in collaboration with New York Women Composers, Inc., Asociación de Mujeres en la Música, Young Women Social Entrepreneurs, and the New York Philharmonic Very Young Composers Program presents
WOMEN IN MUSIC A Musical Conversation between the United States and Spain Music inspired by William Shakespeare and Miguel de Cervantes by members of the New York Women Composers, Inc., and Asociación de Mujeres en la Música of Spain. With the participation of students of the New York Philharmonic’s Very Young Composers Program.
Anna Tonna, mezzo soprano Isabel Pérez Dobarro, piano Guest Artists Nan-Maro Babakhanian, mezzo soprano 2Flutes: Pamela Sklar and Laura Falzon
Bruno Walter Auditorium, Lincoln Center January 24, 2018 7:30 pm
About Women in Music / Mujeres en Música
American mezzo soprano Anna Tonna and Spanish pianist Isabel Pérez Dobarro first met at the Música en Compostela Festival (Spain) during the summer of 2015. Women in Music/Mujeres en Música was born several years later, an outgrowth of their sincere desire to showcase works by living women composers. The endeavor took its first steps with the receipt of the New York Women Composers, Inc., Seed Grant Award in 2016. Anna and Isabel have important cultural ties to both The United States and Spain, and conceived an initial project involving contemporary women composers from these countries, with a series of two concerts to take place in Madrid (Spain) and New York City. The initiative aims to create a cultural bridge between women composer associations across the globe by promoting professional relationships, conceiving diverse platforms for exchanging ideas among female composers, and developing opportunities to promote New Music composed by women from diverse parts of the globe. The first of the two concerts took place on May 25, 2017 at the International Institute (American Space Madrid). Entitled “Evocación de Cervantes,” the concert showcased several world premieres, performed by Anna and Isabel in collaboration with guest artists American mezzo soprano Nan-Maro Babakhanian and Spanish flutists Marta Femenia and Elisa Ferrer. Prior to the concert in Madrid, a round table was held to talk about the role of women as creators both in composition and as performers in classical music. Moderated by pianist Marta Espinós, the panelists included Anna Tonna, Isabel Pérez Dobarro, Nan-Maro Babakhanian and Spanish composer Diana Pérez Custodio (representing the Asociación de Mujeres en la Música). The discussion included the current status of music composition in general terms, the role and visibility of women composers in our society, as well as existing connections among associations throughout the world that seek to promote gender equality in all fields, including that of classical music composition. Tonight's concert completes the cultural bridge across the Atlantic initiated by Women in Music/Mujeres en Música, bringing together both associations with this concert. The initiative has the forward vision to launch future activities that promote works by women composers in The United States and Spain as well as creating new cultural bridges with other Women Composers Associations throughout the world. www.facebook.com/WomeninMusicMujeresenMusica
WOMEN IN MUSIC
A Musical Conversation Between The United States and Spain Works by women composers based on the texts of Shakespeare and Cervantes Sunflower (b. 2000) Isabel Perez Dobarro and 2Flutes: Pamel Sklar and Laura Falzon
Beauty and Magic (b. 2002) Isabel Perez Dobarro and 2Flutes: Pamel Sklar and Laura Falzon
Two Sonnets (2007) Sonnet 128 Sonnet 71 Anna Tonna and Isabel Pérez Dobarro
*Ostinato Rap 2, para voz y piano (2016) Anna Tonna and Isabel Pérez Dobarro
Diana Pérez Custodio
*Sansueña, exilio para piano (2017) Isabel Pérez Dobarro
*“The Raven Himself is Hoarse” (2016) Lady Macbeth's Soliloquy, Act 1 – Scene V Anna Tonna and Isabel Pérez Dobarro
Mary Ann Joyce
*Citara, piano solo (2015) Isabel Pérez Dobarro
Rosa María Rodriguez Hernández
*The Chains of Love (2016) Las cadenas del amor Anna Tonna, Isabel Pérez Dobarro and 2Flutes: Pamela Sklar and Laura Falzon *Ser y tiempo, piano solo (2011) Isabel Pérez Dobarro *Las Damas de Don Quijote (2005-2008) La verdadera Dueña Dolorida, Doña Rodriguez a Don Quijote La Duquesa a Sancho Panza La Mora a su Salvador español el Valiente Cautivo Don Pedro de Aguilera Aldonza/Dulcinea a la compositora Dorotea a Cide Hamete Benenengeli Camila a su esposo, Anselmo Marcela a todos los que la miraron Altisadora junto a la tumba de Don Quijote Nan-Maro Babakhanian, Anna Tonna and Isabel Pérez Dobarro *New York City Premiere
