Symposium of Contemporary Music, April 7-8, 2004

lllinois Wesleyan University Humanities Series and School of Music present

OF

Fiftieth Anniversary Celebration

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FEATURED GUESTS

�ouis �n(Jcies.sen (The Netherlands) Composer, Professor, Royal Conservatory of Music, The Hague

@James SJduanf}t (Canada) Senior Programmer, Cinematheque Ontario , Toronto

�oltica !}erl1tino (USA/The Netherlands) Violinist

crJtistina 2avattoni (Italy) Vocalist

April 7 8, 2004 ..

Westbrook Auditorium Illinois Wesleyan University

Wednesday, April 7 4 PM

Panel Discussion: Music and Film James Quandt Prof. Mario J. Pelusi, director, School of Music Prof. Stephen D. Press Prof. David Vayo, moderator

The panel discussion will include a screening of the film"M is for Man, Music, Mozart" directed by Peter Greenaway, with music by Louis Andriessen.

Please be advised that the film includes nudity as well as some earthy humor.

8 PM

Lecture: James Quandt Philosophies of Film Music and the Uses of Music in Fassbinder's

The Marriage of Maria Braun Thursday, April 8 4 PM

Lecture: Louis Andriessen The Symposium guest composer discusses his recent work

8 PM

Concert: Music of Louis Andriessen Remarks by Mr. Andriessen Le Voile du Bonheur

Monica Gennino, Louis Andriessen,

Y Despues

violin and voice piano

¡

vocalist piano

Cristina Zavalloni, Louis Andriessen,

Jesse Wey

(Winner, IWU High School Composers Contest) flute trumpet Edward Stevens, violoncello Katrina Tammen,

David Hartley,

Brian Baxter, Stephanie Lyon, A. J. Robb,

percussion

piano

Prof. Mario J. Pelusi,

conductor

Passeggiata in Tram in America e Ritorno

Deborah Boersma, flute Daniel Monge,

hom

David Hartley, Kevin Thommes, Casey Brant, Patrick O'Connor, Philip Arquette,

bass trombone contrabass Stephanie Swearingen, piano

Christopher Davis, James Klopfleisch,

trombone

trumpet

Cristina Zavalloni,vocalist Monica Germino,violin Prof. Steven W. Eggleston,conductor Brief Intermission La voce

April Guthrie '03,violoncello The New Math(s)

Prof. Bridget Rose,soprano Prof. William West,traverso Monica Germino,violin Prof. Amanda Legner,marimba Video by Hal Hartley M is for Man, Music, Mozart

The Alphabet Song Instrumental I The Vesalius Song Instrumental II The Schulz Song Instrumental III I The Eisenstein Song Amanda Andrews,flute Daniel Glade,soprano

saxophone saxophone Melissa Finch,tenor saxophone Daniel Vendt,hom Cory Nelson,alto

David Hartley,Casey Brant,Justin Barnish,trumpet Philip Arquette,David Mainer,Christopher Davis,trombone Philip Krawchuck,contrabass A. J. Robb,piano Cristina Zavalloni,vocalist Ann Stafford,conductor

Following the program, the audience is invited to a reception in the Presser Hall reception room, courtesy of Delta Omicron This program is presented as part of the lWU New Music Series

The School of Music's 2003-04 concert season is dedicated to the memory of President Minor Myers, jr. (l942-2003). President Myers loved music passionately and was an enthusiastic supporter of the School of Music.

Le Voile du Bonheur Laatst,toen liep ik door het Vondelpark.

Daar zag ik een knul uit mijn klas.

He! mijn mooie Bert,waar ga jij heen? lk loop een stukje met je mee naar huis.

Thuis bij Bertje dronken wij wat thee.

Bertje's moeder bracht wat koekjes mee.

He! mijn mooie Bert,wat doe jij nou?

Als jij wilt vrijen dan vrij ik graag mee!

Later heb ik Bertje opgebeld.

Bertje's moeder zei: Hij was ongesteld!

Bertje lag met hoge koorts in bed, Ijlde steeds,waarbij hij zei: "Ik heb een . . . " (ng)------------------ Louis Andriessen Reprinted by pennission of Boosey & Hawkes, Inc.

The Veil of Happiness 1 was just walking through the Vondel Park I saw a boy from my class there Hey! My cute Bert,where are you going?

I'll walk you home.

At his house we drank some tea Bert's mother brought out some cookies too Hey! My cute Bert,what are you doing?

