Earplay San Francisco Season Concerts 2011 Season

Herbst Theatre, 7:30 PM

Pre-concert talk 6:45 p.m.

Earplay 26: Sound Science Monday, February 7, 2011

Jonathan BergerGeorge Crumb  Jonathan Harvey  Betsy Jolas

Earplay 26: Sound Tangents

Monday, March 28, 2011

John Cage  Elliott Carter Jonathan Harvey

Mei-Fang Lin Michelle Lou

Earplay 26: Sound Lines Wednesday, June 1, 2011

as part of the San Francisco International Arts Festival

Edmund Campion  Jonathan Harvey  Olga Neuwirth 

Hèctor Parra  Adam Roberts

Earplay commission/world premiere Earplay commission U.S. Premiere West-Coast Premiere

2010 Winner, Earplay Donald Aird Memorial Composition Competition

Hear Earplay in 2012

earplay 27: 2011-12 Season

February 6, March 19, May 10, 2012

June 01, 2011

Earplay 26: Sound Lines

W elcome to Earplay’s final concert of its 26th San Francisco season. Our mission is to nurture new chamber music — to expand its reach to inspire

each one of us through new compositions and performances. The 2011 San Francisco series highlights the innovation from composers at Stanford University. We’re delighted to again participate in the San Francisco International Arts Festival and the exchanges with artists internationally. Tonight composers Edmund Campion and Adam Roberts (2010 Earplay/Aird winner) join us for performances of their works.

Tonight is the last Earplay concert for executive director, Aislinn Scofield who leaves us for adventures in Detroit. She will transition Earplay’s leadership in time for Earplay’s 27th season to Laura Rosenberg who is returning to the Bay Area and will become Earplay’s new ED. Bon Voyage, Aislinn and welcome, Laura!

Mark your calendars for Earplay’s 27th season (February 6, March 19 and May 10, 2012) highlighting Morton Feldman and more commissioned new works. Before February, watch for Earplay around the bay at events to be announced. Earplay continues to be at the forefront of bringing new works to the concert hall. We appreciate your support and look forward to seeing you at each

of our concerts and beyond! Stephen Ness

President, Board of Directors

Earplay Board of Directors

Stephen Ness, president

May Luke, secretary

Bruce Bennett, treasurer

Terrie Baune, musician representative

Mary Chun

Christopher Wendell Jones

Earplay Staff

Aislinn Scofieldexecutive director

Terrie Baune scheduling coordinator

Renona Brownaccountant

Ian Thomas sound recordist

Earplay 2012Donald Aird Memorial Composers Competition

Downloadable application at: www.earplay.org/competitions

Deadline:

March 31, 2012

Special Thanks To:

KALW - Then and Now Sarah CahillBruce Christian BennettChristopher FrohPeter MooreKevin NeuhoffStephen NessEllen Ruth RoseKaren RosenakAislinn ScofieldMark Veregge

Advisory Board

Richard Felciano

William Kraft

Kent Nagano

Wayne Peterson

Chen Yi

Earplay, P.O. Box 192125, San Francisco, CA 94119-2125

SAN FRANCISCO WAR MEMORIAL AND PERFORMING ARTS CENTERHERBST THEATRE

Owned and operated by the City and County of San Francisco through the Board of Trustees of the War Memorial of San Francisco

The Honorable Edwin M. Lee, Mayor

TRUSTEES

Charlotte Mailliard Shultz, PresidentMajGen J. Michael Myatt, USMC (Ret.), Vice President

Wilkes BashfordNancy H. Bechtle

Belva DavisThomas E. Horn

Claude M. Jarman, Jr.Mrs. George R. Moscone

Paul F. PelosiJames W. Stafford

Diane B. Wilsey

Elizabeth Murray, Managing Director Jennifer E. Norris, Assistant Managing Director

EARPLAY 26:

Sound Lines

Wednesday Evening, June 6, 2011 at 7:30 p.m.The Herbst Theatre

Earplay’s season is made possible with funding from the Ann and Gordon Getty Foundation, the Bernard Osher Foundation, The Ross McKee Foundation, the San Francisco Foundation Fund for Artists, the San Francisco Grants for the Arts, the William and Flora Hewlett Foundation and Generous Donors.

