TUTTI 2022 – March 21 to 26 Monday, March 21
7:30 PM | Bench Anxiety • Interactive workshops for Athletes and Musicians • Corin Lee from ETHEL All American Room (160) - Mitchell Center**
Tuesday, March 22
3:00 PM | Open Rehearsal • ETHEL Denison Museum
Wednesday, March 23
3:30 PM | CONCERT V • Jazz Ensemble and Choir Burke Recital Hall - Eisner Center
Composers: Brett Burleson, Daniel Knaggs, Jane K (Evgeniya Kozhevnikova), Colin Labadie, Pete Mills, Logan Moore, Cole Reyes, Thomas J. Johnson
7:00 PM | CONCERT VI • Friday Night Fiction: ETHEL and Michael Lockwood Crouch Sharon Martin Hall - Eisner Center
1:30 PM | Composition Seminar • Guest Composer Julia Wolfe Burke Rehearsal Hall - Eisner Center
Composers: Ralph Farris, Ching-chu Hu, Dorothy Lawson, Corin Lee, HyeKyung Lee, Zachery S. Meier, Felicia Sandler, Tom Schnauber, Julia Wolfe Reception - Gay Reese Lobby - Eisner Center
5:45 PM | Community Dinner
Saturday, March 26
Eisner Center for the Performing Arts, 2nd Floor** 7:00 PM | CONCERT I • Fifth House Ensemble, Journey LIVE Sharon Martin Hall - Eisner Center
Thursday, March 24
3:00 PM | CONCERT II • Sun Min Kim, Faculty, and Guests Burke Recital Hall - Eisner Center Composers: Zach Gulaboff Davis, Michael Lukaszuk, Robert McClure, Jennifer Bernard Merkowitz, Rob Smith, Peter Vukmirovic Stevens, Julia Wolfe
7:30 PM | CONCERT III • Denison Symphony Orchestra and Wind Ensemble Sharon Martin Hall - Eisner Center
Composers: Jimmy Kauchulis, Tyler Mazone, Allen Molineux, Ash Stemke, Becky Turro, Julia Wolfe Reception - Gay Reese Lobby - Eisner Center
10:00 AM | CONCERT VII • Electronic and More: New Music for a Saturday Morning Thorsen Dance Studio - Eisner Center Composers: Pedro Baptista, Andrew Detamater Davis, Aaron Hynds, Rodney DuPlessis, Martin J. Van Klompenberg, Robert Thomas McPhee, Julia Wolfe, Wei Yang
1:00 PM | CONCERT VIII • ETHEL and Friends Burke Recital Hall - Eisner Center
Composers: Jianjun He, Stephen Mitton, Mark Dal Porto, Isaac Silva Uria, Julia Wolfe
3:00 PM | CONCERT IX • Cameron Leach, percussion Sharon Martin Hall - Eisner Center Composers: Alexis Bacon, Alexandre Esperet, Dave Maric, Robert McClure, Mikeila McQueston, Ancel Neeley, João Pedro Oliveira
4:30 PM | Roundtable Faculty Common - Burton Morgan
Friday, March 25
5:30 PM | Banquet with Keynote Address Knobel Hall - Burton Morgan**
Composers: Andrew Davis, Jane Kozhevnikova, Maggie McGinity, Cullyn D Murphy, Kian Ravaei, Emily Joy Sullivan, Andrew Tholl, Julia Wolfe
7:00 PM | CONCERT X • Vail Series, Fifth House Ensemble, We Are Good Swasey Chapel
10:30 AM | CONCERT IV • Woodwinds and More Burke Recital Hall - Eisner Center
11:30AM | Roundtable Discussion with Julia Wolfe, Fifth House Ensemble, ETHEL, and Composers Denison Museum
Composers: Griffin Candey, Ching-chu Hu, HyeKyung Lee, Wenbin Lyu, Ethan Soledad, Julia Wolfe Reception - Knobel Hall - Burton Morgan
WELCOME TO DENISON’S TUTTI FESTIVAL 2022! Back in 2004, we started with a weekend festival that I called TUTTI. I chose the name, which is a musical term for “all,” as I had hoped we could involve everyone. 18 years later, we’re embarking on our tenth TUTTI. I can’t believe the number of composers we’ve programmed (well over 300!) and the amazing guest artists we’ve had, not to mention the collaborations and connections we’ve been able to cultivate.
