CASCADIA COMPOSERS Chapter of the National Association of Composers, USA
SEVENTH SPECIES Sounding the Summer Solstice a two-concert festival of new & unusual works by composers Dan Brugh • David Denniston • Elizabeth Blachly-Dyson • Denis Floyd • Lisa Marsh • Gary Noland Troy Ramos • Justin Ralls • Art Resnick • Tomas Svoboda • Toru Takemitsu • Terry Wergeland • Jeff Winslow
performed by SPECIAL GUEST ARTISTS: PAMELA RYAN, viola • CORINNE STILLWELL, violin Kenneth Beare, tenor • Daniel Brugh, piano • Diane Chaplin, cello • Maria Choban, piano Deborah Ingram Cleaver, piano • Florian Conzetti, percussion • Brien Hemann, conductor • Justin Kagan, cello Beth Karp, piano • Ian Kerr, percussion • Theresa Koon, soprano • Ruta Kuzmickas, piano • Dorien de León, cello Signe Lusk, piano • Lisa Marsh, piano • Nicholas Myer, lyric baritone • Kaori Katayama Noland, piano Boyd Osgood, bassoon • Rachel Portnoy, soprano • Justin Ralls, piano • Will Reno, percussion Renée Favand-See, mezzo-soprano • Igor Shakhman, clarinet • Tomas Svoboda, piano • Terry Wergeland, piano Kira Whiting, piano • Jeff Winslow, piano
Concert # 1:
A June Night Swoon of Torrid Tunes 8:00 pm, Saturday, June 18 th , 2011
Community Music Center 3350 SE Francis Street, Portland OR 97202
Concert # 2:
A Summer Solstice Opus Circus
8:00 pm, Wednesday, June 22 nd , 2011
Evans Music Center, Lewis & Clark College 0615 SW Palatine Hill Road, MSC 18, Portland OR 97219 Tickets at the door • $15 regular • $10 seniors & students For more information call: 503-235-3714 or 503-255-1482
Seventh Species was founded by Gary Noland in San Francisco in 1990. He moved his concert series to Oregon in 1994. This festival is being presented by Cascadia Composers, which is a chapter of NACUSA (the National Association of Composers USA). Tax deductible donations can be made directly to Cascadia Composers at: CascadiaComposers.org.
NACUSA We are proud to feature special guest artists PAMELA RYAN (viola) and CORINNE STILLWELL (violin), both of whom are faculty members from the Florida State University College of Music in Tallahassee.
Concert # 1:
A June Night Swoon of Torrid Tunes 8:00 pm, Saturday, June 18 th , 2011
Community Music Center 3350 SE Francis Street, Portland OR 97202
TERRY WERGELAND (1961—) 88 – 44 – 88 (2009—2011) *World Premiere*
Terry Wergeland, piano 1. Symmetry 2. Forty-four Pairs 3. Relative Freedom The point of origin for this suite of three pieces is the full collection of the 88 keys on the standard grand piano, and the aim of this music is to draw performer and listeners deeply into the moment. In each piece, all 88 keys are struck just once in an order partially determined by chance operations, leaving other interpretative elements to the performer's discretion. The music is aleatoric in other ways as well. In the first piece, the complete ordering of pitch-classes is highly structured and symmetrical. (An amusing coincidence is that there are exactly 88 all-interval symmetrical twelve-tone rows, one of which served as the basis of this piece.) The second piece is a series of 44 pairs of pitches. Limitations were placed upon how frequently pitch and interval classes could be repeated. The third piece exhibits the highest degree of freedom among the three, with a restriction placed only upon the frequency of pitch classes. Computer programs were utilized towards the realization of all three conceptions, and due to the element of chance, this evening's version of "88 - 44 - 88" may be regarded as an arbitrary representation of a myriad of possibilities.
ART RESNICK (1941—) 5 FOLK-LIKE DANCES FOR CLARINET & CELLO *World Premiere*
Igor Shakhman, clarinet Justin Kagan, cello
I come from an Eastern-European background (Russian-Jewish) and I remember many years ago I heard some clarinet and violin folk music that captivated me. I wish I could remember the recording. I literally woke up one morning last February with some vague impressions of that music on my mind and got inspired to write something. That and my love of Bartok. When I first got the idea for this instrumentation, I hadn't heard any music for these two instruments together (didn't do my homework!). I thought that the sonorities and ranges of these two instruments would be incredible to work with. I also thought that it would be interesting to see what it would be like to have the clarinet accompany the cello below it. It was also my goal to incorporate "conversational exchanges" between these two in various places. Each separate piece sets its own tone and character.
GARY NOLAND (1957—) TEMPEST (Op. 1, No. 5, 1983) *West Coast Premiere*
Ruta Kuzmickas, piano This is the fifth in a set of twenty piano pieces I composed in 1983, during a period when I had a brief obsession with Dohnanyi’s music. By sheer coincidence, we are featuring two guest artists on tonight’s concert—violist Pamela Ryan and violinist Corinne Stillwell—who have traveled all the way from the institution where Dohnanyi taught after moving to America from his native Hungary following WWII—the Florida State University College of Music in Tallahassee.
DAVID DENNISTON (1957—) ONE THOUGHT FILLS IMMENSITY (1986) Pamela Ryan, viola One Thought Fills Immensity is a description of a small struggle between thought and silence. When I wrote it I was fascinated with forms that begin with one idea, continue by developing that idea, and then end with material which is seemingly unrelated to all of the previous music but which seems to flow inevitably from it, such as in the first movement of the Sibelius Symphony No. 3. My piece is a single thought which rises and falls from the surrounding silence, and which contains, like a syllogism, a major premise, a minor premise, and a conclusion. Along the way there are brief interruptions, disagreements, and arguments, but the logic of the single thought prevails. The title is from one of the "Proverbs of Hell" from the Marriage of Heaven and Hell by William Blake, and the piece is dedicated to Pamela Ryan, who first performed it at the Festival of New Music in Tallahassee, Florida on April 6, 1991.
