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JUST FOR US Sunday, February 26, 2012, 8:00 PM Olin Hall, Bard College — All works are world premieres, commissioned by Contemporaneous —

Dubio (2011-2012)

Andrés Martínez de Velasco Escobedo (b.1992)

Leonardo Pineda — solo violin Adrienn Kántor and Eamon Goodman — flutes Stuart Breczinski — oboe Renata Rakova and Brad Cherwin — clarinets Joshua Hodge — bassoon Cameron West — horn Samuel Botstein and Daniel Rutkowski — trumpets Hsiao-Fang Lin — trombone Amy Garapic and Petra Elek — percussion Tamzin Ferré Elliott — harp Hye-Joong Jeong — piano Sabrina Tabby, Finnegan Shanahan, Sydney Menees — violins Anna Hadfield and Maryam Parhizkar — violas Jeannette Brent and Katharine Dooley — cellos Dylan Mattingly — contrabass David Bloom — conductor Dollhouse (2011-2012)

Molly Joyce (b. 1992) Eamon Goodman — flute Stuart Breczinski — oboe Brad Cherwin — clarinet

Joshua Hodge — bassoon Cameron West — horn Samuel Botstein — trumpet Hsiao-Fang Lin — trombone Petra Elek and Amy Garapic — percussion Hye-Joong Jeong — piano Sabrina Tabby and Sydney Menees — violins Anna Hadfield — viola Katharine Dooley — cello Dylan Mattingly — contrabass David Bloom — conductor Hypothetical Patterns of Public-Private Conflict (2011) Lawton Hall (b. 1987) Adrienn Kántor — flute Stuart Breczinski — oboe Brad Cherwin — clarinet Luke Henry — bassoon James Haber — horn Amy Garapic — percussion Chi-Hui Yen — piano Finnegan Shanahan and Sabrina Tabby — violins Maryam Parhizkar — viola Jeannette Brent — cello Dylan Mattingly — contrabass David Bloom — conductor Double Quintet with Percussion (2011-2012) Maxwell McKee (b. 1991) I. Lament II. Rebirth of Wonder Adrienn Kántor — flute Stuart Breczinski — oboe Brad Cherwin — clarinet

Renata Rakova — bass clarinet James Haber — horn Petra Elek and Amy Garapic — percussion Finnegan Shanahan and Sabrina Tabby — violins Maryam Parhizkar — viola Jeannette Brent — cello Dylan Mattingly — contrabass David Bloom — conductor

Intermission Reels (2011-2012)

Adam Zuckerman (b. 1992) Stuart Breczinski — oboe Brad Cherwin — clarinet Christina Giuca — piano Finnegan Shanahan — violin Maryam Parhizkar — viola Dylan Mattingly — cello David Bloom — conductor

A Way A Lone A Last A Loved A Long the Riverrun (2010) Dylan Mattingly (b. 1991) David Adam Nagy — bassoon Amy Garapic — percussion Finnegan Shanahan — violin Dylan Mattingly — cello Zachary Israel — contrabass David Bloom — conductor

Just for Us For the first time ever, Contemporaneous presents an evening of entirely never-before-heard music! Six brilliant, young composers from all over the globe bring radically different and exciting musical voices to new new works that they have written specifically for Contemporaneous, and tonight you will hear the world premiere of each of these new works! Over a year ago, Contemporaneous started asking some of our favorite young composers to write new pieces specifically for this show. We gave them as much liberty as we could with instrumentation and length, allowing their imaginations to run free. Tonight we venture into the unknown, the electricity of possibility, as we stand witness to the birth of six new additions to the long lasting human desire to express our world.

Notes on the Program Andrés Martínez de Velasco Escobedo (b. 1992): Dubio (2011-2012) Dubio is a visceral and passionate work for violin and chamber orchestra. Written for Contemporaneous violinist Leonardo Pineda, the lushly virtuosic solo violin takes the audience on a dramatic journey, where it seems that any sweep of the bow might just carry you away. — Dylan Mattingly Andrés Martínez de Velasco Escobedo was born in Mexico City in 1991 and began piano lessons at the age of 6. Since then he has studied composition and piano at the National Conservatory of Mexico City, Bard College, La Schola Cantorum in Paris, McGill and Concordia University in Montreal. He has worked with established musicians such as Joan Tower, George Tsontakis, Philip Lasser, Narcis Bonet, Marklen Belenko, David Ludwig, Marc Neikrug, and Frederic Baril. His music has been preformed by professional ensembles and musicians such as the Da Capo Chamber players, Elena Urioste, Milena Pajaro-van de Stadt, Edward Arron, Eduardo

