. Each movement is basedon contrasting ideas of form and musical style.

Therstmovementcombinestheexcitingrhyth -mic pulse of the samba and the lush, sophisticatedharmoniesassociatedwithjazz.Becausethe

nalresultisnotrealsamba,bossanovaorjazz,I decided to give it the title of Twisted Samba,atake-oonafamousbossanovasongcalled

Samba Torto by Antonio Carlos Jobim.

Thesecondmovement,ReectiveCano

(canoisthewordforsonginmynativePortu -guese), begins with a slow and sorrowful melodythat gradually turns into a more cheerful waltz.My goal was to create ambiguity not only withmeters and form, but with the evocation ofcontrastingemotionalcontextbydrawingideasfrom each other.

collaboration with the Fairbanks Summer ArtsFestival and Alaska Geographic. Justin takes anactive interest in natural soundscapes, believingthat cultural relevance and sustainability entail astringent commitment to regionalism in contem-porary music.

ABOUT TWO JAPANESE KOMORIUTA

Of this work, the composer has written:My Japanese folk song arrangements were writtento pair with John Coriglianos Three Irish FolksongSettings for this years Hot Air Music Festival.

Although I was raised in Japan, I was not familiarwith the Takeda no Komoriuta. Akomori uta is alullaby sung by a mother or nanny. Takeda noKomoriutaismorespecicallyamoriko utaalullaby sung by young teenage girls who cared forthe infants of the aristocrats and the wealthy. Thesong is a lament: A teenage girl wants to attendtheBonFestivalbutherfamilycannotaordthe

appropriateouttfortheoccasion.Takingcareof the baby amidst the cheerful sounds she hearsfrom the Bon Festival, she longs to leave thecity and return to her familys poverty-strickenhome.Edo no Komoriuta is a traditional lullaby thatmothers have sung to their infants since JapansEdo Period (1603-1868).

ABOUT WINTON YUICHIRO WHITE

Winton Yuichiro White (b. 1980) has been com-posing for more than 15 years, emerging as aversatile composer for orchestral instruments,vocalensembles,dancegroupsandlm.BorninNew York, raised in Japan, he has pursued com-position studies in California at the San FranciscoConservatory of Music and at Biola University.Wintonrecentlycomposedhisrstsoundtrackfor the HAFU Film, which will have its premiere

American screenings at the Hapa Japan Confer-ence (University of Southern California) and at

University of California, Berkeley in April.

Whites work has been performed by members ofthe Milwaukee, Baltimore, Pittsburgh, Cincinnati,


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ABOUT TWO MACHINES

Two Machines is inspired by two kinetic sculpturesby Arthur Ganson. Ganson, an American artistand engineer, builds machines that bring simpleobjectstolifeinachoreographicmanner.Therstsculpturerepresentedinthemusic,Machinewith Abandoned Doll, displays a stained baby dollmovinglikearealnewborn.Theobjectisrestingon a dozen metal sticks which are connected to a

machine. The machine causes the sticks to moveupanddowninasyncopatedmatterasoneofthe infants arm comes up, the other goes down.Themusicinspiredbythisscenemostlyreectsits peaceful quality. When accompanied by thevideo of the sculpture, this piece contributes tothe illusion that the abandoned doll is real. Anintrospectiveaectiscreatedbyusingminimal -

ism containing lullaby-sounding melodies andrestful chords.

In Gansons Thinking Chair, a small yellow chairslowly sways from one leg to another, emulatingsomeone thinking and pacing in circle. Themachines musical representation is found in Ct-Gigure choice of harmony for the second sectionof the movement: It constantly seeks somewhere

happier to settle, but eventually has to no choicebut to return to D minor. The idea of thinkingespeciallythinkinginacircleisrepresented

byunstablepolyrhythmsintherstsectionandemphasisedbyinfrequenttripletgures.

ABOUT RENAUD CT-GIGURE

Guitarist and composer Renaud Ct-Gigure(b. 1990) has performed in numerous venues andfestivals throughout Canada and the United States,including recent appearances at the SwitchboardMusic Festival (with his guitar duo, Pinocchio) andthe Kennedy Center. Renaud began his studies atthe Conservatory of Montral at 16 and completedhis bachelors degree there under the tutelage of

Jean Vallires. He is currently in his second yearof the masters program at the San FranciscoConservatory, where he studies with composerand guitarist Srgio Assad.