TERRY WERGELAND FREE IMPROVISATION (2011) Terry Wergeland, piano GARY NOLAND THREE HERRICK SONGS (Op. 97, 2010) *World Premiere*
Kenneth Beare, tenor Rachel Portnoy, soprano Maria Choban, piano 1. The Vision 2. Show Me Thy Feet 3. When I Thy Parts Run O’er By the moral codes of our present ethos, these poems by Robert Herrick (1591–1674) are yawningly passé. However, by the stiff puritanical mores of the classical music world (which hasn’t progressed much since Victorian times), they are brazenly pornographic.
––––––– INTERMISSION –––––––
TORU TAKEMITSU (1930–1996) LITANY (1950, recomposed in 1990) In Memory of Michael Vyner
Kaori Katayama Noland, piano Litany is a “recomposition” of Lento in due movimenti (1950) from the composer’s memory. It was written to mourn the death of his friend, Michael Vyner. The first performance of Litany was given by pianist Paul Crossley at a memorial concert for Michael Vyner in London on May 6th, 1990.
JEFF WINSLOW (1954—) WHEN YOU ARE OLD (2011) *World Premiere*
Renée Favand-See, mezzo soprano Jeff Winslow, piano "When You Are Old", like so many of Yeats's poems, is addressed to the magnificent Irish actress and agitator Maud Gonne, for whom he carried a torch for much of his life. He imagines her, beauty long faded, contemplating her long-ago rejection of him with regret. Like all great works, the poem admits a wide variety of interpretation. If you believe Yeats is being disingenuous at "a little sadly", you may prefer a far bitterer one than mine. I raise the possibility, but mostly present the story from her side. Extended piano interludes could be reminiscences of times of passion and tenderness for either one. As usual, I include a few obscure quotes from musically and topically relevant works I admire, especially near the end.
GARY NOLAND DOG DUO (Op. 66a, 2002) *West Coast Premiere*
Pamela Ryan, viola Dorien de León, cello ELIZABETH BLACHLY-DYSON (1952—) HIGH FRUCTOSE CORN Renée Favand-See, mezzo soprano Signe Lusk, piano 1. Sweet 2. Wii-mote 3. Ear-bud 4. Dysfunctional 5. Recycle High Fructose Corn is based on the idea that the highly artificial commonplace items that surround us in the 21st century can be used as metaphors for love, just as flowers and birds were used in our agrarian past. They are not art songs, and are meant to be sung in the style of cabaret or show tunes.
GARY NOLAND KORNGOLDAROONIE (Op. 94, 2008) Corinne Stillwell, violin Pamela Ryan, viola Dorian de León, cello This trio was composed as a tribute to Erich Wolfgang Korngold and was commissioned by Marzena for the Free Marz String Trio with funding support from the Baby LeRoy Memorial Trust.
Concert # 2:
A Summer Solstice Opus Circus
8:00 pm, Wednesday, June 22 nd , 2011
Evans Auditorium Evans Music Center, Lewis & Clark College 0615 SW Palatine Hill Road, MSC 18, Portland OR 97219
JUSTIN RALLS (1987—) TWO SONGS ON POEMS BY WALT WHITMAN (2008) Nicholas Meyer, lyric baritone Justin Ralls, piano 1. Look Down, Fair Moon 2. A Clear Midnight Walt Whitman's poetry is both vivid and metaphysical. He has the uncanny ability to strike at the heart of his subjects, yet in doing, the universality of his prose also seems to transcend the written page and into our psyche. The poetry written during his experience in the American Civil War perhaps typifies the 'transcendental' Whitman. My own interest in the Civil War almost always leads me to Whitman's Drum Taps collection, from which the first of the set, Look Down Fair Moon, is taken. In this poem he creates a serene and grisly visceral scene of bodies sprawled across a moonlit battlefield. The horrific images are set calm and lyrical: In setting this poem I chose to let the vocal line float over a simple chord progression, allowing the words to breathe over a consistent accompaniment, in keeping with the lyricism of a ballad or popular song (a nod to Whitman's own populist rhetoric). The second poem in the set, A Clear Midnight, is not a war poem but a proclamation of contemplation and release: In setting A Clear Midnight I chose a much more lucid harmonic structure (though based on the same chord progression of the previous song) creating a pensive vignette. Published towards the end of Whitman's life, A Clear Midnight seems to contain a relaxed urgency. “This is thy hour— the time is now,” Whitman writes, “to let your soul release itself from time itself and into the universe.” Whenever I set Whitman I feel the music must always come secondary to the text. However, the connection and contrast of the corporeal and spiritual in these short poems I feel makes it easy for my music to emerge, for it is derivative of themes both Whitman and myself "lovest best."
GARY NOLAND (1957—) TEMPEST (Op. 1, No. 5, 1983) Ruta Kuzmickas, piano TROY RAMOS (1975—) TWO PIECES FOR BASSOON AND PIANO (2010) *World Premiere*
Boyd Osgood, bassoon Beth Karp, piano Overall, this work has two parts (First and Second) and has much to do with independent lines/ideas functioning separately. This is especially true for the bassoon throughout both parts. In the First Part, the three voices of the bassoon, R.H. piano and L.H. piano follow their own paths. They may share material, but each has its own shape and peaks at different times. Oddly, however, it does feel at times that they might be connected in some fashion, though that wasn’t the intention. In the Second Part, the piano becomes more unified through its alternation between long-held chords and ‘hit-n-release’ chords, where only a single-note is held. In this part the bassoon, however, continues its own path. In the end, this work is, as usual, meant only to be a collection of sounds: nothing more, nothing less.
LISA MARSH SIX PRELUDES (2008–2011) Lisa Marsh, piano 1. Wondering 2. A Journey 3. Starlight 4. Fireflies 5. I Knew 6. Metro Nights These six short pieces are vignettes of magical moments in life and they flow from one into the other.