If you'd like to kiss then I would too!

Later 1 called Bert up Bert's mother said he was ill!

Bert lay in bed with a fever Rambling deliriously he said "1 have a ... " - Translation by Monica Germino

Y despues Los laberintos que crea el tiempo, se desvanecen.

(S610 queda el desierto.)

El coraz6n fuente del deseo, se desvanece.

(S610 queda el desierto.)

La illusi6n de la aurora y los besos, se desvanecen.

S610 queda el desierto.

Un ondulado desierto.

- Federico Garda Lorca from

Poema del cante jondo

Reprinted Iry permission of Boosey & Hawkes, Inc.

And afterwards The labyrinths which time creates, vanish.

(Only the desert remains.)

The heart source of desire, vanishes.

(Only the desert remains.)

The dream of the aurora, and kisses, vanish.

Only the desert remains.

An undulating desert.

- Translation by David Vayo

Passeggiata in tram in America e ritorno Aspro preludio di sinfonia sorda, tremante violino a corda eletrizzata, tram che corte in una linea nel cielo ferreo di fili curvi mentre la mole bianca della citta torreggia come un sogno, moltiplicato miraggio di enormi palazzi regali e barbari, i diadema elettrici spenti. Corro col preludio che tremola si assorda riprende si afforza e libero sgorga davanti al molo alia piazza densa di navi e di carri.

L'acqua a volte mi pareva musicale, poi tuno ricadeva in un rombo e la terra e la luce, mi erano strappate inconsciamente. Come amavo, ricordo, il tonfo sordo

della prora che si sprofonda nell' onda che la raccoglie e la culla unbrevissimo istante e la rigetta in alto leggera nel mentre il battello e una casa scossa dal ter­ remoto che pencola terribilmente e fa un secondo sforzo contro il mare tenace e riattacca a concertare con i suoi alberi una certa melodia beffarda nell' aria, una melodia che non si ode, si indovina solo alle scosse di danza bizzarre che la scuotono!

Nelmentre tra Ie tanaglie del molo rabbrividisce un fiume che fugge, tacito, pieno di singhiozzi taciuti fugge veloce verso l'eternita del mare, che si balocca e complotta laggill per rompere la linea dell orizzonte.

- Dino Campana, from Canti

Orfici

Reprinted by permission of Boosey & Hawkes, Inc.

Journey on a tram, in America, and a return Harsh prelude to a muffled symphony, trembling electric violin, a tram runs on a line in the iron sky of bent cables while the white expanse of the city towers like a dream, a multiple mirage of huge palaces, royal and barbaric, their street lamps like extinguished electric diadems. 1 am rushing with this prelude that trembles, deafens itself, recovers, persists, and, free, spurts before the pier into the harbor, dense with ships and carts.

The water at time seemed musical to me, then everything again fell into a roar, and the earth and the light were tom from me unconsciously. As I loved, I remember, the muffled thud of the prow lowers itself into the wave that gathers and rocks it for the briefest moment then tosses it back again on high lightly, while the boat is a house that totters horribly, shaken by the earthquake; it makes a second effort against the tenacious sea and resumes conducting a certain mocking melody in the air with its masts, a melody that is not heard but is rather divined solely through the jolts of the bizarre dance that shake it!

Meanwhile among the fastenings of the pier, a flowing river shudders, silent, full of suppressed sobs; it runs away toward the eternity of the sea, which is dallying and scheming down there to break the line of the horizon.

- Translation by Rachel Jensen

La voce Ogni giorno il silenzio della camera sola si richiude sul lieve sciacqufo d'ogni gesto come I'aria. Ogni giorno la breve finestra s'apre immobile all'aria che tace. La voce rauca e dolce non torna nel fresco silenzio.

S'apre come il respiro di chi sia per parlare l'aria immobile, e tace. Ogni giorno e la stessa.

E la voce e la stessa, che non rompe il silenzio, rauca e uguale per sempre nell'immobilita del ricordo. La chiara finestra accompagna col suo palpito breve la calma d'allora.

Ogni gesto percuote la calma d'allora.

Se suonasse la voce, tomerebbe il dolore.

Tomerebbero i gesti nell'aria stupita e parole parole alla voce sommessa.

Se suonasse la voce anche il palpito breve del silenzio che dura, si farebbe dolore.

Tomerebbero i gesti del vano dolore, percuotendo Ie cose nel rombo del tempo.