Consuelo Díez Alexa Babakhanian
Program Notes Marga Richter: Two Sonnets (2007) I chose Sonnet CXXVIII because I could easily identify with the sentiments portrayed...those of a diffident lover hovering over his inamorata but too shy and inexperienced to act on his deepest desires. I also liked the vivid descriptions of the physical act of playing the clavichord; it presented the opportunity to write lighthearted music, because of its antic wit. Sonnet LXXI seemed to me to be a fitting companion piece to CXXVIII. The conquest consummated, the protagonist heroically and nobly provides his beloved with a way to carry on with dignity should he be the first to die. Marga Richter
evil intensions and “dramatic tensions.” She “prays” for strength: Come, you spirits that assist murderous thoughts, make me less like a woman and more like a man, and fill me from head to toe with deadly cruelty! Thicken my blood and clog up my veins so that no human compassion can stop my evil plan or prevent me from accomplishing it! Come to my female breast and turn my mother’s milk into poisonous acid, you murdering demons, wherever you hide, invisible and waiting to do evil! Come, thick night, and cover the world in the darkest smoke of hell, so that my sharp knife can’t see the wound it cuts open, and so heaven cannot peep through the darkness and cry, “HOLD!”. Mary Ann Joyce
Diana Pérez Custodio: Ostinato Rap 02 (2010) Ostinato Rap 02 is revised and larger version of an earlier piece written in 2010 called Osinato Rap. "Ostinato Rap" is a piece that is unbuttoned and free of aesthetic pretensions, presenting a somewhat unorthodox work that uses the beautiful and profound verses authored by Shakespeare, which are united with musical elements taken from contemporary pop music. The concept of ostinato, ever present as it is in popular music, becomes a bridge into the not so distant territory of early music. We we can therefore ask ourselves: What new knowledge awaits us after the experience of "rapping" Shakespeare, while we ardently play the tambourine? In this new version, Miguel de Cervantes peeks thru and completes the syncretic panorama with oriental touches. Diana Pérez Custodio
Rosa María Rodríguez Hernández: Cítara (2015) Cítara forms part of a collection of works for solo piano entitled Como el viento. In this cycle the composer proposes an intimate and poetic sound voyage that transports us to a universe filled with suggestions and different sensibilities. Como el viento in its totality comprehends fourteen pieces, fourteen vital frames from which creativity flows free of chains and conventions: in essence, a way of being air, leaves in the wind, sun filled space, shadows, the state of being over the water, damp nostalgia...the writing style of Rosa María Rodríguez is put together by a solid academic formation as well as a delayed praxis, a consequence of being teacher and investigator, and presents itself in a kaleidoscope of contemporary language in which academic-European, jazz, Latin American, Afro Antillian and neo-tonal sounds co-habitate. This composer is a true contemporary creator, without aesthetic subscriptions that are of one dimension; a music aesthetic that admits all these multiple narratives with influences that knit a tapestry, comprehending urban rhythms, the lyricism of melody and a rich harmonizations. Carmen Cecilia Piñero Gil
Mercedes Zavala: Sansueña, Exilio Para Piano First Movement (2016) Denominated "exiles" of a genre of works that come from materials derived from larger music pieces that are somewhat manipulated, Sansueña maintains together with its sister work (Desvío, 2015, a commission for the Grupo Enigma) a double relation: its origin and inception are simultaneous, because they were created in the same time frame and feed from each other. I first knew about Sansueña when I read about it in the second part of the Don Quijote, then again in works of authors such as Fray Luis de León and Góngora, as well as in medieval works by anonymous authors. These texts reveal the character of this mythical place which is somewhere between legend and utopia, showing relationship to themes of exile in all its social emotional context. Some have identified this place as Zaragoza, others have suggested Pamplona or Cordoba; at times Sansueña conjures a dreamed about Spain, faraway and coveted, as well as a place to be despised from a distance. The piece is dedicated to pianist Marta Espinós and was premiered in the occasion of the 400th anniversary of the death of Miguel de Cervantes. Mercedes Zavala Mary Ann Joyce: The Raven Himself Is Hoarse (2016) The text is from Shakespeare’s Macbeth, Act 1, Scene V, Lady MacBeth’s first soliloquy in which she plots Duncan’s murder with
