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THE PHD/DMA PROGRAMS IN MUSIC Monday, December 19th, 2011, 7:30 pm Baisley Powell Elebash Recital Hall T HE CUNY G RADUATE C ENTER

C OMPOSERS ’ A LLIANCE THE LADY WITH THE DOG

Ceceilia Allwein, soprano Karen Stansifer, mezzo-soprano Noah Lethbridge, tenor Donald Johnson, tenor Wayne Paul

David Bridges

Woman Waitress Man 1 Man 2 Dmitri Gurov

EDWARD'S ARIA FROM ACT II SCENE 3 from "And Thus The Whirligig of Time Brings in its Revenges"

Whitney E. George

Noah Lethbridge,tenor

The Curiosity Cabinet Whitney E. George, conductor

EVENING STAR

Noah Lethbridge, tenor Ruka Shironishi, piano

Whitney E. George

PETITE SUITE

André Brégégère

I, WE, ME, US

Elizabeth Adams

CUSP (THE MUSIC FOR THE NOISE)

Elizabeth Adams

MY FATHER WAS A VENTRILOQUIST

Jessica Rudman

Mirna Leki!, piano Aaron Packard, violin Vita Wallace, violin Samuel Stoll, horn Aaron Packard, violin Vita Wallace, violin

Daniel D’Addio, trumpet, with electronic playback — intermission —

SUITE FOR SOLO CELLO

Haralabos [ Harry ] Stafylakis

HORN OF VALERE

Haralabos [ Harry ] Stafylakis

I. Prelude - Prose II. Nocturne - Koan III. Scherzo - Expletive IV. Ballad - Mythos Nick Dinnerstein, cello Kyra Sims, horn Jonathan Howard Katz, piano

RASP SCOURS GLEAM

Vita Wallace, violin

Elizabeth Adams

ROMANCE ON D AND A

Jonathan Howard Katz

CODA

Jonathan Howard Katz

Sarah Carrier, flute Jonathan Howard Katz, piano Ari Streisfeld, violin

Please switch off your cell phones and refrain from taking flash pictures.


THE CURIOSITY CABINET Whitney E. George, conductor Lindsey Eckenroth, flute Lee Braun, oboe Anthony Rodriguez, English horn David Bridges, clarinet in Bb Philip Murphy, bassoon Hugh Ash, trumpet in Bb David Whitwell, tenor trombone Chad Walther, tuba

Ellen O'Meara, celeste Jonathan Katz, piano Michael Lupo, percussion Matt Johnson, mallet percussion Danny Martinez, violin I Alma Ramirez, violin II Eric Cooper, violoncello Sean Ormiston, double bass

PROGRAM NOTES THE LADY WITH THE DOG is a chamber opera in progress that is based on the Chekhov short story of the same name and will tell the story of an affair through four postcards. The opera begins in Yalta where Dmitri is in the middle of his month long vacation and is having tea with some new friends (one of whom is drinking vodka) at a café overlooking the bay. While the men are intrigued by Dmitri’s life of promiscuity, the woman is uncomfortable. She tries to hide her discomfort, but Dmitri notices and pushes her until she becomes upset. During this conversation, the other men mention that there is a new girl vacationing in Yalta, the lady with the dog. Dmitri becomes intrigued and wonders why he hasn’t met her yet. During their banter, she appears walking along the water, and Dmitri sees her as his next adventure. — David Bridges AND THUS THE WHIRLIGIG OF TIME BRINGS IN ITS REVENGES Libretto by Chadwick Jenkins Guy de Maupassant’s “La Parure” (“The Necklace”) famously explores the price of vanity but its celebrated ending suggests something far more disturbing. When Mathilde discovers that she ruined her life to pay for an expensive necklace to replace one bedecked with faux diamonds, she comes face to face with the possibility that life (even a life in which one attempts to pay for one’s moral failings) is meaningless. AND THUS THE WHIRLIGIG OF TIME BRINGS IN ITS REVENGES uses Maupassant’s story as a vehicle to explore the ways in which the moments of a life fail to cohere into a meaningful whole. The reimagined story fragments into a non-sequential presentation of the moments in Mathilde’s life that led to her confrontation with the possible emptiness of all endeavor. Thus what was a simple ironic twist in the Maupassant here becomes the crux of an existential crisis. Act II, Scene 3: An Invitation We return to the Reed bedroom but now it is two days before the ball. We find Mathilde primping herself before the mirror when Edward enters. He is clearly pleased with himself and struts about the room in a rather ridiculously supercilious manner. At first, Mathilde teases him for his pretensions. Edward then sings a love aria in which he describes his ardor for his wife, his ambition in his career, and his sense of accomplishment in having received tickets to the inauguration ball. Mathilde reacts in a manner that Edward did not expect; she panics. “What am I to do with this,” she asks. Confused, Edward tries to explain that these tickets are an honor that he earned specifically so that he could show everyone how wonderful his wife was. Mathilde’s trepidation is not assuaged. A duet allows the couple to confront each other with their thoughts about their respective roles in the marriage and their hopes for the future but it becomes increasingly clear that neither is really listening to the other. — Whitney E. George