Ma la voce non toma, e il susurro remoto non increspa il ricordo. {L'immobile luce da il suo palpito fresco.} Per sempre il silenzio tace rauco e sommesso nel ricordo d'allora.

- Cesare Pavase RePlinted by permission of Boosey & Hawkes, Inc.

The voice Every day the silence of the lonely room closes again over the delicate lapping of each gesture like air.Every day the little window, immobile, opens into the air which falls silent. The voice, harsh and sweet, does not return in the fresh silence.

It opens like the breath of one who is about to speak, the air immobile, and falls silent. Every day is the same.

And the voice is the same, that does not break the silence, harsh and identical as always in the inertia of memory.The clear window accompanies with its brief throb the stillness of before.

Every gesture strikes the stillness of before.

If the voice sounded, the pain would return.

Gestures in the startled air would return and words, words to the subdued voice.

If the voice sounded, even the brief throb of silence that endures would become pain.

Gestures of futile pain would return striking things in the roar of time.

But the voice does not return, and the remote whisper does not ripple memory. (Immobile light yields its fresh throb.) Forever the silence hushes, harsh and soft in the memory of before.

Note: The words in parentheses are to be mouthed but not spoken.

- Translation by Rachel Jensen

The New Math(s)

Catch

I

Why cannot the Ear be closed to its own destruction?

Or the glistening Eye to the poison of a smile! Of a smile!

Why are Eyelids stor'd with arrows ready drawn, drawn, Where a thousand fighting men in ambush lie?

Or an Eye of gifts and graces, showering fruits and coined gold!

Catch 2 Why a Tongue impressed with honey from every wind?

Why an Ear, a whirlpool fierce to draw creations in?

Catch 3 Why a Nostril wide inhaling terror and affright Why a little curtain of flesh on the bed of our desire?

- William Blake, from

Book of The!

Replinted by pennission of Boosey & Hawkes, Inc.

M is for Man, Music, Mozart The Alphabet Song A is for Adam and E is for Eve. B is for bile, blood and bones.

C is for conception, chromosomes and clones.

D is for Devil.

F is for fertility. And for Venus' fur.

G is for germs and growth and genius.

H is for hysteria.

1 is for intercourse.

J is for Justine or the Misfortunes of Virtue.

K is for kalium, or potassium, if you like.

L is for lust, lightning, lightning ...

- Louis Andriessen, Jeroen van der Linden

The Vesalius Song A phenomenon oiled by blood, made of unequal parts like a Cellini saltcellar.

A little gold and a little charcoal.

A little bone, a little wax.

A little alcohol, a little horror and a little gum.

A little ivory, a little sulfur, a little damp dust, a sluice of fluids, Twenty-four pulleys, one-hundred counterweights, two lenses, dark shadows, swivels, a syringe, chords, strings, sins, shit, teeth, nails.

And various random involuntary motions.

- Peter Greenaway

The Shulz Song A trembling and some laughter, a squirt of pee, a spit.

Whispers of the heart, a smell The drift to sleep, pursuit by Gods, exposure of the bum, mathematics, leaving slowly, sucking in cold air round a warm tongue, ennui synchronized to the pulse, reports from a coiled trachea, It is only irregular clocks . . .

It is only irregular clocks . . .

- Peter Greenaway

The Eisenstein Song A man bringing himself, melody and Mathematics into perfect and enviable proportions . . .

Only more so, much more so.

- Peter Greenaway Reprinted by permission of Boosey & Hawkes, Inc.

A NOTE FROM THE SYMPOSIUM DIRECTOR At the entrance to the Music and Media area on the third floor of lWU's Ames Library is an exhibition celebrating fifty years of the Symposium of Contemporary Music. In putting together this intriguing display, Fine Arts Librarian Robert Delvin uncovered not only a trove of fascinating material, including a complete collection of Symposium program booklets, but also a surprising revelation: that we are two years late. Until Bob's discovery, we had thought the Symposium began in 1954. Well, bet­ ter late than never...We intend to celebrate lllinois Wesleyan's half-century of musi­ cal exploration with as much enthusiasm as if we had gotten our dates correct from the beginning.