Pamela Sklar: Chains of Love (2016) Inspired by the poem Las Cadenas del Amor by Miguel de Cervantes Saavedra, the music practically flowed out of my soul when I began writing it. Full of colorful yet chilling darkness with moments of heat, it also displays degrees of light in various prism form, which alternate with an occasional flash of silver. The poem seemed to beg me to co-create degrees of range, texture, musical color and mystery, using mezzo soprano as a vehicle reflected by piano, flute and alto flute. Written at the invitation of Anna Tonna to commemorate the year of both Cervantes’s and Shakespeare’s death, writing Las Cadenas del Amor was a work of love. Pamela Sklar Consuelo Díez: Sein und Zeit (Ser y Tiempo) (1996) Sein und Zeit (Ser y Tiempo) is a work for solo piano that received the award "City of Heidelberg". Its premiere was realized in the Heiliggeistkirche by pianist Peter Schumann on June 8, 1996 as part of the X International Festival of New Music. The principle theme of the festival was the 800th year anniversary of the found-
ing of the city of Heidelberg. The title of the work comes directly from writings by the well-known existentialist German philosopher Martin Heidegger, who was a professor at the University of Heidelberg. Sein und Zeit is based on the timbre resources such as clusters and even hitting the pedal, as one cluster finishes and begins. Towards the end of the piece there is a quotation of a piece by Italian composer Muzio Clementi, which relates this piece to the period during which Miguel de Cervantes lived in Italy. This period in the life of the writer is shrouded in mystery, and this music is an expressive and suggestive attempt to reflect on this part of the life of Cervantes. Consuelo Díez Alexa Babakhanian: Las Damas de Don Quijote (2005-2008) Inspired by the brilliance of Cervantes' multifaceted writing style, the spirit in which these songs were written and composed is one of high drama, humor, "quixotic" mood swings, fleeting moments and extreme virtuosic gestures. The intent of the composer was to explore various aspects, possibilities and combinations of
the union of words, voice and piano within the context of performance. As notated in the score, at times the singer leads the pianist. However, in many instances, the pianist either leads, or is an equal component in what is intended to feel like a virtuosic extravaganza with each performer passionately interacting while maintaining their own independence. While there is theatricality and farcical humor throughout the work, a balance between the semblance of improvisational spontaneity, playfulness and poignancy is desired. The cycle was originally performed by mezzo sopranos Carina Vinke, Rose Kue and myself in Granada (Spain). Each song is inspired by actual women characters from the Cervantes' novel. In my opinion Cervantes was both a visionary and a feminist, and it is the women characters who truly reign and shine in his novel. I tried to capture the melodrama, humor, "campiness" and poignancy of his brilliant portrait painting, utilizing my original texts and music. Alexa Babakhanian
About the Texts Ostinato Rap 02 uses fragments of texts by both Cervantes and Shakespeare, that speak about the nature of true love and artistic inspiration. Cervantes’ text is taken from his play La Gitanilla, “El verdadero amor no se divide, y ha de ser voluntario...”. The second “rap” section uses fragments from several Shakespeare sonnets: “Muse, both truth and beauty on my love depends...Muse, help me!” The song cycle Two Shakespeare Sonnets are composed from two texts by Shakespeare: sonnet cxxviii, “How oft, when thou, my music” and Sonnet lxxi, “No longer mourn for me when I am dead”. The Raven himself is hoarse is taken directly from Lady Macbeth’s soliloquy from Shakespeare's Macbeth: “Come you spirits that tend on mortal thoughts...” The Chains of Love is a setting of Cervantes’ poem “Las cadenas del amor”. The piece uses both the original Spanish and translated portions of the poem in English: in reflecting on the nature of love, the poet expounds that “Some made links and chains, and some made chains of love!”
