Dedicated to the creation and performance of new music
SAINT PETER’S CHURCHCITIGROUP CENTER
NEW YORK CITY
DECEMBER 1, 2015 7:30 PM
NEW MUSIC F OR
STRINGS AND PIANO
THE NEW YORK COMPOSERS CIRCLE
DECEMBER 1, 2015 7:30 PM
Duopoly II* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Roger Blanc
Dave Eggar, cello David Picton, hand drum
String Quartet No. 5* . . . . . . . . . . . . . . . . . . . . . . . . Richard Brooks
1. Adagio molto; Vivacissimo molto 2. Allegro molto
Gregor Kitzis, violin Funda Cizmecioglu, violinKim Foster, viola Dave Eggar, cello
Notturno* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Susan J. Fischer
Gregor Kitzis, violin Funda Cizmecioglu, violinKim Foster, viola Dave Eggar, cello
Trialogue* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Emiko Hayashi
Gregor Kitzis, violin Dave Eggar, celloMartha Locker, piano
INTERMISSION
Fantasy Romance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . John Eaton
Dan Barrett, cello Christopher Oldfather, piano
String Quartet* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Carl Kanter
1. Trills 2. One Note 3. Zephyr
Gregor Kitzis, violin Funda Cizmecioglu, violinKim Foster, viola Dave Eggar, cello
Andante, quietly impassioned (from String Quartet No. 1)* . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Debra Kaye
Gregor Kitzis, violin Funda Cizmecioglu, violinKim Foster, viola Dave Eggar, cello
*World Premiere
PLEASE JOIN US FOR A RECEPTIONAFTER THE CONCERT
The NYCC thanks the staff and personnel of Saint Peter's Church for their assistance with this concert.
The New York Composers Circle gratefully acknowledges support by a grant from theAlice M. Ditson Fund of Columbia University.
ROGER BLANC completed a Master's degree in Composition with teacherDavid Diamond at the Juilliard School, where he was an assistant teacher inEar Training and Theory for five years. He has worked extensively inrecording, having arranged, transcribed, composed, orchestrated, produced, orotherwise prepared/organized/supervised music for media includingtelevision (Tonight Show, Saturday Night Live, David Letterman, ConanO'Brien, Sex and the City), film (ca. 60 feature films including Frida, TheUntouchables, Wag The Dog, Fargo, Cadillac Records), the recordingindustry (artists including Barbra Streisand, Miles Davis, Michael Jackson,John Lennon, Luciano Pavarotti, Sting, Phil Collins, Kelly Clarkson), andlive performance (venues including Carnegie Hall, Radio City Music Hall,The Metropolitan Museum, Madison Square Garden, the United Nations);and events including the 2004 Democratic National Convention, the 2006Super Bowl, the 2010 World Cup, and 2014 tributes to Don Rickles andHerbie Hancock at the Apollo Theater in NYC. He has had concert musicperformed at venues including Alice Tully Hall, CAMI Hall, The WhitneyMuseum Sculpture Court, Thalia /Symphony Space, and Juilliard; at locationsabroad including Italy, Romania, and Brazil; and by performers includingAlex Foster, Chris Parker, and Mindy Kaufman. He serves on the boards ofseveral musicrelated organizations, and performs regularly as a guitarist invarious clubs around NYC. Duopoly II for cello and hand drum attempts to integrate drums as used inother musical traditions with a Western approach to composition; its varioussections in effect comprise a miniaturized multimovement work. Both thecellist and the hand drummer must compromise their traditional approachesto some degree in order for a given performance to succeed.
