June in Buffalo 2001 - Center for 21st Century Music

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'PAN
ERICAN
[Xlts1]O N
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June 4-9, 2001
"A New Generation of Buffalo Composers"
1901-2001: "The Pan-American Exposition and Beyond, in Music"
David Felder, Artistic Director
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June 4-9,2001
David Felder, Artistic Director
Cheryl Gobbetti Hoffman, Assoc iate Director
"A NEW GENERATION
OF BUFFALO COMPOSERS"
Resident Composers
David Felder
Jonathan Golove
Cort Lippe
Erik Ofia
Jeffrey Stadel man
Resident Ensembles
Amherst Saxophone Quartet
BugaJlo/Wilii ams Piano Duo
Cassatt String Quartet
JlB RASSWORKS
Quaruor Bozzini
Slee Sinfonietta
Special Guests
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Pierre-Yves Anaud, flutes
Robert Berkman, pianola
Kevin Bowyer, organ
C heryl Gobbetti H offm an, flute
Michael Lasser, lecturer
Frieda and Steph en Manes, piano
Dora Ohrenstein, soprano
Jane Romanos, soprano
lune in Buffalo 200 I. presented by t he Univers ity at Buff:1Io's Departmen t
of Music, is a fes tiva l :lnd conk'renee dedica ted to composers and their
music, considered and pc r/()nll cd li"<.:" h (l IT [he page. In additio n to lectures
and mas te r d: I,s:-.e\ hy F:lcu h y CO 11 IpO:-.L........ p:lni c ip:IIH. . be ne fit from m usica l
TABLE OF CONTENTS
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Mor n ing Lecrure Schedul e ...
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Mo n(Lly, Ju ne 4: Slee Sin fo n iefta ....
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collaboratio n wi th lO p pc rio rlll l' r'i o f Ill usic in t he cO llt c mporary ve in ro produce COllce rt . . oCtlle;r works thruu g holll th e wed .;., This YC:lr's fesri va l ope ns
Tucsday. Ju ne 5: JIB Brown Bag: " I)'lanos.I"
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and close:.. wi th CO ll ce rt ... des igncd with a spirit d C:lrly root ed in the imellccmal and techni cal dcvclopll1l:Il LS ava ilable to LIS in 200 I, ye t closely paral1c1-
Tu c;cb y. Jun e 5: J IBRASSWORKS ... . . .
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.. . . . . . .
ingAl1lerican;! in 190 1.
\Vl.:dncsday, Jun e 6: C3ssatt Strin g Quar rer . . . . . .
"1901 - 200 L": "The Pan-American Exposition and Beyond, in Music"
Buffalo 1901 fa irly bustled with exh ibitions and ex hibitors, showcasing the
spirit and workings of rhe Wester n Hemisphere and th e Americas. In music,
America's penchant for pipes of all shapes and sizes led to daily orga n recitals
featuring visi ting orga nists playing the Emmons Howard o rga n that received
a gold medal for tedlllology fro m the Exposi(ion ; visiting brass bands
includ ing the So usa Band , Carl isle Indian Band , Boston Wo men's Ba nd and
va riolls legion bands in addition [Q the Pueno Rica n String Ba nd and gro ups
from Hawa ii , Mex ico, and Africa kept the Temple of Music abuzz with
sounds for the new ce ntury. Concen s by Victo r Herbert's Orchestra and the
Pittsburgh Sym phony fea mred favorite Euro pean classics along with premiering wo rks wri tte n for th e Exposi tion in [he "America n" spi ri t; mechanical keyboa rd devices sllch as the orchesrrion and pia nola confounded,
amazed, and del igh red visito rs to "The C ity of LiglH" that hosted this yearlong extravagan7a.
Thursday, June 7:
Rehearsed Readin g by the C3ssatr Suin g Quarrer
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Thursday, Jun e 7: Emerging Composers ...
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Friday, Jun e 8: JIB Faculty and Emergi ng Composers ....
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Sa rurday, June 9: 190 1-2001 ) The Pan-A mer ican Exposit ion
and Beyond, in Music. .
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" PAN AMERI CANA" . .
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Fri eda and Stephen Man es, pian o
Amh ers( Saxophone Quarrer
"The Strin g Quartet, Then and Now" . . ... . ..... . ...... 24
Quaruor Bozzini
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"G hosts in Black and White" ...... . .... . ... .
Bugallo/\X1illiams Piano Duo
Roberr Berkman , pi anola
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"Miss Jane's Parlo r" .. - ....
Jane Romanos , soprano
Robert Berkman, pi anola
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"A Concise H isto ry of Brass Bands in th e Americas" .
Lccrurc: Mich ael L1sser.
Kevin Bowyer, organ.
Lun chtime wirh th e Ourer C ircl e Orches tra ..... . ... .•..
JIBRASSWORKS
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Rcs idcm C omposer Biographies
... . ..... . . ..... . ........ 29
Residell r Ensemb le Biograp hi es .
31
Con ducto r Bi og raphi es .. ..
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Speci3l Guest Biograp hi es . .
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MORNING LECTURE SCHEDULE
Lectmcs will rake pLICC in l1aird Rl'ci( ;! 1 11.111 (HJ11. 250 Baird f-bll) from 10: 30 am
until 12 pm unless o rh cfwise nO{I.:d.
Monday, June 4
Pre-co ncen talk:
Slee Co ncert Hall, 7: 15 pm
Monday, June 4
Cort Lippe
The Slee Sinfonietta
Da vid Feldel; Artis/ic Director
Magllus M!irtemsoll, conductor
Pierre- Yves Arltluc/, flute soloist
Tuesday, June 5
Erik Gna
Slee Concert Hall, 8pm
PROGRAM
Wednesday, June 6
Jeffrey Stadelman
Inner Sky (1994)
Is David Felder
forflute soloist, chamber orchestra & compllter processed SOUnt
(b. 1953)
Pierre-Yves Anaud , flute
Thursday, June 7
Jonathan Golove
EI Salon Mexico (1932-36)
arm;lged (or ensemble by YUllr MikhtlShoff
dedicated to Lukas Foss
Friday, June 8
David Felder
Aaron Co plan d
( 1900- 1990)
Intermission
Saturday, June 9
Michael Lasser, 9:30am, Slee Concert Hall
Chanso ns de Bilit is (1901)
for normt01; 2 filltes, 2 harps, & celeste
I. Chant Pastoral
C laude Debussy
(1862- 19 18)
II. Les Comparaisons
II!. Les COlltes
IV. Chamon
V. La Partie D'Osselets
VI. Bilitis
VI!. Le Tombellu SIIIlS Nom
V!!!. Les COllrtisanes EgyptieuJleJ
IX L'ellu Pure du Bmsin
X. La DallSeuJe IIUX Crotales
XI. Le SOU/Jenir de MlIllSidica
XII. La Plllie lilt Mlltin
Do ra O hrensrein. narraror
Pierre- Yves Arraud, flurc
Cheryl Gobbetti Hoffman, flute
Suzanne Thomas, harp
Beth Ann Bren ne man , harp
Helena Bugallo, celesre
Starry W isdom (2001 )
4
Jeffrey Sradelman
(b. 1959)
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Slee Sinfonietta
T EXT TRANSLATI ON
VioLin f
Hille
Eun- Hee Ellie Kang
Clemens Merkel
P iCITC- Yves Arraud
C heryl Gobberci Hoffman
Muneko Orani ,
CO llrertlllflster
Starry W'isdom
Oboe
Trond Sacvcrud
Sarah Schwanz
John \Villiams,
ConCt'rt'flltlSter Inner Sky 6£:.1. SaiOn Mexico
t.rienne de Meciicis
Clnriuet
Ben Freim uth
HtWOOII
Violin 11
Matthew Shubin
Orhan Ah iskal
Be[hany Bergman
Trumpet
101 ise laVoie
Louis Hanzli k
Jeffrey Luke
Jennifer Les hn ower +
L1zara Nelson
Eric Rynes ,.
Trombone
US Chansons de Bili tis
1. Chant PastoraJ
II Gut chamer un cham pastoral ,
invoqm'r Pan, dieu du ven! d'ctc.
)e g:lrcle mOll lroupeau cr Selenis Ie sicn,
a J'ombre ronde d'un olivier qui rremhlc.
The song to sing is a shepherds song.
the god (Q 011 is Pan , god of the summer wind.
[ keep my flock :lJld Sclenis keeps hers,
in the circular shade of a trembling oli ve-tree.
Selenis CSt couchee sur Ie pr{:.
Elk se leve ('1 court, au (hefeh" des (igab,
Oll cucillc des /leurs avec des hcrbes, Oll lave
son vis:lge d:ms 1'eau fraiche du ruisscau.
Sclenis is lying on {he grass.
She rises and runs, or seeks grasshoppers,
or garhers nowers wilh herbs,
or washes her face in the cool waters of the stream.
Moi, j'amche blaine au dos blond des
moutons pour en garnir rna qucnou ille, e( jt file.
les heUTes son lemes.
Un aigle passe dans Ie ciel.
1 pluck wool from the backs of my fair-fleeced
sheep and garnish my distaff, and spin.
The hours go by slowly.
An eagle gl ides across the sky.
Lombre [ourne, changeons de pbce la corbeillc
The shade has turned, we must move the basket
of nowers and lhe POt of mi lk.
The song to sing is a shepherds song. lhe god
to call is Pan, god of rhe summer wind.
Songs of Bilitis
1. Shepherds Song
de /leurs et In jarre de !ail.
II bm chanter un chant pastor~1 1, invo<Juer Pan,
dieu du vem d'ere.
John Faieta
Viola
Stephan ie Bozzin i
Harp
Berh Ann Brenn em:l1l
Suzanne T homas, principal
N icole Brock man
Adrienne Elisha
Manhew McBridc- Dalin e ·
Jill Pellet
'rawnya Popoff +
Diane Willi ams
PerclIssion
Craig Binerrnan
Ti fr.'In )' Nicely
Rin Oza ki
Jan Williams
Cello
Isa belle Bozzini
Jona than Golovc
Joshua G ord on
~
Piano
Srephen Manes
Michae l Orland
Just in Kagan
C aro line Stinson +
Karl Toews
Celeste
Helena Bugallo
Si mon Turne r
Bass
Mich3.e1 Camero n *#
Co rrado Canonici +
Sriliana Chrisrof
Steve Gilewski
~pri}/cipafs !nner Sky
+pri1lcipals StruT} Wisdom
#prim:ipnls El5a/01/ Mexico
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Us Comparaisons
Bergeronncuc, oiseau de Kypris, clllnle
avec no premiers desirs!
Le corps nouveau des jell!1es lilies Sf couvre
de /leurs camille la terre.
L1 nuit de tOllS nos reves approche
et nous en parlons entre nous.
n.
II. Comparisons
\'<'agtail, bird of Kypris, si ng
along with Ollr gi rl ish longings!
Our taut bodies arc strewn
with flowers like the fields.
The night of :111 ou r dreams is drawing near
and fills our talk.
ParrOIS, nOllS comparons ensembl e nos beautes
si diflercmes, nos cneve!ufes deja longues,
nos jeunes seins encore pet its,
nos pubenes rondes comllle des cailles et
blotrics sous Ia plume naiS$jrHc.
At times, we co mp:!re each others diffcrel1l beauties:
ou r hair, lon g already,
our breasts, s(il1 small ,
Ollr loins plump as quail
ncstling beneath the nedgling down.
Hier, je lultai de Ia sortc conrre Melanth6,
mon aince.
Elle ctait flerc de sa poitrine qui venair
de craine en un mois.
er, mont rant rna [Unique droilc,
die m'avait appclCc Petite enfant.
Yesterday, I com peted thus with Mclamho.
my elder.
She, proud of her bosom which had
sprouted in a mOlHh,
pointed at my flat runic
and called me Ch ild.
Pas un hom me ne pouvai r now; voir,
nom IlOUS mimes nues devant les fllles,
el, 5i die vainquir sur un point , je I'cmpom i
de loin Sli r les :lutres.