Las damas de Don Quijote texts of this eight song cycle are authored by the composer. Based on individual female characters from Cervantes’ Don Quijote, it was written in Spanish but in keeping with the style and Spanish Golden Age aesthetic of the novel. Several of the characters have either brief appearances and in some cases little to no text to explain their inner life in the original novel. The composer “fills in the blanks”: In song No. 3 “La mora a su salvador español el valiente cautivo Pedro de Aguilar”, a beautiful Moorish princess convinces a Spanish noble to take her away from her father's palace. No. 4 “Aldonza/Dulcinea a la Compositora”, the two characters speak directly to the composer saying “Can you predict how history will treat us?”; No. 7 “Marcela a todos los que la miraron” is voiced by a beautiful young woman that does not care to be courted and prefers to live alone in the forest; In No. 8, “Altisadora junto a la tumba de Don Quijote” is a reflection of a woman from the royal court at the tomb of Don Quijote, who took part in a charade of being enamored of Don Quijote himself, and in the end truly falls in love with him.
About the Performers
Anna Tonna, mezzo soprano “A born star who effectively stole the show” is how the press describes mezzo-soprano Anna Tonna. Well known for her commitment to the music of Spain and Latin America, her performances have been depicted as “...full of charm and magnetism with her dark, compact lyric mezzo-soprano, ideally suited for the flamenco-like vocal flourishes of Spanish music”. She has appeared at the Casals Festival of Puerto Rico, Festival Iberoamericano de las Artes in Puerto Rico, Música de Cámara of New York, Festival de Segovia (Spain) among others. In opera she has appeared with Teatro Grattacielo in Lincoln Center, New Jersey State Opera, Opera Illinois and Opera de Santo Domingo. Her recital of “Songs of post Civil War Spain” at the Fundación Juan March of Madrid was broadcast live by Radio Television Española and hailed as “a tour de force” by Spanish newspaper ABC. The combination of highly developed coloratura with a full, balanced, flexible lower register have guaranteed her acclaim as a lyric mezzo, both in familiar roles such as Rosina, Carmen, Dorabella, as well as in the rarer repertoire of Paisiello, Vivaldi, Mascagni, Zandonai and Giordano. She bowed in 2016 under the baton of Mstra. Lucy Arner this past year in the role of Laura Adorno in Ponchielli's La Gioconda with New Jersey Association of Verismo Opera, and her performance was singled out by British Opera Magazine as "elegant in deportment, line and authentic proto-veristic style." She can be heard in commercial disc Las canciones de Julio Gómez with label VERSO as well as in her new disc release España alla Rossini with iTinerant Classics. www.annatonna.com
Isabel Pérez Dobarro, pianist Pianist Isabel Pérez Dobarro has been presented as a solo concert pianist in The United States, Spain, Russia, Belgium, Italy and Portugal, performing in venues such as New York's Carnegie Hall, The DiMenna Center, Steinway Hall and the Rachmaninoff Hall at the Tchaikovsky Conservatory in Moscow. Her talents have been recognized by the American Protegé International Piano Competition, the Grand Prize International Virtuoso Competition, the New York Women Composers Seed Grant award (jointly awarded with Anna Tonna), the International Cidade do Fundao in Portugal and the International Competition of the City of Berga. She currently leads the SDSN-Youth Arts Twenty Thirty initiative at the United Nations, which promotes policies concerning arts and sustainability. Recently she shared the stage with cellist Yo-Yo Ma and artists of the New York Philharmonic Orchestra in "Concert for a Sustainable Planet". Isabel combines her thriving career as a concert pianist with important activity in the areas of international diplomacy as a representative at the United Nations UNSDSNYouth, realizing speeches and conferences at the Nobel Peace Prize Forum, the General Assembly at the United Nations, The European Parliament, University of Michigan, Columbia University and the Vatican. At age 25 years, Isabel is currently finishing her doctorate at New York University, where she has been teaching since she was 19 years old as an adjunct professor. Additional studies include an International Law (J.D.) degree from UNED, an ensuing certificate of International relations from Harvard University, a Professionals Studies Certificate at Manhattan School of Music, a masters at New York University as well as a degree awarded to her at the Real Conservatorio Superior de Música de Madrid (Spain).