This year we are in for a treat, as Pulitzer-Prize winning composer and MacArthur Fellow, Julia Wolfe, is spending time with us, sharing her music and her insights. Her impact to new music cannot be overstated, with her collaborations with other disciplines and co-founder/co-artistic director of New York’s legendary Bang on a Can. Along with over 40 composers from around the world, we are hosting 10 concerts for our 10 year anniversary, featuring students, faculty, guests, and featured artists. We are thrilled to work with Athletics, Modern Languages, Theatre, the Mindfulness Advocacy Group, Ombuds, and members of the Gaming Guild. Our first featured ensemble is the amazing Fifth House Ensemble, who have spent the week working with students from across the campus for two amazing programs they bring to us. The first is Journey Live, which will have Denison gamers playing the beautiful video game Journey while they provide the moving soundtrack. Together with Quenna Lené Barrett, they have had deep listening sessions with students, who then crafted texts and graphics for TUTTI’s final concert, We Are Good. TUTTI wouldn’t be TUTTI without ETHEL, who by my calculations, is performing in their fifth TUTTI Festival. They are fierce advocates of Julia’s string quartets and passionate instigators of collaboration and master artists. Together with Michael Lockwood Crouch, an award winning voiceover actor, will perform settings of popular fiction on a Friday evening concert not to be missed. We couldn’t be more thrilled that Cameron Leach, solo percussionist from Columbus, has come back for his second TUTTI. His artistry will dazzle you Saturday afternoon, as will Logan Moore, saxophonist and composer with our Jazz Ensemble. In 2020, TUTTI was the final public performance for our guest artists and our students as the COVID pandemic just began in the US, which caused us to shut down and learn to regroup remotely. It seems almost too fitting that TUTTI 2022 occurs as we are opening back up. If we’ve learned anything over the past two years, it is that the arts are a vital component of all of our lives and a necessity for society to function, thrive, empathize, celebrate, mourn, and create. Art matters. On behalf of all the artists you will encounter this week, art is us. Explore our beautiful new spaces at the Michael D. Eisner Center for the Performing Arts and see how art comes together in our halls.
Ching-chu Hu, host
Director, Denison Vail Series Professor of Music, Denison University
It is a pleasure to welcome you to Denison University’s TUTTI 2022 New Arts Festival. Every two years something special takes place at Denison. We host the fabulous TUTTI festival. This year is our 10th anniversary of TUTTI! Why do we host TUTTI and why are we so proud of TUTTI? Denison has a long and proud tradition across the arts. We believe the arts are a foundational element to educating and inspiring our students to lead meaningful lives, to achieve professional success, and to be the citizens the world needs. We find our humanity through the arts. TUTTI is also part of a larger institutional commitment at Denison to deepen our commitment to the arts and to position Denison as a top liberal arts college for arts oriented students who are seeking an alternative to a conservatory. Students can go deep into an artistic passion, or they can go deep and wide across the arts, or they can combine a passion for the arts with any other academic interest. As always, I am awed by the scope of TUTTI. This year, the people and performances span a range of fine arts and beyond. I am also deeply grateful to the faculty, staff, students, community members, friends of the college and others who have put so much work into making this happen. As we emerge from two years of Covid, we all need the opportunity to experience the arts and to do so together. While lots of people deserve thanks, I want to give a loud and grateful shout-out to Professor Ching-chu Hu. Without his vision, leadership, persistence, intellect, talents and grace, TUTTI does not happen. I am proud to call him a Denison faculty member (and a friend!). We are pleased that you are participating in TUTTI and hope you will enjoy the artistic gifts we will receive this week from our performers.
President Denison University
I’m delighted to welcome you to Denison’s TUTTI 2022 New Arts Festival. TUTTI is an interdisciplinary festival, reaching across divisional boundaries to immerse us in a celebration of new music and the arts. I find the definition of “TUTTI,” a musical term taken from Italian meaning “all together,” to be an apt expression to describe the unusual depth and breadth of the artistic offerings of this event. From a Pulitzer Prize winning composer to visual art created by our Studio Art students to work involving our departments of Modern Languages and Athletics, this celebration will feature guest artists, faculty, and students who will showcase their work in new and exciting ways. The TUTTI festival will span many disciplines across campus and showcase much of what we strive to achieve at Denison University. Through our innovative and inclusive curriculum, our students can learn, create, and collaborate with others across the college. No matter what major our students pursue, Denison challenges students to think across division and across differences to explore the depth and breadth of their interests both within their majors and outside. This multi-disciplinary approach focusing on the whole person prepares students to leave Denison as autonomous thinkers and active citizens who have learned the skills to be successful in life. The TUTTI Festival and the work that you will see exemplifies this approach. I hope that you will take time to experience all that TUTTI brings to Denison. Enjoy!