RICHARD BROOKS holds a B.S. degree in Music Education from theCrane School of Music, Potsdam College, an M.A. in Composition fromBinghamton University, and a Ph.D. in Composition from NYU. InDecember 2004 he retired from Nassau Community College after 30 years;for the last 22 of those he was department chairperson. From 1977 to 1982he was Chair of the Executive Committee of the Society of Composers(ASUC). From 1993 to 2002 he was President of the American ComposersAlliance. He has over 100 works to his credit, including two fulllengthoperas. His children's opera, Rapunzel, has been mounted by six differentcompanies, most recently the Cincinnati Opera which gave it 65 performance.He was selected as New Music Connoisseur's New Music Champion for
COMPOSERS
20062007 in recognition of his work with Capstone Records. From 2010 to2012 he was Executive Director of the New York Composers Circle.www.richardbrooksmusic.com. String Quartet No. 5 is in two movements. Neither movement follows anytraditional structural pattern, although the second has elements of rondo form.Each is episodic with several changes of tempo and mood.
JOHN EATON is "The most interesting opera composer writing in Americatoday": Andrew Porter, The London Financial Times. Among his 27 operasis The Cry of Clytaemnestra, with over 20 performances. The Tempest wascalled a "formidible intellectual as well as musical achievement ... an opera ofstark beauty" by Michael Walsh in Time after its premiere by the Santa FeOpera. In the late 1980s he formed the Pocket Opera Players. Of his lastpocket opera, Anthony Tommasini in The New York Times wrote “…opera isa form of drama, and The Curious Case of Benjamin Button kept me involvedright through.” A DVD of it is sold by Albany Records. He has been therecipient of many awards, among them the "genius" award of the MacArthurFoundation. He writes, “Fantasy Romance, written for my friends Fritz Magg and KeriMiller as a wedding present and recorded by them on The Music of JohnEaton, IUSM04, is a very romantic piece which tried to capture what seemedto me the timeless beauty and tenderness of their love — qualities that are sofragile in our harried, sordid world. To this end I have used “longing”resonances, captured by the middle pedal of the piano, and “ghostly" highharmonics in the cello as reference sonorities, and alternated agitated,passionate sections with areas of delicate compassion; for is not the mainchallenge in any close human relationship the balancing of the demands ofpassion and the necessity of compassion?”
Originally from Canada, SUSAN J. FISCHER is an active composer andpiano/theory teacher in New York for over 20 years. Several of her choraland chamber pieces have been commissioned for various theatrical orconcert programs in New York and Canada. Ms. Fischer completed herMasters in Composition at New York University's Steinhardt School ofMusic and Performing Arts Professions, where she studied with renownedcomposer Justin Dello Joio. Previously, Ms. Fischer completed graduatework in music education at Ithaca College, New York and studied 20thCentury compositional techniques at Concordia University in Montreal,Canada. In addition, Ms. Fischer holds an Associate of Music degree,(A.Mus.) from Conservatory Canada in performance and education. Mostrecently, Ms. Fischer's Romanza for Violin, Cello and Piano was
performed with choreography on July 4, 2015 at the Brazilian Embassy inRome, Italy. This new music concert, “One Voice One Land” wasproduced by Università di Roma Tor Vergata. In March of 2015, Susan'ssong setting of a poem by American poet J.D. McClatchy, What is Going,What is Coming for MezzoSoprano, Piano and SATB Ensemble, waspremiered at an NYCC concert at the DiMenna Center for Classical Musicin New York. Then in April 2015, Ms. Fischer's Intermezzo for Oboe,Violin, Cello, and Piano was premiered at another NYCC concert at SaintPeter's Citigroup Center in New York. Each year, Ms. Fischer producesrecitals for her piano students at the Plymouth Church in BrooklynHeights, New York and in her dedication to music education has foundedthe National Academy of Music (NAMA) a nonprofit organizationfostering musical achievement and appreciation by making Americanmusic conservatory standards of education accessible to everyone. Although originally written for violin and piano, this version of Notturnois reimagined for string quartet.