Bergeronncltc, oist"au de Kypris,
chante avec nos premiers dt's irs!
No man could sec us, we stripped bare
and were judged by our friends, and,
though she won on olle point,
[ won easily on all the others.
Wagtail, bird of K),pris. sing along wirh
our first longi ngs!
7
Ill. Les Contes
des qu'ils me voient, ils courent ~ moi
et s'accrochent 3. ma runique et prennelll
mes jambes dans leurs petits bras.
III. Tales
I am she whom little children 10'1('";
as soon as they sec me, they run to me
and cling to my tunic and circle my legs
with their lillie arms.
V. La Partie D'Osselets
Comme nOliS I'aimions roules les deux,
nous l'avons jour aux osselets.
Et ce fut llne partie celebre.
Beaucoup de jeuI1cs fdl es yassistaient.
V. The Knucklebon e Contest
As we both loved the same man, we played
S'ils Ont cueilli des fleurs, ils me les donncnt
(Qules; s'ils Ont pTis un scaf:l bee,
its Ie meuem dans rna main;
s'ils n' om rien, ils me carcsselll
el me font asscoir devant eux.
If they have picked flowers, they give 111('
all of them; if Ihey have caught a beerle,
they place it on my palm; ir they are
empty-handed, rhey fondle me and sit me
down in front of them.
El1e amena d'abord Ie coup des Kykl6pes,
et moi, Ie coup de SOlon.
"his dIe, Ie Kallibolos, el moi, me sentant
perdue, je priais la deesse!
Her first throw was a Cyclops, I parried
with a Solon.
Then she produced a Kallibolos and I, fea ring
defeat, prayed to (he goddess.
Alors ils m'embrassent sur la joue,
ils POSCIll leurs teteS sur mes seins;
its lIle supplient avec les yeux.
Je sais bien ce que ceta veut dire.
Then they kiss Illy cheek
lay thei r heads on my breast,
beseech me with their eyes.
! know what that means.
Je jouai, j'ells l'Epiphenon, dIe Ie terrible
coup de Khios, moi I'Amileukhos,
elle Ie Trikhias, et moi Ie coup d'Aphrodite
qui gagna ['amant dispute.
I threw, got the Epiphenon, but she landed
a Chios, then I [he Antieuchos, ;lnd she
the Trikhias, and I an Aphrodite (hat won
me the disputed lover.
Cela veut dire:
~Bilitis cherie, redis-nous,
car nous sommes gentils,
l'hislOire du heros Perseus ou la mort
de]a petite Helle. ~
It means:
~Sweet Bililis, lei! LIS once again,
for we ha\·e been good,
the story of brave Perseus or tht" dt"ath
of lin Ie Helle.~
Mais la voyam palir, je la pris par Ie cou
et j(' lui dis tout pres de I'oreille (pour qu'dle
seule m'entendir): "Ne pleure pas, petite
amie, nous Ie laisserons choisir enm nous."
Bur seeing her so wan, I ('mbraced her neck
and said close to her ('lr (so that she alone
could hear): "Weep not, little friend,
n
w(' shall let him choose between us.
VI. Bilius
VI. Bilius
Une femme s'envcloppe de laine blanche.
Une autre se vet de soie ('t d'or.
Une autre se couvre d(' fleurs, de feui lles venes
er des raisins.
One woman drapes herself in white wool.
Another wears silk and gold.
Another dresses in flowers, green leaves
and grapes.
Moi je ne saurais vlvre que nue.
Mon amant, prends-moi comme je suis:
sans robe ni bijoux Ili sandales. voici Bilitis
toute seule.
I can only live naked.
Lover of mine, take me as I am:
no robe, no jewels, no sandals
jusl Bili(i5.
Mes cheveux son t flairs de leur nair
et mes levres rouges de leur rouge.
Mes boucles floncnt autour de moi libres
er rondes comme des plumes.
My hair is black with its own black hue,
my lips are red with [heif own redness.
My locks swi rl around me as loose
and curly as feathers.
Prends-moi [elle que ma mere m'a bite
dans une nuit d'amour lointaine,
et si je te plais ainsi, n'oublie pas de me Ie dire.
Take me as my mother made me in some
distant nighl of love, and if I please you thus,
remember to say so.
VII. I.e Tombeau Sans Nom
VII. The Nameless Tomb
Mnasidika m'ayanr prise par]a main
me mena hars des pones de la ville
jusqu'a un pet it champ inculte
ou il y avail une stele de marbre.
Et e1le me die
"Cdle-ci fut I'am ie de rna mere."
Mnasidika, taking me by the hand,
I('d me out through the ciry gates
to an untended plot
where a marble column stood.
And told m(':
n
"Here lies my mother's friend.
Alors je sentis un grand frisson .
et sans cesser de lui tenit la main
je me penchai sur son epaule,
At this I shivered
~nd still holding her hal1d
leaned over her shoulder
Je suis aimee des petits enfunts;
IV. Chanson
"Ombre dl! bois ou elle devait venir, dis-moi,
011 cst allee ma maitresse~
-Ellc cst dcscendue dans la plaine.
IV. Song
"Shade of the wood where she failed to come,
tell fllt", which way did my mistress go?
-She went down to the plain.
-Plaine, ou cst allee rna rnaitrcsse?
-Elle a suivi les bords du Aeuve.
-Plain , which way did my mistress go?
-She went along the river banks.
-Beau fleuve qui I'as vue passer, dis-moi,
est-eUe pres d'ici~
-Elle m'a quitte pour Ie chemin.
-Fi ne-looking river who saw her
tell me, is she /lear?
-She left me for the lane.
-Chemin la vois-ru encoure?
-Elle m'a laisse pour Ia route.
-Lane, can you still sec her?
-She left me for the road .
-0 route blanche, route de ta ville, dis-moi,
-0 white road, road to the city, tell me,
oll l'as-ru conduite?
-A la rue d'or qui entre a Sardes.
which way did you lead her~
·To the golden street which enters Sardis.
-0 rue de lumierc, touches-tu ses picds nus?
-0 street of liglH , can you feel her bart"
-Elle est entree au palais du roi.
-She went into the royal palace.
-0 palais, splendeur de la terre, rends-Ia moi!
-Regarde, elle a des colliers sur Ies seins
et des houppes dans Irs cheveux, cem perles
-0 palace, splendour of the eanh,
P;ISS,
reet~
give her back to me!
-Look, she has necklaccd breasts and
tufted hair, S1tings of pearls down her legs
and 1\\10 arms round her waist. »
Ie long des jambes, deux bras autour
de la taille."
8
knucklebo nes for him.
The contest was famous.
M;lny girls were present.
9
afln de lire 1cs qU:'Irre vcrs
entf(' b coupe creusc CI Ie serpent:
and read the fo ur lines of verse
between the hollow cup :'I ud the snake:
~Ce n'est pas ]a mOrt qui m'J enlev':e,
mais les Nymphes des fom3incs.
Je repose ici SOliS une terre Irgere
avec Ia chcvc1 ure coupee de Xanrhu.
Qu'dle sClIle me "Ieure.
Je ne dis pas mon nom."
"It is not death th:u took me,
but the rountain Nymphs.
I rest here benearh a light covering or eanh
wirn the hair they cut rrom Xantho's head.
She alone may mourn me.
I tell nOI my nall1e. ~
Longtcm ps nous sommes resrees deboLH ,
et Haus l1'avons pas verse b libarion .
Car COll1me!lt appelcr II IlC ame inCor1n llC
d'entre Its faub de I 'Hades~
We long rcmained standillg, and poured
no libation.
How can one ca ll ;m unknown soul rrom
the throngs in Hades?
VIII. Les Courtisancs Egyptie nncs
VIII. The Egyptian Whores
Jc s ui~ alice avec Pb ngon chez Ics counis.1.nes
egypticlllles. [Qui en hatH de b vicille ville.
EJles onl des :ul1phores de rem" des plateaux
de cuivre el des n:mcs jaunes OU e1les
s'accroupissellt sallS effort.
I went with I'langon to see the Egyptian
whores, at the top of the old town.
They h:l\'e earthenware amphoras,
copper trays, and tawny mats on which
they squat effortlessly.
Leurs chambrcs SOil! si lencieuses, sans angles
et sans encoignu rcs, lall( Irs couches
succcssivcs de chaux bleue on emousse
les chapite:mx et arrondi Ie pied des murs.
Their rooms arc silent, wilh no corners or
ridges, because successive laycrs of blue
lime have blulllcd the mouldings
and rounded the feet of thc walls.
Elles se tienncilt illlJ11obilcs, Ics mains poseces
sur Ics gcnoux.
Quand dies offrellt hi boui llie, d ies murmurem :
"Bonhcur. n
Et quand Oil les remercie, dies disent:
"Gdce j tOi."
They squat mot ionless, wi th thei r hands
on their knees.
When offcring porridge, they mum ble
"Happiness ."
In answer to thanks, they S:l.y
'Thank5 be to YOll ."
Elks comprellJlem Ie hellene el reigncm
de ]a parler m:tl pour se rire de nous
dans leur langue: m::lis nous, dent pou r dem ,
nous paIlons Irdien et el les s'inqu iereIH
(Qut j coup.
They understand Helleni:ln and pre[CJld
they spe:l.k it badly, so as to mock us
in their rongue; bllt we, tooth ror toolh,
start speaking Lydian and at once make
them fed uneasy.
lx. L'eau Pure du Bassin
"Eau pure du bas.~in, miroir immobile,
(I is-moi ma l>cJtHC.
-Bilitis, au qui que tll SOlS, Thetys peut-etre
ou Am phi trite, II! es belle, sache-Ie.
IX. The Pure Water in the Pool
"Pure water in the pool, immobile mirror
rell me Ill}' beauty.
-Bilitis, or whoe...er ),ou may be, Thetys perhaps
or Amphitrite, you arc beautiful, know that.
"Ton visage se pencht, SO liS ta dlevelu rc cpaisse,
gonflee de tlems et de p~rlil111 S.
''res poupicres molles s'ouvrelll it peine et res
flan c.~ SOl1l las de~ mouvernCrHS de rarnour.
"Your face kans forward under your thick hair
swollen with flowers and perfumes.
"Your limp eyelids droop :l.nd your flanks
are weary with the movements of love.
"Tall corps f.1liguc dll poids de tCS seins porte
les n1:lf(lues fin es de [,ongle et les taches
b!cues du b:'liser.
"Tes bras sont rougis par l'etrci me.
"Ch:tque ligne de ta pe:tu fut aim&.
"Your body lired by the weight or yOUT bfl~lsts
be:l.TS 1ll:lrk5 of fingernails and blue stai ns
of kisses.
"Your arms arc reddened byembr.J.ces.
"Every frJction of an inch of your skin wa~ loved.
-Eau cbire du bassin, la fraicheur repose.
Re~ois - moi, qui suis lasse de eet eFfet.
Emporte Ie fard de mes joues, et la sueur
de mon ventrc cr It' souven ir de 13. nuiL"
-Clear w~lIer in the pool, your chill is resrful.
Receive me, I am weary or giving.
Remove thl' p:lim from my checks ;\I1d the sweal
from 01)' loins :l.nd che remcmbrance of the night."
X. La Danseuse :tux Crotales
Tu att:l.ches j tes mains legeres res crotales
rctcntissant s, Myrrhinidion rna cherie,
er j peine nue hors de ]a robe, III etifes
tes membres nervellX.
Que tu es jolie, les bras en I':lir, les reins
•\rquCs el les seins rouges!
X. The Crolala Dancer
Tu commences: res picds I'un de\'ant J'autre
You begi n: your feet step fonvard, pause,
and limply slide.
Your body bends like a scarf, you caress
your shivering skin, and volupwousncss
bathes your long swooning ey{'s.
You ric to your ligh t hands your clear-sounding
crot:lb, M)'rrhin idio n Illy love,
and once bare of you I' robe you mcreh
YOltTslender arms.