Tod Brody, flutes Terrie Baune, violin Peter Josheff, clarinets Ellen Ruth Rose, viola Karen Rosenak, piano Thalia Moore, cello

Guest Artists

Diane Grubbe, flute Alice Lenaghan, flute

Jeff Anderle, clarinet Mark Veregge, marimba

Mary Chun, conductor

Pre-concert talk 6:45 p.m.

Bruce Christian Bennett, moderator with

Edmund Campion and Adam Roberts

Olga Neuwirith Spleen (1994) Jeff Anderle

Jonathan Harvey Lotuses (1992) Mary Chun, Alice Lenaghan, Terrie Baune, Ellen Ruth Rose, Thalia Moore

intermission

Hèctor Parra Time Fields III (2003) U.S. premiere

Diane Grubbe

Adam Roberts Sinews (2008) Earplay Donald Aird Composers Competition 2010 winner

west coast premiere

Terrie Baune

Edmund Campion Musica (1997)

Mary Chun, Alice Lenaghan, Peter Josheff, Karen Rosenak and Mark Veregge

Program

$10,000 +The San Francisco Grants For the

ArtsThe William and Flora Hewlett

Foundation

$5,000 +Ann and Gordon Getty FoundationAnnonymousFrench American Cultural Exchange

$3,000 +The Bernard Osher FoundationThe San Francisco Foundation Fund

for Artists

$1,000 +Ross McKee FoundationTerrie BauneMary ChunMay LukeBari & Stephen NessAislinn Scofield

$300 +Raymond and Mary ChunMargaret DorfmanYoshiko KakudoRosalie LoweWayne PetersonSam Nichols & Laurie San MartinKaren RosenakLarry RussoWilliam SchottstaedtThomas White

$200 +Mark ApplebaumJonathan BergerJane Bernstein and Robert EllisWayne & Winnie ChunMargaret DorfmanPatti Noel DueterGary Eskelson Ellinor HagedornChristopher Wendell JonesRuth Knier Melanie Kwock GongPeter MooreNora NordenArthur Rose Chen Yi and Zhou Long

$100 +Yen BachmeierJonathan BergerKatherine BlumeTod BrodyWilliam Beck & Yu-Hui ChangJames & April CarlsonJohn & Mary CarisChris ConcolinoAlena CowanRichard FelcianoAdam FreyPablo FurmanPatti GlasowMargot GoldingChristine GongDouglas GongMelanie Kwock GongViolet GongMartha Callison HorstLeo KadehjianJoy KentWilliam KraftAnn KroeberAntoinette Kuhry & Thomas A. HaeuserSusan KwockRichard & Patricia Taylor LeeAmy Miller LevineAlfred LerdahlElizabeth O’MalleyDan ScharlinMike SharpDonald & Jill SpuehlerOlly & Louise Wilson

$50 +William BeckermanEmma BethencourtHerbert W. BielawaPatricia BourneSeth BrenzelKatherine BrodyWilliam CarlinJames & April CarlsonJim CarrJohn ChowningLori DobbinsJanet ElliottMichele Fromson & Cordell HoPaolo GeminianiArnold Go

Margo GoldingDaniel GongKaren GottliebJohn and Lee HauseRichard MellottPatricia MoyWendy NilesPablo OrtizLeonard and Sandra RosenbergRegina SneedBill SpechtDonald and Phyllis SutherlandAva VictoriaMark Winges

and more friends Frances L. BennionKenneth BruchmeierAnne CallawayEleanor CohenErnestine S. CohnAlice Berg CroninBarbara and Sanford DornbuschRobert FisherDonald & Stephanie FriedmanGary FriedmanGuillermo GalindoRob GongLouise Haiman Rollin and Phyliss HardingStephen HarrisonValerie HerrLeslie Ann JonesLouis KarchinMazdak KhamdaTeija Kuosku Nana KurosawaEva LangfeditJan LustigMarilyn MercurRalph & Elizabeth MorrisonNorman ReidAllen Shearer & Claudia Stevens

Kristin Zoernig

Donors (since February 2010)

We thank our donors for their generosity and continued belief in the importance of the creation and performance of new and intriguing music.