DENIS FLOYD “WHOM THE GODS WOULD DESTROY …” (2003) a song cycle for mezzo-soprano, violoncello, piano, and three percussionists *World Premiere* Theresa Koon, soprano Diane Chaplin, cello Deborah Ingram Cleaver, piano Florian Conzetti, percussion Ian Kerr, percussion Will Reno, percussion Brien Hemann, conductor This song cycle was my M.A. thesis at San Jose State University. It is scored for soprano, cello, piano, and three percussionists playing a variety of instruments. The cycle deals with the subject of mental illness. I have been involved with mental health communities for some time, especially in Santa Cruz, California, my home from 1991 to 2006. The subject of mental illness is very important to me. When it was time for me to compose a work for my Master of Arts thesis at San Jose State, I decided to make a musical statement about this subject. For this purpose, I chose the form of a song cycle, where each song would be about some issue involving mental illness, or would reflect the feelings of a person, or people, in the community. The texts chosen express the misery, pain, anger, and hope of all people who have experienced some form of mental illness. The songs are designed to reflect the emotions and feelings expressed in the texts. The text for the first song Job’s Sorrow is taken from Chapter 3 of the Book of Job, Old King James version. The verses express the agony and the longing for death that Job experienced at the height of his suffering. The song is written in bipartite form, reflecting the division of the text into two parts. A quiet interlude separates the two parts. The second song Mixed Melodies is a setting of an autobiographical poem of the same name. The poem was written by Bonnie Schell, of Santa Cruz, California, and is used with her kind permission. It recounts the horrible experiences of the author as a small child, experiences that have contributed to her severe mental illness. The final song To the Fates is a setting of the poem An die Parken by the German poet Friedrich Hölderlin, who suffered from schizophrenia. It was translated by the Amercan poet David Fisher, and is used with his kind permission. The climax of the work comes when the poet states that he would die in peace if he could succeed in expressing his inner “holy thing” in his poetry.
––––––– INTERMISSION ––––––– DANIEL BRUGH (1960—) NOCTURNE FOR TAPE AND PIANO *World Premiere*
Daniel Brugh, piano Sleepless nights and strange dreams are the inspiration for this piece. Using sampling and soft synth I created eight sequences of sounds. The piano solo part uses elements of polyharmony and pitch class theory to create sound imagery.
TOMAS SVOBODA (1939—) SELECTIONS FROM 5TH VOLUME OF CHILDRENS' TREASURE BOX Tomas Svoboda, piano 1. Augur 2. Rain Dance 3. Folk Statement 4. Chorale 5. Synthetic Scale 6. Lonely Dance 7. Between Two Hands 8. In a Swing This fifth volume of Children's Treasure Box culminates the composer's effort to create short compositions with ever increasing technical demands. These pieces would be appropriate for use in a recital and the order could be rearranged. The fingering is not purposely marked so the interpreter can choose his/her own approach. However, the pedal markings should be followed respectfully. All previous other four volumes are published by Thomas C. Stangland Co. and recorded by the composer under the label of North Pacific Music.
DENIS FLOYD (1938—) WHEN IN DISGRACE WITH FORTUNE AND MEN’S EYES (1996) Renée Favand-See, mezzo-soprano Kira whiting, piano This song is a setting of Shakespeare’s 29th Sonnet. This Sonnet was my mother’s favorite, and the song is dedicated to her. It is tonal, and in bipartite form, corresponding to the division of the sonnet into two parts: the first eight lines, and the last six lines.
ELIZABETH BLACHLY-DYSON (1952—) KNOCK ON WOOD *World Premiere*
Diane Chaplin, cello Florian Conzetti, marimba 1. Knock on Wood 2. Waltz for Two Left Feet 3. Perpetuous (a musical sculpture made of old bicycle parts) The first two movements of Knock on Wood are experiments in writing in irregular meters. The first movement is in 7/8 time and exploits many of the wide variety of sounds that can be made on a cello. In Waltz for Two Left Feet 3/4 waltz-like measures are always followed by 2/4 measures, to keep the dancers off balance. Perpetuous (an elision of perpetual and preposterous) grew out of an assignment to write a fast-moving perpetual motion piece. It is constructed entirely of quotes from familiar pieces, with some rhythmic adjustment to make them fit with the perpetually moving melody of The Irish Washerwoman. (The quotes include Skip to my Lou, the prelude from Bach’s G major cello suite, Hava Nagila and Turkey in the Straw.)
COMPOSER & PERFORMER BIOS Kenneth Beare Kenneth Beare, tenor, has sung leading tenor roles in opera houses and concert venues throughout much of Europe. He is a graduate of the Eastman School of Music and the Hochschule für Musik Köln. As an advocate for modern music, he created the title role in the world premier of “El Bon Senyor Karnak” by Carl Mansker in Spain, and took part in the in the world premier of “Life with an Idiot” by Alfred Schnittke in Amsterdam. Here in the Portland area he's spent the past few years as soloist and section leader at Southminster Presbyterian Church in Beaverton, and collaborated with Maria Choban presenting Schubert's Winterreise.
Daniel Brugh Daniel Brugh was born and raised in Portland. Daniel graduated from Interlochen Arts Academy in 1979 where he studied composition with Doy Baker and, during the summers, with Andrzej Dutkiewicz. Daniel was the recipient of the Close Award in 1984 and earned his Bachelors of Music from the University of Oregon where he studied Piano with Victor Steinhardt and Composition with Harold Owen and Derek Healey. After earning his degree Daniel continued his studies in music with Walter Saul. Daniel continues his study and love of music in Beaverton, Oregon, teaching piano and music composition. In 2010 he was the OMTA Composer of the Year.