MadBaioclosesthissetofworks,againbyintroducingtwodierentmusicalideasandthen

combiningtheminthecoda.Itstartsowithaseriesofidiomaticstrumminggesturesinmixed

meters that suddenly drop out and give room tothebaio(aNortheastBrazilianrhythm)thatcom-prises the main body of this piece. In the end, thetwo ideas mingle as the rhythmic melody of the

baioisaccompaniedbythegrooveofthemixedmeter patterns from the movements beginning.

ABOUT CLARICE ASSAD

Clarice Assad (b. 1978) is a pianist, arranger,vocalist and composer. A native of Rio de Janeiro,

Assad was born into one of Brazils most famous

musical families; she is the daughter of SrgioAssad, and has performed professionally since theage of seven. her compositions incorporate a widevarietyofstyleswhichoenmergeinherworks.

Assads formal piano studies began with SheilaZagury in Brazil; she then studied with NatalieFortin in Paris and had additional instructioninjazzandBrazilianpianounderthetutelageof Leandro Braga. Assad continued her classicalpiano studies in the United States with Ed Bed-ner (Berklee School of Music) and Bruce Berrat Roosevelt University in Chicago. Assad hasstudied composition with Ilya Levinson, StacyGarrop,DavidRakowski,OsvaldoGolijov,MichaelDaugherty, Evan Chambers and Claude Baker.Her voice teachers have included Susan Botti and

Judy Blazer. She received her bachelors degreefrom the Chicago College of the Performing Arts,Roosevelt University in Chicago, Illinois and hermasters in composition from the University ofMichigan, Ann Arbor.

ABOUT DANAS NATIVAS, CONTINUED

RECITAL HALL 5:00 PM



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A25

NICHOLAS WHITE

stitchings (2010)

JOSEPH M. COLOMBO

Ouroboros (2013)

NEW KEYS

Lucy Moore, Kanoko Nishi,

AnthonyPorter,ReginaSchafer,piano

INGRID LEE

Of Monsters (2012)

Anthony Porter, accordion

ReginaSchafer,piano

ANTHONY PORTER

archer (2011)

Anthony Porter,

ReginaSchafer,piano

IAN DICKE

Dj (2009)

Lucy Moore, Kanoko Nishi,

AnthonyPorter,ReginaSchafer,piano

OS 5:00OSHER SALON

ABOUT STITCHINGS

Regarding this work, the composer has written:While attending Fullerton Community College,I was part of a piano ensemble. For one of ourconcerts, we had programmed Six Pianos by SteveReich, and, while rehearsing the piece, I had theidea to write a piece for the same ensemble.

stitchings is my take on Reichs minimalist tech-nique, which I have always been fond of as both

listenerandcomposer.Becauseitisdiculttondvenuesequippedwithsixpianos,Irearrangedthe work for four players on two pianos.

ABOUT NICHOLAS WHITE

A native of Anaheim, California, Nicholas White(b. 1988) received his bachelors degree from Cal-

ifornia State University, Fullerton in 2010 wherehe studied composition with Ken Walicki andLloyd Rodgers and piano with Eduardo Delgado.

While at CSUF, he performed on oboe, recorder,and harpsichord in a variety of ensembles largeand small. White is a founding member of theLong Beach New Music Collective and is currentlywriting works for their June concert.

ABOUT OUROBOROS

Ouroboros is the name for the symbol of a snake, ordragon, swallowing or eating its own tail, creatingacircle,andsymbolizingwholenessorinnity.Taken pessimistically, it depicts a creature causingits own destruction.

Both cycles and the self-implosion come intoplay in this work for the piano eight hands writtenfor and dedicated to New Keys. A chromatic linedescends the entire range of the piano, only toreappear in the highest register, circling backupon itself, continuing its descent. Once it returnsto where it started from another faster line slipso.Morelinescontinuetopileupuntilthemusic

collapses under its own weight.

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California Institute of the Arts where she studiedcomposition with Michael Pisaro, Karen Tanaka,and Wadada Leo Smith, and piano with VickiRay. She currently teaches piano and performsinexperimental,newmusic,andimprovisation

ensembles including KREation and the L.A.Stylophonic.

ABOUTARCHER

archer is a love letter.

ABOUT ANTHONY PORTER

The composer writes:I started playing piano at around age 10 thanks toa generous nudge from my Italian grandma, anditwasnttoolongaerthatIbegansharingthele

side of the bench with her playing old standardslike Caravan and Up a Lazy River as shedshout out the chords to play while she improvisedthe melody on top. At UC Berkeley, I started tohonemycra,studyingpianowithMichaelSethOrland and composition with John Thow.