Eliane AberdamSarah AderholdtThomas AdèsDonald AirdEleanor AlbergaRichard AldagAlexis AlrichAllen AndersonMark ApplebaumRobert BasartRoss BauerBruce Christian BennettArthur BergerJonathan BergerLuciano BerioChristophe BertrandJan BilkHerb BielawaSusan BlausteinStephen BlumbergLinda BouchardPierre BoulezMartin BoykanCarolyn BremerBenjamin BrittenChristopher BurnsAnn CallawayRonald CaltabianoEdmund CampionJames CarrElliott CarterChris ChafeYu-Hui ChangEric ChasalowYi ChenMiguel ChuaguiTimothy Vincent ClarkSteven ClarkAaron CoplandEleanor CoryCindy CoxRuth Crawford SeegerGeorge CrumbBeth CusterMarc-Andre DalbavieGreg D’AlessioLuigi DallapiccolaJames DashowMario DavidovskyPeter Maxwell DaviesAdriana Verdié de Vas

RomeroTamar DiesendruckLori DobbinsFranco DonatoniKui DongJérome DorivalJacob DruckmanEdwin DuggerJoel DurandDavid DzubayJason EckardtGeorge EdwardsAaron EinbondMirtru Escalona-MijaresLeo EylarFredrik Fahlman

Richard FelcianoJohn FelderMorton FeldmanRichard FestingerIrving FineMichael FinnissyTom FlahertyAndrew FrankDavid FroomPablo FurmanBeat FürrerGuillermo GalindoMichael GandolfiGuy GarnettStacy GarropJohn GibsonJames GiroudonvGlenn GlasowDaniel GodfreyAlexander GoehrPerry GoldsteinMichelle GreenMark GreyStephen Michael GrycSusan HardingLou HarrisonEllen Ruth HarrisonStephen HartkeHugh HartwellJonathan HarveyHans Werner HenzeMartin HermanJennifer HigdonAlexander HillsVincent Chee-yung HoSunji HongMartha Callison HorstToshio HosokawaJoan HuangLee HylaIgor IachimciucVictor IaleggioShintaro ImaiAndrew ImbrieCharles IvesEdward JacobsStephen JaffeDavid JaffePing JinBetsy JolasChristopher Wendell JonesPeter JosheffLouis KarchinArthur KeigerHi-Kyung KimEarl KimJerome KitzkeBarbara KolbAnthony KorfPaul KozelWilliam KraftMeyer KupfermanGyorgy KurtagBun-ching LamDavid LangMassimo LauricellaRichard Lavenda

Mario LavistaAnne LeBaronYinam LeefFred LerdahlPeter Scott LewisJorge LidermanPeter LiebersonGyörgy LigetiLiza LimMei-Fang LinScott LindrothDavid LiptakZhou LongMichelle LouJing Jing LuoWitold LutoslawskiDrake MabryJohn MacDonaldSteven MackeyKatherine MalyiUrsula MamlockDonald MartinoDavid MeckstrothMarjorie MerrymanOlivier MessiaenDonal MichalskyDarius MilhaudEric MoeChris Treubue MoorePaul MoravecGustavo MorettoTristan MurailThea MusgraveHyo-Shin NaWilliam NeilOlga NeuwirthSam NicholsRoger NixonJoao Pedro OliveiraHenry OnderdonkPablo OrtizGabriela OrtizJose Antonio OrtsHèctor Para Krzysztof Penderecki Jeffrey Perry

Wayne PetersonAlexander PostLaurie RadfordDavid RakowskiShulamit RanBernard RandsMaurice RavelBelinda ReynoldsSteve RicksAndrew RindfleischAdam RobertsJody RockmakerMauricio RodriguezKurt RohdeMathew RosenblumMorris RosenzweigChris RozeKaija SaariahoVirginia SamuelLaurie San MartinCarlos Sanchez-Gutiérrez