The first Symposium appears to have been organized by Frank Bohnhorst, a pro­ fessor who also held the title of lllinois Wesleyan's Composer In Residence and died only a few years bter at the tragically early age of 33. A tmst in his name was estab­ lished soon thereafter, and it has provided partial funding for most of the Symposia since. The 1952 Symposium, which featured composers Burrill Phillips, Earl George and IWU alum Grant Fletcher, had some features in common with more recent ones: the inclusion of panel discussions (the topic in 1952 was "The Creative Artist in Contemporary Society") and the support of IWU's three music fraternities, but some things were different: perfonnances of faculty and student compositions were a regular feature of the early Symposia.

For the Symposium's first decade, it was the Symposium of Contemporary

American Music, although it wasn't long before foreign-born composers such as Ernst Krenek and Halim e1-Dabh were featured as guests. From 1955 until at least 1977, the Symposium was folded into IWU's almual Fine Arts Festival, al1d many of the pro­ gram booklet covers from those decades are decorated with striking examples of mod­ em visual art.Over the half-century, lWU has hosted an impressive roster of musical visitors including many Pulitzer prizewinners and world-renowned composers; a list appears at the end of this booklet.

For this fiftieth-almiversary celebration, we focus on two symbiotic relationships: between composers al1d perfonners, and between music and other art fonns, specifi­ cally film. In regard to the fonner, musical history is full of examples of composers who were inspired to some of their best work by specific perfonners for whom they wrote: one thinks of Mozart and the clarinetist Anton Stadler, Benjamin Britten and the tenor Peter Pears, Duke Ellington and such soloists as Cootie Williams and Johnny Hodges, and Burt Bacharach and the vocalist Dionne Warwick. In our own era Louis Andriessen, one of the world's foremost composers, has written a string of recent compositions for two superb new-music speCialists, violinist Monica Gennino and vocalist Cristina Zavalloni; we are thrilled that all three of them are with us for the Symposium.

Music has always married well with other art fonns. The style at the very root of Western concert music, Gregorian chant, can be thought of as a lmion of music and architecture, in which slmg series of tones perfectly complement the resonant spaces al1d stone cosmologies of medieval cathedrals. Chant is also a merging of notes with words, as is evelY song ever created. Opera adds several other elements to that mix, and many more such parmerships of music with art fonns could be mentioned. In the last centuty, film has become al10ther fmitful partner for music in the expression of

human thought and feeling. Film music has evolved from the world of theatre organ­ ists and pianists, who matched pieces of music to the general mood of a scene with the help of specialized musical anthologies, to an aesthetic in which each film has its own unique musical trappings which can be coordinated with pinpoint accuracy to the timing of the visual images. Louis Andriessen, through his collaborations with the celebrated filmmakers Peter Greenaway and Hal Hartley, has contributed significantly to the expansion of possibilities for music in film. To provide perspective on such achievements, we are delighted to also be hosting James Quandt, one of North America's most prominent film critics and scholars. Mr. Quandt is also a match made in heaven for the Symposium: a passionate fan of contemporary concert music, he regularly attends new-music festivals in Canada, Europe and the United States.

Louis Andriessen's compositions are rarely about music only. A cultural omni­ vore, Andriessen uses his music to comlmme with and comment on religion, politics, philosophy, history, and other art fonus. This makes him a perfect model for those of us who cherish the liberal arts. I cannot imagine a more appropriate composer arOlmd whom to build this atmiversary celebration.

- David Vayo

ACKNOWLEDGMENTS That I am profoundly grateful to our four featured guests as well as to the student, fac­ ulty and guest perfonuers who have contributed their talents to this year's Symposium is (pardon the pun) academic. I also wish to express my thanks to other major players whose roles may not be as obvious on the surface. The support of the IWU Humanities Series and the numerous co-sponsors listed on the last page of this program provided the financial foundation for such an ambitious project and the confidence that the university as a whole was behind it. Much of the funding would not have come through if not for the sterling grant-writing and research work of Jo Porter, Stacey Shimizu and Brenda Wernick in IWU's Development office. Study Abroad coordinator Petra Visscher, and Lou Ann Fillingham and Kelly Zimmennan in the Business Office, guided our guests, their agents and this Symposium director through the thicket of immigration and tax regulations which bedevil such international projects. On the other side of the pond, we were fortunate to work with Iris Haeck, who is Monica Germino's agent; Omelia Cogliolo, who is Cristina Zavalloni's; and especially Mirjam Zegers of Muziekgroep Nederland, who serves as personal assistant to Louis Andriessen and who supervised travel arrangements for all three of our European guests, directed my attention to a number of details which might have otherwise been over­ looked, encouraged my budding knowledge of the Dutch language, and was kind enough to organize a dinner with Mr. Andriessen and Ms. Genuino when my wife Marie-Susanne and I were in Amsterdam this January. Michael Limacher and his staff in the Media Services Center, and Robert Dillon and his associates in Physical Plant, have kept the technical and audio-visual elements of the Symposium running, and for their help too I am deeply grate­ ful. Sherry Wallace and Chris Weber in University Communications wrote press releases and spread the word about the Symposium in the media. My colleague Rachel Jensen trans­ lated the Pavese and Campana texts out of the goodness of her heart and a love of language and poetry. Last but not least, I'm indebted to designer Carrie Young in IWU's Publications office, who cheerily kept up with the torrent of work I've sent her way in the past month.