Diane Chaplin Diane Chaplin was cellist of the Colorado Quartet (based in NY City) for 21 years and with them had an international career which took her around the globe. She moved to Portland in 2009, and in addition to solo and chamber music performances and cello teaching, she is director of the Oregon Pro Arte Youth Chamber Orchestra, co-director of Chamber Music Camp of Portland, Production Manager with Metropolitan Youth Symphony and on the board of Oregon Cello Society. She is cellist and artistic director of Northwest New Music and appears often on Cascadia Composers concerts.
Maria Choban Maria Choban has produced and released four CDs on her recording label Alitisa. Her mission through Alitisa is to promote the music of contemporary Greek and American composers, mirroring her own background as a full blooded Greek born and raised in America. Choban has performed and lectured in the US and in Europe, living in Greece for two years researching Greek Classical Music. She is a fiery, focused performer who also sometimes champions the work of white-dead-guy composers. She is one of the founders of the South West Music School in Beaverton, Oregon. She maintains her own teaching studio and she writes probably the most controversial classical music blog on the net: http://alitisa.com. She thoroughly enjoys her busy life, playing hooky and taking off to hike or bike in the hills and dance three nights a week … just enough to maintain a healthy balance.
Deborah Ingram Cleaver Deborah Ingram Cleaver holds a Master of Music degree in Piano Performance from Boston University, where she studied with Leonard Shure. She subsequently became his teaching assistant at New England Conservatory. After ten years of teaching and performing in Berlin, Germany, she moved to Portland, Oregon, where she teaches at Reed College and Lewis and Clark College. Other teaching positions have included Willamette University, St. Andrews College, and the South Shore Conservatory of Music. An active performer, she has appeared with the De Rosa Chamber Players, the contemporary music ensembles Fear No Music and Friends of Rain, and has had performances broadcast on the Oregon Public Broadcasting classical radio program, Played in Oregon. Numerous presentations throughout the Northwest have included lectures at Portland State University and for the Oregon and Washington State Music Teachers Associations; a two-week residency in Alaska, adjudicating and presenting workshops for the Alaska Music Teachers Association; master classes; and lecture recitals. In addition, she is a frequent adjudicator for regional competitions, and is chairman of the OMTA Baroque Festival. Ms. Cleaver has been a member of the Golandsky Institute faculty since 2005.
Florian Conzetti Florian Conzetti studied at the Konservatorium für Musik in Bern, Switzerland, the Eastman School of Music, and the Peabody Conservatory, where he earned a Doctor of Musical Arts degree as a student of musicologist John Spitzer and marimbist Robert van Sice. Conzetti is codirector of Northwest New Music, a Portland-based contemporary chamber music ensemble. He has appeared, among others, at Music@Menlo (David Finckel and Wu Han, artistic directors), the Astoria Music Festival, CalPerformances, and Stanford Lively Arts, and has performed with the San Francisco Contemporary Music Players, Berkeley Contemporary Chamber Players, Meridian Arts Ensemble, and Alarm Will Sound. He has recorded solo and chamber music works for the Innova, Albany, and Music@Menlo LIVE labels. Conzetti was formerly on the faculty of the University of California at Berkeley and the University of San Francisco, where he taught courses in music theory, ear training, Western art music, Asian music, and music of the Americas. He currently coaches the percussionists of the Portland Youth Philharmonic Association and teaches at Portland State University and Linfield College.
David Denniston David Denniston studied geology and music composition at the University of California, Berkeley, and received his doctorate in music composition from the University of Cincinnati College–Conservatory of Music in 1989. He lives in Santa Barbara, California, where he composes, plays violin, piano, and theremin, manages the geographic information systems division for an environmental consultant.
Elizabeth Blachly-Dyson Elizabeth Blachly-Dyson is a molecular biologist who started writing music late in life after several years of accompanying her son to his composition lessons. She has written a number of pieces for the Pacific Crest Youth Sinfonietta, and she plays the cello with that ensemble and with the Marylhurst Symphony. She is studying composition with Dr. Robert Priest, cello with John Hubbard and piano with John Haek. She has a B.A. in Chemistry and English from Willamette University and a Ph.D. in Chemistry from the University of Oregon.
Denis Floyd Denis received an A.B. degree from Reed College in 1960, majoring in mathematics. He continued his mathematical studies at the University of Washington, Seattle, where he received a Ph.D. in this subject in 1966. He later added computer science to his background, receiving an M.S. in this subject at the University of Pittsburgh in 1982. For most of his life he has taught mathematics and computer science at colleges and universities in the States and overseas. Denis has had a life-long interest in music. He plays the piano and the clarinet, and has sung in choruses throughout his life. He has also dabbled in composition. Towards the end of his career, he decided to go back to school and study music seriously. While he was still teaching math at Cabrillo College, in Aptos, California, he entered the music program at nearby San Jose State University, where he obtained an M.A. in music, with composition emphasis, in 2003.
Denis retired in 2006, and moved to Portland. He has continued his music studies at Portland State University, where he has audited music courses for four years. His compositions include a piano sonata, vocal works, and a string quartet, and he is presently working on a trio for violin, clarinet, and piano. Denis is a member of Cascadia Composers.
Brien Hemann Brien Hemann is a renaissance man. Majoring in Hispanic Studies and Music, Brien studied in Santiago, Chile and London, England on Lewis and Clark College programs. Active as a vocalist, percussionist and conductor, he has continued performing with established and new music ensembles. Brien has studied with George Skipworth, Susan McBerry, David Becker, Mark Goodenberger, Mark Dorr, Brett EE Paschal, Ann Miller, Elizabeth Harcombe, Charlotte Edelbrock, Nancy Zeltsman, Julie Spencer, and Stephen Swanson. His international roles include assistant conductor and principal percussionist for the 2004 Dublin International Symphonic Festival and The 2006 Aegean Verdi Festival.