Tenebrous visions, the nape of your neck Pulses and beckons unto me Flesh sweetly sighs and I drown in your scent The thrill of your touch races through me All of the world I would lay at your feet Dreams of your beauty consume me Sins of desire I refuse to repent Tread on me, kick me, abuse me. Quivering silence, I’m holding my breath Waiting for you to undo me Layer by layer exposed and made limp The dogs of your anger pursue me. Fantasies prompt me, you’re all that I crave Reluctant ambition has made me your slave.

EVENING STAR by Edgar Allan Poe 'Twas noontide of summer, And mid-time of night; And stars, in their orbits, Shone pale, thro' the light Of the brighter, cold moon, 'Mid planets her slaves, Herself in the Heavens, Her beam on the waves. I gazed awhile On her cold smile; Too cold- too cold for meThere pass'd, as a shroud, A fleecy cloud, And I turned away to thee, Proud Evening Star, In thy glory afar, And dearer thy beam shall be; For joy to my heart Is the proud part Thou bearest in Heaven at night, And more I admire Thy distant fire, Than that colder, lowly light. CUSP (THE MUSIC FOR THE NOISE) CUSP was written for Pauline Kim Harris and Conrad Harris, and premiered at Exapno, October 23rd.


Sometimes a shy sound gets the cover it needs. I am interested in when we can read between the lines, and what arises out of our doing, above what gets done -how, I'm not quite sure. — Elizabeth Adams MY FATHER WAS A VENTRILOQUIST was written in 2011 for Dr. Daniel D'Addio. The work uses an original text by the composer, incorporated into an electronics track based on manipulations (sometimes extreme and sometimes barely perceptible) of recordings of the composer reading the text and of Dr. D'Addio performing sketches of the live part. — Jessica Rudman With the SUITE FOR SOLO CELLO, I set myself the challenge of introducing a piece into the violoncello repertoire while denying myself the liberty of studying its canonical works. It was interesting, in that way, to see how my background as a guitarist would allow me to transpose guitaristic music and gestures onto a bowed string instrument. As a formal model, I took Jacques Hétu’s Suite pour guitare, Opus 41 (1986). Each of the four movements (or pieces) borrows from Hétu’s formal titles (Prélude, Nocturne, etc.), which I interpret through my own experience in popular (mostly metal) music to generate a second, more programmatic title that makes reference to the literary world. PRELUDE - PROSE: This is the most narrative of the pieces. It begins with a theme mostly in melodic perfect fourths, expressing an idyllic, even pastoral character. The piece gradually becomes more chromatic, always in a folk idiom partly derived from Kodály, and thus undergoes a traditional dramatic curve that tends toward a tense climax, followed by a calming denouement. NOCTURNE - KOAN: Here the cello takes on a meditative and poetic approach through a minimalistic, constantly oscillating texture. There are hints at Bach-like music throughout, but these allusions are obscured by excessive repetition of certain notes (especially C#) and rubato effects. SCHERZO - EXPLETIVE: This piece combines baroque-style perpetual motion with a melodic/ harmonic/gestural language derived from progressive metal music. The aim here was euphonious aggression. BALLAD - MYTHOS: Composed during a nocturnal walk around Ancient Rome, the Ballad draws on my perception of history and myth, moving through highly contrasting sections as if in a dream sequence. — Haralabos [ Harry ] Stafylakis RASP SCOURS GLEAM was written for and with Vita Wallace in the fall of 2010, as a revision of an extinct piece, Blurry Edges, Shiny Middles, sadly retitled for commercial gain. Vita premiered it at BargeMusic Septermber 1st, 2011. — Elizabeth Adams

COMPOSER BIOS DAVID T. BRIDGES is a composer and clarinetist whose music has been performed internationally. He holds a master’s degree in music composition from the Aaron Copland School of Music where he studied with Bruce Saylor and is currently pursuing a Ph.D. at the City University of New York where he studies with Tania León. He has written solo works for clarinetist Laurie Friedman-


Adler and hornist Daniel J. Partridge, and ensemble works for Pat Spencer, the Hofstra New Music Ensemble, Zukofsky Quartet, Second Instrumental Unit, PMEA District IX honors band, and others. JESSICA RUDMAN’s music has been presented across the USA and abroad. She has participated in festivals including the Seasons Festival, the Cortona Sessions, EAMA, Music07, and NEON. Honors include winning the 2011 Libby Larsen Prize, Honorable Mention for the 2011 Brian M. Israel Prize, First Prize the 2009 Con/un/drum Composition Competition, and being selected for the the 2008 Omaha Symphony’s New Music Symposium. Ms. Rudman has taught at Central Connecticut State University, The Hartt School, and Baruch College. She is currently pursuing a Ph.D. at the City University of New York as a student of Tania León. For more information, please visit: http://www.jessicarudman.com.

