New Music DePaul 2018...Thomas Taylor of Orphic hymn VI. This text is one of 87 brief Greek poems that were created sometime during the late Hellenistic or early Roman era and reflected

New Music DePaul

Friday, May 4, 2018 • 8:00 p.m.

DePaul Concert Hall800 West Belden Avenue • Chicago

Friday, May 4, 2018 • 8:00 p.m.DePaul Concert Hall

New Music DePaul

Brad Robin (b. 1969)Torrents for alto saxophone and live electronics (2015)

Taylor Barbay Assad, alto saxophone

Kurt Westerberg (b. 1950)Three Orphic Hymns (2018)

To FireTo NightTo the Stars

The Bach and Beethoven Ensemble:Brandi Barry, violinAnna Steinhoff, viola da gambaThomas Alaan, counter-tenor

Fred Gifford (b. 1972)Grrr for Bass Trombone and Percussion (2011)

William Riley Leitch, bass trombone Ethan H. Martin, percussion

iNterMissioN

PrograM

New music Depaul • may 4, 2018program

Sven-Ingo Koch (b. 1974)Quel portone dimenticato (The forgotten gate) (2011)

Ann Yi, piano

Karen Tanaka (b. 1961)Night Bird for alto saxophone and soundtrack (1996)

Jeremy Ruthrauff, alto saxophone

Jeremy Ruthrauff (b. 1968)Birdsong for sopranino saxophone and soundtrack (2017)

Jeremy Ruthrauff, sopranino saxophone

Barry Cockcroft (b. 1972)Ku Ku for solo soprano saxophone (1997)

Jeremy Ruthrauff, soprano saxophone

New music Depaul • may 4, 2018

PrograM Notes

Brad Robin (b. 1969)Torrents for alto saxophone and live electronics (2015)Duration: 10 minutes

Torrents invites a live saxophone to find common ground with a computer element. The latter combines various permutations of water and the saxophone through processing in its ever morphing voice in an evolving dialogue with the acoustic instrument. Though glimpses of intersection are found momentarily, the overall struggle to find peace is never resolved.

Note by Brad Robin.

Kurt Westerberg (b. 1950)Three Orphic Hymns (2018)Duration: 12 minutes

Three Orphic Hymns is the second recent work of mine for an ensemble that features baroque instruments. Both works owe their genesis to a demonstration/presentation by violinist Brandi Berry for DePaul’s student composer studio class on extended instrumental techniques in baroque string music. This initially led to a work (Baroco) for baroque violin and harpsichord that was premiered by Brandi and Mabel Kwan in February of 2016. The first version of Two Orphic Hymns was titled Orbits and consisted only of what is now “To the Stars”. This owed its existence to a suggestion by Brandi that I compose a work for the Bach and Beethoven ensemble to perform on a January 25, 2017 DePaul Humanities Center event. Brandi even went so far as to suggest a text that was a translation (from 1792) by Thomas Taylor of Orphic hymn VI. This text is one of 87 brief Greek poems that were created sometime during the late Hellenistic or early Roman era and reflected the philosophies/beliefs of Orphism, a cult that honored and believed itself to be descended from the teachings of Orpheus.

I composed the work in December, 2017 and found its imagery (stars, lights, fires, flames) both compelling and inspiring, easily connecting to the many festivals of light that take place in December and imagery that was particularly needed at the end of 2017. I was pleased by both the ensemble’s performance and by the work itself and this led to a revision of “To the Stars” and the creation of two more settings, “To Fire” and “To Night”.

New music Depaul • may 4, 2018program Notes

In all three settings, the two string instruments are used as a duo that provides support to the vocal part as well as presenting its own group of musical ideas that amplify textual images. The string and vocal parts, while using “modern” pitch idioms, refer to music of the Baroque through the use of dotted rhythms, fanfare motives, trills, terraced dynamics, repeated chords, pizzicato “walking bass” patterns, etc. The essence of the work is its presentation and elaboration of the rhythm and imagery of the text. My sincere thanks to Brandi Berry and to the Bach and Beethoven ensemble: I greatly appreciate their willingness to take on this unusual project.

Note by Kurt Westerberg.