How pretty YOll :lre, arms in the air,
back :lrched and bre:ls{s red .
se posent, h6ilent, et glissent mollement.
TOil corps se plie comme une echarpe,
tu caresses ta pC3U qui frissonne,
et la voluple inonde tes longs yeux evanouis.
Jes reins, lance Its jambes et que res mains
"Icines de fracas appellent touS les d6irs
en bandc ::lu(Qur de ton corps tournoyant.
Suddenly, )'ou catrle your cTotala!
Bend ba.ckwards on your raised fett,
shake your loins. throw out your legs
and let your noisy hands call up all desires
in a throng around your spinning body.
Nous, app!audisso ns 11 grands eris,
soit que, SOuri:l.IH sur I'epaule, [U agites
d'un frt missement t:l croupe convulsive
et musclce, soit que ru ondulcs presque
etendue, au rythme de res souvenirs.
We clap and cry Ollt :l.S, smi ling over
your shoulder, YOll quiver your (aUr
and muscular but tocks, or.
almost lying down , undulate
in rhythm with your memories.
XI, Le Souvcn ir de Mnasidica
Elles dansaienr l'une devant I'autre,
d' un mOIl\'ement T:lpide el fuyant;
dIes semblaient toujours \'Ouloir s'enlacer,
er pounalll ne se lOuchaielll point, si ce n'est
du bout des Icvrcs.
XI. Remembrance of Mnasidica
The), danced face (O r.1ce, with swift
fleeti ng movcments; tl1{'Y seemed
fo rever to walll to entwine,
),et the), touched nor, S:l.ve wich
brushi ng lips.
Quand d Ies roll rn ~ i e nr Ie dos en dansaJl[,
db se regardaieJl[, !a rete sur I'epaule,
ct la sueur brillair sous leurs bras 1cvCs,
elleurs chevc:!ures fi nes passaiellt
deva nt leurs sei ns.
When they turned dancing,
they watched one :lllolher with heads askance,
and the swe:l! shone under cheir raised arms,
and their fine h:lir swayed
in rront of their bre:l.sts.
Toul 11 coup,
III
claques des crotalcs!
Cambre-toi sur tes pieds dresses, secoue
/J
JO
La langueur de leurs yeux, Ie feu de leurs joues,
la gravi tc de leurs visages, etaiem trois
chansons ardemes.
Elles se Frolai enr furtivemem, dI es pliaient
leurs corps sur les hanches.
The languor in ,heir eyes, the lire in their
cheeks, rhe gravi ty in their faces
were three ardent songs.
The), touched li ghtly, swaying
from the hips.
Er lOut 11 coup, dIes som rombees, pour achever
11 t{'rrc ]a danse molle..
And suddenly they fel l, to finish their lim p
dance on the ground..
Remembrance of Mnasidica, it was then
you came to me, and everything,
save your dear image, was a bu rden 10 me.
Souveni r de Mnasidika, c'est alors que ru
m'apparus, et [Qut, hors la chere image,
me fur imporlun .
XII. La Pluie au Matin
Voic! que les dernicres counisal1es
rentrees avec les amants.
EI moi, dans la pluis du mal in, j'ccris ces vers
su r Ie sable.
XII. Rain in the Morning
The night is dissolving. The stars are retre;ning.
The last whores have returned home
with their lovcrs.
And I, in the morn ing rain, am wri ting
these lines in the .~an d .
us feu illes sam chargees d'eau brillame.
Des ruisseaux it travers les semi res entrainenr
la terre el les feui l!es mones.
La pluie, gOlHle 11 goune, t.1it des trous
dans ma chanson.
The leaves are laden with glitteri ng water.
Streams 3re mewing rhe footpath s
with eanh and dcad lea\'cs.
!he rain is, drop by drop, making holes
m my song.
Oh! Que je suis triste et seule iei!
Les plus jeu nes ne me regardem pas;
Its plus ages m'on! oubliee.
C'est bien. lis apprendront mcs vers,
el les enflms de leurs enfants.
Oh! How sad and alone I am here!
The you nger men ignore me; the older men
have fo rgotten me.
So be il. They will learn my poems,
like their children's chi ldren.
Voila ce que ni Mynale, ni Thais, oi Glikcra
ne se dirol1t, Ie jour 011 leurs belles joues
scrom creuses.
Ccux qui aimerom aprh moi chanteront
mes mophes ensemble.
That is sonmhing which Mynale, Thais
and Glikcra will not tell themselves when
their lovely cheeks have turned hollow.
They who love when I am gone wi!! si ng
my poems IOgether.
l..:J nuit s'efface. Les eroiles s'eloignenL
SO IH
P''"Y by.
1894 Pi"" ['''if (1870- 1925)
Translntrd by Rogrr Grt'tWts
PROGRAM NOTES
Inn.. Sky
David Felder
This co mposition was commissioned by
the Koussevitzky Foundation for SONOR, New
Millennium Ensemble, and [h e Ind iana
Un iversity New Music. Ensemble and first compose<1 in 1993-94. The work is scored for flu tist
doubl ing piccolo, rutO ;md bass fl utcs, wi lh percussion, piano. string ensemble, with fo ur-channels of compu ter processed flute, and occasionru·
Iy percussion sounds.
Over ,he past number of years my music
has used poetic imagery as a vehicle for formal
and expressive abstraction in the making of
pieces. Meyer Schapiro, writing in the \ 95 0's,
described painting as bei ng "in fected with the lit·
crary"; in my work Illller Sky I sought a personal
cure. In moving pa.<;1 coneroe imagery triggered
by en emal poetic sources, I worked only with
materials springingcnti rdy from me sound of the
flute itself. The ovcrall Sh:lpe of me work suggestS
an experience of progress ive distancing from the
rushing Aow of thoughts and their attendant
sense of time (normally considered 'waking' can·
sciousness) , toward an ever-deepening focus
upon the finely detai led sOllnd world available
'microscopically'. The details of [his small world
r~ui re another treat ment and experience of
[JOle.
Realiz.1.tion of the compmer portion of [he
work requi red considerable assisrance from Rick
Bidlack, Scon Thomas, and Frank Lockwood,
and was accomplishcd at the Compurer Music
Smdio at the Universi ty at BufI.1.Io, and rhe
Media Studios at lhe B;mO'Ce ntre. Funding ror
lilis ponion of the work came from the National
Endowment fo r the Arts, and the Banff Centre.
Substantial revision to rhe electronic portion was
undertaken in WiTHer, 1 999~2000 . I am vcry
grateful (0 David Boylc. Ron Parh, and the
University at Bu ffu lo Hiller Computer Music
Studios (Con Lippe, Director) for their sUPPOrl
and technical expertise in making the new mare·
rials, and re~wo rkin g the old. - David Felder
SpOl" one fdt, in a very natural and unaffected
way, a close co man with the Mexican people.. .I t
wasn't the music th at I hea.rd, but the spiri t that I
fel t rhere, which attracted me. Something of that
spiri t is what I hope to have put in to my music.
~ AarO Il
Chanson de Bilitis
Clnude Debussy
Claude Debussy is considered one of dl C
th ree pi llars of modern ism along wi(h French
compatriots artisr Cezan ne and wri cer Mallarmc;
his musical workings refl cct his highly original
aesthetic and taste for the inddl nire, mysterious
and esoleric. Debussy sought new genres and
explored timbre and color, often striving to paint
a scene or musicruize poetry. In 190 1, he
explored musical cri ticism as an alternate venue
ror developi ng his less than orthodox ideas, wri ting a col umn a.~ "Monsieur Croche".
In hi s own words: " Beaut)' must appeal to
the senses ...providc us wi th immediate enjoy·
Il1cm ... insinuate or impress ... widlout any effort
on our pan." In ( IJaI/SOIlS de Bi/itis, Debussy
takes French song to a place where melody is
given over cmirdy to declam atory insinuations of
poetry. ~lInonymoltJ
Starry Wisdom
Jeffrey Stadell1UlII
Sffll7)' Wisdom (1999/200 \ ) is scored fo r a
chamber orchc.m a consisting of wind quartet,
brass trio and strings, and withollt percussion or
piano. The title or the piece is taken from a story
by the American writer of supcrnanJral fiction ,
H.P Lovecrarr. T he Story d ~l l s with experiences
following !rom the protagonist's unhealthy filSCination with a nineteenth cenrUT}' Providence cult
which had discovered an odd jewel-like gateway
open ing into another di mension. O ne prevailing
(bul by no means exclusive) extra-musical image
in composing the piece was of a hypothetical
'instrumental liturgy' employed by the Starry
Wisdom cu lt worshipers.
The piece is in tWO unequal pam, wri tten :;1
bit over a year apart . ~jtfJ1ry St(/delm(/ll
El Salon Mexico
AIlroll
Copkmd
During my first visit ro Mexico, in the f:lll
of 1932, I conceived the idea of writi ng a piece
based on Mexican Ihemes ...Any composer who
[ravels outside his native land wants to return
bearing musical souven irs .. .the idea of wri ting a
work based on popular Mexican melodies was
connected in my mind with a popular dance hall
in Mexico cruled Sa16n Mexico ... in that "hot
12
Coplaud
Aaron Copland, considered a dean among
American composers, is (.J"tdiled with creating a
distinctly "American" style, and played a serious
role nurruring the growth and im ponance of
music in the 20th cen tury America n culture.
Copland aspiR-d to :lffi rm a relationship between
his music and the world immediately at hand exploring jazz, blue!., and folk music.'i of the
Ame ricas as well as the trad itional European masterworks in the process. ~ (lllollymo lls
13
Tuesday, June 5
From the Steeples
to
C harles Ives
the Mountains I Gyp rhe Blood ...
( 1874- 1954)
JIB Brown Bag: "Pianos!"
IJltermiss;OI1
Second Floor Gallery, Center for the Arts, 12:00 pm
PROGRAM
Jangle
Music for a Solemn Occasion
To m Pierson
Shredder
Da vid Felder
(b. 1949)
John Gibson
Bugallo/\Xlilliams Piano Duo
Elevator Music for Sp;lces
Miguel Ga lper in
Helen:l Bugallo. piano
Am y \'Villiams, piano
Michael Orland, piano
JIBRASSWORKS
51ee Concert HaIl, Sprn
The tr:ldirion of band music has long flourished in me United Stalcs; by 1901. the American musical
public stirred ro rhe milirary marches of John Philip SOllsa and his imitators ~ Sousa's Invincible Eagle
Marth was, in [1([, com missiollC(.j for Buff.tlo's Pan-American Exposition. 'The music is conceived in a
spi rit of high manial zest It is proud and gay and fierce, rhrilk'(] and thrilling wirh triumph," wrote
Rupert Hughes in his book F({mollS Amerirrlll Composers. Marching brass bands played for h.lIlcrals,
parades and picnics; "hor" dance bands llshered a melting-pot public through ragtime and inro the er.1
of jazz as America cbmored for a free and un ique voice with which to express itSCl(
June in Buff.tlo's 200 1JIBRASSWORKS programs present me brass band as it travels rhe 'serious' music
of rhe 20(h cemul), from Babbj( and Ruggles (0 Xenakis. Felder and Lamome Young on sragc in Sice
Concert Hall June 5th at 8 pm. On June 9th JIBRASSWORKS bursrs outdoors at 7 pm for a concert
of a more populist spirit, driven by the eth llic traditions alive and well in the Am ericas of 190 1and 200 1.