About the Performers (continued)
Nan-Maro Babakhanian, mezzo soprano Nan-Maro has worked with opera companies and orchestras around the world. She is the Director of Project Cancíon Española and the founder of the International Festival, “Interpretation of Spanish Song.” Nan Maro has been on the faculty of the Mannes School and Saint Louis University. She has performed in the US, Brazil, Puerto Rico, and Europe in recitals of art song in Spanish with guitar and with piano, as well as with the Alaria Trio in Carnegie Hall. She has recorded several CDs including one with Arte Nova/BMG of works by Tulio Peramo, and Esparzas, Susurros y Sueños presenting works by women composers. She is currently a doctoral student at Universidad Autónoma de Madrid, with a these dedicated to the interpretation of Spanish song. www.projectcancionespanola.com
2Flutes The duo 2Flutes is comprised of Laura Falzon and Pamela Sklar, two flutists who between them have performed a wide spectrum of works ranging from classical, contemporary, intercultural, rock, pop, folk and jazz and performed in concerts throughout the USA, Canada, France, Italy, England, Scotland, Malta, Finland, Greece, Mexico, Morocco, India and Japan. Steeped in distinctly varied musical backgrounds, they have come together to introduce, present, and perform a variety of music, akin to a musical hybrid, which features original compositions by composers from across the globe, and offers over six octaves of silver and wood flute sounds. 2Flutes’ culturally varied influences and their cumulative flutes’ wide ranges, textures and color contribute to innovative performances which engage and stimulate audiences from all walks of life. For more info visit www.2flutes.net. Laura Falzon, Flutist (at right in photograph) Flutist Laura Falzon, praised for her "versatile technique" (Musical Times), and hailed for being “fearless in tackling and promoting” challenging new works (PAN, British Flute Society), has performed as soloist in concerto, recital and chamber music appearances throughout the US, Europe and Asia. In New York, Falzon has performed in venues including Carnegie Hall, Lincoln Center, Symphony Space, (Le) Poisson Rouge, Tank, Spectrum, 92ndY, and Allen Room at Frederick Rose Hall. She has appeared as a soloist with orchestras and ensembles including London’s Spectrum ensemble, St. Martin in the Fields Sinfonia, Rasumovsky Quartet, Mimesis ensemble, Random Access Music, Malta Philharmonic Orchestra, Stockholm’s Curious Chamber Players, and Elekoto ensemble. Falzon has collaborated with numerous composers and premiered works by many others including by Mohammed Fairouz, Alvin Singleton, Theodore Wiprud, Dai Fujikura, Nickos Harizanos, Halim El-Dabh, Alice Shields, Bushra El-Turk, and many others. She teaches at Columbia University and NYU. www.laurafalzon.com Biography and photograph of Pamela Sklar appear in “About the Composers” section.
About the Composers Alexa Babakhanian "...at once seductively childlike and worldly-wise, Alexa Babakhanian's music delivers..." (Tim Page, Washington Post) is how the music of pianist and composer Alexa Babakhanian has been described. A Juilliard graduate, she has been commissioned by New Music New York, Rebecca Young of The New York Philharmonic, Japanese Gagaku Masters and numerous others who are internationally composing for solo, chamber, orchestral, pop and experimental music. She has scored, produced music and edited visuals for film, and has been featured regularly on WKCR’s annual Bachfest with WNYC. Her performance of "Scarlet Rose" featured on CBS, went viral on Youtube. Babakhanian was one of seven Americans invited to compete in the Chopin International Piano Competition. Her solo performance with The New York Philharmonic is featured throughout the Truman Capote-based film "Other Voices, Other Rooms.” www.alexababakhanian.com
Consuelo Díez Composer and lecturer Consuelo Díez has had works performed in Spain, France, Italy, Germany, Finland, Portugal and among other countries, as well as broadcast by Radio Nacional de España, TVE, Canal Clásico (TV), CBA, LIEM-CDMC among others. She currently has 23 works edited by Mundimusica, Nadir and Arte Tripharia (Spain) discographic labels. She is founder and present director of the Laboratory of Computer and Electroacoustic Composition of the Community of Madrid as well as professor of composition and Electroacustics at the “Adolfo Salazar” Conservatory (Madrid). From 1997 to 2001 she was director of the Center for the Dissemination of Contemporary Music and the International Contemporary Music Festival of Alicante (Ministry of Culture). She is currently a Music Adviser for the Ministry of Culture cabinet of the Community of Madrid.