Beth Karp Pianist and composer Beth Karp holds a BA in Music from Cornell University and an MM in Composition from the Longy School of Music. Active in a wide variety of musical realms, she has served as a conductor, singer, accompanist, and pianist in jazz, chamber, and new music ensembles in Ithaca, New York and greater Boston. Her work for orchestra, The Phoenix Cycle, won the Longy Chamber Orchestra Composition Competition and was premiered in May 2009. She moved to Portland in June 2010 and has since been the fortunate recipient of a great number and variety of performance opportunities from comedy clubs to art galleries to churches to concert halls. She currently teaches composition at Portland Community College, serves as an accompanist and teacher at Northwest Children's Theater, and teaches piano at the Multnomah Arts Center and the Music Studio on Harrison Hill.
Ian Kerr Ian Kerr is a graduate of the University of South Florida in Tampa, Florida with a Bachelors Degree in Music Performance where he studied with Robert McCormick and is currently pursuing a Masters of Music with Dr. Joel Bluestone at Portland State University in Portland, Oregon where he teaches undergraduate lessons and classes. The St. Petersburg (Florida) Times has commented that Ian “shines [and is an] energetic performer on percussion.” Ian Kerr has performed as a soloist for the 2007 International Robert Helps Festival and Composition Competition and was invited to perform in New York City’s Merkin Hall as part of this festival. Other New York City activities include studying with 30-year member of the Metropolitan Opera and former Julliard School professor, Scott Stevens. As a frequent freelancer, Ian has played with stars such as Clay Aiken, Dennis DeYoung (STYX), Steve Lawrence and Eydie Gorme and in the latter capacity played from Frank Sinatra’s original charts. He more recently organized a concert of the music of Stuart Saunders Smith in April 2010 in Portland, Oregon where he premiered both Such Falling - 8 arias for solo Xylophone and, The Untold Range - Oregon, a piece written specifically for Ian. Ian was published in 2010 by Smith Publications in the manuscript of Such Falling with his submission of introductory performance notes. As a member of the McCormick Percussion Ensemble Ian can also be heard on the Capstone label in the CD recordings, Marimba Concerti, Culture Samples: Flute Concerti with Percussion Orchestra, and Cross-Cultural Collisions, Reinventions, and Fertilizations: The Compositions of Michael Sidney Timpson. Ian has been principal timpanist and percussionist in the Vancouver Symphony Orchestra. He was percussionist in the West Coast premiere of Henier Goebbels’ Surrogate Cities and John Adams’ Scratchband that same year in Portland. Most recently Ian recorded percussion tracks for the Alan Jones Quartet’s newest album featuring such jazz stars as Alan Jones and Nancy King.
Theresa Koon Theresa Koon is familiar to northwest audiences for playing leading roles as a singer and actress with many area theater companies and orchestras, including The Musical Theater Company, Portland Civic Theater, Artists Repertory Theatre, Sumus Theater, New Rose Theater, Portland Opera and the Fallen Angel Choir. She has appeared, as well, with OSFA in Ashland, The Britt Festival, Arizona Opera, and has toured with The Flying Karamozov Brothers and the Community Concert Association, among others. Internationally, Theresa was engaged for three years performing leading roles with the Thueringer Landestheater in eastern Germany, and she has sung with Opera Nova in Canada. She has founded two acclaimed performing groups: dADa and Opera for the Hesitant, and has produced two recordings on the ZigZag Sound label. Most recently, Theresa has written an opera called PROMISE, which has been performed in Minnesota, Michigan and Oregon. For more information, visit: www.promiseopera.org and Facebook: Promise, an opera about Camille Claudel. Currently, Theresa performs with the spoken poetry ensemble VOX.
Ruta Kuzmickas Ruta Kuzmickas, 15, began expressing her love for music at an early age. Fortunately, her family had a wonderful friend who was a pianist, and she soon became Ruta's teacher and mentor for the first 6 years of her piano studies. She participated in numerous competitions, receiving many first and second prizes. Ruta has also been a winner of the MetroArts Young Artists Debut! piano concerto competition where she performed Chopin's F minor piano concerto at the age of 13. Ruta was chosen as a Chamber Music Northwest Young Artist Fellow for 2010-2011. Now living in Portland, Oregon, she continues her musical studies with Dr. Jean-David Coen.
Dorien de León Cellist Dorien de León has appeared as a soloist, chamber musician, and orchestral player on both modern and period instruments in concerts across North America and Europe. She started her musical studies in Houston, Texas at the age of 9, and continued her education at the Curtis Institute with David Soyer and the New England Conservatory of Music with Laurence Lesser. From 1981-1987 Ms. de León was principal cellist for the Texas Chamber Orchestra and the Houston Grand Opera Orchestra. She was cellist for the Third Angle New Music Ensemble in Portland, Oregon from 1991-1997, and has appeared as a guest artist with many chamber ensembles, including Da Camera, the Cambiata Soloists, the Woodwind Conspiracy, and Fear No Music. Summer festival appearances include the Aspen Music Festival, Chamber Music Northwest, the Cabrillo Music Festival, and the Cascade Head Music Festival. Ms. de León’s interest in historical performance practices has lead to collaborations with Anner Bylsma, Sergiu Luca, John Holloway, and an appearance at the World Cello Congress III with Roel Dieltiens. Ms. de León has recorded with the Oregon Repertory Singers on Koch International, and with the Ensemble Giverny on Moonbridge. Her most recent performance on CD is with the contemporary music ensemble fEAR noMUSIC, in Shaun Naidoo’s Electric Fences on Capstone Records.
Signe Lusk Signe Lusk was the first accompanying major at the San Francisco Conservatory of Music, where she studied on scholarship with Marta Bracchi La Roux. She then studied in Germany through the University of Oregon Studies Abroad. After returning to the US, she worked for the Oregon Symphony and Portland Opera. She also worked for Seattle Opera and Eugene Opera. Signe was given the OTIS Award for her work as Music Director on Candide. She worked as staff pianist during the 1980's for the American Institute of Musical Studies in Graz, Austria. Signe is the pianist for the Pacific International Children's Choir in Eugene. She has played for the Bach Festival, ACDA festivals and conferences. She has been in concert with Jerome Hines, Nico Castel, and John Del Carlo of the Metropolitan Opera as well as other international artists. She has worked with Rollo Dillworth, Doreen Rao, Henry Leck, Sandra Snow, Bob Chilcott and Andre Thomas. Signe performed her Carnegie Hall debut in 1999 with the Oregon Children's Choir. She is currently Director of Nova Children's Choir at the Unitarian Church, staff pianist at Portland State University and accompanist for Aurora Chorus with Director Joan Szymko and Staff Pianist for the First Unitarian Church.