PROGRAM
Khalperr
Ianni s Xenaki s
(b. 1922)
For Brass
Lamonre Young
(b. 1935)
David Felder
Incc ndio
(b. 1953)
a,.,: by JOII Nelson
Doubl e Sexrerr
Milton Babbitt
(b. 1916)
Insomnia
Fran k Za ppa
Sofa
Jon Nelson
( 1940 - 1993)
an: by j on Nelson
RaYlllond My Friend
Diemas Sedi cias
Meralofonico
Diemas Scdicias
JIBRASSWORKS
Jon Nelson, Artistic Direcrion
Magnus Miirrensson, conductor
Erik Ona, conductor
Guitar
Ken Pascia k
Trumpet
LOll
Hanzlik
Jeffrey Luke
Jon Nelson
Hi ro Noguch i
Saxophone
Hom
Percussion
Craig Birrerman
Anrhon y Miranda
Rin Ozaki
Satoshi Takagi
Andrew Wendzikowski
Jan \X1illiams
Co lin Renick
Greg Eva ns
Da n Grabois
Seth O rgel
Jeff Seorr
Trombone
Miles And erson
5)'Jlthesizer
Michael Orland
John Faieta
Jim Miller
Stefan Sa nders
Tuba
John Man ning
Ray Stewa n
(b. 1966)
14
15
r
Wednesday, June 6
Thursday, June 7
Cassatt String Quartet
Baird Recital Hall, 9:00 am
Slee Quartet-in-Residence
Muneko Otani, violin
Jennifer Leshnower, violin
Tawnya Popoff, viola
Cacoline Stinson, cello
Baird Recital Hall, 8pm
Pictures in rhe Fire
rehearsed readi ng by the Cassarr St ring Quartet
"Emerging Composers"
Baird Recital Hall, 4:30 pm
PROGRAM
PROGRAM
Quar ter No. I , Sout h of th e Yangtze
text from aucient Chinese poetry
Seprember, 1999
I. September 5
II. La aimare
III. September 16
H Olan (based on an excerpt fiwn Ch'oyollg)
The Raven Luminescence
Eastland
Jeffrey Stadel man
Ellstkmd was wrinen late ,in 2000 f,?f rhe C~ssatr Suing Quarre r. Ir is in one unbro-
k~n movem ~nr 0f.app'roxln.larely rlllrreen mmur~s duration , an d among miler thin gs
picks lip ~n Ideas Initi ated !Il a shorr com purer pI ece from 1999 called brother. Most
of the D:J.s l ~ run es, h ~rl1l0nleS and ge~ (Ures for rllc piece are prese nted, in cO Il1.pressed
for,lll o ver ItS first minute or so, and III regu lar phrases of equa l duration. Aher that
r.01nt the work becomes more dcveiopmclHai and var iolls In its un fo lding . . . Jeffi·ey
Ins igh t ilHo No nself
Jusrin Kagan, ce ll o
Suire: Eighr H aiku by Richa rd Wrigh r
Luis de r ablo
Eric Rynes , vio lin
Kar i Bccharsc
Intermission
One More Momenr, for string pio
Philip T. Schucsler
"the terrible th ing about waking up is realizing that nothing wi iJ change today... "
Lazara N elson , violin
jusrin Kagan , ce ll o
Michael Orland, piano
" ... for e.e. cumm ings ... "
The Evil Female Bass Playe r Dilem m as
Mau ri cio Gom ez Zamboni
An d rew Wendzikowski, percussion
,
Judah Adashi
for marimba & Iliolin
Lazara Nelson, viol in
Rin Ozaki, percussion
ImprovviSllziolle
Pemiero
Scherzo
16
Sabang Cho
for solo cello
Intermission
minI!" for soprano , flutes, cell o and percussi on
Lorena Gui ll en , sop rano
Eryk Anspach , flures
justin Kagan , cel lo
Rin Oza ki , percussion
Saros hi Takagi, percuss ion
Alejandro Rutty, con ductor
John Bower
Michael Orland , solo piano
Stadelmall
Four Songs on Texts by Don ald justice
Dora O hrensrcin, so pra no
Stephe n Manes, piano
!-lye-Jeong Lee
Patti Monson, alto & bass flutes
Trond Saeverud , vio lin
Joshua Gordon , cello
Steve G ilewsk i, bass
Craig Bitterman, percussion
Magnus Marrensson, conducror
Man Fang
Mark Alan Taggert
II Violino Spagnolo (U.S. Premiere, wrinen 1988)
Gregory J. Hutter
Mara Gibson
Greg Davis
Stephen Manes, solo p iano
Quinter
Robert Thomas
forflute, clarinet, violill, cello, and marimba
Patti Monson , flute
Ben Freimuth, clarinet
Trend Saeverud, vio li n
Justin Kagan , cel lo
Rin Ozaki, marimba
Magnus Martensson, conductor
17
Friday, June 8
Notes More No
Faculty and Emerging Composers
Frictions
Pedro Rivad ene ra
Quaruor Bozzini
Drama Theatre, Center for the Arts, 4pm
Intermission
PROGRAM
Deja Vu
Erik
ana
'[
t
Greg Eva ns, horn
John Faicr3, trom bone
Hele na Bugallo, piano
Isabelle Bonini, cel lo
Corrado Canonici, bass
4 comp uters
Erik Ona, conductor
Perception
for flute
Sam Mirelman
Quatuor Bozzini
PET
Er ik O iia
Isabelle Bozzini , cell o
Steve Gilewski, contrabass
T iffany Nicely & Andrew Wendzikowski, percussio nists
Erik On a, conductor
Music for Five Players II
Mirsuyo H asida
6- computer
Cheryl Gobberri H offman, Aute
Tomoko Nakai
Wh irlpoo l
for trombone & comp uter
John Faiera, n ombo ne
Cort Lippe
Music for Com pute r and Concrabass
Corrado Canonici, contrabass
ISTIKLAL
Alan Tormey
Susan Fancher, alto and baritone saxophones
Cheryl Gobberri Hoffman, amplified picco lo
Stephen Man es, ampli fied piano
Chikashi Miyama
for nlto saxophone and multi-media interactive system
Susan Fancher, al to saxop hone
Chamber Music
Slee Concert Hail, 8pm
PROGRAM
Bill Sack
Afrerbonanza
Jeffrey Luke, fl'lImper
Greg Evans, fren ch horn
John Faieta, trombone
Career Williams
Distances
Susan Fancher, sop rano saxophone
Greg Evans, french horn
Cor rado Canonici, conrrabass
18
Mwic for Fiv( PIa,fTJ 11 (I989) was written fo r [he Tenth Anniversary Concert of Irina
PrizeWinners, is dedicated to Reiko Irina, and received its premiere in Tokyo in 1989. Originally,
[he piece was inrendcd ro be a revised version of Mlisie for Five Players wh ich was premiered in 1987
in Paris. The revisions took on a life of their own, so to speak, and thus the piece now deserves a
separate [ide ~ although irs roots clearly lie in the earl ier piece.
Intermission
Gleam
Cort Lippe
Pani Monson, flute
Ben Frei muth, clarinet
Clemens Merkel, violin
Isa belle Bozzini, cello
Helena Bugallo, piano
Erik Ona, co nducro r
If one purpose of program notes is an arrempt to offer listeners somethi ng to listen to/for in a piece,
then the following could be read in that comext: Exploration of various relationships berween and
among inStruments in an ensemble constitutes a central activiry in defining musical organization
and crearing musical structu re. Each of th is work's four main senions explores the (lualiry of
sololruni relationships. The first section begins with somewhat convenrional sololrurri playing. In
the second seerion soli stan [Q superimpose ~ thereby producing a group comprised of soloists.
Conventional sololrurri relationships are reversed in section three: soh are extre mely sim ple, wh ile
tutti are of a more complex "soloisric" nature. In the final section soli transform and develop into
turri. In general, sections rend to elide, nansform ing from one to another. "Cort Lippe
Ce Jour de L'an
Alejand ro Rutty
Patti Monson, flure
Eryk Anspach , Aute
Ben Freimuth, clarinet
Pauli ne Farrugia, clarinet
Mi chael Orland, piano
Tom McCluskey, percuss ion
Tiff.1ny Nicely, percllssio n
Clemens Me rkel, violin
Elise LaVoi e, viol in
Isabelle Bozzin i, cello
Justin Kagan, cello
Cor rado Canonici, contrabass
Steve Gilewski, contrabass
OFFSTAGE GROU P:
Ma ri Mizurani, vio lin
Ca rter Williams, viola d'amore
Mark McConnell , bass
Alejandro Rutry, conducto r
19
Saturday, June 9
"PANAMERICANA"
" 1901-2001, The Pan-American Exposition and Beyond, in Music"
Manes Piano Duo
Frieda Manes
Stephen Manes
Amherst Saxophone Quartet, VB Artists-in-Residence
Susan Fancher, soprano saxophone
Russ Carere, alto saxophone
Stephen Rosenthal, tenor saxophone
Harry Fackelman, baritone saxophone
Lecture:
"The Yankee Doodle Dandies" , Michael Lasser
Slee Concert Hall, 9:30 am
(.
Popular Songs from the Time of the Pan-American Exposition
AI the rurn of the new cenrury, it fel t as if all America was si ngi ng. Tin Pan Alley - rhe music publishers' hcadquancrs in Lower Manhattan - was in irs heyday. Vaudevi ll e performers sang the new
so ngs from coast to coast and peo ple bought the sheer music lO play i,n thei r padors. The songs
were especially interested in what was goi ng on arou nd us. In the gtllsc of love songs, the), sang
about ou r moving from the farm CO the big city, our f?scinarion with technology and how it affected ou r lives, the arrival of millions of immigrants tram Ccnrral Eu rope, and rhe emergence of
women from Victorian rcsrrainrs. Michael bs.ser's talk uses period recordings to show how popular Illlls ic opens an enterraining window on America, circa 1900.
Kevin Bowyer, organ
Slee Concert Hall, 11 :00 am
Welcome by Kerry S. Grant, Vice Provost of Academic Affairs
and Dean of the Graduate School
PROGRAM
M:lX Reger
(1873-19 16)
Symphonic Fantasia and Fugue, O p. 57 ("The Inferno")
(.
Slce Hall Lobby, 2:30 pm
PROGRAM
Panarncrica na, for solo pia no
Victor Herbert
(commiJsioned for the Pan-American &position 190 J)
( 1859-1924)
Step hen Manes, plano
Summer Drea ms, Op. 47 fo r piano d uet
I. The Brownies
2. Robin Redbreast
3. Twilight
4. fG~-dids
5. 1:.1.111 Tarantelle
6
ood Night
Frieda and Stephen Manes, piano
Elire Sy ncoparions (1902)
O li vie r Mess iaen
( 1908- 1992)
Messc de la Penreco te
(In:
Scherzo (1903)
Intermission
Fcr rucio Buson i
(1866-1924)
Fanrasia CO ll rrapp un risri ca
"Afros 0 Tafos Then M bori Na me Horessi"
(Thi s Tomb Can not Con fi ne Me) for organ, brass, & percussion
H iro Noguch i. trum pet
jon Nelson, trumpet
jeffrey Luke, tr umpet
Lou H anzli k, crumpe[
An th ony Miranda, percussion
Magnus M <irtensson, conducror
Emil Harnas
20
Scort Joplin
( 1868- 1917)
by H. Fackeiman
Cha rl es Iyes
( 1874-1954)
an: by S. Fancber for saxopholU' octet
ASQ wirh gues[s
The WS PV Saxopho ne Q uarter:
Coll een Lu ckman, sop rano saxophone
Colin Renick, ah a saxopho ne
Sreve Hu nte r, renor saxo phone
Lacey Golaszewski, bari tone saxophone
C losely Rel ared Fungi (1996)
jonatha n Colove
Concerto (1995) move ments I and IV
Cha rl eston ( 1899)
Lunchtime with the "Outer Circle Orchestra"
VB Commons, 1:15 - 2:15 pm
Mrs. H . H .A. Beach
(1867- 1944)
Philip G lass
(b. 1937)
Eubie Blake
( 1883- 1983)
arranted by H. Fackelman for saxophone octet
ASQ with guests
T he WS PV Saxophone Quarter
21
Concerto (movements I and lV)
PROGRAM NOTES
Philip Gll1ss
-n e Amherst Saxophone Quartet's JIB
Scherw
Chnrles "lei, nrrnnged by S. FlI1Jcberfor
saxophone octet
Charles Ives wrOte this short SdR'l'zo for
sui ng quartet in 1903 and rcvised if in 1914. It
was arranged for saxophone octet by Susan
Fancher fo r this performa nce. T he ASQ is
pleased to welcome to the stage rhe \x/SPV saxophone quanet, saxophone snK\Cnts of lhe members of tbe ASQ in the Music Depanment at UB.