BeforenishingatCal,IspenttimeinBologna,

Italiy,whereIexperiencedrst-handhowdier -entpatternsofspeechandbodycuesandexpres-sions (of which Italians are, of course, notorious)justsimplycouldnotbetranslated;mostofmycompositions to this day focus on this conceptofmeaningbeinglostintranslation.Inished

my masters in composition in 2011 at the SanFrancisco Conservatory of Music, where I studied

with Dan Becker.

ABOUT DJ

Dj is scored for two pianos/four pianists. Itexplorestwouniqueandmysticalhumansensations: dj vu (already seen) and dj rve(already dreamed). Nearly all of us have had

thefeelingthatweveexperiencedsomethingbeforewhetheritwasanimage,sound,orsomecombination of both. This eerie feeling has causedmany to believe that our brains have a built-in

ABOUT JOSEPH M. COLOMBO

Joseph M. Colombos (b. 1989) work is charac-terized by a strong rhythmic drive and vibrantenergy.Hehaswrittenfortheconcerthall,oen

enjoysperforminghisownmusic,andisexcitedtopresenthisrstinstallationatthisyearsHot

Air Festival. He has studied with Dalit Warshaw,CurtisHughes,JanSwaord,andAndyVores.Mr. Colombo has a bachelors degree in music

composition from the Boston Conservatory andis currently pursuing a Masters degree at the SanFrancisco Conservatory, where he studies withDanBecker.HeisafoundingmemberoftheFihFloor Collective.

ABOUT OF MONSTERS

About this work, the composer has written:Notions of the Self/Other dichotomy are centralinmyworkandareexpressedinheruseofsoundsthat trigger (attack), grow from (sustain), or end(release)fromdierentpointsofcontact.Of

Monsters consists of hybrid sounds resulting fromdierentkindsofresonancesbetweenthestringsof the piano, and between the accordion and thepiano. Using the microtonal tunings of the pianoharmonics against the equal tempered tuningsof the piano keyboard and the accordion, subtlebeatings emerge and dissipate throughout thepiece.Eachsoundispatchedtogetherfromdier-entsources,extendedbysympatheticresonance,disturbed by beatings, resulting in a series ofhybrid, monstrous sounds.

ABOUT INGRID LEE

Ingrid Lee (1990-) is a Los Angeles based com-poser, improviser, and pianist from Hong Kong.Leesworkisinuencedbyideasofbecomingandfailure in human-technology relationships. Leescollaboratveprojectswithlmmakers,animators,dancers, and visual artists have been performed/screened in Hong Kong, Los Angeles, New York,and Essen, Germany. Lee received a bacherlors inmusic composition and piano performance from




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OS S O 5:00

ABOUT NEW KEYS

New Keys, now entering its tenth full season, pro-motes the most innovative work written for thepiano. Having performed Steve Reichs iconic Six

Pianos in 2010 on the Hot Air stage with 6 Yamahakeyboards, New Keys returns with a full hour setof newfangled music for the piano, featuring 2worldpremieres,andaslewofotherexcitingmulti-hand works.

system of clairvoyance, or that the fabric of spaceand time is not always what it seems.

Therstmovementechoesthisexperiencethrough the use of repetitive patterns, creatinga literal sense of hearing it before. The end ofthe movement features a famous chord that maycausearealsensationofdjvu.

Inthesecondmovement,DjRve,thefourpianists weave together independent layers intoa dream-like series of waves. Here the repeatedpatterns are less regular and clear, similar to howweexperiencetheseeminglyrandomdiscardingof the days sights and sounds via dreaming.

Dj concludes with a question that awakens thepower of our subconscious: is the future deter-mined by our past dreams?

ABOUT IAN DICKE

The music of American-born composer IanDicke (b. 1982) includes works for orchestra, windensemble, chamber ensembles, and electronicmedia. Heralded by the San Francisco ClassicalVoiceascolorful,well-designed,anddelyscored,Dickesworksoenexplorecontemporary

social-politicalculturethroughamixtureofpun-gent and triadic harmonies, dance-like rhythms,andintricatelylayeredtextures.

Dicke has received awards and recognition fromthe Fulbright Program, San Francisco Conserva-tory of Music, Meet the Composer Foundation,

ASCAP, and BMI, among others. He was recently

awarded two summer 2012 artist residencies: TheAtlantic Center for the Arts in New Smyrna Beach,Florida and Art342 in Fort Collins, Colorado.