Lisa Marsh Lisa Marsh is a member of the adjunct piano faculties at Portland State University and Portland Community College. As Director of the Coordinate Movement Program at Portland State University she specializes in retraining injured musicians. Her courses focus on injury prevention, health and well being for musicians and mind-body connections for increased artistry and creativity. As a solo and collaborative performer, she specializes in presenting 20th and 21st century music. Ms. Marsh is pianist with the Marsh-Titterington Piano Duo and former Principle Keyboard with the Columbia Symphony Orchestra. She has studied composition with Derek Healey and Bryan Johanson. Her compositions are influenced by Impressionism, Spanish music and popular styles.
Nicholas Meyer Nicholas Meyer, lyric baritone, was born and raised in Portland, OR. He will be pursuing a Master of Music degree at the Manhattan School of Music in New York City this Fall under the tutelage of baritone Mark Oswald. He received his Bachelors of Music degree in vocal performance from Lawrence University Conservatory of Music where he studied voice with tenor Steven Paul Spears. Nicholas got his feet wet in the professional opera scene when he performed with the Combattimento Consort Amsterdam in their production of Mozart’s Don Giovanni while studying abroad at the Amsterdam Conservatory of Music in The Netherlands. Operatic roles at Lawrence University included scenes from Kurt Weill’s Street Scene (Sam Kaplan) and Britten’s Albert Herring (Sid) among others. In addition to opera, Nicholas has an ever growing interest in art song and has performed a number of recitals in Wisconsin as well as one in Portland. He has participated in several master classes with well-known artists such as Dale Duesing, Maarten Koningsberger, and Warren Jones and is currently working with the widely respected teacher and baritone Richard Zeller. Nicholas enjoys rock climbing, barefoot running, and anything to do with the Pacific Northwest.
Gary Noland Gary Noland grew up on a plot of land three blocks south of UC Berkeley known as People’s Park, which has distinguished itself as a site of civic unrest since the 1960s. As an adolescent, Gary lived for a time in Salzburg and Garmisch-Partenkirchen, where he absorbed many musical influences. He earned a BA in music from UC Berkeley in 1979, continued studies at the Boston Conservatory, and transferred to Harvard where he added to his credits an MA and PhD in 1989. Primarily self-taught, his teachers in composition and theory have included John C. Adams, Alan Curtis, Sir Peter Maxwell Davies, William Denny, Robert Dickow, Janice Giteck, Andrew Imbrie, Earl Kim, Leon Kirchner, David Lewin, Donald Martino, Hugo Norden, Marta Ptaszynska, Chris Rozé, Goodwin Sammel, John Swackhamer, Ivan Tcherepnin, and Walter Winslow. He has attended seminars by composers David Del Tredici, Beverly Grigsby, Michael Finnissy and Bernard Rands, and has had private consultations with George Rochberg and Joaquin Nin-Culmell. Gary’s catalogue consists of over 400 works, which include piano, vocal, chamber, experimental and electronic pieces, full-length plays in verse, fiction, and graphically notated scores. His compositions have been performed and broadcast in many locations throughout the United States, as well as in Europe, Asia, and Australia. He founded the Seventh Species concert series in San Francisco in 1990 and has, since, produced over 50 concerts of contemporary concert hall music on the West Coast. Gary is also a founding member, and currently sits on the board, of Cascadia Composers. Gary has taught music at Harvard and the University of Oregon and currently teaches piano, theory, and composition as an independent instructor in Portland. Six CDs of his compositions are available on North Pacific Music at: www.northpacificmusic.com.
Kaori Katayama Noland Kaori Katayama Noland received a PhD in Music Theory and Piano Pedagogy from the University of Oregon in June 2009. She holds an MFA in Piano Performance from Mills College and a BA in English Literature from Ritsumeikan Unviersity, Kyoto, Japan. She has taught music at the Yamaha Music School, the Kyoto Conservatory, the University of Oregon, and currently teaches at Portland Community College. Kaori has performed piano and organ recitals in both Japan and the US and has been a participant in the Seventh Species and Cascadia Composers concert series. She has written papers on Schoenberg, Debussy, Chopin and others, and given presentations at the International Chopin Conference in Warsaw, the Sixth European Analysis Conference in Freiburg, Germany, as well as regional and national CMS conferences. She lives in Portland with her husband Gary and their cat Pansy.
Boyd Osgood Boyd Osgood is a retired engineer/physicist. He has played bassoon most of his life in community orchestras and semi-professional orchestras and miscellaneous chamber groups. He currently plays with the Vancouver (Washington) Symphony Orchestra and the Marylhurst Symphony Orchestra. He is currently playing in the 'Bassoon Conspiracy' bassoon quartet and and is preparing for a concert in the fall with an as yet unnamed woodwind and piano sextet. He also plays recorders and has an interest in East European folk music.
Rachel Portnoy Rachel Portnoy has been singing professionally for over 25 years in Illinois, Minnesota, California and Oregon. She received her Bachelor's degree from Roosevelt University's Chicago Musical College, and her Master in Vocal Performance from the University of Illinois at UrbanaChampaign. She also has a certificate in Church Music from the joint churches of the ELCA/ECUSA. Currently she is a full-time mom, the Executive Director of South West Music School, the Cantor at All Saints Episcopal Church in Hillsboro, and a self-employed bookkeeper and
tax preparer. She also sings with the Portland Symphonic Choir, the Sherwood Renaissance Singers, and anywhere else she can manage to fit in.