EMIKO HAYASHI is a composer, arranger, and performer, currently livingin New York. She was born and raised in Japan, and started classical pianostudies at age three but later on moved into jazz and contemporary music. Shehas an undergraduate degree from Jochi University (Japan) in Far EasternPhilosophy and a Masters in Jazz Piano Performance from PurchaseConservatory of Music (New York). Emiko has performed at various clubsin Tokyo, the Bay Area in California, and New York City. In 2005 sheshifted to composing contemporary music. Her work Continuous Strand ofTwisted Threads, for string trio, was selected and performed by WomenComposers Festival of Hartford, her Piano Sonatina was performed byMartha Locker at Tenri Gallery sponsored by Orchestra of Our Time, and herjazz originals were performed at Birdland Jazz Club, Zinc Bar, and The Vaultin Santa Cruz. She states, “I use my compositions as a vehicle to exploremusic from a visual and a visceral perspective. My attempt is to paint soundswith my own version of color, texture and depth.” She writes, “When I started to write this piece, Trialogue, I had expansivethemes and ideas that I wanted to include in the work. It took me over a yearto work with it, adding and subtracting ideas, shaping the contours, findingcolors to express heightened sense of emotion. My hope is that the piece willtake the listener through a journey of peaks and valleys, of surprise andexcitement.”
CARL KANTER majored in music at Harvard College, graduating in 1953.Thereafter he attended Harvard Law School and practiced law for about 40
years. After retiring, he returned to composition and has written primarilychamber music compositions and a limited number of pieces for piano andfor orchestra. The movements of this quartet are titled according to the characteristics thatmotivated them. Each movement creates a different sound world featuring aparticular technique.
Hailed as a “unique voice in American music, transcendent…witty…colorful…profound,” DEBRA KAYE’s body of work blends her deepclassical roots with a wide range of influences including jazz, world music,folk, experimental improvisation, sounds of daily life, and world eventstransporting her listeners in a visceral journey through the chamber music, artsongs, choral and theatrical compositions that have earned her a steadystream of commissions. Recognized with ASCAP Plus Awards for her“creative contributions to American music,” Kaye is recipient of additionalgrants and awards from Meet the Composer, Mannes College, the FortWayne Children’s Choir, New School University, and Edward T. ConeFoundation. She has held residencies at the Millay Colony for the Arts andHelene Wurlitzer Foundation. Along with tonight’s premiere, seasonhighlights include the premiere of two choral works for the multimediaseries Pitches at an Exhibition – CHORUS 72, and a klezmer piece to debutthis spring, featuring Canadian violinist Lara St. John and a distinguishedensemble of New York musicians, both presented by ComposersConcordance. Last fall, German publisher Bellmann Musik included her soloharpsichord composition, Buscando, commissioned by Arthur Haas of YaleUniversity, in their two volume set The Contemporary Harpsichordist. Herdebut album And So It Begins, (Ravello Records), produced by Grammywinner Judith Sherman, was included on Ted Gioia’s list of top 100 CD’s of2014, and recognized as “a valuable discovery, given the quality andoriginality of the music that promises to Kaye a bright future.” Kaye is afaculty member of Mannes College of Music. She writes, “Andante, quietly impassioned, is the slow movement from mynew String Quartet and the impetus for the piece. I drafted the opening barswhen I was 16, and they haunted me to complete them. It’s becomesomething of a lifecycle piece: throughout the four movements, the theme isreflected from various points of view.”
DANIEL BARRETT, "a brilliant and driven cellist, composer, andconductor" (Huffington Post), is Director of International Street Cannibals ("abrash newmusic ensemble" The New York Times, "kaleidoscopicallyeclectic" Alan Lockwood, New York Free Press). Dan has played for BBC's"Copper", for PBS (Ric Burns' "Death and The Civil War", "The Way West","Andy Warhol", and the 10part series, "The History of New York"), HBO,and ESPN. Solo credits include Radio France, Gulbenkian Festival (Lisbon),"Festival Presences" (Paris), Alvin Ailey, and WQXR. His recorded solos areheard in collected works of Xenakis (Mode and Vanderberg labels); onNaxos; on RCA for Cherish The Ladies' Threads of Time; and on Sony forAndy Warhol. Other credits: onstage cellist in James Joyce's The Dead(Broadway), Orchestra of St. Luke's, NYC Opera, ABT, Philomusica, SiriusQuartet; principal positions for STX, Strathmere Chamber Orchestra, CTGrand Opera, SEM, and Crosstown Ensemble. His compositions have beenheard on NPR, and played by Absolute Ensemble, Composer's Concordance,ISC Ensemble, West Virginia Symphony, and North/South Consonance. Hehas conducted the NY Bach Ensemble, Joyce's The Dead on Broadway, ISCEnsemble, the Ethos, and Composers Concordance. TV appearances areThird Eye Blind, SNL, and Rosie O'Donnell. He has recorded for Sony,RCA, ComposersConcordance/NAXOS, WindhamHill, Shanachie, MSR,and Mode.