Dicke is an Assistant Professor of Digital Compo-sition at the University of California, Riverside.HeholdsdegreesfromTheUniversityofTexasat

Austin, University of Michigan, and San FranciscoConservatory of Music. Dicke has studied com-position with David Conte, Dan Becker, BrightSheng, Michael Daugherty, Dan Welcher, YevgeniySharlat, Donald Grantham, and Russell Pinkston.



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ABOUT DANCING ON THE BRINK OF THE WORLD

Conductor John Kendall Bailey writes:At 6:00pm on March 3 in the main Concert Hallat the San Francisco Conservatory of Music, I willconduct the world premiere of composer Loren

Jones 14-movement tribute to the city of SanFrancisco, titledDancing on the Brink of the World,which will be the centerpiece of the annual Hot

Air Music Festival. Each movement of Jones work

bringstolifedierentepisodes,cultures,andmoments in San Franciscos rich history. Echoesof music from China, the Ohlone people, and theearly California Missions combine with move-ments which remember historical events like theGoldRush,theWestCoastsrstWorldsFair,andthe1906earthquakeandre;othermovements

commemorate beloved places in SF, capturingthemintheirtimeofgreatesthistoricalsigni-canceorpopularityPlayland,GoldenGatePark,HaightAshbury,theCastro,NorthBeachand

ofcoursethemyriadofdierentculturesandstyles inevitably demands a wonderfully uniqueinstrumentation for the orchestra, including erhu,pipa,banjo,NativeAmericanute,accordion,musical saw, and more.

ABOUT LOREN JONES

Loren J. Jones (b. 1950) began composing as achild.Hespenthisearlyyearsbetweenlm-mak -ingandmusic,andhislmworkwasperiodicallybroadcast on local television station KTVU.Eventually choosing to pursue music instead oflm,Jonesformedseverallocalbands,performing

andcreatingdierentgenresoforiginalmusic.HehasstudiedwithTomConstantine,AlexisAlrich,and David Conte.

Jones music has been performed by his ownchamber group, by the The San Francisco Com-posers Chamber Orchestra, the Zofo Duet, andby students, teachers and professional musicians

from around the Bay Area. He has producedrecordings,workedinradioandlm,andcreatedthe sound track for an animated short which wona special Academy Award.

CH 6:00CONCERT HALL

LOREN JONES

Dancing on the Brink

of the World (2012)I. Ohlone Song 1600II. Ave Maria Yerba Buena 1776

III. Gold Rush 1849

IV. Dragon Gate 1850s

V. The Barbary Coast March 1860s

VI.MidwinterExposition1894

VII. The Outside Lands 1900VIII. Earthquake & Fire 1906

IX. Playland 1920s

X. Golden Gate Bridge 1930s

XI. North Beach 1950s

XII. Haight Ashbury 1960s

XIII. The Castro 1970s

XIV. The City by the Sea 2013sSteve Adams, soprano sax

Travis Andrews,

acoustic and electric guitar

Dan Cantrell, accordion, melodica, saw

Ariella Hyman, cello

LorenJones,NativeAmericanute

Anna Maria Mendieta, harpMitch Polzak, banjo

Tao Shi, Erhu

JefreyStaulcup,horn

Joseph Stillwell, piano

Shenshen Zhang, pipa

Golden Gate Chorus

Hot Air Festival Orchestra

John Kendall Bailey, conductor



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RH 6:00RECITAL HALL

DAN BECKER

Lockdown (2010)

PETERIS VASKS

String Quartet No. 4 (2003)

I. Elegy

II. Toccata 1

III. Chorale

IV. Toccata 2

GABRIELA SMITH

Reection Nebulae (2011)

FRICTION QUARTET

Kevin Rogers, violin

Otis Harriel, violin

Pei-Ling Lin, viola

Doug Machiz, cello

ABOUT LOCKDOWN

Of this work, the composer has written:Lockdown is all about patterns. A teeming, over-heatedandoverstuedprisonofpatterns.Some-times they interlock harmoniously, but moreoentheygrindercelyagainsteachotherinwhat

seemslikeanattempttoescapeothemusicalpage. Such unruly musical material needs an evenmore ferocious and dangerous group of perform-

ers to maintain control and keep the scoundrels intheir compositional cells.

LockdownwascommissionedbytheBanInter-nationalStringQuartetCompetitionfortheAaraString Quartet and premiered in January, 2010 attheBanCentreaspartofacollaborationwiththeCommon Sense Composers Collective.