Marc SatterwhiteEric SawyerArnold SchoenbergRalph ShapeySalvatore SciarrinoDavid SchiffDavid SchoberPhilippe SchoellerArnold SchoenbergRoger SessionsAllen ShearerSeymour ShifrinSheila SilverReynold SimpsonPaul SiskindRonald Bruce SmithDavid SoleyHarvey SollbergerClaudio SpiesJeff StadelmanKurt StallmanDorrance StalveyEitan SteinbergFrank StemperMark StickmanIgor StravinskyKotoka SuzukiToru TakemitsuBruce TaubJohn ThowLeilei TianUshio TorikaiJoan TowerChristopher TrapaniBertram TuretzkyNicolas TzortzisJason Uech Galina Ustvol’skaya iDavid VayoCurt VeenemanClaude VivierCaspar Johannes WalterXi-Lin WangAnton von WebernJudith WeirDaniel WeymouthScott WheelerBarbara WhiteFrances WhiteBeth WiemannOlly WilsonMark WingesWalter WinslowStefan WolpeCharles WuorinenIannis XenakisTolga YayalarPagh-Paan YounghiIsang YunEric ZivianRicardo Zohn-MuldoonEllen Taafe Zwilich

Earplay ComposErs: TwEnTy-six yEars Notes on the Program

Spleen (1994)bass clarinet solo

by Olga neuwirth

Excess and the grotesque have always formed the very foundation of Olga Neuwirth’s musical reservoir. Down here, nothing is spared - not the composing individual, not the listener, not even the performer. The musical moments of oversubscription demand drastic extremes in all aspects. It is

the very same artistic self-relinquishing first felt in all of its self-destructive intensity by French lyricists such as Baudelaire or Rimbaud. The first Spleen-poem from Charles Baudelaires collection Les fleurs du mal begins with the lines:

Pluvius, irritated with the entire city,

Pours from his urn in great waves a dismal cold

Over the pale inhabitants of the neighboring cemetery

And mortality over the foggy outskirts

This very picture drills itself into the brain and consciousness. These are garish colors which are mortally threatened by asphyxia and become pale. This must indeed be a piece for a just one wind instrument - let alone, ready for any extreme of

sound...perplexed, struggling for breath and voice.

Thus composes Olga Neuwirth in this piece, which was published in 1994 and first premiered in Schwaz. The colorful richness of the bass clarinet is astounding - pushed into hair-splitting ranges which should in fact not even belong to such an instrument. In these heights, the sounds are stripped and lay bare - they vie for self-expression, for nearness, for some semblance of warmth - stilted, lamenting, struggling for air and tone. Sounding, they search for their own place, and in these existential outskirts blooms something resembling the suggestion of a new beauty - like a forgotten wallflower. Olga Neuwirth, asked about Spleen replied: “Nothing is to be said. I simply wish to say nothing about it.”

- Reinhard Schulz

Olga neuwirth (b.1968, Austria) studied composition with Erich Urbanner at the Vienna Academy of

Music and Performing Arts. Her MA thesis was on the use of music in the Alain Resnais film “L’amour a mort”. During that period she also studied at the Electroacoustic Institute. During

1985-86 she studied composition and theory with Elinor Armer at the Conservatory of Music in San Francisco, as well as fine art and film at the Art College. From 1993-94 she studied with Tristan Murail in Paris, and took part in the “Stage d’Informatique Musicale” at IRCAM, Paris.

Two portrait concerts were dedicated to her in the Salzburg Festival 1998 within the series of concerts “Next Generation”. In 1999 she was awarded the “Förderpreis der Ernst von Siemens-Stiftung”, München and the “Hindemith-Preis” of the Schleswig-Holstein-Musik-Festival. Her first opera was successfully performed during the “Wiener Festwochen” in 1999, and she was awarded the “Ernst Krenek-Preis” for it.