The piece has a simple ABA form and features
Ives' characteristic use or quores from Etmil iar
Panamericana
Victor Herberl
Victor Herbert helped fou nd rhe American
Society of Com posers, Authors, and Publishers in
1914.
He wa~ appoi nted cond uctor for (he
fUlled 22nd Regiment Band in 1893. and led the
Pi nsburgh Symphony O rChCSlr.l. from 18981904. Nored /01' his morc (ha n forty highly popub r opcrcll;ls (i ncl udi11g Ntlllghry Milriel/tl and
Hltbi'S;1I 7QylllIl(~ , he also saT prin cipal cel list fo r
the Merropolit :m Opera Orchestra in the late
1880's.
2000 performance of Philip Glass' stun ning
Concerro for StlXophol1fl was one of (he highlighL'i
of last year's fesli\'ai. The work is part of a series
of picces commissioned by the Rascher
Sa.xophone Q uarrel, all of which exist in two versions, one with orchestra and anarher for quartet.
alone. Toda)"s performance presenrs lhe first and
laS t movement$ of this work.
~ASQ
mUS1c.
Closely Related Fungi
j Ollntbnll Golove
Closely Relnfl'tl Fllngi takes as its poi m of
departure rhe strong simi lariries in lOne color
between the instruillents of the saxophone F.uniIy (especially the case wilh the members of the
wonderfu lly blendcd ASQ, who inspired the
work's composi tion). A~ rhe piece develops, diffe rence> in rhe playing styles of (he individual
players are made increasingly app:l.rem to the listener. This proc('Ss of differentia tion mirrors that
which the amateur mushroom hunter must
undergo in learning to distinguish go<Xl. edible
species fi·om poisonous relatives or look-a-likcs!
Additionally, dIe work was in fl uenced by jazz
improvisers' (in particular, Charli e Parker's)
predilection fo r cre:ll ing ex tended melodies on
tbe basis of a fairly limited group of melod ic
motives. I am Gsci nated by dIe immense and
subdc variety of rh)'"thillic approaches to the sa me
musical m;neria l taken by jazz musicians, and
have sought [0 incorporate a si mi larly kaleidoscopic view of rhe basic rhythmic figures L1sed in
my composition. Closely Relilled Fllllgi is dedicated ( 0 the Amherst Saxophone Quan et, who
premiered the work in Februa ry 1997.
~jOllntbnn GoIO/It.,
Slmuuer O reams
Mrs. H.H.A. Bellcb
Amy March Cheney, b ier Mrs. H.H A
Beach, was the most prom incnr woman com poser of her day. something a Bos[Q1l classicist.
or
Nurruroo by a long-serded New England family
tha t pa....~cd culruml ed ucation fro m generation {Q
generation, Mrs. BcolCh was an accomplished
pianiS[ as well a'i composer. She n:ceived official
com missions from the Chicago World's Fair
(1893) as well as lhe Panama- Pacific Exposition
(San Francisco, 19 15) con fi rming her career success, and is probably best rcmembercd fo r sllch
songs as Ah, Love, Bill fl Dlry and The Yeflrs At the
Spring.
Elite Syncopations
Scott j oplill, nr/"lfuger/ by H. FflckefmnJl
!:life SyltcopllfiollS is 3. good example of
"classic" ragt ime, which has come to be considered America's firs t influential art music. At the
(U rn of the 20th cCIHury ragtime was thought of
as low music, as jazz and rock were to be in their
ti mes, and 1>yncopation W:t5 accuscd of causi ng
social ills of the era. Searr Joplin, who wamed
ragtime to Ix: given the rcspca of classical art
fo rms, g.lVC Eliit' SyncopllfiollS Ics.'i rhythmic complexity than m OS I of his compositions. It is a
nmvelolls eX:lm plc of his art.
23
22
Charleston
Eubie Blllke, nrmllged for s(u:opbone octet by H.
Fnckelnlll1l
Chnrles/QII Rng is an example of Eubie
Blake's classic Ragti me style. It was originall}'
enti tled 501ll1(/s ofAfrim by \Xli II Marion Cook,
an inAucntiaJ condllctor of rhe time. In 1921 it
was renamed and promptly sold a million
records. T hough Eubie Blake was only sixteen
whm he composed the work, a fully developed
style W:t5 already exhibited, with the presence of a
ver)' characteristic 'wobbly' bass line.
Progl"lllll noleS /;)1 SlIsan NlIIciJeJ"
"The String Quartet, Then and Now"
"Ghosts in Black and White"
Quatuor Bozzini
Clemens Merkel, violin
Elise LaVoie, violin
Stephanie Bozzini, viola
Isabelle Bozzini, cello
BugallolWilIiams Piano Duo
Helena Bugallo, piano
Amy Williams, piano
Robert Berkman, pianola
Baird Recital Hall
4:30 - 5:20 pm
Slee Concert HaU
3:45 - 4:00 pm
PROGRAM
"E.Q. " for electric string quartet (1993)
Jonathan Go love
C harl es lves
(I874- 1954)
Q uarter No. 2
I . Discussions
2. A rgumeuts
3. Call ofthe MOllJltt li1l5
This program co mbin es music for piano and pianola. The pianola, the chief Illcdium for musi cal
reproduction at {he ru m of the last cemu ry, serves as vehicle fo r visitation of, among orhers. George
Gershwin, Igor Stravinsky, and ArrTarum as composers and perform ers of music. Tribute (0 these
figures. and ro [he pianola itself, is paid through li ve performan ce: transcriptions of Conlon
Nancarrow's mechan ical music, the premiere of Amy Williams's homage ro Art Tarum , music of
Stravinsky, and a selection of tangos spann ing the twentieth century alternate with pianola sclee.
rions. At the pianola is QRS's Robert Berkman; at [he piano, The BugallolWiliiarns Duo.
PROGRAM
Furni rure Mus ic Ercetera
Er ik Satie I John Cage
(1866- 1925) I (1912-1992)
PROGRAM NOTES
E.Q.
jOlllllbalJ
Golove
EQ. was wrinen in the spri ng of 1993 and
pe rformed on a matChed set of electr ic string
instrumen ts designed and bu ilt by violist Adam
1-Ioo l"lm ra, then a fe llow student at The
C leveland Institure of Music. Taking my experience as a performer in rradit ional Siring quartel'S as a starring point, I set out [Q demonstrate
some of th e new poss ibil i (i c.~ ofFered by the
extension of this time-honored ensemb le
through the addi tion of modern technology. In
Clap Yo' Hands
Quartet No.2
a lar/es lves
"Ivcs' music was not o nly the m o~ t unusual bod y of !l1 usic ever co m posed by an
American, it was probably rhe mOSt unusual
body of music composed by any m ll ~ i c i a n in
history." writes H arold Schoen berg. C onsidered
by many the fi rst important America n composer of rhe 20th centu ry, Charles Ives dcveloped
his innovative style in alm ost complete isolation;
most of his worb wai ted m:my years post-<ompbion for performance.
G. G ershwin played by Gershwi n
( 1898- 1937)
Studies for Player Piano #9 and #3 B
Conlon Nan ca rrow
(b. 1912)
Get H appy
Haro ld Arlen played by Art Tarum
(1905- 1986) I (1910- 1956)
AbStracred Art (2001 )
Amy W illia ms
ln vierno Porre-o
Asror Piazzolla
(b. 1921 )
Verano POfre-o
Astor Piazzo lla
Tango Jalousie
Nil es Gade played by Frank Milne
pa rticula r, I felt th:n 'classical' musici:ms had cut
themselves o ff from the enormous so urce of
expres.<;ive power which the electric gu irn r prese nL~ [Q even the m OS t rud imentary beginn er,
gifted only wi th the d esire to make glo rious
no ise. As a composi tional principle. I have
an empted co correlate the musical materia ls and
(heir development Wilh the d iffcrem sound processing effects. ~jollnlb(11I Co/mit'
Tango?
Co n lon Nan carrow
Thorn-torn Lips
Roberr Berkman
Fi ve Easy Pieces
Igo r Stravinsky
(1 882- 1971)
Piano Rag Music
Stravinsky played by Srravinsky
25
"Miss Jane's Parlor"
"A Concise History of Brass Bands in the Americas"
Jane Romanos, vocals
Robert Berkman, pianola
Baird Reci tal Hall
5:30 pm
JIBRASSWORKS
Outside Slee Concert Hall, 7:00 pm
Th is program is adapted from rhe original {'Miss Jane's Parlor" as conceived and performed in
Holbnd and Buffalo a decade ago by Winifred Simpson and rhe late Yvar Mi khashoff, scenario and
direction by Nancy Rhodes. Mr. Berkman, playing a "vorserzer" -type pianola (c. 1912), inrerprees
piano rolls he has made of rhe accompaniments to "Miss Jane" (appearing in period costume)
slnglllg:
PROGRAM
The Year's at rhe Spring
Mrs. H.H.A. Beach
(1867-1944)
Will You Remember
Sylvia Romberg
Pan, Pan, Pan
BegiJ.ning with the manufacturing of brass instruments during the American Civi l War, brass
bands have taken on various forms within the western hemisphere. Coupled with the arrival of
European wind players, brass bands have continued to be an important pan of American folk culture. Th e program of June 9 will demonstrate the diversity of what brass bands mean to different
countri es and their cultures.
This concert will include performances and discussions of music from the American Civil War,
Brazil, Mexico, Cuba, New Orleans, New York , and Los Angeles. The most COlllmon thread on c
can find dlroughout is that much of this music has cxisted as a reaction to the oppressive quest for
domi nation by European colonists. In spite of the cruelties imposed by the United States and its
im perialist efforts, brass bands remain the popular musi c of the common peop le, used in concert
seni ngs, fo r parties and fest ivals, and in religious services. This concert is a celebratio n of the perseverance of those who have suffered at the hands of industrialized nations.
PROGRAM
Gus Edwards
From the Land of the Sky-Blue Water
C harl es W Cadman
Concerti no
Ernst Sachse
From the Stee pl es to the Mountains
Charles Ives
(1874- 1954)
Gyp rhe Blood ...
Charles I ves
(1881-1946)
Always Do As Peop le Say You Should
Victor H erbert
I'm Afrer Mad ame Tcrrazzini's Job
Gus Edwards
Come Down Ma Evenin' Star
Pump That Playe r Pi ano
John Suomberg
Huapango
Benn ett & White
Mambo #5
J. P
Perez Prado
Use lour Brain
Dirty Dozen Brass Band
Sofa
Frank Zappa
(1940-1993)
Raymond My Friend
Dimas Scd icias
Metalofonico
Dimas Sedicias
Original rolls for this produ ction reco rd ed by C hris mpher T. Sierzchub, with
technical assiscance from Ken Kaufman.
26
Mancayo
27
RES IDENT COM POSERS
JIBRASSWORKS
Trumpets
Tuha
Jeffrey Luke
John Man ning
Ray 5rewan
Jon Nelson
Hiro Noguchi
Horns
FaclOl)'. Bourgcs, Vienna Modern , :"Ind many mh-
Colin Renick
e!'s.
Guitar
Ken Pasciak
Percussion
Rin Ozaki
Satosh i Takagi
Andrew Wcndzikowski
Trombol/es
Miles And erson
John Faiera
Jim Mi ller
28
narion al fes tivals for new music including
Darmstadt, Ars
Holland,
H uddcrsfield,
E1cctronica , Brussels, ISCM, Nonh American
New Music. Geneva, Ravinia, Aspen , M usic
Saxophone
Greg Evans
Seth Orgel
Jeff Scott
C llifornia Stare Un iversity at Long Beach, and he
earned :1 Ph.D. from the University of Ct.!ifornia
«I San Diego in 1983. His works are published by
Theodore Presser, and a fUlt C D of his works was
rele:l.~ ("0 imernational acclaim (including the
"disc of rhe ),ear" in Ch:ulllx:r mllsic from the
Americm Record Gu ide) on the Bridge label
(Bridge #0049) in J 996. A second disc containing orchestral work was released b), Mode Records
(Mode #89) in Summer 2000, and a third disc
featurin g wo rk~ widl electronics is in preparation.