FUNDA CIZMECLIOGLU began her musical journey in Istanbul at theage of five, inspired by her grandfather, a traditional Turkish Saz player and amusic educator. Funda's current engagements include performing andrecording commissions and premieres of new works by living composers as aprincipal second violinist of the Albany Symphony Orchestra. She is alsocurrently on the roster as both violinist and violist at Broadway's playAmazing Grace as well as New Jersey Festival Orchestra and Light Opera ofNew York. Funda Cizmecioglu participated in U.S. eastcost tours with PeterGabriel, Frank Sinatra Jr., and Johnny Mathis, and appeared on SaturdayNight Live with Kanye West. Funda Cizmecioglu has worked under thebaton of renowned conductors such as Kurt Masur, Leonard Slatkin, Jo AnnFalletta, Joseph Colaneri, and Israel Gursky.
A musical prodigy as a child, DAVE EGGAR began playing the cello andpiano at age three, performed on Broadway and with the Metropolitan Opera
PERFORMERS
at age seven, and debuted at Carnegie Hall at age 15. He is a graduate ofHarvard University and the Juilliard School's Doctoral Program. Dave Eggarhas performed worldwide as a solo cellist and pianist. A virtuoso of manystyles, Dave has performed and recorded with artists in numerous genresincluding Evanescence, The Who, Michael Brecker, Josh Groban, Coldplay,Beyonce, Pearl Jam, Fall Out Boy, Dave Sanborn, Kathleen Battle, RayLamontagne, Roberta Flack, The Spin Doctors, Dianne Reeves, Brandy,Carly Simon, Phil Ramone, Hannah Montana, Duncan Sheik, SineadO'Connor, Bon Jovi, Manhattan Transfer, Corinne Bailey Ray, and manymore. His list of awards and accomplishments includes accolades from TimeMagazine, ASCAP, the National Endowment for the Arts, Sony RecordsElevated Standards Award in classical music, the Geraldine Dodge &Leonard Bernstein Foundations, and at 15 he was the youngest winner in thehistory of the Artists International Competition. Dave's fourth solo release,Kingston Morning, was recorded in Brooklyn, New York, Kingston, Jamaica,and Big Stone Gap, Virginia. It was released on Domo Records in 2010.Dave's mission to "not just cross over, but to cross through" multiple genresof music is apparent with all of his releases. Whether it's classical, reggae,bluegrass, jazz, pop, or world music, he finds a common voice within hismusical vocabulary and introduces it with his own unique imaginative vision.
KIMBERLY FOSTER WALLACE, viola, performs actively throughoutthe tristate area as an orchestral and chamber musician. She currently holds aposition with the Albany Symphony Orchestra in Albany, New York. Herorchestral credits include principal of the Bridgeport Symphony andAllentown, Pennsylvania Symphony, the Minnesota and Berkshire OperaCompanies, and New York Virtuosi, and she was a frequent substitute for theMinnesota Orchestra in Minneapolis. She has performed at many festivals,including the Tanglewood Music Center, Manchester, Vermont, andInternational Festival Institute at Round Top, Texas, and she has touredRussia with the American Russian Youth Orchestra. Her chamber musicperformances have been heard on NPR’s Performance Today series.Kimberly is a faculty member of Summertrios, the Princeton Chamber MusicPlayweek, and Monmouth University’s Summer String In, where she coachesadult amateur chamber music enthusiasts during the summer season. A nativeof Portland, Oregon, Kimberly began her musical studies at the age of six.She studied with George Taylor at the Eastman School of Music from 1992 to1997, and was granted a full scholarship to study with Jesse Levine at theYale School of Music from 2001 to 2004. Upon graduating from Yale, shewas honored as the first recipient of the Georgina Lucy Grosvenor Prize,awarded to the violist of the graduating class showing the most promise for acareer as soloist and chamber musician. Ms. Wallace performs on a viola
made by Belgian luthier Pierre Boom, circa 1750. She lives with herhusband, Ted, in New Jersey.