Provost Denison University
FEATURED GUEST ARTISTS JULIA WOLFE
Director of NYU Steinhardt Music Composition. Her music is published by Red Poppy Music and G. Ricordi & Co., New York (ASCAP) and is distributed worldwide by the Universal Music Publishing Group.
Julia Wolfe’s music is distinguished by an intense physicality and a relentless power that pushes performers to extremes and demands attention from the audience. She draws inspiration from folk, classical, and rock genres, bringing a modern sensibility to each while simultaneously tearing down the walls between them.
FIFTH HOUSE ENSEMBLE Praised by the New York Times for its “conviction, authority, and finesse,” the Chicago-based Fifth House Ensemble harnesses the collaborative spirit of chamber music to reach beyond the traditionally-perceived limits of classical music. The ensemble’s artistic, educational, and civic programs engage theater groups, video game designers, corporate innovators, and folk bands to share stories as diverse as the communities it serves.
The 2019 world premiere of Fire in my mouth, a largescale work for orchestra and women’s chorus, by the New York Philharmonic with The Crossing and the Young People’s Chorus of New York City, received extensive acclaim — one reviewer called the work “a monumental achievement in high musical drama, among the most commandingly imaginative and emotively potent works of any kind that I’ve ever experienced.” (The Nation Magazine) The work is the third in a series of compositions about the American worker: 2009’s Steel Hammer examines the folk-hero John Henry, and the 2015 Pulitzer prize-winning work, Anthracite Fields, a concert-length oratorio for chorus and instruments, draws on oral histories, interviews, speeches, and more to honor the people who persevered and endured in the Pennsylvania Anthracite coal region. Mark Swed of the LA Times wrote, Anthracite Fields “captures not only the sadness of hard lives lost…but also of the sweetness and passion of a way of daily life now also lost. The music compels without overstatement. This is a major, profound work.”
Reaching 17,000 students annually through its artsintegrated educational programs, Fifth House connects K-12 core curricula to vivid, custom-crafted, and interactive musical experiences which challenge students to share and lead. As an extension of this work, Fifth House enters its fourth year of partnership with Loyola University’s Center for Urban Research and Learning this season, through which the ensemble is in residence at sites serving at-risk youth and adults including Deborah’s Place, Teen Living Programs, Cara Chicago, and Nancy B. Jefferson Alternative School at the Chicago Temporary Youth Detention Center. Fifth House also partners with Storycatchers Theatre as part of its residency at the detention center to develop new curriculum culminating in a new theatrical work based on participants’ own experiences.
In addition to receiving the 2015 Pulitzer Prize in Music, Wolfe was a 2016 MacArthur Fellow. She received the 2015 Herb Alpert Award in Music, and was named Musical America’s 2019 Composer of the Year. Julia Wolfe is co-founder/co-artistic director of New York’s legendary music collective Bang on a Can, and she is Artistic
An established partner and resource to the nation’s top music schools and conservatories, Fifth House launches the careers of emerging artists through entrepreneurship residencies and training programs, including those at Yale College, Eastman School of Music, New England Conservatory, Indiana University, Roosevelt University, the Cleveland Institute of Music, UT-Austin, Northwestern University, San Francisco Conservatory, DePaul University, and the Colburn School. Recent creative partnerships have included those with The Cleveland Orchestra and the San Francisco Opera. In 2012, Fifth House launched Fresh Inc, a two-week, intensive training program for emerging composers and performers where Fifth House works with participants on building careers in music in line with their own unique vision and values. Visit us at www.fifth-house.com for more information, and for videos of our latest work.
uptown, conservatory musicianship with downtown genrecrossing, ETHEL has been described as “indefatigable and eclectic” (The New York Times), “vital and brilliant” (The New Yorker), and “infectiously visceral” (Pitchfork). Since its inception, ETHEL has released nine feature recordings (one of them nominated for a Native American Music Award), premiered 225 compositions, performed as guests on 40+ albums, won a GRAMMY® with jazz legend Kurt Elling, and performed in 14 countries, 45 states, and 250 cities. At the heart of ETHEL is a collaborative ethos—a quest for a common creative expression that is forged in the celebration of community. The quartet creates and tours rich, often multimedia, productions including the evening-length ETHEL’s Documerica, inspired by the tens of thousands of images shot in the 1970’s as part of the Environmental Protection Agency’s decade-long Project Documerica; The River, a collaboration with Taos Pueblo flutist Robert Mirabal; Grace, a journey highlighting musical iterations of redemption and featuring ETHEL’s own adaptation of Ennio Morricone’s moving score to the 1986 film, The Mission; Ancient Airs and Dances, a journey to European Middle Ages, Renaissance and Baroque Eras; and Circus – Wandering City, which explores the phenomenon of circus through the eyes and insights of people who have created its special thrills and illusions. This season marks the fourth chapter of ETHEL’s Home Baked Project, an initiative showcasing emerging composers. The Class of 2020 composers had their pieces premiered by ETHEL at National Sawdust and will be featured in a May 2020 festival at the Brooklyn Public Library.