Fred Gifford (b. 1972)Grrr for Bass Trombone and Percussion (2011)Duration: 10 minutes

Grrr for Bass Trombone and Percussion was commissioned by Nuno Martins for a concert exploring connections between music and surrealism in 2011. Grrr applies automatic writing techniques associated with early surrealist thought. The music at first attempts to find a complete utterance, but the material remains closer to the stuff of dreams (eventually taking the form of two archetypal ideas from the bass trombone’s subconscious: a descending scale and a triumphant, rising arpeggio). It is as though the two musicians are caught up in a dream-machine where mechanisms function but the why and the where keep slipping away. The percussion reacts similarly, embodying its own instrumental “memories” of prototypical gestures -–keeping time, accenting points of arrival – but the time keeps changing and the two voices seldom arrive anywhere, much less together.

The title of the work is an onomatopoeic pre-word (thinking in English - is it “growl” or “granite” or “gruesome”, etc.?): an homage to the Bretonian precedents of literary surrealism, and, at the same time, a reference to one of the most formidable composers to ever wrestle with things surreal, Mauricio Kagel (Rrrrrrr…).

Note by Fred Gifford.


Sven-Ingo Koch (b. 1974)Quel portone dimenticato (The forgotten gate) (2011)Duration: 14 minutes

While enjoying a nightly walk over the Forum Romanum (the guards again had forgotten to close a certain gate) I suddenly pictured/internally heard the opening texture of my piano solo work: Every stone, which I saw there, every fragment of a column told stories of its peculiarly overlapping temporal and historical layers. Like on a fantastic search for traces and hints also I as a composer discover surprising possibilities of the materials in the opening polyphonic texture which I am little by little excavating during the discourse of the piece.

Quel portone dimenticato was composed as a commission of the SWR for the Eclat Festival, Stuttgart.

Note by Sven-Ingo Koch.

Karen Tanaka (b. 1961)Night Bird for alto saxophone and soundtrack (1996)Duration: 8 minutes

Night Bird is a love song filled with tender whispers of lovers.

I have tried to weave colors and scent into the sound of alto saxophone and soundtrack. This piece was commissioned by and is dedicated to saxophonist Claude Delangle.

Note by Karen Tanaka.

Jeremy Ruthrauff (b. 1968)Birdsong for sopranino saxophone and soundtrack (2017)Duration: 7 minutes

Birdsong is a composition for sopranino saxophone and soundtrack that involves eleven sections or episodes with each section’s sound material for the playback derived exclusively from the sopranino saxophone and the sounds of eleven birds. The birds are common ones native to the Chicago area where I live. The magpie is a sort of wild card in the piece since it is not


native to the Chicago area and traditionally has been a symbol endowed with mystical properties. Recorded sound material is often manipulated electronically in an exaggerated manner, resulting in sounds quite distantly separated from their original context. The piece is a kind of strange dream landscape inhabited by magical birds.

Birdsongs episodes:

StarlingsGoldfinchBluejayRobinCrowHouse FinchSparrowMourning DoveCardinalSwallowsMagpie

“Counting Crows”Traditional Rhyme

One for sadness, Two for mirth;Three for marriage, Four for birth;Five for laughing, Six for crying:Seven for sickness, Eight for dying;Nine for silver, Ten for gold;Eleven for a secret that will never be told.


Barry Cockcroft (b. 1972)Ku Ku for solo soprano saxophone (1997)Duration: 6 minutes

Ku Ku by Barry Cockcroft for solo soprano saxophone begins with lyrical melodic lines and grooving loops. The later part of the piece uses various extended techniques such as percussive tonguing and multiphonics to create rhythmic grooves sounding like a chicken!

Barry Cockcroft’s program notes:

Kuku in Swahili means chicken.

Ku-ku is a type of clock made in the Black forest.

Ku Ku means crazy.

There are happy hens, ones that live on an organic farm,that have worms to eat and lay lots of eggs.The air is fresh and the handsome rooster caters for all their needs…There are other kinds of chickens,ones that may have lost their mind, or their head!Each day they do the same thing, they live in little boxes,cluck, cluck…. cluck, cluck.