She has created a number of different works including “Clinamen/Nodus” (2000) which was written for Pierre Boulez and the London Symphony Orchestra and been composer-in-residence with the Koninklijk Philharmonic Orchestra of Flanders in Antwerp and the “Luzerner Festwochen”.

lOtuSeS (1992)

by JOnathan harvey

for flute, violin, viola, and cello

In Harvey’s music, aesthetic and religious ideas are not separable from questions of musical technique. Where his works seek to express extra-musical ideas, they do so not through vague, subjective “associations” on the part of composer or listener, but rather by means of concrete musical processes. When Harvey mentions, in reference to Lotuses, that in Buddhist teaching the lotus is a “symbol of the rich individuality of forms of being,” he is also saying something about musical technique. His music cultivates the individuality of line and gesture and tone. Character is everything. The transcendent quality of his music is not arrived at in spite of his individual materials, but precisely through entering more profoundly into their particularity.

In the opening of Lotuses, each fragment is shaped by its underlying breath patterns, but is unique in the detail of its tone, phrasing and contour. The sustained use of unison between instruments (often tinged with

play nurtures new chamber music linking audiences, performers, and composers through concerts, commissions, and recordings of the finest music of our time.

Founded in 1985 by a consortium of composers and musicians, Earplay is dedicated to the performance of new chamber music offering audiences a unique opportunity to hear eloquent, vivid performances of some of today’s finest chamber music. Earplay concerts feature the Earplayers, seven artists who, as a group, have developed a lyrical and ferocious style. Earplay has performed over 425 works in its 26-year history including 110 world premieres and over 50 new works commissioned by the ensemble. The 2011 season reinforces Earplay’s unwavering track record of presenting exceptional music in the 21st century.

Individual donations are vital to Earplay’s success and we appreciate your generosity. If your company has a matching policy, we would be most grateful.

Call us or see our website (www.earplay.org) to make an electronic donation: or take a pre-addressed envelope tonight.

Thank you! Together we can keep the music coming!

Earplay, P.O. Box 192125, San Francisco, CA 94119-2125

subtle pitch inflections) suggests a multiple-voiced unity, a rich identity that thrives on ambiguity as separate melodic lines overlap and combine with one another. Throughout the piece, this lyrical, subjective voice is heard alternating with more ritualistic dance music. At one point, near the end, the three stringed instruments sound for all the world like an Indian tabla accompanying the solo flute. At others, they transform their characteristic tone into something more reminiscent of electronic music: a shifting of timbral boundaries, which the flute player complements both through a variety of extended techniques such as multiphonics, and by changing instruments between flute, piccolo and bass flute.by Julian Johnson, notes from Music of Jonathan Harvey, January 25, 2000 at Stanford University by San Francisco Contemporary Music Players and Stanford Chamber

Chorale

J O n a t h a n h a r v e y (b.1939, England) was a major music scholar at St John’s

College, Cambridge. He gained doctorates from the universities of Glasgow and Cambridge and also

studied privately (on the advice of Benjamin Britten) with Erwin Stein and Hans Keller. He was a Harkness Fellow at Princeton (1969-70). In the 1980’s he was invited to work at IRCAM in Paris and led to his interest in electronic music where he composed eight major works. Harvey has also composed for most other genres: orchestra, chamber, as well as works for solo instruments. He has produced a large output of choral works, including the large cantata with electronics Mothers shall not Cry (2000). His music has been extensively played and toured by Ensemble Modern, Ensemble Intercontemporain, and Ictus Ensemble of Brussels. About 50 recordings are available on CD and his music is regularly performed at all the major international contemporary music festivals.

time FieldS iii (2003) flute solo

by h è c t O r p a r r a

Both the rhythmic components and collections of highs in Time Fields III were developed almost entirely by the computer-assisted program for composition “Open Music”, developed at IRCAM. Out of the tension between formal thought and expressive intuition emerges a

City Philharmonic, New Jersey Symphony, San Francisco Opera, Symphony Silicon Valley, Opera San Jose, California Symphony and numerous other regional orchestras. Mr. Veregge has also been active in chamber music performances with Earplay, Composer’s Inc., the Other Minds Festival, San Francisco Contemporary Players, San Jose Chamber Orchestra, and other Bay Area ensembles. He currently teaches percussion at Stanford University as well as, general music classes at Los Alamitos Elementary in San Jose.

ian thOmaS (sound recordist)is a native of San Francisco, who currently works in film as a sound designer and composer.

a i S l i n n S c O F i e l d (executive director) has extensive experience with a wide range of Asian performing arts and has received numerous awards for her work. Formal studies include theater, studio art and interdisciplinary art.