ABOUT DAN BECKER

Dan Becker (b. 1960) is a San Francisco-basedcomposer whose work has been described aspost-minimalist,showingtheinuencesofTerryRiley (with whom he studied) and other minimal-ists (La Monte Young, Steve Reich and Philip Glass).

Becker received his bachelors degree from theSan Francisco Conservatory and subsequentlycompleted masters degrees and a doctorate at

Yale University. His teachers included Terry Riley,Jacob Druckman, Martin Bresnick, Elinor Armer,Poul Ruders and Louis Andriessen. He is therecipient of awards and grants from the American

Academy of Arts and Letters (2001), Meet theComposer (2002/2008), American Music Center(2006), Live Music for Dance (2006), the AmericaComposers Forum (2004), and the Mary FlaglerCary Charitable Trust (2003). His music has beenperformed at the Norfolk Summer Festival, Chi-cago Arts Series, Park City String Quartet Festivaland the Bates College American Music Festival.Becker is the founder and Artistic Director of theCommon Sense Composers Collective, a memberof the Board of Directors of the American MusicCenter, and a professor of composition at the SanFrancisco Conservatory of Music.

HOT AIR MUSIC FESTIVAL 2013 A30RECITAL HALL 6:00 PM


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vision of this multi-million-year process of starformation, condensed into about 13 minutes.

ABOUT GABRIELA SMITH

The music of Gabriella Smith (b. 1991) has beenperformed by the Berkeley Symphony under KentNagano, the Aspen Contemporary Ensemble, the

Azure Ensemble, Classical Revolution, Contempo-raneous, members of Eighth Blackbird, Ensemble

39 and Monadnock Music. A winner in the ASCAP/Morton Gould Young Composer Competition,Smith also received the First Place Prize in the2009PacicMusicalSocietyCompositionCom -petition. Most recently she was selected to writeforthe2012OneBookOnePhiladelphiaproject.

Smiths composition teachers have included

Arkadi Serper, Yiorgos Vassiladonakis and JohnAdams. She currently attends The Curtis Instituteof Music, where she studies with David Ludwig,Jennifer Higdon, and Richard Danielpour. Anactive violinist, she has played in the Superdel-egates (an improvisational classical/blues stringquartet), the Formerly Known as Classical ensem-ble, and the Young Peoples Symphony Orchestra.

ABOUT FRICTION QUARTET

The recipient of the 2012 Berkeley Piano ClubEmerging Artist Award, Friction Quartet hasestablished a reputation for edgy programmingandexhilaratingperformances.Thequartethascommissioned new works from Daniel Felsenfeld,

Brendon Randall-Myers, Noah Luna, and RafaelHernandez. By fostering artistic collaborationinvariedmediums,exploringnewgenres,andadding movement to performances, the ensem-ble creates a progressive and inviting concertatmosphere that attracts audiences of all ages andinterests. Community improvement and educa-tion are crucial elements of their mission. Theyprovide free public performance and outreach instrugglingcommunitiesandschoolsinorderto build and sustain musical cultures as well asbroaden future audiences of classical music.

ABOUT STRING QUARTET NO. 4

Vasks fourth string quartet was premiered in2000bytheKronosQuartet.Itconsistsofvemovementsandrunsapproximatelythirtyminutes.

Vasks has said the following about the piece: Therehas been so much bloodshed and destruction, andyet loves power and idealism have helped to keepthe world in balance. I wanted to speak of thesethings in my new quartet; not from the sidelines,but with direct emotion and sensitivity. To accom-plishthis,Vasksjuxtaposedfolkelementswithchaoticpassages,ebbingandowingasdramaticmoments are succeeded by tranquility. Critic Rob-ert Levine has compared the quartet with the musicof Arvo Prt and Dmitry Shostakovich, and indeed,VaskshimselfhasacknowledgedtheinuenceofShostakovich in this work.

ABOUT PETERIS VASKS

Peteris Vasks (b. 1946), born in Latvia, studieddouble bass and composition as a teenager in Riga.Formal studies in double bass continued at theLithuanian Conservatory in 1970 and compositionstudies began at the Latvian Music Academy in1973. He is particularly known for his choralwriting, although his instrumental works have beenperformed all over the world and have proven to bepopular with choreographers.