Violinist GREGOR KITZIS plays regularly with The Orchestra of St.Luke's at Carnegie Hall and is a founding member of The Ouluska PassChamber Music Festival in Saranac Lake, New York. He has performedearly music on period instruments with The American Classical Orchestra,premiered and recorded countless new works with ensembles includingOrchestra of Our Time and CollideOScope, arranged, performed, andrecorded with David Bowie, been the string contractor for TV appearanceswith Enya, and performed with artists ranging from Anthony Braxton to JohnCage, playing everything from solo and chamber music recitals to rock andtango in venues ranging from Carnegie Hall and the late CBGB's to SaturdayNight Live and David Letterman and new music and jazz festivals throughoutthe United States, Canada, and Europe. He plays an old Italian violin made inthe 1690s by Giovanni Grancino. Of his performance of Vigeland's IvesMusic, The New York Times wrote "scratchier and more mistuned than evenIves would have found amusing." And in a later review: "The importantviolin solos were excellently projected by Gregor Kitzis, sometimes withwhistling purity, always with vivid presence" (Paul Griffiths, The New YorkTimes). More recently, newmusicbox.org reviewed a solo performance withthe Albany Symphony at Carnegie Hall in May of 2010 as “authentic, jawdropping fiddling,” and American Record Guide reviewed the sameperformance, saying “Kitzis stole the show in his procession from one end ofCarnegie Hall to another, his violin resonating brilliantly and vanishing withghostly shivers in Carnegie’s remarkable acoustic.”
Pianist MARTHA LOCKER leads a busy and diverse musical life,performing as soloist and chamber musician both in the United States andabroad. As soloist, Martha has performed with the Pittsburgh SymphonyOrchestra, the Knoxville Symphony Orchestra, the Westmoreland SymphonyOrchestra, Orchestra Nova, the New Juilliard Ensemble, and the New YorkUniversity Symphony Orchestra. An avid chamber musician and performerof contemporary music, Martha gives regular performances at Juilliard andNew York University and many other New York venues, includingBargemusic, Symphony Space, Greenwich House and Bloomingdale House.Martha has been a fellow of the Tanglewood Music Center, has attended theSarasota Music Festival, the Chautauqua Music Festival, and the EasternMusic Festival, and was invited to perform at the Kyoto International MusicFestival in Japan. She has been a guest artist of the New York UniversitySummer String Quartet Institute, the University of Maryland SummerPercussion Seminar, and the Alessi Trombone Seminar. Martha holds
Bachelor’s and Master’s degrees from the Juilliard School, where she studiedpiano with Peter Serkin, Jacob Lateiner, and Jerome Lowenthal. Shecompleted an Advanced Certificate in Music Education at New YorkUniversity in 2012, where she studied piano with Miyoko Lotto. Martha is anadjunct faculty member at NYU and at the Packer Collegiate Institute inBrooklyn.
One of New York’s most gifted, trusted, respected, oftenrequested, and wellliked pianists, CHRISTOPHER OLDFATHER has devoted himself to theperformance of twentiethcentury music for more than thirty years. He hasparticipated in innumerable worldpremiere performances, in every possiblecombination of instruments, in cities all over America. He has been amember of Boston’s Collage New Music since 1979, New York City’sParnassus since 1997, and New York Philomusica since 2007, and as acollaborator has joined singers and instrumentalists of all kinds in recitalsthroughout the United States. In 1986 he presented his recital debut inCarnegie Recital Hall, which immediately was closed for renovations. Sincethen he has pursued a career as a freelance musician. This work has takenhim as far afield as Moscow and Tokyo, and he has worked on every sort ofkeyboard ever made, including, of all things, the Chromelodeon. He is widelyknown for his expertise on the harpsichord, and is one of the leadinginterpreters of twentieth century works for that instrument. As soloist he hasappeared with the MET Chamber Players, the San Francisco Symphony, andEnsemble Modern in Frankfurt, Germany. His recording of Elliott Carter'sviolinpiano Duo with Robert Mann was nominated for two Grammy Awardsin 1990. Recently he has collaborated with the conductor Robert Craft, andcan be heard on several of his recordings.