David Felder is o ne of rhe leading
American composers of his geller.nian. His works
have been featured :u many of the leading i mer~
His work earns conti nuing recognition
through performance and comm issioning pro-grams by such organiz.ations as the New York
New Music Enscmble, BSe OrchesrrJ., Ardini
Quanet , America n Composers Orchestra,
BufF.llo Philharmonic Orchestra, Americ.m Brass
Jonathan CoJove is a native of Los Angeles,
California and :1 residem of Buff.1.lo, New York
He currently serves as Visiting Assistant Professor
in the Music Dep:mmenr of the University at
Bufblo and at the Eastman School of Music. Mr.
Golove's work~ have been performed in a variety
of locations in North America and Europe, by
such enscmbk'S as VOX NOVA, the Ensemble
Court Circuit, the Am herst Saxophone Quartet,
Maelstrom Perclission Ensemble, and The
Insuumental r-actor. He has received commissions, awards and gr.lIlcs fo r his wo rk~ from organiz,1.ciom including the UB Symphonic Band, the
Europea n Academy of Music/[nternational
Festiva l of Lyric An of Aix-en-Provence,
VOXNOVA, ASCAP, the YVlf MikhashoffTrusr
~or New Music, Meet the Composer, and the
Darius Milh:llld Society. His opera (in progress)
Red HarMI \vas commissioned by the Europeln
Academy of Music :md received it's premiere in
Festival of Lyric An of Aix-cn-Provence in jul)"
1998, directed by Pierre Srrasser. His composition Hl'n' (Illd Thert! for woman's voice and percLlssion ensemble was released on CD by rhe
Maelstrom Percussion Ensemble. One Jllovement of this work, a speech quartet, has received
nearly one hundred perfo rman cc~ in its original
version and ha.~ recently been fearu red in the
SUNY f-redonia C hoir's [Our of New York state in
a version for speaking choir. Current commissions include works for solo bass trombone and
band, solo violin , and piano trio.
Mr. Golove is also an accom plished cellist, a
smdem of Siegfried P:llm and Ronald Leonard.
In 1997 he was featured as soloist in Morton
Feldman's Gllo (llld Ol1hestm wi th the Buff.tlo
Philharmonic Orchestra, and performed Sofia
Gubaidlilina's Dena II for cello and ensemble
with rhe Slce Sinfonicna in April t 999. He is currentlY:l member of the Baird Trio, made up of[1.cLIlt)' performers :It University a( Buffulo. He is
active, as welL in the field of improvised music,
appearing as cleerric cel list on :t nurnber of recordings with composer/performer Vinn), Colia.
Quintet, Ensemble InrcrConremporain and
many others. I~elder's work may be broadly char3([crized by i[~ highly energetic profile, through
ics frequem employment of technological extension and ebborarion of musical materials, and ics
lyrical qualifies.
Felder has received numerous grancs and
commissions including six award.~ from rhe
National Endowment of the Am, two New York
Sr:lIe COlillcil Commissions, a New York
FOllnd:uion
for
the Am
Fellowship,
Guggenhei m, KOllSSCVirzk)" and fWO Fromm
Foundation Fellowships, two awards /Torn the
Rockefeller Foundation, Meet the Composer
"New Residencies" (1993-1996), a comm ission
from the Mary Flagler Cary Tmst, and many
more. Recently com pleted commissions include
(/ pressll/"{' triggering drl'fllw, May, 1997 premiere
by the Ameri can Composers Orchestra in
C1 rt1egie Hall; III Senlleell for .~olo electronic percllssion and chamber orchestra for jUlle, 2000
premiere by percussionist Daniel Druckman in
New York; and Inlier Sky. Current commissions
include works for the Cassat( String Quanet and
the New York New Music Ensemble.
Additionally, he is cur.-emly completing work on
his ambitious Crossfi" series - a full-length work
combin ing concen video and music.
Cu rrently, Felder is Professor of
Composition at The University at Buffalo, where
he also h o ld .~ tile Birge-C1ry Chair in
Composition, and has been Artistic Director of
the june in Buffalo FestivJI from 1985 to the presene From 1992 to J 996 he was Meet the
Composer "New Residencies" Composer-inResidence for the Buff..tlo Philtwrmonic Orcht:'i[r::I
and the GrC:ller Bufllio Opera Company. [n
1996, he tanned the profess ional chamber
orchestra, the Slee Sinfo nierr:t, and has been
Artisric Directo r si nce lhat time. He has [;mghr
previously at the Cleveland Instimte of Music, the
Universi ty of California at San Diego, and
29
Originally from Wisconsin , Stadelman
smd ied composition a.~ an undergr.tdu:lle with
Stcphen Dembski at the University of WisconsinMadison, and wenr on to receive lhe Ph.D in
Music fl·om Harvard Universiry, where his principal teachers were Mil ton Babbin , Earl Kim,
Donald Manino and Stephcn Mosko. Stadellllall
has since received commissions and invil:ltions fo r
compositions from , among odlers, the Frollllll
Foundarion and Boston MusiCi Viva, llove
Sincron ie, Concen Ar(ists Guild, Trio itali:l.l1o
Conrem\)or.t neo, Phantolll Arrs, Bernhard
\'(I;mlbac l, and UW-Madison . Grants :lnd awa rds
include l ho.~ from Meet the Composer, Harvard
Uni vers ity. Friends ;l nd Enem ies of New Music,
and the Da nnsradr Summer Courses.
T he composer laught at Harvard Un iversi ty
during rhe 1992-93 academic year, and curren tly
serves as Associ;lle Professor of Music :H the
Universi l)' at Bu ffulo. where he tcaches composition and twemiedl-centUl), music. Stadelman's
music is publ ished by APNM , BM G Ariola and
Soundout Digit:ll Press. Recendy completed and
ongoing projocts include MOl1fluml 7ext Studies
for comj>utt!r.gencmted tflpe; Eight SOl/gs, a collection fo r bass-barimne and pi:lno; a new string
quartet; and StfIJry Wisdom, for chamber orchcs[ r.!. Another r(.'c(.'nt work, EI'ClIf)'I", will be rocorded in Ocrober of this year in Auckla.nd, N.Z. for
a futufC C D relea.se.
Also activc as a writer on musical subjects,
Sradd man has aUlhored a number of analytic
papers since 1986, and made prcsemations on
Babbin and Schoenberg at universities and festivals in rhe U.S . and Europe. He has also seen published a comparative analytic essay on worb by
Mart ino and thc poet A. R. Ammons in
Persptclives or New Music, as well as an interview
wi th Brian Fel"llcyhough in the composer's
Collected Writings. At the 1994 Darmstadt
Sum mer Courses. Stadel man prescll(ed a comparative study of works by John Ashbery and Milton
Babbitt , and was a panelist fO r the acsthetics colloq uium, "Analytical and Terminological
Problems of Contemporary Music." Recently
comp leted projects include a n.'V iew for the
Journal of the American Musicological Sociery; an
es.s.1Y fo r a Fest'iChrift documcnting d lC fiftieth
:mnivtTS.1ry of dl C Darmstadt Summer Courses
(Von Kranicruacin zur Gegenwart); and annotated rra..nslations, for 20dl-Ccnrury Mmic and
Pcrspectives of New Music, of essays by tvi:luricio
Kagel and Helmut Lachenmann .
Con Lippe h3.'i been active in lhe fidd of
imcr:lcri ve compmcr music for mo re lhan 20
years. He studied composition with Lirry Austin
in rhe USA; spent a year in Iraly. srudyi ng
RCJl3issail ce mus ic; an d th ree years in T he
Nctherbnds, at' the Instiruut voor Sanologic
working wi th G.M. Koenig :lnd P:lul Berg in tht
fields of complUcr and formalii',ed music. He also
lived fo r cleven years in I:rallcc, where he spent
rhree years ~u the Cemre d'Erudcs de
Mathematiquc et Auco llla tiquc Musicales
(C EMAMu), directed by lannis Xcnakis, while
fo llowed Xenakis' course on fO rtmli'lJ.'d m usic at
the UniversifY of Pari.~ ; and he worked for eight
years at rhe lnstimt de Recherche cr Coordi nation
Aco ustiquc/Musiquc ([Re AM ), founded by
Pierre BoulC'"l, where he developed real-rime musical :l.pplications and gave courses on nt'W technology in composition. He has followed composition
and analysis seminars with variou.~ composers
including: Boulez, Donaroni, K. Hubcr, Messiaen ,
Penderccki, Stockhausen, and Xenakis, and has
wrinen for most major ensemble format ions. His
works havc received numerous international composition prizes, incl udi ng: the lri no Prize UaIJan),
fi rst pr izc.~ at Bourges (France), thc El Cal ejon
Del Ruido Competition (Mexico) , che Leonie
Rodlschild Competition (USA), as well as prizes
and honor.tble ment ions in Lile Music Today
Competition U;lpan), the Prix Ars Electronica
1993 and 1995 (Austria). the Newcomp
Competition (USA), and (he Kennedy Center
Friedhei m AW:lIUs (USA). His music has been
premiered at major festivals worldwide, and is
record"i by ALM , AD DA, Apollon , CBS-Sony,
Cencall r, SEAM US, MIT Press, Hungaroron
Classic, Harmonia tvlundi, Neullla, ISCM and
EME Presently, he is an A~s is tarH Professor of
Compos irion and Direcro ( of rhe Hiller
Computer Music Smdios of the Universi ry at
Buff.tlo, New York.
The music of Jeffrey Stadelman---<>nce
de.'iCribed by a Los Angeles Times reviewer as
"pa imerly... , deftly dispersed in lime and glazed
wirh a (by wir" -has been perform ed in the U.S
and Europe by an impress ive liS! of the leading
groups active ill comem l)ora.ry music performance. T his list of ensemb es, includ ing Ihc New
York Ncw Music Ensemble, Boston Musica Viva,
the California Ear Uni t, the Sa n Francisco
Contemporary Music Players, Het Trio, 175 East
Ensemble (New z.e..J.ia.nd), Earplay, rhe New
World and Cassatt String Quartets. Vicr Fakulrcit
(Holland) and the June in Buff.llo and Wellesle),
Co nfe rence Players, among others, cominucs ro
grow as the composer's work atTracts increasi ng
;l\\cnriOll in the U.S. and abroad.
30
RESIDENT ENS EMBLE
BIOGRAPH IES
Amherst Saxophone Q uartet
Susan Fancher, so pr~ln o
Russ Carere. alto
Stcphcn Rosenthal , lenor
Harry Fackelman, baritone
The Am herst Saxophone Q uartet is a flu!·
ti me professional cnscmble that divides ilS time
between touring, irs residency af the Universiry at
Buff.tio, and performances in Bu ffalo and Eric
COllIllY. Group members are Susan Fancher,
Russ Carere, Stephen Rosenthal , and Harry
Packeln la n.
The ASQ was formed in January of 1978
and is now cdebr:.Hing its rwenry-third fllil season
of concert perfor mances. The ensemble has performed in the Unitt d States from Maine to
Hawai i, Japan, Bermuda. and the British Virgin
I.sland.~. Concert highlights include appear.t nces
in Carnegie Hall , Kennedy Center, Lincol n
Center, Chautauqua Institu tion, and broadcastS
0 11 Narional Public Radio's All Things Considered
and Pcrforw(/Il cr Today, Public Rad io
Internationale's St. Palll Sum/fly. Voice ojAmaien,
N BC-TV's Tollight Show, and CBS SUlldilY
Mamlug.
-111e ASQ W;.IS awarded Chamber tvlusic
America Residency Gra.IlIS for the 1985-86
through 1987-88 seasons. T he Ensemble
received the 1993 First Prize for AdvC1l rure..<;() rne
Programmin g frolll CMNASCAP, and has been
awarded commiss ioning pri z.es from CMA.