PROGRAM NOTE AND BIOGRAPHY BY SARAH WALD

ABOUT RELECTION NEBULAE

Of this work, the composer has written:Nebulae are giant, interstellar clouds of dust andgasses. Seen through a telescope, they are beautifulandfascinatingwithshapesandtexturesrangingfrom foggy and nebulous to delicate wisps and in-tricacies.Reection nebulaereectthelightofnearbystars to produce a multitude of brilliant, glowingcolors. Over the course of billions of years, the dustand gasses of nebulae rotate and clump together,gradually forming larger and larger masses. Eventu-ally the entire nebula is pulled in to one giant massand a star is born. This piece is my own musical



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OS 6:00OSHER SALON

JEN WANG

Delta (2011)

AmySedan,uteSophie Huet, clarinet

Joseph Maile, violin

Joanne DeMars, cello

Margaret Halbig, piano

Carla Fabris, harp

Dan VanHassel, electric guitar

Nathaniel Berman, conductor

ELIZA BROWN

The Barely Cycle:

This Time Finer (2012) Sophie Huet, clarinet

LIZA WHITE

Groove III (2011)

AmySedan,ute

Sophie Huet, clarinet




ALEX TEMPLE

Triggersh (2006) Dan VanHassel, electric guitar

DAN VANHASSEL

Revealing, Unraveling (2012)

AmySedan,ute

Sophie Huet, clarinet




Carla Fabris, harp

Dan VanHassel, electric guitar

Maria Janus, soprano

Margaret Jones, soprano

Nathaniel Berman, conductor

ABOUT DELTA

Of this work, the composer has written:Deltarefersbothtotheplacewhereariverowsinto an ocean and to the Greek letter that, inmathematics,signieschange.Beginningwithparallel threads of music, both measured andunmeasured, the piece unfolds as a series of ideasthat arise and dissolve, half-formed snippets ofmaterial moving toward increasingly pronouncedformsandgreaterexpansesovertime.

ABOUT JEN WANG

The work of Jen Wang (b. 1980) has been featuredat the Wellesley Composers Conference, the Inter-national Computer Music Conference, the BangOn A Can Summer Institute, the California EAR

Unit Residency at Arcosanti, the Music 03 and04 festivals, and the SPARK Festival. Her com-missions include works for the Iktus Percussion



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During the composition process, this frictionbetween the innate and the imposed is a source of

revelation, prompting a search for musical iden-tity that mirrors, abstractly, the human process ofself-discovery.

ABOUT ELIZA BROWN

Composer Eliza Brown (b. 1985) writes music thatexplorestheinteractionbetweennaturalacoustic

properties of sound, the physical construction ofinstruments,andculturallydenedelementsof

musicalmeaningandsyntax.Describedasdeli-cate, haunting, [and] introspective by SymphonyMagazine, Browns music has been performedand/or commissioned by Ensemble Dal Niente,Network for New Music, Spektral Quartet, WetInk Ensemble, and members of the PRISM and

Anubissaxophonequartets.

RecentprojectsincludeWax Figure, a solo guitarpiece written for Ensemble Dal Nientes JesseLangen, andIch bin der Welt abhanden gekommen(aerMahler),commissionedbyNetworkforNewMusic. As a winner of Center City Opera Theaters2012 Art Song Competition, Eliza is currently creat-

ing an opera scene for the company with librettistRoyce Vavrek.

Currently a doctoral student in composition atNorthwestern University, Brown received herbachelors degree in compositionsumma cum laudefrom the University of Michigan, where she alsostudied cello and viola da gamba performance.

ABOUT GROOVE III

Of this work, the composer has written:Groove IIIis part of a family of pieces that includesshort solo piano movement, Groove, solo pianopiece, Groove II,andmixedseptet,Groove Excur-

sion.Itexplorestherepetitionofamusicalgure,whilealteringdierentcharacteristicssuchas

duration, orchestration, or location of rhythmicemphasis. A musical motive becomes, rather thanasteppingstonetosomethingnew,anobjecttobe

fullyexaminedandexperiencedinitsownright.

Quartet, Coro DAmici, the UC Berkeley ChamberChorus,utistJanetMcKay,NeXTEns,and

clarinetist Cristhian Rodriguez; she has alsobeen performed by Lucy Shelton, the CaliforniaEARUnit,OnixEnsamble,EcoEnsemble,theNew Spectrum Ensemble, and the percussionensembles of Mannes College and the UniversityofCalifornia,Davis.Herrstinstallationwork,

Black Cloud (for streaming data and electronics),premiered as part of Panorama, an evening-lengthmulti-media performance featuring choreographyby Merce Cunningham and Lisa Wymore.