Leandro, and Ellen Hwangbo. Andrés was the recipient of the 2011 EAMA Michael Ivonevko scholarship and a 2011 Lake Champlain Chamber Music Festival young composer. He was conductor of the MUSET Youth Orchestra and is a piano teacher in Bard’s Upbeats music tutoring program. His music has been featured in Ellen Gurwitz’s radio show, Stone Soup, as well as La Voz radio in the Hudson Valley. Andrés is currently studying composition and physics at Bard College and will soon be a beginning clarinetist. Molly Joyce (b. 1992): Dollhouse (2011-2012) Dollhouse was written in the summer and fall of 2011 in New York City. The work was composed for Contemporaneous, a phenomenal new music ensemble with whom I have had the fortunate opportunity of being involved over the past couple of years. When I started composing Dollhouse, it was during the summer after my first year of college and thus I had many conflicting and reflective thoughts about myself and my choice of career as a composer. I began to think that such crucial choices and decisions in our lives are perhaps predictable within our own structured environments, while other aspects of our evolving lives are not foreseeable at all. In this way, I began to think of my life and all others’ lives as being unique dollhouses at their core. I reflected upon my journey as a composer, and how integral this creative art is to my daily existence, yet how long it has taken me to accept this uncertain, enriching role that I never fully imagined for myself. Through this introspection, I became obsessed with the concept of a dollhouse, in every implication of this word, and decided to write this piece as my humble interpretation of such a complex idea. Dollhouse is dedicated to my mother, Judi Joyce, for always allowing and being fully supportive for whichever Dollhouse I wanted to play in. — Molly Joyce Molly Joyce is a nineteen-year-old composer from Pittsburgh, PA. She has been the recipient of many prestigious awards including a 2010 ASCAP Morton Gould Award, was named a finalist in the National Foundation for Advancement in the Arts 2010 Young Arts Competition, and recently was

named the winner of the Bowdoin International Music Festival Composition Competition. Her work has been performed by musicians such as the Astra Trio of Amsterdam, members of the New World Symphony, and pianists Michael Schneider, and Becky Billock. Becky Billock’s 2011 CD Muses Nine also features a work by Molly Joyce. Currently, Molly is studying at The Juilliard School with Christopher Rouse. Additionally, she has studied with Missy Mazzoli and Richard Danielpour. ( Lawton Hall (b. 1987): Hypothetical Patterns of Public-Private Conflict (2011) As I wrote Hypothetical Patterns of Public-Private Conflict in the fall of 2011, demonstrations throughout the United States escalated into violent clashes between protesters and those responsible for maintaining the façades of power that have proven incapable of providing for the well-being of this country’s citizens. These demonstrations have been fueled largely (though not exclusively) by the frustrations felt by many of my peers, who, as recent college graduates, have found that their incredible skills and talents are incapable of meeting their basic monetary needs, as they enter a economic milieu that values the exchange of mass-produced commodities and goal-driven careerism over artistic creativity and thoughtful, uninhibited exploration. My personal response to these frustrations has been to blindly throw myself into composing in the privacy of my limited spare time, and to rely upon other employment to repay my public debts with the (perhaps foolish) hope that someday the tide would change and that my musical work will become a valued commodity in the public arena. Hypothetically, this piece is one manifestation of this conflict. Hypothetical Patterns is also, as the title would suggest, full of musical patterns that I used to construct the piece. Whether or not these patterns influence they way the piece is perceived or are even themselves perceptible, however, is largely inconsequential to me, since they merely provide a

framework for a sonic architecture that will eventually be presented to the public. These hypothetical patterns, like most of the concerns that occupy composers’ private work, are masked behind a façade of perceptibility and represent the more intimate dichotomy that results from working in nearcomplete solitude before laying oneself bare when the finished product is presented to the public. — Lawton Hall Lawton Hall distills our sensory environment with delicate precision and clarity. In his musical and multimedia works, disparate stimuli – harmonics of strings and winds, irrational vibrations of percussion, oscillating electrical signals – flow in streams that are natural and otherworldly, existing in unstable harmony with our perception of the world. Lawton worked with Pauline Oliveros at the Deep Listening Institute, editing her collected writings, Sounding the Margins. Other mentors include Mary Ellen Childs, Ben Johnston, Asha Srinivasan, and John Mayrose. He studied horn with Tod Bowermaster and James DeCorsey, gamelan with I Dewa Ketut Alit Adyana, and intermedia art with Julie Lindemann and John Shimon. His works have been performed at SEAMUS, EMM, IEAMF, Brooklyn College, the CUNY Graduate Center, and the DLI Dream Festival. Lawton is an alum of Lawrence University. ( Maxwell McKee (b. 1991): Double Quintet with Percussion (2011-2012) Double Quintet with Percussion is a piece about joy and sorrow. It begins with a long, slow Lament; despite its slowness, it contains a deeply rooted latent energy. This energy begins to rise up to the surface until it finally comes out in full force in a joyful theme that carries us ever higher until the end of the piece. — Maxwell McKee