Notes by Jeremy Ruthrauff.


text

Three Orphic HymnsTranslation from Latin by Thomas Taylor in 1792.

to Fire

O Ever untam’d Fire,who reign’st on high in Zeus’ dominions ruler of the sky;The glorious sun with dazzling lustre bright, and moon and stars from thee derive their light;All taming pow’r, ætherial shining fire, whose vivid blasts the heat of life inspire:The world’s best element, light-bearing pow’r, with starry radiance shining, splendid flow’r,O hear my suppliant pray’r, and may thy frame be ever innocent, serene, and tame.

to Night

Night, parent goddess, source of sweet repose, from whom at first both Gods and men arose,Hear, blessed Venus, deck’d with starry light, in sleep’s deep silence dwelling Ebon night!Dreams and soft case attend thy dusky train, pleas’d with the length’ned gloom and feaftful strain.Dissolving anxious care, the friend of Mirth, with darkling coursers riding round the earth.Goddess of phantoms and of shadowy play, whose drowsy pow’r divides the nat’ral day: By Fate’s decree you constant send the light to deepest hell, remote from mortal sightFor dire Necessity which nought withstands, invests the world with adamantine bands.Be present, Goddess, to thy suppliant’s pray’r, desir’d by all, whom all alike revere,Blessed, benevolent, with friendly aid dispell the fears of Twilight’s dreadful shade.

New music Depaul • may 4, 2018text

to the stars

With holy voice I call the stars on high,Pure sacred lights and genii of the sky.Celestial stars, the progeny of Night,In whirling circles beaming far your light,Refulgent rays around the heav’ns ye throw,Eternal fires, the source of all below.With flames significant of Fate ye shine,And aptly rule for men a path divine.In seven bright zones ye run with wand’ring flames,And heaven and earth compose your lucid frames:With course unwearied, pure and fiery brightForever shining thro’ the veil of Night.Hail twinkling, joyful, ever wakeful fires!Propitious shine on all my just desires;These sacred rites regard with conscious rays, and end our works devoted to your praise.


BiograPhies

Critically acclaimed stellar [Chicago Tribune] countertenor Thomas Aláan has been praised for his glorious countertenor voice [Herald Times], heartfelt... soaring sound...and simmering singing [Hyde Park Herald], excellent timing and intonation [Elgin Review], incredible diction and significant and clean upper register [The Post-Journal], and his artful and moving voice of unearthly round tone and singular power [Communities Digital News].

Thomas has performed across the United States as a soloist with ensembles and orchestras on dozens, including: Ars Antigua, Bella Voce Camerata, Bach Cantata Vespers, Credo, Elgin Symphony and Master Chorale, Mountainside Baroque, Musikanten Montana, Schola Antiqua, and the Northwest Indiana Symphony Orchestra. He’s appeared on many regional concert series, as well as at the Boston Early Music Festival, the Bach and Beyond Baroque Early Music Festival in New York, and the Bloomington (IN) Early Music Festival. In 2016, he (re)created the role of Patie in Allan Ramsay’s opera, The Gentle Shepherd, last seen in North America in 1798. He is a national finalist in the Classical Singer Magazine Vocal Competition for emerging professionals, and a national semi-finalist in The American Prize for his interpretation of art song. His recordings include Vivaldi’s solo cantata, Stabat mater dolorosa, for Biretta Books, Haydn’s Requiem and Vivaldi’s Gloria with the Elgin Master Chorale and Symphony Orchestra, and Bernstein’s Chichester Psalms with the Northwest Indiana Symphony Orchestra.

Outside of singing, Thomas divides his time in Chicago as Executive Director of the Bach and Beethoven Ensemble; as Director of Women’s Schola and Assistant Conductor of Choirs at Holy Name Cathedral; and developing energy and sustainability curriculum at the University of Illinois at Chicago. He teaches private voice, and has presented talks on singing, pedagogy, interdisciplinary collaboration, and entrepreneurship in the arts at the University of Illinois at Chicago, the Illinois Institute of Technology, the Helena (MT) Music Teachers Association, and the Self Employment in the Arts (SEA) Art Business Entrepreneurship Workshop.

Thomas received his M.A. in Vocal Pedagogy under renowned author and pedagogue, Joan Wall, at Texas Woman’s University, and his B.A. Music Education from Alderson-Broaddus University. He currently studies with Ellen Hargis (Newberry Consort), Mark Crayton and Elizabeth Parker (Chicago College of Performing Arts), and Sheri Greenawald (Director, San Francisco Opera Center). He loves Starbucks, donuts, and cats.