Wangs percussion quartet,Renderings of Things WeCouldnt Take Home, was recently featured at SanFranciscosOtherMindsFestival.Otherprojectsinclude a song cycle for contralto Karen Clark anda piece for piano and electronics for pianist GloriaCheng. She has held residencies at the MacDowellColony, where she was a National Endowment forthe Arts Fellow, and the Millay Colony of the Arts.Her bachelors degree was completed at CarletonCollege and her masters at the University of Cin-cinnati College-Conservatory of Music. Currentlya doctoral candidate at the University of Califor-

nia, Berkeley, she has been awarded the EisnerAward in Music, the Nicola de Lorenzo Prize, andthe William V. Power Graduate Award. Jen Wang isthe founder and co-director of Wild Rumpus.

ABOUT THE BARELY CYCLE

Of this work, the composer has written:

The Barely Cycle isanextractablesetofsolopiecesforvedierentinstrumentslinkedbyminiaturechamber works. Each solo focuses on somethingessential about the instrument at hand, while alsolimiting or handicapping the instrument in someway. This Time Finer showcases the unique setof microtones available in each register of theclarinet, but limits the music to narrow bands of

pitches within each register, forcing it to simulta-neously accommodate tiny microtonal intervalsandextremelywideleapsbetweenregisters.

ABOUT JEN WANG, CONTINUED



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ABOUT ALEX TEMPLE

The composer writes:My work has been performed by a variety ofsoloists and ensembles, including Mellissa Hughes,Timothy Andres, Mark Dancigers, the AmericanComposersOrchestra,FihHouseEnsemble,and Ensemble de Sade. I also write vocal andelectronic music for myself, which Ive performedinNewYorkvenuessuchasRoulette,Exapno,

the Tank, the Gershwin Hotel, and Galapagos ArtSpace.AsthekeyboardistforBenHjertmannschamber-rock group The Sissy-Eared Molly-coddles, Ive performed at Chicagos Green MillCocktail Lounge and at the South by SouthwestFestival; at Chicagos Elastic Arts Foundation; andwith aperiodic, an ensemble dedicated to the per-formance of indeterminate music in the tradition

of John Cage. Im currently working on an operacalledEnd about TV production company closinglogos and the end of the world.

AlexTemple(b.1983)hasstudiedatYaleandthe University of Michigan. Her teachers haveincludedKathrynAlexander,JohnHalleandMat -thew Suttor, Erik Santos, Michael Colgrass, TaniaLen and Betsy Jolas. She is currently pursuing a

doctorate at Northwestern University, where shehas studied with Hans Thomalla and Jay Alan Yim.

ABOUT REVEALING, UNRAVELING

Of this work, the composer has written:Revealing, Unravelingdivides the ensemble intotwo groups. The two groups are not completely

xed,withinstrumentssometimesswitchingloy-alty, but in general the piano and harp provide aneternally-cycling harmonic and rhythmic frame-work for the piece, on top of which the remaininginstrumentsinterjectnoisy,percussivephrases.

In this way I achieve a slow moving, continuouslyevolving form, while simultaneously creatingextremesofmusicalandemotionalcontrastonthe

locallevel.Thetwosopranosdontsinganytext,but instead participate as additional instrumentalvoicesofgreatrangeandexibility.Thispieceisdedicated to my colleagues in Wild Rumpus.

ABOUT LIZA WHITE

Hailed by disquiet.com as melodically incisive,and ever surprising, Liza Whites music servesideals of direct, focused and socially relevantexpression.Herworkhasbeenperformedby

Alarm Will Sound, Ensemble SIGNAL, FulcrumPointNewMusicEnsemble,FihHouseEnsem -ble, members of the Charleston SymphonyOrchestra, and ALEAiii conducted by GuntherSchuller. It has been featured at top venuesand festivals including REDCAT, the NorfolkChamber Music Festival, the Mizzou New MusicSummerFestival,JuneinBualo,theBowdoinInternational Music Festival, and the ComposersConference at Wellesley College, as well as onNationalPublicRadio.Upcomingprojectsinclude

new works for Ensemble Dal Niente, the PalomarEnsemble, the Chicago Q Ensemble, and Singerson New Ground. Liza has won the Craig and JanetSwan Prize and the Margaret Blackburn Compo-sition Competition. Brown has held residenciesat the MacDowell Colony, the Atlantic Center forthe Arts, the Virginia Center for the Creative Arts,the Brush Creek Foundation for the Arts, and theHambidge Center for Creative Arts and Sciences.

Currently pursuing doctoral studies in compo-sition at Northwestern University, she is MusicTheory and Composition Department Chair atthe Merit School of Music, and she also teaches atNorthwestern and at Access Contemporary Music.