The program you hold in your hands testiftes to her talent, as do the poster, the mailer and the newspaper ad.

BIOGRAPHIES � � � � il'

Louis Andriessen was born in Utrecht, the

Netherlands,on June 6, 1939. After an early training in composition with his father,composer Hendrik Andriessen, he continued his studies with Kees van Baaren at the Royal Conservatory of Music, The Hague.

Receiving the major composition prize upon his gradua­ tion,Andriessen subsequently studied two years with Luciano Berio in Milan ( 1962-'63) and Berlin ( 1964'65).

Returning to Holland he established himself as a leading musical figure through his compositions and as a performer of his own and others' work. Since 1978 he has held a teaching appointment in composition at the Royal Conservatory. He has also taught at the California Institute of the Arts, Princeton University,and the Katholieke Universiteit Nijmegen,and in 1987 he lectured on musical theory and composition at Yale University. In 1994 he was the artistic director of the Meltdown Festival at South Bank Centre in London, and in 2004 was appointed professor at the Art Faculty of the University of Leiden. Along with music critic and musicologist Elmer Schonberger,Andriessen is co-author of a book on Igor Stravinsky,The Apollonian Clockwork (published by Oxford University Press 1989). A collec­ tion of Andriessen's articles,lectures and interviews,entitled The art of stealing time and edited by Mirjam Zegers,is published by Arc Publications (2002).

For his major work

De Staat (The Republic; 1974-76) Andriessen received

the prestigious Matthijs Vermeulen Prize in 1977,as well as the first prize of the Rostrum of Composers. For the works he composed in 199 1: M is for Man, Music, Mozart, Facing death (written for the Kronos String Quartet), Dances (for soprano and chamber orchestra),Hout (for ensemble) and Lacrimosa (for two bassoons) he again received the Matthijs Vermeulen Prize in 1992. In 1993 he was awarded the 3M-prize. In 200 1 he was awarded by the World Music Contest Kerkrade for his contributions to wind music. London's South Bank Centre presented an Andriessen festival in 2002 (Passion: The Music of Louis Andriessen),and in May of 2004 New York's Lincoln Center will feature his music for two weeks.

Some of the best known compositions from Andriessen's earlier period are

Series for two pianos (1958-64),Nocturnen for soprano and chamber orchestra ( 1959),Souvenirs d'enfance for piano ( 1966,in cooperation with the author].

Bemlef),Anachronie I for orchestra ( 1967),and Spektakel for ensemble with jazz musicians (1970). He was also co-author of the opera Reconstructie ( 1969).

During the 1970's Andriessen wrote a number of political works that include

Volkslied (National Hymn; 197 1) and Workers' Union ( 1975). With the compo­ sition,in 1972, of De Volharding (Perseverance),he founded and launched a

wind ensemble by that name for which he wrote a second piece, On Jimmy Yancey (1972). In 1977, Hoketus similarly resulted in a like-named permanent ensemble to which Andriessen was himself attached as a pianist. In the period 1973-76 Louis Andriessen wrote De Staat (The Republic), a work for large ensemble. Other compositions for large ensemble were to follow: Mausoleum (1979), De Tijd (Time; 1981) and De Snelheid (Velocity; 1983).

Andriessen has also composed electronic works and music for film; among his works for theatre are Mattheus Passie (Matthew's Passion; 1976), Orpheus (1977), George Sand (1980) and Doctor Nero (1984). One of the large-scale works is De Stijl, written for a combination of the ensembles De Volharding and Hoketus premiered in the 1985 Holland Festival. De Stijl is also the third part of a four-movement opera called De Materie (Matter), produced by The Netherlands Opera as a main event in the 1989 Holland Festival.