Composer and pianist Maxwell McKee is currently a student at Bard College where he studies with composers Joan Tower and George Tsontakis and pianist Blair McMillen. Born to a modern dancer and a jazz bassist living outside of New York City, Max has been involved with music from an early age. He began studying piano at the age of six and has since picked up guitar, electric bass, and singing. He performs regularly in a variety of contexts for which he is equally passionate, including classical, jazz, rock, a capella, and theater productions — not to mention he is also a performing member of Contemporaneous. His music draws on his diverse musical background and has been performed, among others, by the Da Capo Chamber Players, the Iris Quartet, and the SORX Quartet at Bard College and the Deer Valley Music Festival in Park City, Utah. Adam Zuckerman (b. 1992): Reels (2011-2012) Reels emerges, evolves, and erupts from a single tone into a commanding and turbulent opening phrase that dissolves into itself just as quickly as it came. It takes the remainder of the piece to unpack this stirring gesture and all of its sonic and dramatic possibilities. —David Bloom Adam Zuckerman was born in 1992, in Santa Monica, California. He began studying piano and violin at an early age, but soon shifted his focus to guitar. At the age of 14, he was performing and recording with bands and artists all over the greater Los Angeles area, including a performance with Earth, Wind, and Fire at a Grammy-funded event. At the age of 16, a resurgent passion for classical music overtook Adam, and he decided to revive his piano studies; he began composing in the same year. He currently attends the Bard College Conservatory of Music, where he will obtain a B.M. in composition under the tutelage of George Tsontakis, Joan Tower, and Kyle Gann, as well as a B.A. in Classics. He is also studying piano with Blair McMillen. His works have been performed by the Da Capo Chamber Players, members of the American Youth Symphony Orchestra, and many others.

Dylan Mattingly (b. 1991): A Way A Lone A Last A Loved A Long the Riverrun (2010) I was “swept up in a terrible tremor,” and the strains of Big Bill Broonzy and Robert Johnson, scraping violin, hard picks and steel lifting heavy like a kaleidoscope, and suddenly you’re down and flying through dust and someday’s gone, come & gone like airplanes and mornings, it’s a country in fragments, jug band banging down that harsh brown river, sometimes you’re gone on a ferry, sometimes you’re made from thousands of pieces, hundreds of years back in the dirt — A Way A Lone A Last A Loved A Long the Riverrun is trans-American journey music of those come & gones, for all of us displaced behind motel nights, when grey skies fade to black, somnambulant cars emerge from the far edges of paved horizons — the great exploding road trip of the dark! — muted shimmering porchlights playing synesthetic Es in the alien black, highway signs and ornamental gas stations lighting the long pathway to sunrise, sometimes you’re hundreds of years back in the dust, bye bye, bye bye, bye bye, bye bye, the steamboat comin round the bend, I won’t be home tomorrow: there’s a clickitatackisbdddkkdkkbddkbdkbdkb, and you don’t pay no transportation on this train. —Dylan Mattingly A native of Berkeley, California, Dylan Mattingly began playing cello when he was 5 years old and wrote his first composition at the age of 7. He currently studies composition at the Bard College Conservatory of Music with George Tsontakis, Joan Tower, and Kyle Gann, and privately in Berkeley with John Adams. His music has been performed in San Francisco, Sydney, Berlin, New York, London, and other cities around the world. Mattingly’s work has been influenced alike by John Adams, Olivier Messiaen, Magnus Lindberg, Joni Mitchell, Bob Dylan, and the old American blues and folk field recordings of the Lomaxes. He was the codirector of Formerly Known as Classical, a Bay Area new music ensemble whose young members play only music written in their lifetimes, and he is now the co-artistic director and co-founder of Contemporaneous. Upcoming premieres include works written for ALEA III, the Del Sol Quartet, the Cabrillo Festival Orchestra, and the Berkeley Symphony.