New music Depaul • may 4, 2018biographies

Taylor Barbay Assad is currently the Adjunct Professor of Saxophone at Nicholls State University in Thibodaux, LA. She maintains an active performing schedule as the alto chair in the professional saxophone quartet Quartetto Obrigado along with Griffin Campbell, Brina Bourliea Faciane, and Jennifer Foret. Taylor regularly performs with the Baton Rouge Symphony. She has also performed with the Ocala Symphony Orchestra, New World Funk, and Beaucoup Boogie. Taylor performed as a soloist at the World Saxophone Congress in St. Andrew’s, Scotland. Taylor regularly presents at international and national conferences presenting new music for the saxophone, most recently at LaTex and NYCEMF. She has premiered works for solo saxophone, saxophone and live electronics, saxophone duo, and saxophone quartet by composers Philip Schuesseler, Ben Stonaker, Nick Hwang, Alejandro Arguello, Garrett Hecker, Andrew Pfalz, and Chester Udell.

Violinist Brandi Berry, whose “four-string acrobatics” and “indispensable skill” (TimeOut Chicago) have been praised as “alert [and] outstanding” (Chicago Classical Review), has also been noted for her “riffs...powered by a flashing blur of bow arm, [as they] rolled out with irresistible glee” (Washington Post). She has appeared with numerous ensembles including but not limited to Kings Noyse, Apollo’s Fire, Newberry Consort, Ars Lyrica, Musica Angelica, Toronto’s Classical Music Consort, Indianapolis and Atlanta Baroque Orchestras; and as soloist/concertmaster of Ars Antigua, Bloomington Early Music Festival Opera Orchestra, and St. Louis’s Kingsbury Ensemble. Ms. Berry has also performed on numerous series throughout the U.S. and Canada including at the Library of Congress, a repeat performer on the Dame Myra Hess series, Ars Musica Chicago, the 2010 CMC Springtime Handel Festival in Toronto, the Boston, Berkeley, Chicago, Indianapolis, and Madison Early Music Festivals, Kansas City’s Friends of Chamber Music, Early Music Now, Chicago’s Classical Music Mondays at the Cultural Center, and the Academy of Early Music in Ann Arbor. On the air, Ms. Berry has been heard on the Live and Impromptu series of Chicago’s WFMT classical radio station, WNUR, and Wisconsin Public Radio. Brandi serves on the faculty of DePaul University as co-director of their Baroque Ensembles program. A student of Stanley Ritchie and Cynthia Roberts, she holds degrees in violin performance from Indiana University and the University of North Texas. Ms. Berry is artistic director of the Bach & Beethoven Ensemble.

Saxophonist and composer, Barry Cockcroft’s music has received thousands of performances throughout the world and is played regularly in more than 40 countries. He is one of the most internationally performed and recorded composers of his generation and his music is repeatedly programmed by


some of the world’s finest musicians. Barry has been concerto soloist with the United States Navy Band and the Scottish Chamber Orchestra. He has played with major Australian orchestras and for more than a decade has been a regular guest with the Malaysian Philharmonic. Since 2000 he has performed with Perth pianist Adam Pinto in Rompduo. Barry has appeared at major events including the Melbourne Festival, the Port Fairy Spring Music Festival, the Brisbane Festival and international saxophone events in Australia, the United Kingdom, Italy, Spain, Canada, Thailand, Belgium and the United States.

He is a Selmer Artist and a D’addario International Artist (RICO Reeds) and is a member of the International Saxophone Committee, supporting the triennial World Saxophone Congress.