JeFF anderle (Clarinetist/bass clarinetist) is currently the clarinetist of the bi-coastal ensemble

REDSHIFT. He has also performed with the Del Sol String Quartet, the San Francisco Contemporary Music Players, and the Magik*Magik Orchestra. Past affiliations include positions as the clarinetist of the ADORNO Ensemble, clarinetist and Associate Artistic Director of The Definiens Project in Los Angeles, clarinetist at the Bang on a Can Summer Music Festival in 2007 and at the Aspen Contemporary Ensemble in 2006.

Jeff is on the clarinet faculty of the San Francisco Conservatory of Music. He received his Master of Music Degree there in 2006, studying clarinet with Luis Baez.

ma r k ve r e g g e (percussion) received his Bachelor’s of Music degree from San Jose State University, and his Master’s of

Music at The Juilliard School in New York City. He has performed with the Caracas Philharmonic, Mexico

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k a r e n rO S e n a k (piano) is an “almost native” of the Bay Area. She was a founding

member/pianist of Bay Area new-music groups Earplay and the Empyrean Ensemble, and she currently performs with those groups. She studied modern piano with Carlo Bussotti and Nathan Schwartz, and credits Margaret Fabrizio with introducing her to the fortepiano during her graduate work in early music at Stanford University. She has found the balance between old and new music, and between old and new pianos, to be an ongoing, most satisfying pursuit. Since 1990, she has been on the faculty at U.C. Berkeley, where she teaches musicianship and contemporary chamber music.

GuEsT arTisTs

di a n e gr u b b e (flute) freelances in the San Francisco Bay Area and has performed

with Pocket Opera, Napa Valley Symphony, Golden Gate Opera, Lamplighters, Lyric Opera, Festival

Opera and others. Contemporary music performances include numerous appearances with sfSound Group; the US premiere of John Wolf Brennan’s solo flute piece, Drei ver-flix-te Stücke; and a retrospective of Pauline Oliveros’ work in which she performed Trio for Flute, Piano and Page Turner with Sarah Cahill and Monique Buzzarté.

alice lenaghan (flute) is currently the Principal Flutist of the Oakland East Bay Symphony and has performed

Principal Flute with the Detroit, Toledo, Flint, and Napa Symphonies and Michigan and Sacramento Operas. As a chamber musician she has performed numerous years at the National Flute Association conventions and her premiere CD, Doppler Effect, is available from Flute World. Her flute and piano duo, Keys and Breeze, frequently presents audience friendly recitals and has been awarded a performance grant through the Yolo County Arts and California Arts Councils. Dr. Lenaghan received a DMA from the University of Michigan and performance degrees from Western Michigan University and the Oberlin Conservatory of Music.

combination of tones, articulations of timbres and gestures exploring the blurred frontiers of perception that exist between the dimensions of time and harmony. The piece is dedicated to Sophie Dardeau the French flautist and was first performed in homage to her at the Amphitheatre X of Paris VIII, on 17 June 2004. — H. P.

hèctOr parra , (b.1976, Barcelona) studied at the Conservatorium of Music in Barcelona,

where he was awarded prizes with distinction in Composition, Piano and Harmony. He studied piano with Mª Jesús Crespo, and composition under David Padros, Brian Ferneyhough and Jonathan Harvey as well as Michael Jarrell at the Conservatorium of Music in Geneva. Formal studies include a Master in Composition awarded by the University of Paris, VIII, annual course in Composition at IRCAM and post-graduate courses at the CNSMD Lyon.