PERFORMER BIOS VITA WALLACE is known as a powerful, sensitive, and versatile musician. She and her brother, Ishmael, have performed, recorded, and taught extensively as the Orfeo Duo, and for the Morningside Heights and West Harlem series What a Neighborhood! they have commissioned and premiered many new works. Vita also plays baroque violin as a member of Anima, ARTEK, the Dryden Ensemble, and Foundling. SAMUEL STOLL studied French horn and natural horn at the "Musikhochschule Luzern" and "Hochschüler der Künste Bern" in the classes of Jakob Hefti und Thomas Müller. Since finishing his studies in experimental music theater in the class of Georges Aperghis at the "Hochschule der Künste Bern", Samuel Stoll has worked as a freelance musican and performer. He plays with different new music ensemble across Europe (Klangforum Wien, MusikFabrik Köln, Kammerensemble Neue Musik Berlin, Collegium Novum Zürich, ensemble linea, ensemble adapter, ensemble chronophonie). His performances and installations have also been presented at the Museum für Gegenwartskunst Basel, art museum in Solothurn and Thun. He plays a microtonal french horn, which was developed and built by the "Hochschule der Künste Bern" and Konrad Burri. With this unique instrument he can play in 1/8 tones chromatically throughout the whole range of the French horn. DANIEL D’ADDIO serves as Professor of Music at Central Connecticut State University Additionally, he is the Music Director for the Connecticut Youth Symphony. Daniel D’Addio is a Yamaha Performing Artist. He was the catalyst for the brass quintet commissions and premieres of the notable Pulitzer Prizewinning composers: Ned Rorem, David del Tredici, Christopher Rouse, and Jacob Druckman. Dr. D’Addio has continued to support the performance of contemporary composition in solo trumpet, brass chamber music, and orchestral repertoires through commissions of Jessica Rudman, Thomas Schuttenhelm, Nolan Stolz, Feng Shu Lee among others.


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Concert Office 212-817-8607 phd-dmaconcert@gc.cuny.edu

Baisley Powell Elebash Recital Hall !

Fall 2011 Events September 1 William Frampton, viola 6 Naomi Perley, piano and Naomi Barrettara, soprano 8 William McNally, piano 22 Music in Midtown – 80th Birthday Celebration of American art-song composer Richard Hundley [1:00PM] October 4 Orpheus Chamber Orchestra Project 440 – Open rehearsals [12PM & 3:30PM] Performance [6:30PM] 6 Music in Midtown – Chamber Music on Fifth [1:00PM] 12 Ph.D. Students in Music Theory 17 Disability and Music [5:30PM] 20 Music in Midtown – Capella de Ministrers with Carles Magraner: The Travels of Tirant Lo Blanch [1:00PM] 20 Kuan Cheng Lu, violin 26 Ph.D. Students in Musicology

November 1 Whitney George, composer [8:00PM] 3 Music in Midtown – Four Hands at Once, Soyeon Lee and Ran Dank, piano [1:00PM] 15 Hong Wang, piano 16 NYC Andalus Ensemble 17 Music in Midtown – Romantic Masterworks with pianist Peter Vinograde 21 Queens College New Music Ensemble 29 Maksim Shtrykov December 1 Music in Midtown – Two Poets, Two Worlds: Alexander Blok & Emily Dickinson/ Dmitri Shostakovich & Aaron Copland [1:00PM] 1 Oliver Markson, piano 7 Marta Bedkowska-Reilly 13 Nellie Siu-Rong, Seng, piano 15 Contemporary Music Ensemble [8:00PM] 19 Composers’ Alliance 21 CUNY Middle Eastern Music Ensemble

Unless otherwise noted, all evening events begin at 7:30pm and are free of charge. Music in Midtown concerts require tickets, which can be purchased either at the door on the day of the concert or online at www.smarttix.com. For more information contact the Concert Office or visit our website at: http://web.gc.cuny.edu/Music/events/concerts.html

GCCA_2011_12-19_program  

Composers Alliance Concert Program

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