Barry has given masterclasses at major universities across Australia and at George Mason University (USA), Trinity Laban Conservatoire (UK) and the Paris Conservatoire (France). He has adjudicated for the Gisborne International Music Competition (New Zealand), the The Adolphe Sax International Competition (Belgium) and the finals of Symphony Australia Young Performers Awards (Australia). Barry studied in Australia with Dr. Peter Clinch for 5 years and for 2 years in Bordeaux France with saxophonists Jacques Net, Marie-Bernadette Charrier and Jean-Marie Londeix. Captivating, quirkily humorous and technically demanding, Barry’s compositions have seen successful adoption into mainstream repertoire. His music successfully integrates contemporary techniques into well-known genres, structures and rhythms. The combination of familiar sounds with new ideas has allowed audiences worldwide to appreciate his music. Since 1996, Barry’s close association with over 120 composers has led to the publication of around 15,000 works. Barry has rallied composers writing the most advanced concert music to remember also the developing players who require a stimulating and original repertoire of their own. Barry encourages musicians to perform not only the newest music, but also the best new music. His own pedagogical books help to guide thousands of developing musicians.

I Care If You Listen calls the music of Fredrick Gifford (b. 1972) “a world of characters and colors that explode from the stage.” His works explore openness to create pieces that are never the same twice. His music has been performed and recorded by contemporary ensembles and soloists, and heard at festivals around the world. He has taught on the faculties of the Schools of Music at DePaul and Northwestern Universities in the United States and the Escola Superior de Música e das Artes do Espectáculo, Portugal.


Born near Cologne in Germany in 1974 Sven-Ingo Koch studied composition, electronic composition, piano and musicology in Essen (Germany), San Diego and Stanford. Among his teachers were Nicolaus A. Huber, Roger Reynolds and Brian Ferneyhough. Koch’s music is performed frequently at numerous festivals worldwide (such as the Munich Biennale, the Lyon Biennale, the festivals Eclat, Ultraschall, Musica Viva, MDR Music Summer, Dresden New Music Days, Warsaw Autumn, Musica Nova Helsinki, Leicester International Music Festival, Festival Présences Paris, Jerusalem International Chamber Music Festival etc.) and was selected among other venues to the World New Music Days 2004 in Lucerne, Switzerland and the Gaudeamus New Music Week in Amsterdam 2005. In 2007 Sven-Ingo Koch was Composer in Residence of the Rencontres Musicales de Haute Provence.

Sven-Ingo Koch received among other prizes the Folkwang Prize 1999, the third Bach Prize Hannover 2000, the Cynet Art honorary mention 2001, the German Industry Federation’s Young Composers Prize 2001, the prestigious Stuttgart Award 2003, the Düsseldorf Music Prize 2006 and - most important - the German Romeprize 2011. Sven-Ingo Koch also was awarded the Aeolian Trio Prize 2004, the Elisabeth-Schneider-Prize 2005, the Prize of the Weimarer Frühjahrstage 2006 and the Prize of the Dresdener piano trio competition 2006.

Sven-Ingo Koch, furthermore, obtained scholarships from the German Government (DAAD) (1999-2000), Stanford University (2000-2003), the Academy of Arts Berlin (in 2000 and 2002), GRAME, Lyon 2003, the Heinrich-Strobel-Stiftung 2004, the Künstlerhof Schreyahn 2005, Schloss Solitude 2007, a grant to stay in Venice in 2008, a scholarship by the Konrad-Adenauer-Foundation 2011, an Istanbul residency in 2014 and a grant to stay in Casa Baldi, Italy in 2015. In 2008 he was also visiting artist at the ZKM. Since 2018 member of the German Academy of Music Authors.

His works were commissioned by WDR, BR, SWR, DeutschlandRadio Kultur, DLF, Munich Biennal, Expo2000, Festival Intonations, Jerusalem International Chamber Music Festival, ADEvantgarde, Kunststiftung NRW, Tonhalle Düsseldorf, Musik der Jahrhunderte, Concert Society Schwerte, Rencontres Musicales de Haute-Provence, Academy of Arts Berlin, Norwegian Arts Council, Beethoven House Bonn, Ernst von Siemens Music Foundation, Neue Vocalsolisten, Ensemble ascolta, ClaRecords, Zeitfenster Biennal Berlin, Galery Ficher-Rohr Basel, arte, Zeitkunst Berlin, Klangforum Heidelberg, Musikfabrik, Ministry for Art NRW.


William Riley Leitch is a Chicago area trombonist. Riley has performed at the Nief Norf Festival, soundSCAPE Festival, and the Lucerne Festival Academy where he studied with members of Ensemble Intercontemporain and Ensemble Modern. Riley has premiered over 20 new works for solo trombone, chamber ensemble, and orchestra at events and venues such as Ear Taxi Festival and Red Note New Music Festival. He is a founding member of Origin Brass, a brass quintet focused on commissioning new music and working with beginning composers.