Premieres of his works have been performed by the Ensemble Intercontemporain, the Klangforum Wien, the Arditti String Quartet, Ensemble Recherche, Ensemble Contrechamps, musikFabrik, KNM Berlin, the Tokyo Philharmonic Orchestra, the Philharmonic

Orchestra of Liège, Holland Symfonia, National Orchestra d’Ile-de-France, Barcelona and Catalonia National Orchestra, Proxima Centauri, etc.

He has received numerous commission and prizes including the Earplay Donald Aird Composers Competition (2007). Currently, he is Professor of Electroacoustic Composition at the Conservatorium of Aragon (Spain) and resident composer at IRCAM in Paris. He lives in Paris since 2002.

S i n e w S (2008) by

adam rObertSviolin solo

winning composition of the 2010 Earplay Donald Aird Memorial Composers Competition

Sinews, was commissioned by and is dedicated with love to Gabriela Díaz. While composing this piece, I was particularly attracted to the physical associations with the word “sinew,” as in “tendon.” This association transformed me into the composer as sculptor, as I imagined myself working a resistant material into a variety of textures, focusing on the tactile nature of the material. The form is a result of this physical engagement, of pulling, pushing, stretching, resting, of keeping my hands in the dirt all the while. —A.R.

composer advocacy group affiliated with the Boston Modern Orchestra Project.

m u S i c a (1997) flute, clarinet, piano and marimba

by edmund campiOn

Musica is the final piece from a set of four pieces entitled Quadrivium. The pieces are designed to be played either individually or together as a complete uninterrupted cycle. The first three pieces of the cycle were completed and premiered in Rome while I was holder of the Fredric A. Julliard/Walter Damrosch 1995 Rome Prize in Music composition. The last piece, Musica, was written for the New York New Music Ensemble a few years later. Musica is scored for flute, clarinet/bass clarinet, marimba and piano.

In the Middle Ages, the science-oriented Quadrivium [Mathematica (Arithmetica), Geometria, Astronomia and Musica] was combined with the Trivium (rhetoric, grammar and logic) to form the seven Liberal Arts. The use of the term Quadrivium dates to the time of Boethius and can be translated from the latin as a “place where four ways meet”. Each piece in my Quadrivium

written by composer Libby Larsen and librettist Philip Littell, and commissioned by the Sonoma City Opera.

peter JOSheFF (clarinet) has been a clarinetist, composer and advocate of contemporary music in the Bay Area for over twenty years.

He is a founding member of Earplay, the San Francisco-based new music ensemble, as well as a member of the Paul Dresher Ensemble, the Empyrean Ensemble, and the Berkeley Contemporary Chamber Players. He performs frequently with the San Francisco Contemporary Music Players, Melody of China, and Composers Inc. He has performed as a clarinetist on many commercial recordings. Peter’s recent works include Caught Between Two Worlds, Three Poems by Dorothy Cary (2009) and Inferno (2008).

thalia mOOre (cello), attended the Juilliard School of Music as a scholarship student of Lynn Harrell,

and received her bachelor’s and master’s degrees in 1979 and 1980.

Since 1982, Ms. Moore has been Associate Principal Cellist of the San Francisco Opera Orchestra, and in 1989 joined the cello section of the San Francisco Ballet Orchestra.

ellen ruth rOSe (viola) relocated to the Bay Area in 1998 after having spent several years in Cologne, Germany,

where she first became immersed in contemporary music. As a member of the experimental ensembles Musik Fabrik and Thürmchen Ensemble, and as a frequent guest with Frankfurt’s Ensemble Modern, she toured throughout Europe, premiering and recording countless works. She has performed as soloist with the West German Radio Chorus and appeared at the Cologne Triennial, Berlin Biennial, Salzburg Zeitfluss, Brussels Ars Nova, Venice Biennial, and Budapest Autumn festivals. Ms. Rose holds degrees in viola performance from The Juilliard School and the Northwest German Music Academy; and a degree in English and American history and

literature from Harvard University.

adam rObertS (b.1980) is a composer living in Cambridge, MA, whose music is informed by a

variety of impulses, from European and American modernism to minimalism. His music has been recently performed in the U.S. and Europe by ensembles and individuals such as the Arditti Quartet, Alarm Will Sound, Le Nouvel Ensemble Modern, Ensemble FA, Garth Knox, and Gabriela Díaz, and at venues and festivals such as Wien Modern (Vienna), Musique Biennale en Scene (Lyons, France), The Stone (NY), the 2009 ISCM World Music Days, and the Summer Institute for Contemporary Performance Practice (Boston).