Justin Ralls Justin Ralls, composer, was born in Seattle, WA. Justin graduated Cum Laude from The Boston Conservatory with a Bachelors Degree in Composition. His principle teachers have included Michael Johanson, Andy Vores, Dalit Warshaw, and Jan Swafford. Justin has conducted at the Hydansaal in Eisenstadt, Austria, the Lucca International Youth Orchestra Festival in Albano Terme, Italy, the Oregon Bach Festival, the Fox Scoring Stage in Los Angeles, as well as venues in Portland and Boston. His symphonic works have been described in an Oregonian review as “reminiscent of old Hollywood film scores.” As a composer he explores an aesthetic plurality and eclecticism encompassing many styles and forces including live electronics, vocal, chamber and orchestral works. He has attended master classes with composers such as Osvaldo Golijov, Samuel Adler, and William Bolcom. He currently composes and performs with his band, Renaissance Cocktail, a post-jazz, improvisation ensemble based out of Portland, OR. He enjoys the outdoors, rock climbing, and reading about the American Civil War.
Troy Ramos Troy Ramos (b. 1975) is originally from Michigan and studied music at Western Michigan University with Silvia Roederer, Monica Griffin and Karen Olsen. He later moved to England, where he received an MA in Music Composition in 2008 at the University of York . Whilst at York he studied with the distinguished composer and John Cage scholar William Brooks. His works have been performed across the US and the UK. He has been a member of the American Music Centre since 2003, and is also a member of Sound and Music, Access Contemporary Music of Chicago, the National Composers Alliance USA and Cascadia Composers.
Will Reno Will Reno is the principal timpanist for the Portland Opera. He received his Bachelor's degree from Indiana University's Jacobs School of Music, where he is completing his Master's studies. At the Jacobs School of Music, he was the principal timpanist for the Philharmonic Orchestra and performed with renowned conductors and musicians including Leonard Slatkin and Joshua Bell. In 2009, Will toured with the American Wind Symphony Orchestra where he was the principal timpanist and a featured soloist. He has also performed with regional orchestras in the Midwest, and currently teaches percussion studies at Sherwood High School.
Art Resnick Art Resnick is a professional jazz pianist and composer who has toured and recorded with some of the best known jazz dignitaries in the world. Although Art's professional career has been exclusively in jazz, he has always had a profound love for classical music, and especially an interest in modern classical music, which he has composed throughout the years. Since joining Cascadia Composers, Art has begun to spend more time developing his skills as a modern classical composer. While teaching classes at San Diego State University he earned a BM degree in Piano Performance (of classical repertoire). As a composer he is an autodidact.
Pamela Ryan Pamela Ryan is Professor of Viola at The Florida State University College of Music. She has performed as a faculty artist at summer festivals such as Aspen, Brevard, Yellow Barn, Schlern /Italy, Green Mountain, Idyllwild and Bowdoin. She has had many solo and chamber collaborations with Robert Spano, David Hoose, and Manny Hurwitz. She repeatedly appeared as guest of the Amelia Island Chamber Music Festival and of Seventh Species in Oregon. She has worked closely with many composers and has recorded new music for the Col Legno and Canadian Broadcasting Company labels, and, most recently, with the group "enhake", for the Naxos label. Her YouTube project is called "The Capricious Composer" and she is currently seeking viola caprices by living composers. She toured with the Bowling Green String Quartet for three years and served as principal violist of the Southwest Florida Symphony/Sanibel chamber symphony for three years. Since 1989 she has been the principal violist of the Tallahassee Symphony Orchestra. Ryan was a member of the National Board of the American Viola Society and was President of the Florida American String Teachers Association (ASTA). By invitation, she gave the Collegiate Viola Master Class at the ASTA 2008 National Conference, and gave presentations at the ASTA 2009 and 2010 National Conferences. Ryan was winner of the FSU University Teaching Award for Excellence in Teaching. Ryan's former students hold section and principal positions in professional orchestras and in college teaching positions in the U.S., Thailand, Brazil and Turkey. She received a M.M from Brooklyn College and a D.M.A from the Cincinnati College-Conservatory. She studied viola with Paul Doktor, Karen Tuttle, Masao Kawasaki and Itzhak Perlman. She was winner of the 1983 Aspen Concerto Competition and was praised by the American Record Guide for "superb technique and musicianship."
Renée Favand-See Renée Favand-See, composer and mezzo-soprano, was born in York, Pennsylvania. She holds B.M. and M.M. degrees in composition with a concentration in voice from the Eastman and Yale Schools of Music, respectively. Renée has appeared as a soloist on concert series such as Lewis & Clark College Composers Forums, New Music New Haven, Walden School’s Faculty Artist Showcase, and Collegium Musicum, among others. With her background as a composer, her chosen repertoire has a decidedly 20th Century slant, with projects including numerous world premieres, Schoenberg’s Pierrot Lunaire, Crumb’s Madrigals, Books I-IV, and Ravel’s Trois Poèmes de Stéphane Mallarmé. She has also delved into and loves performing art song repertoire and chamber choral music, singing with some wonderful ensembles, including Resonance Ensemble, Empire Chorus Ensemble, Yale Camerata and Chamber Choir, Eastman Chorale and Collegium Musicum, Baltimore Opera Chorus, and Walden School Faculty Singers. She is currently studying voice in Portland with the wonderful and wise Nancy Olson-Chatalas.