Mary Ann Joyce Mary Ann Joyce was born in Champaign, Illinois and received her B.A. from Fontbonne University, St. Louis, and her M.A. and PhD in composition from Washington University. After graduate school, she moved to the New York City area where she has remained. She is an active composer of instrumental, choral and vocal music, and retired as Professor Emerita in 2012 from Manhattanville College. Her works have been performed at international festivals and concerts through the United States, Europe, and Russia. Mary Ann’s works are published by Pioneer Drama, Ars Nova, Scribner & Sons, and Gold Branch; her pieces are available on CDs from Ravello Records, Capstone and Pioneer Drama. www.maryannjoyce-walter.com
About the Composers (continued) Diana Pérez Custodio Composer Diana Pérez Custodio has been commissioned by Radio Clásica, the Regional Government of Andalusia, the Parliament of Andalusia, and the Galician Center for Contemporary Art, as well as many groups and soloists such as Esperanza Abad, Jean Pierre Dupuy, the Ensemble NeoArs Sonora and the Group TEM. Her orchestral works have been performed by Orquesta Filarmónica de Málaga, Real Orquesta Sinfónica de Sevilla and Orquesta Sinfónica de Córdoba, as well as by the International Festival des Musiques et Créations Electroniques of Bourges (France), Festival de Música Española of Cádiz (Spain), Aujourd’hui Musiques Festival of Perpignan (France), Circuito Electrovisiones of Mexico and Viva Music Festival (Portugal). A Professor of Composition at the Superior Conservatory of Malaga (Spain), she has done academic investigations regarding the influences of flamenco on contemporary music. www.dianaperezcustodio.com
Marga Richter A Juilliard School of Music graduate, Marga Richter has written over 165 works encompassing virtually every classical music genre. Her music has been programmed by orchestras such as The Minnesota Orchestra, Atlanta, Milwaukee, Tucson and Oklahoma Symphonies and Long Island Philharmonic, as well as recorded by the London, Polish Radio, Czech Radio and Seattle Symphony Orchestras. She has received two National Endowment for the Arts Fellowships, and awards from the Martha Baird Rockefeller Fund, National Federation of Music Clubs, Meet the Composer and ASCAP. Richter’s music first came to national attention through four commissioned works, and were recorded by MGM Records in the 1950’s. Her 1996 opera, Riders to the Sea (with Anna Tonna in a leading role) is available on Leonarda disc label. Twenty-nine other works are currently available on commercial labels. www.margarichter.com
Rosa María Rodríguez Hernández The works of Rosa María Rodríguez Hernández have been programmed by Orquestra Sinfónica de les Balears, Orquesta de Córdoba, String Quartet of La Habana, Conjunt Instrumental Encontres, Grup Instrumental de València, S’Ensemble, Ophelia Quartet, Logos Ensemble, Cuarteto Play Four as well as by Nan-Maro Babkhanian and The Alaria Ensemble in New York City. Her music has been conducted by Mstros. Salvador Brotons, Agustí Aguiló, Manuel Galduf, Efraín Amaya, Tonino Battista, Andrés Salado, Juan Luis Pérez; performed by soloists such as Susana García Lastra, Antonio Arias y Estela Blázquez, José Pablo Polo, Elena Solanes, Cristina Montes Mateo, Francisco Lobo, María Teresa Chenlo, Manuel Guillén, Miguel Álvarez-Argudo. She is currently a professor at the Conservatorio Superior de Música de Valencia-Joaquín Rodrigo as well as founder and co-director of the magazine ITAMAR, an academic music publication. www.rosamariarodribuezhernandez.net
estral works, from which hik, Sangok (Song of the duri for Autumn are equently.
개구리— for pansori k orchestra ng of a poem by Ki Man The poem tells the story a very familiar legend to plain language and rich ve the poem, and can still after five decades. I sing melodies when reciting it. iece narrates the poem ired tunes, many of nals. The orchestra plays at times depicting the and developing it in GY.
a sixth-grade student at ntary School in the city orea. As a student in the ers program at Kumtural School, he has s: Synthesis (2014), The ey of Saera (2016), and Grandpa (2016). His new dventure of Choco (2017), ecially for the ditional Orchestra.
nture of Choco th a cocoa fruit named a peaceful island, listenhe wind. One day, people ped Choco and took him
About the Composers (continued)
to a chocolate factory. Choco and his new friend White Choco tried to escape from the factory but failed. They were manufactured into chocolate products. I hope this story comes through in the music. — L.SJ.