Stream of Stars — Music of Dylan Mattingly Contemporaneous debut album Kickstarter fundraising campaign The fantastically adventurous Minnesota-based label innova Recordings is releasing Stream of Stars — Music of Dylan Mattingly, our debut album! With three pieces that Dylan wrote specifically for us, we are extremely excited to be releasing this to the world. But in order to bring this release to life, we need your help. We need to raise at least $6,000 to cover the bulk of the production costs for this disc, so we are asking our dedicated and enthusiastic fans to contribute to our fundraising campaign on Kickstarter, an online platform for raising funds for creative projects. All donations to this campaign are tax deductible through our 501(c)3 fiscal sponsor, Tribeca New Music. If you pledge to this campaign, your card will be charged to the wonderful people there, who will forward your donation to us so that you can write it off your taxes. To learn more about the project and to make a pledge, please visit our Kickstarter page, which is linked from our homepage: We are extremely thankful for pledges of all sizes since every contribution will bring us closer to realizing our dreams of reaching the broadest possible audience with our music. Please consider giving whatever you can and share the news of this project with your friends - we simply could not do it without you!

Contemporaneous is dedicated to performing the most exciting music of our generation that describes our world and captures our existence. Hailing from four continents, the over 40 members of Contemporaneous are avid and versatile enthusiasts for the promotion and appreciation of new music among audiences of all types. Highlights from the spring of 2012 include performances at Merkin Concert Hall and The Cell Theater for the Tribeca New Music Festival, eight world premieres, and our West Coast debut. In April, innova Recordings will release our debut album, Stream of Stars — Music of Dylan Mattingly. Founded in 2010, Contemporaneous regularly gives passionate performances of cutting-edge music for audiences throughout the Hudson Valley and in New York City. In our short history, we have given over 35 performances that have included 14 world premieres and numerous regional premieres by composers from around the globe. Notable past performances have taken place at Galapagos Art Space, Baryshnikov Arts Center, Roulette, The Stone, Club Helsinki (Hudson, NY), and the Hudson Opera House. Though most of our musicians study at Bard College, Contemporaneous is an independent ensemble not supported financially by the College; we are a not-for-profit organization incorporated in the state of New York.

Boards and Committees of Contemporaneous Board of Directors Thomas Bartscherer Alan Neumann George Tsontakis

Advisory Board Diogo Ahmed Charles Amirkhanian James Bagwell Sarah Cahill Marjorie Folkman Adam Fong

Kyle Gann Judd Greenstein John Halle Erica Kiesewetter David Ludwig

Production Committee David Bloom — co-artistic director Dylan Mattingly — co-artistic director Alex Fager — executive director Production Team Sarah Longstreth — director of development Linnea Marik — photographer Andrés Martínez de Velasco — artistic coordinator Will Smith — audio engineer Adam Zuckerman — artistic coordinator Publicity Committee Albert Behar Matt Giannotti Molly Joyce Sarah Longstreth Linnea Marik Finnegan Shanahan

Kathleen Mandeville Missy Mazzoli Blair McMillen Alan Pierson Joan Tower

Contemporaneous would like to thank you for coming out tonight, as well as the following people and organizations: Kettles and Company, Tricia Reed, Amie McEvoy, ZoĂŤ Auerbach, John Smajda, Alan Neumann, and Kathie Bloom. We also would like to express our deep gratitude for the financial support of the following people: Frank and Amy Ager, Robert and Louise Balazs, James and Deanna Barnette, Alan Bernstein, Bill and Betsy Bird, Earl and DeeDee Bloom, Janey Bloom, Martin and Kathie Bloom, Claire Boren, Lousie Brinkerhoff, E.T. and Caroline Brown, Pratt and Anne Marie Brown, Paty Bargeron Bryant, Jules Burstein, Jim Chambers, J. Paul Jr. and Dana Compton, Chandler and Anna Cox, Charles Cowin, Jamie and Celie Cowin, John Jordan Cowin, Cynthia Dorfman, Jim Farber, Robinson and Barbara Fisher, John Gertz, Jordan and Ann Gervin, Keith Gleason, Jeane Goforth, Laura Gorham, William Gunn, Robert and Paula Henry, Russ Irwin, Jillian Jetton, Donald and Dianne Johnson, Virginia and George Jones, Joe Larussa, Joseph and Melissa Lassiter, J.C. Long, Charles Mason, Lucy Mattingly, William McDougald, Mark and Lynne McWhorter, Tim Moellering, William and Dianne Morgan, Alan Neumann, Gary Or, Lawrence Osgood, LaDene Otsuki, Patrick and Deborah Pope, Richard Reynolds, Richard Smyly and Celia Roland, Nance Rosen, Susan Scheid, Elna Shugerman, Janet Stetson and Daniel Shanahan, Linda Stone, George Strand, Sam and Betty Sumner, LuĂ­s Tinoco, John Trauth, George Tsontakis, Forest and Lee Whatley, Barney and Susan Wilborn, Eli Wirtschafter, Josh Wirtschafter, and William C. and Leanne Woodall.

Just for Us Program  

On February 26, 2012, Contemporaneous presents an evening of entirely never-before-heard music! Six brilliant, young composers from all over...

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