As a performer, percussionist DAVID PICTON is primarily a jazz musician.He has performed with such notable musicians as pianist John Hicks,guitarists Jack Wilkens, Larry Coryell, and Randy Johnson, bassist LeonardGaskin, and many others. Mr Picton appears on several CD's, as drummerand/or percussionist (as well as pianist), with artists such as Art Lillard, MikiHayama, Bob Gallo,Yoshiki Miura, and Linda Ipanema, and he has alsoreleased two jazz CD's of his own. In the 1970's Mr. Picton studied with thegreat Joe Morello, famous drummer of the original Dave Brubeck Quartet.Later in his career, Mr. Picton also studied drums with Kenny Washington,Victor Lewis, and Steve Davis. Mr. Picton's interest in playing handpercussion (particularly bongos) started growing in the mid1990's, after hewent on a West African tour to Ghana with the Bleeker Street Trio in 1997.This experience increased David's interest and passion for Africanbasedrhythm, particularly in the genre of Afro Cuban jazz, which he began to study
more intensely with the help of a Cuban percussionist with whom he studied.Mr. Picton is also an accomplished jazz pianist, and especially in recentyears, he has been working a lot as a pianist, as well as a percussionist.Besides being a performer, Mr. Picton is also a composer. He composes incontemporary classical genres as well as contemporary jazz. He has aBachelor's degree in music composition from Mannes College of Music, andis a composer member of New York Composers Circle.
The NEW YORK COMPOSERS CIRCLE, now in its fourteenth year, is amultifaceted artistic and educational organization of composers and performers,whose mission is to promote public awareness and appreciation of contemporarymusic through concerts, salons, and other events in the New York metropolitanarea. For its members, the NYCC offers a variety of opportunities for testingworks in progress at monthly salons open to the public, performing completedworks in concert, and fostering collaboration and development, both artistic andprofessional. For composers who are not members, the NYCC offers theopportunity of a public performance to winners of its annual composers’competition. For the sophisticated concertgoing public, the NYCC offers at leastfour concerts a year of works by members and others, curated by a jury headedby MacArthur Awardwinning composer John Eaton. And for members of thepublic who have not yet been exposed to much contemporary music, the NYCCsponsors an outreach program, in which we send performers to variousinstitutions including high schools and community centers, at no charge to theinstitution, to perform musical works of the 20th and 21st centuries. Inspired by a workshop at the American Music Center, Jacob E. Goodmanfounded the New York Composers Circle in the spring of 2002 as an associationof composers meeting regularly to play their music for one another. It soonbecame apparent that we had the artistry and commitment to present our music,along with the music of other composers, to a larger audience. In May, 2003, theNYCC produced its first public concert at Saint Peter’s Church, featuringPulitzer Prizewinning composer David Del Tredici along with eleven of theNYCC's original members. This wellattended concert was favorably reviewedin the New Music Connoisseur. Under the continued leadership of Debra Kaye, John de Clef Piñeiro, RichardBrooks, and currently Hubert Howe, the NYCC's membership has more thanquintupled since its inception, and the number of its concerts has grown from oneeach season to its current calendar of six concert presentations during the 201516 season. At the same time, our roster of performers has grown to include manyof the world’s leading instrumental and vocal artists specializing in new music. The group continues to expand its