A flutist and published composer of chamber music, Pamela Sklar’s compositions are performed in concerts, workshops, schools, broadcasts and themed programs in the New York area and elsewhere, including the 2014 National Flute Association Convention in Chicago, International Double Reed Society Conference in New York and by other musically mixed groups. A copy of her score “Spell 166,” composed for five flutes and organ, is included in the special collection of the New York Public Library for the correct or incorrect point, as discs “A Native American-Jazz Tribute-a Tune for Performing Arts.end Her twoit seems original though the rough waters that brought us America” and “Silver Pharaoh” have been widely acclaimed. She is currently working to serene sands have become all worthonwhile. her The third original current nudgesrecording. us towards a www.pamelasklar.com welcoming future, if only we move with its force rather than opposite to it. Trying to reflect the movement and complexity of Madeline Schmidt currents, I structured my piece to undulate in a syncopated manner. Madeline Schmidt isRepresenting a young artist, musician, and composer. A member of the New the shallowness and depth of the sea, my York Philharmonic’s Very Young Composers program for eight years, she has learned composition unfolds in unpredictable ways. everything she and loves about music there. She has had multiple performances One moment, we knows are floating over to a coral ofreefherand compositions, including oneusat the Tribeca Film Festival and one in Santa Cruz in the next, the sirens have lured the rocks. —Gugak M.S. Orchestra. fortowards The National
ABOUT THE CONDUCTOR CHUNG Chi-Yong
One of the most Madeline Schmidt is a young artist, sought-after Stevens musician, and composer, who was born on a Cassandra Korean leap day. A member of the New York Cassandra Stevens is a sophomore at Millennium High School in Manhattan. She has conductors of Philharmonic’s Very Young Composers been composing for six years through the New York Philharmonic Very Young Comhis generation, program for eight years, she has learned CHUNGprogram. Chi-Yong posers In 2016, she wrote an interlude for a Finnish opera and traveled to everything she knows and loves about is highly to regarded music there. She has had multiple perforFinland watch the performances. She worked on numerous commissions, including for vivid intermances of her compositions, including one thepretations, Tomodachi initiative. deep at the Tribeca Film Festival. Maddy enjoys musical insights, writing, drawing, singing, painting, composstrong ensemble ing, playing an assortment of instruments, leadership, and and laughing. She deeply loves her family, virtuoso baton who has always been extremely supportive, technique. He is particularly well-known as and is grateful to all her teachers at the Very a specialist in modern Western and Korean Young Composers program. She especially music, including the works of Isang Yun. wants to thank Jon Deak, the creator of the Mercedes Zavala program that gives extraordinary opportuniWorks by Spanish composer Mercedes Zavala have been heard in Europe and in the After studying composition at the prestigious ties to young people like her; and to Seoul National attended University commissioned her a new work for the HisStates.University, WesternheIllinois Theodore Wiprud, who has helped guide her United Michael Gielen’sFestival. conductingIn class at theher works have been featured by the Auditorio Nacional through the process of writing this piece. panic Culture Spain Salzburg Mozarteum in Austria. Chung Maddy has been thrilled to work with Jon, de España, Festival Internacional de Música Contemporánea of Alicante, XIX Festival Theodore, and all of the wonderful people at served as Assistant Conductor of the de Música del Siglo XX, Festival Internacional de Música Electroacústica, Encuentro the program, who have led her to expand International Summer Festival, deSalzburg Composición INJUVE, VII Cíclo de Música Contemporánea, Orquesta Ciudad de her artistic toolbox. and was Festival awarded the Austrian Culturede Música y Danza de Granada, Fundación Juan March Málaga, Internacional Ministry Award upon graduation. CURRENTS (2017) and Cíclo de Música Contemporánea de Tres Cantos. Her latest commissions include Differing from the past, the current guides for clarinet for the Ministry of Culture of Spain as well as various vocal and Following appearances as guest conductor us away. Swimming against a current results a concerto of theworks. Radio Symphony Leipzig, Prague She is aofmember of the Institute for Feminist Research, which actively eduin a greater likelihood of becoming caught stage Radioabout Symphony, Munich Symphony,composers. www.mercedeszavala.blogspot.com in a riptide, and perhaps deposited in a cates women historical Michigan State Symphony, and Russian trench. When we allow ourselves to follow Philharmonic, he made his Korean debut the current—letting our inhibitions simmer with the Seoul Philharmonic in 1992. Chung away—we float along in unpredictable has conducted numerous Korean orchestras, turbulence. Our internal compass fights for including the KBS Symphony, Bucheon direction. Eventually, we will reach a shore. Philharmonic, Korean Symphony Orchestra, Regardless of whether we encounter the 37