In 1991 Andriessen began his first collaboration with film director Peter Greenaway in video film, M is for Man, Music, Mozart, commissioned by BBC TV for the composer's bicentenary. In 1994 Rosa, Andriessen's first operatic collaboration with Greenaway, was premiered by Netherlands Opera, and their collaboration continued in the 1999-2000 season with Writing to Vermeer. After a series of performances at the Amsterdamse Muziektheater, this opera was also performed in 2000 during the Adelaide Festival and at Lincoln Center. It will be revived this July by Netherlands Opera.

In between these two works of music theatre, Andriessen composed Trilogie van de Laatste Dag ("Trilogy of the Last Day," 1997.) Part 2 of the Trilogy, Tao, was premiered during the 75th-anniversary Donaueschinger Musiktage festival by pianist Tomoko Mukaiyama and the Netherlands Radio Chamber Orchestra. The complete trilogy was first performed in 1997 by Ensemble Modem in Keulen, and the work had its Dutch premiere in the one-thou­ sandth concert of the Saturday Matinee concerts, in a performance by the Asko/Schonberg Ensemble.

Most recently, Andriessen has written a number of works featuring vocalist Cristina Zavalloni and violinist Monica Germino in solo roles. These composi­ tions include Passeggiata in Tram in America e Ritomo (premiered by the Jazz Orchestra of the Concertgebouw and later performed by De Volharding), and

La Passione (premiered by the London Sinfonietta and subsequently performed

by Ensemble MusikFabrik and the Asko/Schonberg Ensemble). In 2003 Andriessen's music-theater work Innana, produced in collaboration with Theatergroep Hollandia and with prominent roles for Zavalloni and Germino, was premiered. This October, the first part of a cycle based on Dante's Inferno will be premiered by Ensemble Musikfabrik.

James Quandt is Senior Programmer at Cinematheque Ontario, Toronto, one of the leading film institutions in North America, and the year round venue of the Toronto International Film Festival. A film curator from 1985 - 1990 at the Harbourfront cultural centre, Toronto, and from 1990 to the present at Cinematheque Ontario, Quandt has organized dozens of directorial retrospectives and thematic series, several of which have travelled to other cinematheques, museums, and film institutes in North America and abroad. Most prominent among the touring exhibitions were those of the films of Kenji Mizoguchi, Robert Bresson, Shohei Imamura, and Kon Ichikawa, each of which travelled to over a dozen North American cities before being presented extensively in Europe. Most recently, Quandt collaborated with the National Film Theatre in London to present a comprehensive retrospective of the films and videos of Jean-Luc Godard, and with the Museum of Modern Art, New York to present retrospectives of the films of Alexander Sokurov and Nicholas Ray. Quandt has published widely on cinema as critic and scholar, including articles on Theo Angelopoulos, Andrei Tarkovsky, Guy Maddin, Richard Massingham, Abbas Kiarostami, Tsai Ming-liang, and Jono Cesar Monteiro in such magazines and journals as Artforum, Cinema Scope, and Montage. His most recent publications include "Here and Elsewhere: Projecting Godard," in For Ever Godard, edited by Michael Temple and James Williams (London: Black Dog Books) and "Everything Conceals a Mystery: The Hidden God in Robert Bresson's Au Hasard Balthazar and Le Diable probablement," in The Hidden God: Film and Faith, edited by Mary Lea Bandy and Antonio Monda (New York: Museum of Modern Art). Quandt has also edited three major monographs, on Robert Bresson, Shohei Imamura, and Kon Ichikawa, published by Cinematheque Ontario and distributed by Indiana University Press.

Quandt has given numerous lectures and talks on cinema, including "Sex and Death in Japanese Cinema" at the Japan Society, New York City; "Kon Ichikawa" at the Museum of Fine Arts, Boston; "Inferno of First Love and The Japanese New Wave" at Walker Art Center, Minneapolis; and "Rossellini's Stromboli" at Cinematheque Ontario.

Among the honours Quandt has won for his work are a Special Citation from the American National Society of Film Critics in 2001; the Clyde Gilmour Life Achievement Award from the Toronto Film Critics Association in 2002; and in 1995, the French government made him a Chevalier des Arts et Lettres to acknowledge his contributions in the area of French cinema.

Aside from film, Quandt's interests include the visual arts, experimental theatre, classical and new music.

Singer-composer Cristina Zavalloni was born in Bologna in 1973. Along with her musical activity in the field of jazz and experimental music, she cultivates an interest in contemporary music and composition.