Roberts studied composition at the Eastman School of Music (BM), Harvard University (PhD), and in Vienna at the University for Performing Art and Music with David Liptak, Chaya Czernowin, Augusta Read Thomas, Bernard Rands, Joshua Fineberg, and Julian Anderson, among others. Active as an advocate for new music, he is the Artistic Administrator for the Callithumpian Consort (www.callithumpian.org), and a charter member of the Score Board, a

( L’Institut de Recherche et Coordination Acoustique/Musique). He was then commissioned by IRCAM to produce a large work for interactive electronics (Natural Selection) (ICMC 2002). Other projects include a Radio France Commission l’Autre, the full-scale ballet Playback (commissioned by IRCAM and the Socitété des Auteurs et Compositeurs Dramatiques ) and ME, for Baritone and live electronics, commissioned by the MANCA festival in association with CIRM (Centre National de Création Musicale).

Campion is currently Professor of Music at the University of Berkeley in California where he also serves as Co-Director at CNMAT (The Center for New Music and AudioTechnologies).

Performersinvolves some use of quadraphonic sound and four points of diffusion.

My reference to this arcane term is actually an inside joke. I found it humorous in 1995 that my future was being connected to the Academy and to Rome. I am from Texas and I never even left my home state until I was well over 20 years old! I continue to find it very funny today that most of my musical life has been associated with the University and the Academy. I love being a Professor, but my actual nature is as far from those academic concerns as I can imagine.

The Campion Quadrivium has been completely recorded by Earplay with David Milnes conducting and is planned for a CD release sometime in the next year.

edmund campiOn (b.1957) received his Doctorate degree in composition at Columbia University and attended the

Paris Conservatory where he worked with composer Gérard Grisey. In 1993, he created the piece Losing Touch (Billaudot Editions, Paris) at IRCAM

te r r i e ba u n e (violin), in addition to being a member of Earplay, she is Co-Concertmaster of the Oakland-East

Bay Symphony and Concertmaster of the North State Symphony and a former member of the Empyrean Ensemble. Her professional credits include concertmaster positions with the Women’s Philharmonic, Fresno Philharmonic, Santa Cruz County Symphony, and Rohnert Park Symphony. A member of the National Symphony Orchestra for four years, she also spent two years as a member of the Auckland Philharmonia Orchestra of New Zealand, where she toured and recorded for Radio New Zealand with the Gabrielli Trio and performed with the New Zealand Symphony Orchestra.

t O d b r O d y (f lute) has been in the forefront of contemporary music activity in northern California through his performances

and recordings with the San Francisco Contemporary Music Players, Earplay, and the Empyrean Ensemble. He maintains an

active freelance career, teaches at the University of California, Davis, and directs the San Francisco Bay Area Chapter of the American Composers Forum.

mary chun (conductor) has premiered the works of many composers, including John

Adams earth-quake romance I Was Looking at the Ceiling and Then I Saw the Sky, which she conducted in Paris, Hamburg, and Montreal. In demand as a collaborator for new lyric work and traditional operatic repertoire, she has worked with opera companies in Europe and the U.S. such as Opera de Lyon, La Monnaie, Kosice State Opera, Hawaii Opera Theater, Opera Theater of Saint Louis, Opera Idaho, the Texas Shakespeare Festival, Cleveland Lyric Opera, Pacific Repertory Opera, the Los Angeles Music Center Opera and San Francisco Opera. In Fall 2006 she premiered Every Man Jack, a new chamber opera based on

the life of writer Jack London,

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