New York Philharmonic Very Young Composers Very Young Composers (VYC) was developed by noted composer (and former Associate Principal Bass) Jon Deak to answer the question, "what is children's music?" Working with Mr. Deak and Philharmonic Teaching Artists, public school children, with limited musical background, compose their very own music for Philharmonic musicians to play—often for the full Orchestra. Students make every compositional decision and write every note, with Teaching Artists serving as mentors and scribes. VYC demonstrates children's innate creativity and provides a glimpse of the future of classical music. VYC has grown since 1995 to include a number of ongoing initiatives, such as Philharmonic´s School Partnership Program, the Philharmonic School Day Concerts, and The Bridge. "VYC demonstrates again and again that students are not empty vessels, but bring vital ideas, experience, and personality to learning. (…) It holds the promise of contributing to a great flowering of musical creativity.” Theodore Wiprud, Director of Education. www.nyphil.org/education/learning-communities/very-young-composers
New York Women Composers, Inc. The mission of New York WOMEN COMPOSERS, INC. is to create performing, recording, networking, and mentoring opportunities for its members, and to work for the betterment of all women concert-music composers. Continually focusing attention on music by women composers will hasten its full inclusion in the concert repertoire. New York Women Composers, Inc. was founded by composers Elizabeth Bell, Lucy Coolidge, Ann Callaway, and Robert Friou, Esq., in 1984. www.newyorkwomencomposers.org
Asociación de mujeres en la música The Association of Women in Music of Spain (Asociación de mujeres en la música) was founded in 1988 by composer María Luisa Ozaita. Numbering over 100 members that come from all genres in the field of music and from various artistic disciplines, the association collaborates in both recordings and investigation of music by women composers, actively promoting newly created compositions as well as programming courses, round tables, concerts and seminars that help promote gender equality in the field of classical music composition. www.mujeresenlamusica.es
Young Women Social Entrepreneurs New York Women Social Entrepreneurs (NYWSE) is the NY-metro chapter of Young Women Social Entrepreneurs (YWSE). NYWSE is a nonprofit whose mission is to provide a community, tools, trainings, and resources that women need to succeed as business leaders while becoming sustainability experts. Our vision is to empower women to affect change in society at all levels, as an individual, community member, professional, student, and entrepreneur. www.ywse.org
This musical dialogue is brought to you by
Murray Hill Institute Murray Hill Institute promotes effective and ethical leadership among women. It is founded on the belief that the world will be a better place if it is focused on persons over things, interpersonal relationships over projects, the common good over material success, and that instead of rejecting things, projects, and material success, these should be embraced and directed towards persons, relationships and the common good. MHI organizes, collaborates in and promotes programs that highlight the important role women play in fostering person-centered leadership, ethics defined by positive social impact and cultural richness that is rooted in our common humanity. www.mhinstitute.org
Rosedale Achievement Center Rosedale Achievement Center, located in the Soundview area of the Bronx, offers Academic tutoring and leadership programs to girls ages 9 to 18. All of Rosedale's programs instill a sense of personal worth by developing students' talents, character, and spirit of service, and by strengthening academic skills through individualized attention and mentoring. Rosedale staff and volunteers collaborate with parents and families to prepare students to complete their education and make a positive contribution to their families and communities. Project Music Achievement, funded by a grant from the Countess Moira Foundation, has made possible weekly private instruction in voice, violin, and guitar to over two dozen young women each year. Faculty is drawn from the prestigious Concordia Conservatory of Bronxville, NY. Murray Hill Institute is in partnership with the Rosedale Achievement Center and offers support through volunteer recruitment and by offering complimentary admission to the MHI Mentoring Program and leadership training seminars. We are pleased to welcome Rosedale students and their families to tonight's concert. Rosedale is part of the South Bronx Educational Foundation, a 401(c)3 non-profit organization. www.sbef.org.
Upcoming Symposium Murray Hill Institute, in collaboration with the Fashion Institute of Technology Center for Continuing and Professional Studies, presents the fourth annual fashion intelligence symposium, with the theme:
â€‹FASHION IN THE WORKPL ACE Saturday, April 28, 2018 Katie Murphy Amphitheatre, Fashion Institute of Technology New York City
Women in Music/Mujeres en Musica initiative to help close the gender gap in classical music composition, has its NYC debut at the Bruno Walt...
Published on Jan 6, 2018
Women in Music/Mujeres en Musica initiative to help close the gender gap in classical music composition, has its NYC debut at the Bruno Walt...