Zavalloni began working in the jazz field in 1993 when she joined the O.EP. Orchestra as a singer and arrangercomposer. In 1994 she founded the "Open Quartet," with which she has recorded two CDs. She has performed jazz at various locations in Germany, Romania, Netherlands (BIMHUIS, Europe's leading jazz club), Norway (Bergen Jazz Festival), and England.

In April 1999, Zavalloni began an ongoing collaboration with Louis Andriessen and performed his new composition Passeggiata in Tram in America e Ritorno at the Concertgebouw (Amsterdam) as part of a "Duke Ellington Memorial." She went on to perform the same piece in London (May 1999) at Queen Elizabeth's Hall with the London Sinfonietta.

In December 1999, she presented a new production of Arnold Schonberg's Pierrot Lunaire promoted by the Dissonanzen Festival (Naples, November, 1999), during which she sang and danced. She also performed another piece written by Andriessen at the Barbican Centre (London): M is Man, Music , Mozart was accompanied by the BBC Symphony Orchestra.

During June and July of 2001, she performed at Festival Grec in Barcelona, Spain. Zavalloni played the role of the protagonist in the new opera Euridice by Spanish composer Juan Alberto Amargos. This opera was taken on tour in Germany. In September 2001, she played the role of the mother in the new contemporary opera Camera Obscura, written by Italian composer Marco Di Bari. The work was commissioned by the Biennale Musica di Venezia.

In July 2001, she and violinist Monica Gem1ino went on a tour of Australia with the Dutch ensemble Orkest De Volharding, playing music by Andriessen. In February 2002, she began a European tour with the group, which she has permanently joined as a solo vocalist.

In September of 2002, she joined the Meeting Improvisers event organized

by BIMHUIS. This event will include two days of "impromptu" performances from such musicians such as Simon Nabotov, Phil Minton, Han Bennik, Ernst Glerum, Mary Oliver, and Michael Moore.

In October 2002, she sang the premiere of La Passione, a new piece by Andriessen for solo voice, solo violin (Monica Germino) and orchestra. The premiere took place at the Queen Elizabeth Hall (South Bank, London) with the London Sinfoni.e tta, who commissioned the piece. It was also performed in Berlin at the Berliner Festwochen (October 2002), with Musik Fabrik, and will be performed in Amsterdam at the Concertgebouw in May of this year.

In October 2003, she played the role of the Sumerian Goddess Inanna in

the new opera by Andriessen. The opera was co-produced by the Dutch theatre company Hollandia and directed by American filmmaker Hal Hartley. The work was also performed in Berlin in November 2003.

A devoted advocate of contemporary music, violinist Monica Germino (USArrhe Netherlands) has premiered numerous new works in concert halls and at festivals throughout Europe, North America, and Australia. She holds diplomas from the New England Conservatory and Yale University, where she received the Charles [ves Scholarship for Outstanding Violin Performance and the Yale Alumni Association Prize. Her principal teachers were Syoko Aki, James Buswell, and the Tokyo String Quartet. With her performance of George Crumb's Night Music II, she won the Crane New Music Competition (USA) . Germino subsequently won the Frank Huntington Beebe Grant to study in The Netherlands at the Royal Conservatory with Vera Beths.

Germino performs often as a soloist or ensemble player with leading contemporary ensembles such as the Schonberg and Asko Ensembles, Orkest de Volharding (Netherlands), MusikFabrik (Germany), Remix Ensemble (Portugal) and the London Sinfonietta (UK). She has worked with a multitude of composers including Louis Andriessen, John Cage, Martin Bresnick, Gyorgy Ligeti, and Christian Wolff. Germino's work with Louis Andriessen spans many years; since 1994 she has performed many of his solo and ensemble pieces.

Recent collaborations include premiering Passeggiata in America in Tram e Ritorno for solo voice, solo violin, and ensemble in the Concertgebouw (the Netherlands' leading concert hall,) and subsequently recording a DVD of the work. In 2002, Andriessen wrote La Passione, a double concerto for violin, voice, and ensemble commissioned by the London Sinfonietta, for Germino and singer Cristina Zavalloni. In 2003-2004, Germino again worked with Andriessen and Zavalloni in the theater production Innana, a collaboration with American video artist Hal Hartley and the Theatergroep Hollandia.