Ethan H. Martin (b. 1990) is a spirited contemporary percussionist. Highlights from his undergraduate years include a World Music Showcase concert at the 2010 Percussive Arts Society International Convention, the North American premiere of Per Nørgård’s A Light Hour for percussion ensemble, and master class performances for Roger Braun, Andy Harnsberger, Michael Udow, and Third Coast Percussion. He is also a former member of The Handphibians, a Madison, WI based community percussion ensemble, dedicated to promoting the music and cultural traditions of Brazil.

As a member of DeKalb, IL based Barb City Percussion, Ethan has performed both locally and abroad. In 2017, the ensemble was invited to Costa Rica to take part in the Fifth International Festival of Percussion Ensembles. As featured artists, Barb City Percussion performed a full program of music in the capital city of San José, presented an outreach concert in Limón, and led master classes for students at the Centro Nacional de la Música. The ensemble had the honor to present the world premiere of Amniorrhexis by Chicago-based composer Brian Penkrot and commonly features Mångata by Kyle Krause on their programs.

Ethan’s varied musical interests collide as a performer with Projeto Arcomusical, a world music sextet reimagining the Afro-Brazilian berimbau through a repertoire of unique, powerful, original concert chamber music. As a member of Projeto Arcomusical, Ethan has performed at Harris Theater in Chicago for the inaugural Ear Taxi Festival and at National Sawdust in Brooklyn for the 2017 Percussion Marathon hosted by Ian Rosenbaum and Andy Akiho. Additionally, he has performed and/or assisted in Arcomusical presentations at educational institutions including the Juilliard School, Boston Conservatory, Princeton, UMass, Baldwin Wallace University, Bowling Green State University, Michigan State University, University of Wisconsin – Madison, University of Illinois Urbana – Champaign, Illinois State University, Kansas State University, Western Washington University, and the Cornish College of the Arts.


Ethan earned undergraduate degrees in Music Performance, Neurobiology, and Zoology from the University of Wisconsin – Madison and is currently a Graduate Teaching Assistant in percussion at Northern Illinois University. His primary teachers include Gregory Beyer, Anthony Di Sanza, and Thomas Ross.

Brad Robin composes and conducts music in a multitude of styles for soloists and ensembles ranging from jazz bands to contemporary chamber groups and orchestras. Compositions have included computer components designed to manipulate and augment the sound of acoustic instruments. As a pianist and keyboardist, he composes and performs music for dance, theatre, and multimedia performance art. Recent premieres include performances at the New York City Electroacoustic Music Festival and Ecos Urbanos 2017, Mexico City. His music has been performed throughout the United States as well as Croatia, Mexico, and New Zealand. After completing a Masters in Composition at DePaul and a PhD at the University of North Texas, he currently resides in Chicago, teaching at DePaul University while continuing his studies at Northwestern University.

Saxophonist Jeremy Ruthrauff regularly performs with numerous prominent ensembles such as the Chicago Symphony Orchestra, Lyric Opera of Chicago, Chicago’s Grant Park Symphony Orchestra, Joffrey Ballet, Chicago Opera Theater, the Milwaukee Symphony Orchestra, Eighth Blackbird, Fulcrum Point New Music Project and the Chicago Sinfonietta. Recital repertoire includes classical works by composers such as J. S. Bach and Robert Schumann, pieces from the early twentieth century such as those by Debussy, Hindemith and Villa-Lobos, and newer pieces including those by Luciano Berio, Karlheinz Stockhausen, Toru Takemitsu, Philip Glass and Steve Reich, among others. Programs may often feature works from outside the traditional “concert” arena such as those by the great tango composer Astor Piazzolla, avant-garde jazz master Eric Dolphy’s alto solo on Tenderly, John Coltrane compositions and free improvisations.

He has given master classes at leading institutions such as the New England Conservatory of Music, American Composers’ Forum and the University of Illinois. He participated in the Chicago Symphony Orchestra’s program Harmonia at the National Museum of Mexican Art in which soloists introduced music to children from Chicago’s Pilsen and Little Village neighborhoods. He currently teaches at DePaul University, Concordia University, Harper College, and the First Conservatory of Music.