ABOUT TRIGGERFISH

Of this work, the composer has written:Triggersh was originally part of a set called ThreeCreatures, written for guitarist Mark Dancigersbetween 2002 and 2006. [E]verything the guitaristplaysisgivenanelectronicechoorrather,twoechoes at once, one faster than the other. A singlenote becomes a rhythmic pattern (familiar tomusic students as pass the goddamn butter), and

amelodybecomesacomplex,interlockinglattice.Itseasyforthetexturetobecomeoversaturated,as if the music had been plunged underwater.

HOT AIR MUSIC FESTIVAL 2013 A34OSHER SALON 6:00 PM


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ABOUT DAN VANHASSEL

Dan VanHassel (b. 1981) is a composer andmulti-instrumentalist living in the San FranciscoBay Area. A musical omnivore, his works combinenoise and chaos with moments of sensuous beautyand simplicity, creating a quirky and evocativesoundworlddrawingfromhisexperienceper -forming in rock bands, gamelan orchestras, freejazzgroups,andchamberensembles.

ABOUT WILD RUMPUS

Founded in 2011, the San Francisco-based newmusic ensemble Wild Rumpus is dedicated to thedevelopment of new music through collaborationwith young and emerging composers. Its per-formances span the spectrum of contemporarymusic, from hard-edged modernism to post-min-imalandworksinuencedbypopculture.Withsupport from the Columbia Foundation, theZellerbach Foundation, and the American Com-posers Forum, Wild Rumpus has commissionedeighteen pieces from emerging composers in itsrsttwoseasons,fosteringthedevelopmentofthenextgenerationofcontemporarymusic.



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MATTHIAS MCINTIRE

Earthbound and Skyward (2012)

Kyle Coolidge, piano

NICK BENAVIDES

Pain has an element of blank (2013)

I. Its such a little thing to weep

II. WildnightsWildnights!

III. Faithisaneintervention

IV. Heart!Wewillforgethim!

V. Success is counted sweetest

VI. I felt a Funeral

VII. ImNobody!Whoareyou?

VIII. Hope is the thing with feathers

IX. I taste a liquor never brewed

Danielle Reutter-Harrah, mezzo-soprano

Katy Luo, piano

STEPHEN GOSS

Under Milk Wood Songs (1990)

I. Polly Garter

II. Lily Smalls

III. Rosie Probert and Captain Cat

IV. Oh, whatll the neighbours say, whatllthe neighbours

V. Pretty Polly hums and longs

JARRING SOUNDS

Danielle Reutter-Harrah, mezzo-soprano

Adam Cockerham, guitar

RH 7:00RECITAL HALL

ABOUT EARTHBOUND AND SKYWARD

Of this work, the composer has written:Earthbound and Skyward was written while I wasdeepinthetrenchesofthenalyearofmymas -ters in violin performance at the San FranciscoConservatory of Music. On a personal level it rep-resentsamilestoneformeasacomposertherstpiecethatIhadwrittenforsomeoneelsetoplay. On an artistic level, my goal was to contrast afeelingofearthlysueringandstresswiththerarefeeling of celestial release and serenity. In my ownexperiencethesefeelingsoftotalserenitylastonlybrieybeforeIamwhiskedbackdowntoearth.

ABOUT MATTHIAS MCINTIRE

Violinist Matthias McIntire (b. 1986) is active as aperformer, improviser, composer, and teacher inmanydierentcontextsandstyles.Recentprofes -sional highlights include performing with LiviaSohn and members of the St. Lawrence StringQuartet in a concert of music by Vivaldi; sittingconcertmaster for the Bay Area Summer OperaTheatre Institute (BASOTI) orchestra; performingwithworld-renownedjazzpianistVijayIyerattheBanCentreInternationalWorkshopinJazzand Creative Music; playing on the soundtrackof the new movie Looper as a member of theMagik*MagikOrchestra;andjoiningtheteam

atBlueBearSchoolofMusicasviolinandddleinstructor. He is committed to bridging the gapbetween classical and non-classical styles of music.

ABOUT PAIN HAS AN ELEMENT OF BLANK

Of this work, the composer has written:Before Emily Dickinson died she instructed hersister, Lavinia, to burn all of her correspondence.ThoughLaviniacomplied,itissignicantthatDickinsonlenoinstructionsregardingalockedchest that was later found with forty notebooksworth of poems

Documents

Hot Air Music Festival 2013 — Program and Notes