In 1997, Germino joined forces in founding ELECTRA, an Amersterdambased, four-member modern music ensemble that has collaborated with and commissioned composers from around the world. ELECTRA has toured extensively, including recent appearances at the Pontino Festival in Italy, Queen Elizabeth Hall and the Barbican Centre in London, the Agora Festival ([RCAM) in Paris, as well as residencies in Italy and Ireland.

Germino has worked together with various artists in creating interdisciplinary projects, including the dance group Krisztina de Chatel, pianist Tomoko Mukaiyama, filmmaker Hal Hartley, and Theatergroep Hollandia. She appears regularly in the United States at the Grand Teton Music Festival. Monica Germino plays on a Joannes Baptista Ceruti violin from Cremona, anno 1802,

on permanent loan from the Elise Mathilde Foundation. She recently acquired a 'Violectra', a custom-made electric violin.

Jesse T. Wey is the seventeen-year-old son of Deacon and Mrs. David T. Wey. He has been a student of piano since the age of five, and a composition student of Dr. Frank Felice of Butler University since the age of twelve.

Jesse was first inspired to compose music by listening to such pieces as Mussorgsky's Pictures at an Exhibition and Stravinsky's Firebird Suite. He is a fan of all types of music but cut his teeth on the classics, thanks to the careful mentoring of his piano instructor, Jacquelyn Jones Murphy, NCfM . He is also teaching himself to play the guitar.

Jesse is active in his church and serves as an altar boy. An avid soccer player, he was captain of his high school team. In the fall, Jesse plans to attend Indiana University in Bloomington, IN where his oldest brother is a senior music composition major; Jesse, however, plans to major in Fine Arts. This is his first music composition competition and he wishes to thank all those who have afforded him this opportunity.

SYMPOSIUM OF CONTEMPORARY MUSIC Guest Composers/performers/Scholars, 195z-zoo4 1952: Earl George, Grant Fletcher, Burrill Phillips 1953: Anthony Donato, Homer Keller 1954: Normand Lockwood, Robert Palmer 1955: Wallingford Riegger, Peter Mennin 1956: Hunter Johnson, Ulysses Kay 1957: Ernst Krenek, William Bergsma 1958: Aaron Copland 1959: Paul Pisk, George Rochberg 1960: Roy Harris 1962: Robert Erickson, George Rochberg, Glenn Glasow 1963: Robert Wykes, Alabama String Quartet 1964: Robert Wykes, E. J. Ulrich, Salvatore Martirano, Herbert Brun, Ben Johnston 1966: Louis Coyner, Edwin Harkins, Philip Winsor, Edwin london 1967: Frederick Tillis, George Crumb 1968: lain Hamilton 1969: The Loop Group, DePaul University 1970: Halim EI-Dabh, Olly Wilson 1971: Edward J. Miller 1972: Stravinsky Memorial Concert 1973: Courtney Cox, Phil Wilson 1974: Scott Huston 1975: David Ward-Steinman 1976: Donald Erb 1977: Lou Harrison, Ezra Sims 1978: M. William Karlins 1979: Leonard B. Meyer 1981: Walter S. Hartley 1982: David Ward-Steinman 1983: George Crumb Concert 1984: Robert Bankert, Abram M. Plum, R. Bedford Watkins 1985: Michael Schelle 1986: Jean Eichelberger lvey

1987: Jan Bach 1988: John Beall 1989: Hale Smith 1990: Karel Husa 1991: Alice Parker 1993 (Spring): Alexander Aslamazov 1993 (Fall): Leslie Bassett, John Crawford (Society of Composers, Inc. Region 5 Conference) 1995: David Diamond 1996: Morton Gould Memorial Concert 1997: Joseph Schwantner 1998: Arvo Part 1999: John Corigliano 2000: libby Larsen 2001: William Bolcom, Joan Morris 2002: Present Music 2003: Mario Lavista, Carmen Helena Tellez 2004: Louis Andriessen, James Quandt, Monica Germino, Cristina Zavalloni

Co-Sponsors: Meet The Composer, Dutch Culture Fund, Illinois Arts Council, Consulate General of the Netherlands/Chicago (www.cgchicago.org), IWU Office of the President, School of Theatre Arts, School of Art, Department of English, West European Studies Team of the International Studies Program, Delta Omicron, Phi Mu Alpha, Sigma Alpha Iota This event is made possible by Meet The Composer and its Global Connections program. Funding for Global Connections is provided by the Ford Foundation.

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