Anna Steinhoff, cellist, has been described by critics as “soulful,” and “the rhythmic heart of the ensemble.” Based out of Chicago, Anna is an active performer with ensembles across the midwest. In addition to the modern cello, Anna specializes in early instruments such as the baroque cello and viola da gamba. She is the principal cellist of Chicago’s period instrument orchestra, Baroque Band, and has performed with ensembles such as the Haymarket Opera Company, Newberry Consort, Second City Musick, Callipygian Players, Music of the Baroque, Chicago Opera Theater, and Madison Bach Musicians. She is also a founding member of Wayward Sisters, who won first prize in the 2011 Early Music America competition. Wayward Sisters released their debut album of music by Matthew Locke on the Naxos label in 2014. Anna completed degrees in cello performance from the Oberlin Conservatory and Northwestern University where her principal teachers were Peter Rejto and Hans Jensen. She recently returned from the Netherlands, where she studied baroque cello with Jaap ter Linden.

Karen Tanaka is an exceptionally versatile composer and pianist. Her works have been performed by distinguished orchestras and ensembles worldwide including the BBC Symphony Orchestra, Los Angeles Philharmonic, Baltimore Symphony Orchestra, Utah Symphony, Netherlands Radio Symphony Orchestra, Finnish Radio Symphony Orchestra, Norwegian Chamber Orchestra, Orchestre Philharmonique de Radio France, Kronos Quartet, Brodsky Quartet, BIT20 Ensemble, among many others. Various choreographers and dance companies, including Wayne McGregor and Nederlands Dans Theater, have often featured her music.

Born in Tokyo, she started formal piano and composition lessons as a child. After studying composition with Akira Miyoshi at Toho Gakuen School of Music, she moved to Paris in 1986 with the aid of a French Government Scholarship to study with Tristan Murail and work at IRCAM. In 1987 she was awarded the Gaudeamus Prize at the International Music Week in Amsterdam for her piano concerto Anamorphose. She studied with Luciano Berio in Florence in 1990-91 with funds from the Nadia Boulanger Foundation and a Japanese Government Scholarship. In 1996, she received the Margaret Lee Crofts Fellowship at the Tanglewood Music Center. In 1998 she was appointed as Co-Artistic Director of the Yatsugatake Kogen Music Festival, previously directed by Toru Takemitsu. In 2012, she was selected as a fellow of the Sundance Institute’s Composers Lab for feature film and mentored by Hollywood’s leading composers. Recently, she served as Lead Orchestrator for the BBC’s TV series, Planet Earth II. Karen Tanaka lives in Los Angeles and teaches composition at California Institute of the Arts.


Kurt Westerberg received degrees from St. Olaf College and Northwestern University, studying with G. Winston Cassler, Arthur Campbell and Alan Stout. He joined the faculty of DePaul University in 1987 and is currently an Associate Professor, having served as chair of the Department of Musical Studies and currently serving as program coordinator for Musicianship and Composition as well as Interim Associate Dean for Academic Affairs. His solo and ensemble music has received performances nationally and internationally in a variety of venue. Recent works performed include: Night Music I for solo guitar (1994), Fantasy for violin and piano (2005), Sargasso for String Quartet (1999), In Time of Silver Rain (2007) for SATB chorus and piano, Fanfare for Brass and Percussion (2002, commissioned by DePaul University), Night Music III for two marimbas (2002), Einstein Dream Preludes (2007) for solo piano, Night Music II (2009) for two pianos, Rituals and Laments (2009) for solo percussionist, Nomads for flute, clarinet and cello (2011), Vision and Prayer (2012) for voices and chamber ensemble, Ensembles and Monologues (2013) for clarinet trio, Winterbourne (2013) for keomungo and chamber ensemble, and Fragments, Remnants, Shards (2014) for flute, harp and piano. Winter Light for orchestra was recorded in August of 1997 by the Lithuanian National Symphony and this recording, along with recordings of three other works, was released on the Southport label in November of 2010. A recording of Vision and Prayer was also released on the Southport label, on a CD entitled Dual Visions, in 2014. He has been Director of Music at St. Paul’s Lutheran Church in Evanston since January, 1998.