Igor Shakhman Igor Shakhman has been seen in recitals, chamber music concerts and concerto appearances throughout Russia, Ukraine, Switzerland, France, Greece, Germany and the USA. As an orchestral clarinetist he collaborated with Colorado, Charleston, Oregon and Eugene Symphony Orchestras, Oregon Ballet Orchestra, Colorado Opera Orchestra, Russian State Symphony Orchestra as well as chamber orchestras “Moscow Virtuosi” and “Moscow Stars” among others. In demand as a teacher and clinician, Dr. Shakhman presented masterclasses and workshops around the world including, most recently, at the University of Maryland at College Park, Kharkov Conservatory (Ukraine) and Shenandoah Conservatory (Virginia). He is currently on the clarinet faculties at the University of Portland and Marylhurst University and holds the principal clarinet position with the
Vancouver Symphony Orchestra (WA). In addition, he is the Oregon State Chair for the International Clarinet Association. Igor Shakhman holds a Doctor of Musical Arts degree from the University of Colorado at Boulder, Masters of Music with the Highest Honor (Suma Cum Laude) from the Moscow Conservatory in Russia and the Graduate Performance Diploma from the Peabody Conservatory.
Corinne Stillwell Corinne Stillwell entered the Juilliard School at the age of ten, where she subsequently earned her Bachelor’s and Master’s degrees, working with Dorothy DeLay, Samuel Sanders, Joel Smirnoff, and Earl Carlyss. A versatile musician, she is equally at home as soloist, chamber musician, and orchestral leader. She has performed at Carnegie’s Weill Hall, Chicago’s Dame Myra Hess series, and in many cities from Jacksonville to Seattle. Concerto appearances include the New Jersey Symphony, Greater Rochester Women’s Philharmonic, Amarillo Symphony, and on tour across Romania, Hungary and Poland. She has also performed at the national conferences of the College Music Society (Portland, OR) and the Society of American Music (Ottawa, Canada). Ms. Stillwell has collaborated with Richard Stoltzman, David Shifrin, Robert Levin, Pepe Romero, Mischa Kopelman, and members of the Pro Arte, Cavani, and Ying quartets. She has also performed at Alice Tully Hall, the Chamber Music Society of Lincoln Center, Kosciuszko Foundation, and the American Festival of Microtonal Music. Summer festival appearances include Aspen, Norfolk, Skaneateles, and Victoria Bach. With the Harrington Quartet, she performed extensively across the Southwest, including Dallas, Austin, Houston, Albuquerque, and at the International Festival-Institute at Round Top. She also toured Wisconsin, Minnesota, Nebraska, and Colorado, and was featured on a PBS documentary. From 2002-2007, Ms. Stillwell served as Assistant Concertmaster of the Rochester Philharmonic. She appeared regularly with Chamber Music Rochester and Eastman faculty. Frequently heard on live radio broadcasts, she was also the Director of Chamber Music at the Hochstein School. A founding member of Trio Solis, Ms. Stillwell is currently Assistant Professor at The Florida State University and on the faculty at the Brevard Music Center. She has recorded for Harmonia Mundi and Naxos.
Tomas Svoboda Tomas Svoboda was born in Paris of Czech parents, December 6, 1939. His Op.1, A Bird (published by T.C. Stangland Co.), was composed at age nine. He was admitted to the Prague Conservatory five years later as its youngest student. By 1962, after graduating from the Conservatory with degrees in Percussion, Composition and Conducting, numerous performances and radio broadcasts of his music brought national recognition to Svoboda, clearly establishing him as Czechoslovakia's most important young composer. In 1964, the Svoboda family departed from the mother country and settled in the United States, where Svoboda enrolled at the University of Southern California in 1966, graduating 2 years later with honors. In 1981, first publication of his music brought a front cover tribute to Tomas Svoboda by the respected Piano Quarterly. In 1992 he received a Governor's Arts Award of Oregon for his Music Accomplishments. In 2003 his Marimba Concerto was nominated for a Grammy Award with the title “Best Instrumental Soloist with Orchestra,” Niel DePonte, marimba. Recently he received a BMI award for being among the most broadcast classical composers in the U.S.
Terry Wergeland Terry Wergeland began his keyboard studies on the organ at age five, trumpet at eleven, and as a teenager began composing music. After graduating from the music department at U.C. Berkeley, he moved to the Seattle area and began exploring a wide variety of musical activities. While serving as a church organist and choir director for five years, he directed a reading orchestra, and as a member of a Scottish band, he taught himself to play the accordion. Terry has performed with many musicians in the Seattle area for dances, and these days his musical activities are divided primarily between teaching private piano lessons, playing jazz accordion and studying classical piano performance with Judith Cohen.
Jeff Winslow Jeff Winslow, a fourth-generation Oregonian, studied music and electronics at U.C. Berkeley, getting serious about composition in the mid-90's as High Modernism finally relinquished its death grip on the world of art music. His work has been performed by fEARnoMUSIC, and also at Seventh Species, Cherry Blossom Musical Arts, and Oregon Bach Festival concerts, often with the composer at the piano. A recent piano work, "Lied ohne Worte (lieber mit Ligeti)" received honorable mention from the Friends and Enemies of New Music. He is a founding member of the Cascadia Composers, a chapter of NACUSA centered on the lower watershed of the Columbia River.
A special thanks to all the people who have made these concerts possible. We would like to thank Darius Kuzmickas for videotaping our events and Michael Johanson for graciously sponsoring our concert at Evans Auditorium. We are full of gratitude to our guest artists Pamela Ryan and Corinne Stillwell for flying three thousand miles from the East Coast to Oregon to lend their musical talents and skills to our festival. We are also very grateful to Brett Paschal, Director of Percussion Studies at Lewis and Clark College, for allowing the free use of the College's percussion instruments, both at the June 22nd concert and at rehearsals. We are grateful as well to the friendly and accommodating staff at Community Music Center for making their recital hall available to us. We would also like to thank Jack Gabel for traveling all the way from the Astoria Festival just to record and videotape our June 22nd concert, and we would like to thank Will Preston for helping with the lighting. The director of Seventh Species, Gary Noland, would like to personally thank Denis Floyd for his invaluable help in organizing and curating the second concert of this festival, which would never have happened without him. And, speaking for all the composers whose works are being featured on these programs, we want to express our gratitude to the many talented musicians who have diligently practiced and rehearsed our difficult and challenging pieces so that you, our audience, can enjoy hearing them played.