programs. Informal readings of new piecesallow composers to "test fly" their works with some of New York's finestprofessional and advanced student musicians. Such events, along with ourmonthly music salons and collaborations with other groups and institutions,support the creation and presentation of new music through the various stages ofits development. In the 200405 season, awardwinning composer EzraLaderman joined members of the NYCC in its spring concert. In addition to itsown two concerts, in March 2006 the NYCC presented a joint concert with theperforming ensemble ModernWorks; during the following season wecollaborated with New York University in our first concert at NYU's FrederickLoewe Theatre; in March 2010 we collaborated with the Italian “No Borders”
Quartet in presenting a program of works by American and Italian composersthat was performed both here and in Italy; in September 2012 we presented aconcert under the auspices of the celebrated Bargemusic series “Here and Now”;and in 2014 we inaugurated a series of annual NYCC jazz concerts. In the summer of 2007 the NYCC held the first of its annual composers'competitions, open only to nonmembers. The winning work in the 2015competition, our eighth, Ross G . Griffey's Tied by a Chance Bond Together, forviolin and piano, will receive its premiere performance at our final concert of thisseason, on June 4, 2016 at Symphony Space. Seven seasons ago the NYCC launched a new outreach initiative—the NewYork Composers Circle's Community Encores program. We send professionalperformers to institutions throughout New York City such as schools andcommunity centers, at no cost to the institution, with the aim of acquaintingpreviously untapped audiences with concert music of the 20th and 21st centuries;each concert is emceed by a member of the NYCC, who introduces theperformers and the music they play. The first concert in this series, featuringpianist/composer Nataliya Medvedovskaya with commentary by John de ClefPiñeiro, took place to great audience acclaim on February 24, 2009, at theHebrew Home in Riverdale. To date, we have presented 21 such outreachconcerts, at public high schools (Bronx H.S. of Science, Stuyvesant, and HunterCollege H.S.) and at additional community centers (Lenox Hill NeighborhoodHouse at Saint Peter's Church and JASA, as well as our first outreach concert, byEugene Marlow’s Heritage Ensemble, at Lighthouse International); several moreare planned for this season. A recent Community Encores concert, at StuyvesantHigh School, featuring soprano Sofia Dimitrova and pianist Catherine Miller,garnered a rapt audience of 350 students, whose probing questions were fieldedby the performers and by composer Richard Russell, who acted as emcee. These free outreach concerts are presented under the sponsorship of NYCCcontributors, and the list of schools and community centers is expanding. Seethe next page for how you can become a sponsor of this project, which isbringing new music to new audiences.
Staff for this concert:Roger Blanc and Emiko Hayashi, producers
Dary John Mizelle, stage managerDana Richardson, stagehand
Max Duykers and Jennifer Griffith, receptionGayther Myers, page turner
Robert S. Cohen and Josy Fox Goodman, at the doorPaul Geluso, recording engineer
Tamara Cashour, publicityJacob E. Goodman, programs
Friends of the New York Composers CircleJudith AndersonNaoko AokiOliver BaerWilliam and Marilyn BakerRoger BermasNancy R. Bogen-GreissleHervé BrönnimannRichard Brooks and Clifford HallArline BrownBarry CohenRobert CohenGloria ColicchioMary CronsonDavid Del Tredici and Ray WarmanGary DeWaal and Myrna ChaoMargaret DeWittRobert and Karen DewarMr. and Mrs. John EatonJeanne EllisMichael and Marjorie EngberWilliam and Harriet EnglanderMargaret Fairlie-KennedyAnne FarberAllen C. Fischer and Renate BelvilleAmy Roberts FrawleyElizabeth FriouVictor FrostMark and Louise GatanasPeter and Nancy GellerLucy GertnerJacob E. and Josy Fox GoodmanDorine GordonPerry GouldStanley S. GrosselMartin HalpernLinda HongHubert HoweCarl and Gail KanterDavid KatzLou KatzDavid KaufmanBarbara Kaye