NYSO\., and (he NEA . T he Board of the
Q uarrel sponsored an international composition
com pctition and received over 120 new wo rk~
from around Ihe world.
T he ASQ's newesl CD is ;1 recording of
music b)' four living North AmeriCin composers
and showcases the charm and freshness of the
best of today's "classical" mus ic. The CD is
called Lfl11/ellt 011 rhe DCflth ojMusic and was produced by Judith Sherman. In addition to this
recording on the Innova label (Alll cri c:ln
Composers Forum), the ASQ has recorded fo ur
albums for MeA R(.'Cords, Musical Heritage
Societ)', and Mark Records. -111ese incl ude twO
recordings of new American music, an all-Bach
:llbulIl, an a11-Eubie Blake disc, and a coUabor.tlioll with Luka.~ Foss. In 1997 the ensemble
rde:LK-xI a vidtorape introducing children to
chamber music, cal led ASQKids. It" is believed to
he Ihc first video of its kind.
31
T he Amherst Quartet has been a perform-
ing member of Young Audicnces of Western New
York since 1979. The group also worked with
young persons' progra..ms at Kennedy Center
(Washington . DC), Lincoln Center (New York,
NY), Aesthetic Ed ucation !nslillrte (Rochcstcr,
Ny), and Art... in Education (Buff.t1o, NY). As
the Q uartet navels, it performs mallYshort-term
residencies in conju nction wi dl ilS concert perform ances. T he mt rnbcrs of the ASQ arc clin icians fo r the Selmer Company and Vandoren
Reed Produces.
T he ASQ's l o ng~ re rnl goa ls include maintaining a perrnanenr repertory ensemble of the
highcst international cal iber and encou raging
composers to write ror saxophone quartet to creare a repertory thaI" compares 10 11m of the conlempora..ry string quarret.
TIle Bugallo-Williams Piano Duo
Helem Bugallo
Amy Wi lliams
The Bugallo-Williams Duo has been CO I11 mi ned to presenting concertS of cOlliempor:.u)'
music since 1995, and has been featured at the
NUMUS Fesrival (Denmark), -Ieano San Marrin
(Buenos Ai res), Ju ne in BufI.,l o. North American
Ncw Music Festival (Buff.llo), Jordan Hall
(BaSion), 3-2 Festival , Goet he- lnstillJl (Sweden),
among others. Its repen ory spans the music of
the Iweru ieth cenru r)" incl udi ng Illusic by Cage,
Feldman, Stravinsky, R7.e wski, Rcich, Ligeti , and
Kurdg, as well as pieces by younger composcrs,
many of whom have wl"i[(ell specifically for (hc
Duo. Most recently. lhey have engaged in a
number of Illul rimedja and trallscript"ioll projt'CfS, worki ng directly with composers Jonathan
Golove, Erik Ona, Ju kka TiensuII , and Lukas
Foss. Duri ng the summerlf:111 of 2000. lhe Duo
enjo),ed sta ws or artists- ill-reside nce at the
Akadcmi e Schloss SolilLlde in Srungan ,
Germany, and featured perfor mers at the Musik
:lllS Solimde Festival. Engagements during Ihe
upcoming season include concerts in German)"
Engbnd. Unlguay, Chicago, Boston, Baltimore,
Bu ffa lo. a.nd S},ra..cusc, as well as tile recordi ng of
rheir debut CD of Conlon Nancarrow's music
ror solo piano and piano duel. 10 be prod uc(."(j by
the German Slid West Rundrunk.
C'lSsatt String Quartet
MUllcko Otani, violin
Jenni fer Leshnower, violin
T:'1\vny" PopofC viola
Glrol ine Stinson, cello
Hailed as one of America's outstanding
young ensembles. the Manharran baS<.-d C ISSa({
String Quaner has pe r ~orme<1 (hroughout North
America, Emope, and the Far E:lSt, with prestigious appearJnces at New York's Alice Tully Hall
and Wei ll Recital Hall at Clrnegie Hall, the
-r..l nglewood Music Theater. the Ken nedy Center,
the Theatre des Champs-Elysces in Paris and
Maeda Hall in Tokyo. The group has trequenrly
been heard on WGBI-!, WQXR and WNYC,
and has also pre.sented programs on C BC Radio
and Radio France.
Formed in 1985 with the ellcouragemenr
of lhe Juilliard Quanel, [he Cassan initiated and
were the inaugural participa'Hs in J llilli af(r~
Young Arrists Quartet Program. T heir nUlllerous
awards include a T.lnglewood Cha mber Music
Fell owship, the Wardwell Chamber Music
FcJ l ow~ hip at Yale (where they se rved as teaching
assi.'.t,HHs to the 'Iokyo Quanet), Firsl Prizes ,1\
the Fischoff .wd Coleman Chamber Music
Co mpeti tions, two top prizcs at the Banff
In ternation,11 String Quarter Competition, the
1995 CJ\'WASCAP First Pri'le Award for
Adventurous Programming, and :l 1996 recording grant trolll the Mary Flagler Cary Charitable
-rr·USI.
2000-200 I marked [he Cassa rr Quarter's
inaugura l season as arti,m-in-res idence at the
U ni versit)'of Pe lln.~y l va ni;1 in Philadelphia. They
also cominucd residencies at oot h the University
at BU rF.llo, where they pertormed th(· Slee
Beethoven Quarter Cycle, and Syracllse
Univcrsiry, where they have created ,he louis
Krasner Graduate String Quarret Program for the
training of you ng, professionally oriented string
quartets. In addition , [hey hold su mmer residen cies a[ New Yo rk's Bang O n A Ca n Festival,
Jun e In BuA:alo, the Seal Bay Festival in Ma ine,
and thc Swannanoa Chamber Music Festival in
Nort h Gl rolina. Upcoming record ings of new
worb wrinen fo r rhe Cass.llt include a CD of
SIring Q uarret<; by Dan iel S. Godfrey, as well a.~ a
Ba.~soon Q uintet by Lawrence Dillon.
The Cassan has recorded for rhe New
World, Point Music, Albany, Tad'lik and CIU
labels. T he Quartet takes irs name (i'om the celebra ted American impressionisl painter Mary
Cm;m.
32
Quatuor Bozzini
Clemens Merkel, violin
Elise Lwoie, violin
Stcph:lJlie Bouilli, viola
Isabelle Bozzini, cello
Qu;truor Bou ini unites lour young artists
deepl)' dedicated to the universal Ial1b'Uage of
music, and to the scring quarret genre as one of
it~ most refined mediums. Believing music essential in everyday life, the quartet's mission is [Q
bring it to people ("Vefy",here: old music, new
music, unknown music, f..UllOuS Illusic, srr.lnge
music, huni!iar music - Illllsic rrom all times,
rrom all over the world, in all places. The continuous C01l1Jllunication between tour !nusicians
in :1 string quarrer creates a uniquely concentrated creative energy which is transmimxl to the
audience renewing their response [0 (he live concert experience: a Quatuor Bozlini concert rakcs
the audience on a jOllmey - a [rip to a world withOUt borders of time or space. Founded in 1994,
the Bozzini Quanet received awards and disti nc60l1s sllch as 2nd Prize in the CIBC competit ion
(1995) and 1st Prize for i t~ recital in the Debut
serie; the group was also heard at "Young Artists",
the BanA" Cen tre for che Arts, Southern Ontario's
Chamber Music Institute and Dom:line Forget.
In Su mmer 1999, QB was invi ted fo r recitals in
Camrnac and Bois-des-qll3.rre-lieLL.... Qu:uuor
Bozz.ini is commined to ;lchievi ng [he broadest
possible repertoire and has ventured repea[(-dl),
towards new music: Opening Concert of the
NEM Forum (I~all 1996). concerts with Codes
d'Acces in the "Rencomres de musiques ecrites et
improvisees" fes tival (Spring 1998). Innova tions
en Concert (Fall 1998), CBC serie in Galcric
Momcalm (Onawa, Fall 1998). During these
events, rhe group was performing :1 number of
commissions of composers from Quebec and
Canada. The quanet favors exchange and close
collabor:nions with composers, and supportS the
emerging co mposers of its generation. Its programming borrows frolll the co mprehensive
string quartet repertory as il revisit's (he establisheel, questions tradiciom, and esrablishes links
while highlighting contrasts. For 2000-200 I, in
addition to launching it<; New MOlllrcal Series,
QB has pcrtormed for and will appear a[ the fo llowing vcnues: "Now Hear This~ (Christ Church
Ca th ed '~I I , Iv lomre:ll), "Poduck Pctform:lIlccs"
(Shemeld, Verrnonr), "Concens it Ia Tourelle de
1'E.~tri e ... " (St-Venant de Paqucne), ·'Concens
Imimes" (Glen Sutton), "Concens en direct au
Smdio 12" de Radio-Canada. ·'Concert·s :tux
Beaux-Am" (S RC-Ottawa) and ~ Ltkes h o re
Chamber Music Society" - often recorded by the
CBC BQ toured Germany/SwirLCdand in the
Spring of 200 I rot' eight concens. before traveling [Q the U.S. for June in Buffalo.
Sice Sinfonietta
T he Slee Sinfonierra was rormed in 1997
by composer David Felder and condl/eror
~agnus M1inensson. Th is ensemble, the profeslolO l1al chamber orchesrrJ in residence al UB, performs a series of concerrs e:lch year devoted to
lesser-known repertoi re, particuhrly that of the
prc-~ lassic era and the most recent contemporary
mUSIc. Advanced srudent~ in performance are
invited to participate along with faculty ;lITists,
s?loiS(S, and regional professionals in the production of these unique concens des igned co contribme new pmsibi lilies for concengocrs within
the Universi ty and the \'(f("S[ern New York
Region.
CONDUCTOR BIOG RAPHIES
Magnus Mmenssoll , born in 1966, snrdied piano, voice, conducting and composicion at
Malmo Musikhogskola and conducting at ehe
Cleveland Institute of Music. Between 1989 and
1992 he was condunor of Opera Semplice in
Malmo as well as [he Sa nta Cecilia Oratorio
Sociery of Lund. During [his rime he also found ed and conducted, in nllmerous performances,
the Malmo Chamber Orchestra. From 1995 ro
1996 he served as ,he con duccor of the
Contemporary Music Ensemble a( the Cleveland
Institute of Music.
Also active a.~ a composer, his numerOllS
commissions have included incidental music fo r
theater plays. chamber music and songs. His latcst work, Before the Law, a chamber opera in one
act with libretto by Henry Sussman after Franz
Kafka's The Trilll, was premiered at UB in
December of 1997.
33
SPECIAL G UEST BIOG RAP HIES
Pierre-Yves Artaud is exemplary in the
torce a.nd generosity of his temperament - one of
the great nutist~ of our rime. Soloisr1c and
Artistic Director for Ememble 2e2m, Mr. Arraud
teaches at the Paris and Bologna Conservatories,
and h a.~ been in summer residence at DaflllStad t
Imernational Summer School since 1982; he
plays regularly worldwide promoting both clas.~i­
cal and contemporary flute repertories, and is
publications di rector for the publishers Salabert
and Tr.msatianriques. Since 198 1 he has been in
charge of' the Acelier de Recherche Instrumeneale
at [RCAM, having been awa rded a Sciences el
Lertres medal in 1978 for his research work. Mr.
Analld has prem iered works ded ica('(xl to him by
composers such as Brian Ferneyhough, Paul
MdlllO, Klaus Huber, Gi lbcrt Amy. and Betsy
Jolas, and favors dle propagation of contemporary tcchniq ues.
Robert Berkman is a producer, arranger,
and editor fo r QRS , Inc. - enjoying this work for
twemy-five years. He performs throughout rhe
U.S. and Canada as PianoJis[ , and is presently
working with rare Kbmer piano rolls for a
recording project.