Pianist, Ann Yi is a versatile soloist and chamber musician with a broad range of musical interests, ranging from Baroque to contemporary music. Ann is a member of the Eco Ensemble, new music ensemble-in-residence at U.C. Berkeley. She has also performed with Ensemble Dal Niente, the University of Chicago New Music Ensemble, the San Francisco Contemporary Music Players, the sfSoundGroup, and Earplay. Ann has performed at festivals including the Venice Music Biennale, Italy, in which her performances were broadcasted live on Radio 3, Cartellone, the MANCA New Music Festival in Nice, France, the Festival Internacional Chihuahua in Mexico and the Ear Taxi Festival in Chicago. She has also appeared at Old First Concerts in San Francisco, the San Francisco Museum of Modern Art, Cal Performances, New Music DePaul, and the Frequency Series at Constellation in Chicago, among others. Her performances are featured on recordings on the Innova, Tzadik, and New Focus Recordings labels.

An active soloist, Ann has been featured as soloist with U.C. Berkeley Symphony Orchestra, the Eco Ensemble at U.C. Berkeley, and Ensemble 20+ at DePaul University in Chicago. She has also premiered numerous


works including twelve preludes for piano commissioned to commemorate the 2012-13 centennial of the DePaul University School of Music in Chicago, IL. Ann served as the artist-in-residence at the University of Wisconsin-Milwaukee for the 2017-2018 season, and was featured on the concert series, ‘Sensoria: New and Experimental Music’. Ann received a Doctor of Music and a Master of Music from Indiana University Jacobs School of Music and a Bachelor of Music from San José State University. She studied principally with Evelyne Brancart, and also with Jean-Louis Haguenauer, Alfred Kanwischer and Jonathan Bass.

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uPcoMiNg eveNts


Saturday, May 5 • 8:00 p.m.Concert HallDePaul Wind Symphony

Sunday, May 6 • 5:00 p.m.Concert HallFaculty Artist Series: Janet Sung and Friends

Monday, May 7 • 7:00 p.m.Recital HallWagner Campos Studio Recital

Friday, May 18 • 7:30 p.m.Sunday, May 20 • 2:00 p.m.Concert HallDePaul Opera Theatre: The Judgment of Paris

Saturday, May 19 • 3:00 p.m.Concert HallPercussion Ensemble

Saturday, May 19 • 8:00 p.m.Concert HallAfrican Drum Ensemble

Sunday, May 20 • 2:00 p.m.Student Center • 2250 North Sheffield Avenue • ChicagoJazz Orchestra

Monday, May 21 • 8:00 p.m.Concert HallComposers Forum

Monday, May 20 • 8:00 p.m.The Jazz Showcase • 806 Plymouth Court • ChicagoJazz Workshop and Jazz Ensemble

Wednesday, May 23 • 8:00 p.m.Orchestra Hall • 220 South Michigan Avenue • ChicagoDePaul Symphony Orchestra

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You can sign up for E-Notes by visiting music.depaul.edu and clicking on Concerts & Events.DePaul University School of MusicConcert Hall • 800 West Belden Avenue • ChicagoRecital Hall • 804 West Belden Avenue • Chicagomusic.depaul.edu • 773.325.7260

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New music Depaul • may 4, 2018upcomiNg eveNts

Thursday, May 24 • 7:00 p.m.Recital HallJazz Combos

Thursday, May 24 • 8:00 p.m.Concert HallString Chamber Showcase

Friday, May 25 • 7:00 p.m.Recital HallBaroque Chamber Concert

Friday, May 25 • 8:00 p.m.Concert HallDePaul Wind Ensemble

Saturday, May 26 • 8:00 p.m.Concert HallDePaul Concert Orchestra and Ensemble 20+

Sunday, May 27 • 3:00 p.m.Concert HallRami Solomonow Memorial Concert

Sunday, May 27 • 7:00 p.m.Recital HallOboe Studio Recital

804 West Belden AvenueChicago, IL 60614

773.325.7260music.depaul.edu

Documents

New Music DePaul 2018...Thomas Taylor of Orphic hymn VI. This text is one of 87 brief Greek poems that were created sometime during the late Hellenistic or early Roman era and reflected