Debra KayeRichard KayeDaniel KleinVladislav KlenikovAlvin and Susan KnottAndrea KnutsonSusan KornLeo KraftHerbert and Claire KranzerMichael LadermanRaphael LadermanDorothy LanderArnold and Michelle LebowMr. and Mrs. Robert LeibholzStephen and Ann LeibholzNancy and Norman LoevErwin LutwakJoseph and Nina MalkevitchDavid MartinMartin MayerWilliam MayerEugene W. McBrideChristopher MontgomeryWilliam and Beryl MoserGayther and Carole MyersBill NerenbergLinda Past and Joseph PehrsonJeanette and Stuart PertzMurray S. PeytonRichard Pollack and Lori SmithBruce S. PyensonRochelle and Douglas SauberMarjorie SenechalJohn H. SolumAbby Jacobs StuthersAl and Alice TeirsteinMr. and Mrs. Douglas TownsendRaymond TownsendGary and Katrine WatkinsSally WoodringThomas Zaslavsky and Seyna BruskinMartin Zuckerman and Susan Green
The NYCC gratefully welcomes donations large and small, which help make ourconcerts possible. Contributions to the New York Composers Circle are taxdeductibleunder Section 501(c)(3) of the Internal Revenue Code. Your donations may be sent tothe address on the last page of this program, or you may click on the "Donate Now"button on our website, www.NYComposersCircle.org
If you would like to help us in our efforts to build new audiences for new music, pleasebecome a Friend of the New York Composers Circle and send us your contribution.
New York Composers CircleBoard of Directors
Richard Brooks John de Clef Piñeiro, Chair John EatonJacob E. Goodman David Katz
AdministrationHubert Howe, Executive Director
Max Giteck Duykers, Deputy Executive Director and Membership CoordinatorDavid Katz, Treasurer
Susan J. Fischer, SecretaryJacob E. Goodman, Concert Director and Outreach Coordinator
Tamara Cashour, Publicity CoordinatorEugene W. McBride, BMI and ASCAP Liaison
Dary John Mizelle, Salon CoordinatorEmiko Hayashi, Coordinator of Readings
Richard Russell, Webmaster and Editor of In the Loop
Honorary MembersElliott Carter (dec.) John Eaton Ezra Laderman (dec.) Tania León Paul Moravec
Composer MembersJosé Beviá Jennifer Griffith Richard McCandless Frank PicarazziRoger Blanc Marti Halpern Kevin McCarter David PictonRichard Brooks Emiko Hayashi David Meciones Raoul PleskowMadelyn Byrne Hubert Howe Nataliya Medvedovskaya Frank RetzelTamara Cashour Carl Kanter Yekaterina Merkulyeva Dana RichardsonRobert S. Cohen Debra Kaye Scott Miller Richard RussellMax Giteck Duykers Patricia Leonard Dary John Mizelle David SeeSusan J. Fischer Eugene Marlow Gayther Myers Inessa SegalJoseph Gianono Peri Mauer Nailah Nombeko Craig SlonJacob E. Goodman Eugene W. McBride Joseph Pehrson Matt Weber
Performer MembersDemetra Adams, soprano Oren Fader, guitar Daniel Panner, violaHaim Avitsur, trombone Leonard Hindell. bassoon Lisa Pike, hornMary Barto, flute Craig Ketter, piano Anthony Pulgram, tenorAllen Blustine, clarinet Michael Laderman, flute Ricardo Rivera, baritoneVirginia Chang Chien, oboe Jacqueline Milena, soprano Stephen Solook, percussionSofia Dimitrova, soprano Daniel Neer, baritone Patricia Sonego, sopranoStanichka Dimitrova, violin Maxine Neuman, cello Anna Tonna, mezzo-sopranoTiffany Du Mouchelle, soprano Margaret O'Connell, mezzo Arlene Travis, sopranoMarcia Eckert, piano Javier Oviedo, saxophone
ContactNew York Composers Circle
20 Scott Drive EastWesthampton, NY 11977-1015
www.NYComposersCircle.org
Our next concert will take place at 7:30 PM on Tuesday, February 16, 2016,at Saint Peter's Church, 54th St. and Lexington Ave. in Manhattan.
For more information, please see the NYCC website.