Kevin Bowyer was born in SOllthl'rn-onSea, England, in January J 961. He studied with
Ch ristOpher Bowers- Broadbent, David Sanger
and Virginia Black and has won first prizes in the
interna rional organ compeli tions in Sf. Albans
(1983), Dubl ;n (1990), P,;sl,y (1990), Od,me
(1990) , and Cuga')' (1990). He Ius played
many concens dlroUghout Europe and North
Amcric.l and has become known for comemlXlracy and unusual repertoire including picces by
Bnan Ferneyhough, Peler Maxwell Davies.
!annis Xenakis, Charles \XIuorinen, Jan Vriend,
Ka ikhosru Sorabj i, etc. He h:tS broadcast widely
and has released nearly 40 CDs (Nimbus,
Un icorn -Kanchana, Coneinuu m, Alrarus, Priory,
RegclH, ASV) including works by j.S. Bach,
Brahm s, Sch umann, R.lchman inov, Reubke,
Llnglais. Messiaen, Alain , Norgard, Sorabji,
Maxwel l Davies, Jonathan Harvey, Malcolm
\'(fi ll iamson, Cha rles Ca milleri , Alkan,
Schoenberg, Nielsen, etc. His diary for 1998
includes appearances in Germany, Sweden,
Switzerland, Canada, USA, Ireland, and
Alisual ia, solo reci tals in several major English
festivals includ ing Aldeburgh and the St. Magnus
r estivai in lhe Orkeney Islands, as well as seven
filrthe r C D reco rdi ng~ of the organ worh of J.S.
Bach and a CD recording or music by Wilfrid
Mdlcrs, John l'~\'c ne r ;Uld Brian Ferneyhough.
Kevin's other in( ercst~ include anciem history,
mythology, (he history and development of religions, rwenricth cClH Ury liter.Hure (in particular
Joyce, Becken and the Powys f.1.m ily), obscure
cinema and mall whiskies.
Cheryl Gobbctti Hoffinan , flutist and JIB
Awxiate Direcror, is a member of the Un iversity
al Buff.'llo's Music Perrormance r:acuhy, administers the '\vhooosh" r:l ute Resource Fund (her crearion), writes eul tur";1 1 pieces for B/{Jfolo Spree
magaz.i ne, and plays her New Yo rk debut performance in March 2002 ;H rhe invitation of
MidAm eriea Produ clions' Concerr Series at
C1.rncgie H:III's Weill RL"Ciml Hal l.
Michaellasser is a lecturer, writer, broad caster, critic, and {(.'acher. Since 1980, he has
been the host of the n:Hionally-syndicated public
r:tdio show, Fascillluil1' Rhythm, winner of a 1994
George r:oster PC<lbody Award ror lening "our
trc:u.ury
popular lunes speak (and sin g) for
it<;elr widl sparkling cOlllmemary tracing the conIribmions of the composers and performers to
American society." He also spent twemy years as
theater crit ic ror The Rochester Democrat &
Chronicle. He speaks frequently at museums,
universit ies, and thearers, :tnd :tppe:lrs with symphony orchestras in concens he designs and narrates. His appearances incl ude Albright-Knox
An Gall ery, (he Buffalo and Erie County
Histori cal Sociery, The Shaw Festival, The
Stratford Festi val, the Museum of the C ity or
New York. the Phibdclph i<l Museum of Art, the
Rochesler Philharmo nic O rchestra, the
C hamauqua lnstimlion, University of Miami ,
Valparaiso Un iversity, Eastman School of Music,
Asolo T heatre (£I rasma), me San Diego Museum
of An. ;lIld the Orbndo Art Museum, among
many mheno. He has rauglu :tr the Un iversity of
Rochester and Rurgcl'S University, and h,15 been a
/T~cl an ce writer for a wide range of n:ttional maga1.lIles.
or
Frieda and Stephen Manes have enjoyed
over thirty years or performing piano. fOll r hands;
touring the Unitcd States and Puerto Rico, as
well as Austr.llia in addition [Q appearances in
New York City. Bullilo, and Sebago L1.ke, Maine
- where they are residents of the Seb:tgo-Long
L1ke Region C hamber Music Festiva l. Frieda
Manes is a native of Melbourne, Australia; she
34
Clme [Q the U.S. in 1958 to pursue music smdies at the Juilliard School. In addition to performing wi th her husband in the Manes duo, she
is an active solo ist and chamber m usician in
much demand as a te;lcher and performer in
\'(/cstern ew York. Stephen M:lI1es. Ch:tirman
ofUB's Mtl~ic Department and Ziegele Professor
or Music, is a native o r Vermont. He has soloed
with the Ph ilharmon ic O rchestras of New York
and Buffalo, as well as ,he Sym phonies of
Pirtsburgh. Detro it . Denver, Baltimore. and
Bos[On's Esplanade. Recital appeara nces have
taken him to most major U.S. C ities in addition
[0
European centers sLlch as London, \Xlesr
Berlin , Amsterdam. the Hague, and Vienna. His
ch:lmber music appear.U1ces with ,he C leveland,
Kronos, CassatT and Rowe String QuartetS, and
at rhe Marlboro and C hautau'lua Festivals, along
with the recem revival of the Baird "Ii-io, represent
hi., .m ong affinity for chamber music.
Internationally recognized a..' a player, composer and arranger, Jon Nelson's diverse experiences include performances with the
Metropolimn O pera Orchestra, the Chamber
tvlusic Society of Lincoln Ccmer, the STXXenakis Enscmble, and ,he British rock group
Duran Du r:m. As ;I rounding member of the
Meridian Arts Ensemble, he was instrumemal in
the commiss io ning of over thirr)' new works far
the Ensemble, fre<ILl ently venturing into jazz,
rock. ;llId expcrimenral id ioms. With lhe
Meridians, he collabof<lt'cd with Milton Babbitt
and Frank Zappa, as well as with numero us fo lk
and ethnic artists frolll around the wo rld, and
appe:lred at over thiny-live int ernarional festivals
in Europe, A,ia, (emral and 50mh America, and
rhe Uni te<l St<ltes. As :tn arranger, he has transcribed :tnd adapted works by J.S. Bach, Jimi
Hendrix, Don van Vliet, King C rimson, and
Frank Z1ppa. His arrangementS have been perfo rmed and recorded by the Cologne Stadt
Ballet, the Ethos Percussio n Group. and Dweezil
Zappa; his compositions and arrangements are
published by The Zappa Fami ly Trust and
ManduGi Music. He has recorded For C hannel
C la..~sics Records, Barking Pumpki n, BMG/ RCA,
Bridge, Cuneirorm, Peer, New World RL'C ords,
Vandenburg, and C RI. He ha..~ served as adjunct
faculty al rbe Ham School of Music, Middlebury
College, and Bosro n Uni vers ity. He is currently
all the (,cu lty of SUNY Bufttio. Mr. Nelson
entered The Juilliard School at rhe age of seven~
teen where he studied trumpet with Mark
Gould; he holds a B.M. rrom lh:tt insti tution.
Soprano Dora Ohrcnstem has been widely hai led as a gifted in terpreter of an song, vocal
( h.lmbe r works and contemporary music. For
over :1 decade she was solo vocalist of the Philip
(;las..~ Ensemble, appearing internationally ar
I1I:l jor halls and festivals. Her one-woman production em irled Urball DiU/I, feam ring new
works by Anthony Davis, SCott Johnson. Ben
Johnston and other notable composers, prem iered in Amsterdam and at Dance Theatre
Workshop in New York ~1J1d was preselHed at the
\X/:Ilker Arts Cenrcr, th e C1.brillo Festival, the
5po le1O Festival USA, and was released on C Rl 's
Emergency Music series to high praise.
An ard ent champion of Anlerican an song.
Ms. Ohrenslc in was Execlltive Producer of a
rour-disc set' released in 1994 by Albany Records
or the Com plete So ngs of Charles ives, critically
lu:r:tlded as an import:lIIf landmark in the recording of American music. She also produced and
pe rfo rm.~ on Nothing Dillille is MllI/{kllle, a
n:cording o f Virgil Thomson songs released by
Al bany. Ms. Ohrensfein and her colleabrues in
Ihe trio Bermuda Triangle created a program
clltided The Politim/ Songbook, comm issioning
20 songs, perform ing il :tt the 1993 Bang o n a
Can Fest ival. North American New Music
Festival, and C ul tu res Can:tda in Onawa.
Ms. O hrensrein has sung dl:lmber musiC:l1
lhe Ch:lIl1bcr Music Society of Lincoln Cemer,
May Music in Charlone, and with rhe Brentano
Q uarter. Cassatt Quanet, Kronas Quartct ,
IZclachc. Essential Music, Sequirur. Modern
35
Music, and Newband. among olhers. She was cofou nder of rbe May Music ill C ha.rlotte festival,
which won an award fo r :Idventurous programm ing from ASCA P and C hamber Music
Alllerim, as wel l as co-found er of the Canterbury
Consort, an early music ensemble.
In addi tion to her Urban Diva recording.
h(-'r discogr:lpby in cl u de~ several C BS
Mastc rwork~ l"L'Cordings of music by Philip Gla..<;s,
Conrad C ummings' chamber opera Pboto Op on
C R.!' a New World recording of music by Ben
Johnston. an XI release of music of Mary Ellen
C hi lds, a medi eval ch:tm recording on
Nonesuch, :Uld addirion al rel eases on the Privare
Her
Music, Doss ier and Opus One labels.
newesl solo disc of soliloquics for solo vo ice by
British and Arnerie'ln composers, entitl ed Restless
Spirit, has just bee n released on Koch
illternational Classics.
" Mjss Jane" Romanos, concert artist and
opera soloist , {r.J vcl~ the United Stares and
Europe extensively, perfo rmi ng 1'O acclaim at
Wolf Tmp, the San Fra ncisco and Des Moines
Openl Companies, and New York Gry's Music
Thea{ re " Encompass", as wel l :ts with the
National Symphony Orchestr:1 under [hc direction of Raymond Leppard and <II thc Kennedy
CCllfer at the request o f co mposer Virgil
Thompson, for a special evening dcvoted to his
~0Ct 1 music. " M iss Jane's Parlor" was first perform ed at [he Holland Festival af Music in collabo ration with Ihe bte Yvar Mikhashoff
ACKNOWLEDGEMENTS
JUlie ill BllffoLo is made possible by tbe generous support of the following orgllJJizlltiolls:
Cameron Baird Foundation
Aaron Co pland Fund fo r Music
BMI Foundation
Birge-Cary Chair in Mu sic
Canadi an-American Studi es
Conferences in the Disciplines
Alice M. Dirson Fund ofColulllbia University
Graduate Students Association
Music Graduate Students Associati on
Nic holas Pa nerson Perpe[Ual Fund
NYFA Sponsorship Program
University at Buffalo Departmem of Music (Steph en Ma nes, C hai rman)
D ean's O ffice, Co llege of Arts and Sciences (Charles Stinger, Interim Dean)
Fundin g from M ee t t he Co mposer, Inc. is provided with th e support of NY Sr;nc
Coun cil on rhe Arts, ASCA l~ Vi rgil T homson Foundation , Th e Eleanor Naylo r
Dana C harirable Trus t an d Natio nal Endowlllcnr fo r thc Arrs.
Festival Staff
D :1Vid Felder, Arristi c Director
C heryl Gobbeni Hoffm an, Associate Director
Mara Gi bson, Administrative Associate for Resources
Eil een Gi pple, Administrative Associare for Devdopmcl1c
Sa ndy Fairchild , Fi scal Officer
JT Rin ker, General Ass istan r
Bill Sack, Web master
Jon Nelson, JIBRASSWORKS Coordinator
David Boylc, Technical Director
G ary Shipe, Piano Technician
Ph il Rehard , Conce n Manager
Kimberly G allagher, Assistanr Co n~en Manager
A special thallk YOIl to the following: Center for tbe Arts staff, Tho1l1flS Bu rrows,
Director; the VB Art Callery, Sandra Olsen, Dir~ctor; Brian /Vlimnd and Corky
I3m11Skili from
th~
Scima and Engilluring Nodt Services.
36