Fifth House Ensemble is supported in part by the John D. and Catherine T. MacArthur Foundation, the Alphawood Foundation, the MacArthur Fund for Arts and Culture at Prince, the Gaylord and Dorothy Donnelley Foundation, the Amphion Foundation, the Arts Work Fund, a Vision Grant from Illinois Humanities, a CityArts Grant from the City of Chicago Department of Cultural Affairs & Special Events, New Music USA’s New Music Organizational Development Fund, the Alice M. Ditson Fund, and by a grant from the Illinois Arts Council Agency.
ETHEL “In the hands of ETHEL, American music is alive and well.” (The Washington Post) Established in New York City in 1998, ETHEL quickly earned a reputation as one of America’s most adventurous string quartets. More than 20 years later, the band continues to set the standard for contemporary concert music. Known for its enlivened playing, blending
ETHEL is currently the Resident Ensemble at The Metropolitan Museum of Art’s Balcony Bar, Ensemble-inResidence at Denison University, and 2019-20 Creativesin- Residence at the Brooklyn Public Library. ETHEL is Ralph Farris (viola), Kip Jones (violin), Dorothy Lawson (cello), and Corin Lee (violin).
ultimately premiering a new percussion concerto by Garrett Schumann.
American percussionist Cameron Leach is a bold performer recognized for his expressive virtuosity, musical athleticism, and daring interpretations. As a soloist and chamber musician, Leach has concertized in the United States, Canada, Europe, and Asia. Leach is the winner of both the Percussive Arts Society (PAS) International Solo Artist Competition and Yamaha Young Performing Artist Competition, and was awarded the prestigious Performer’s Certificate from the Eastman School of Music. He is a member of the Northern California-based percussion quartet Orphic Percussion, one half of the Leach | Peters Percussion Duo, and an Associate Musician with the Columbus Symphony Orchestra. Leach formerly held a professorship at Kent State University and now teaches exclusively as a guest artist at universities across the United States. Leach proudly endorses Black Swamp Percussion, Beetle Percussion, Sabian Cymbals, Rustic Percussion, and Malletech.
During the COVID-19 lock down, Leach continued engaging audiences with an array of digital concerts and virtual clinics. He collaborated with the Longmont Symphony Orchestra, New Mexico Philharmonic, World Vibes Congress, Johnstone Fund for New Music, and several music programs across the United States. Perhaps most notably, Leach premiered a new percussion concerto by Adam Roberts with the New Albany Symphony Orchestra in March 2021, a challenging and emotional project documented by WOSU Public Media. Highlights from recent seasons include recital appearances in Beijing, Nuremberg, San Francisco, Orlando, Houston, Columbus, and Portland, as well as artist residencies at the Space City New Music Festival, MalletLab Summer Intensive, TUTTI Festival at Denison University, and Purdue University Fort Wayne. Leach has performed on series such as the Eastman Summer Concert Series, Old First Concerts, New Music at Short North Stage, CLICK Series at Ohio University, Rochester Fringe Festival, and the SPLICE Festival. Leach’s concerto debut with the Dallas Winds continues to be rebroadcast on American Public Media’s Performance Today, America’s most popular classical music radio program. Other concerto highlights include performances with the Eastman Wind Ensemble, Euclid Symphony Orchestra, and McConnell Arts Center Chamber Orchestra, plus world premieres of two new concertos written for Leach: Dave Maric’s SPIEL, and Durwynne Hsieh’s Prelude and Cartoon. Additionally, he has been featured as a guest artist at more than thirty universities over the last few seasons. Find out more at cleachmusic.com.
Leach’s 2021-2022 season, though inevitably impacted by COVID-19, is marked by a return to the concert hall and several world premieres. Leach kicks off the season by organizing a collaboration between conductor Vimbayi Kaziboni and the VIVO Music Festival, culminating in a performance of John Luther Adams’ large outdoor work Inuksuit in Central Ohio’s historic Schiller Park. Leach will appear as a guest artist at Capital University’s NOW Music Festival, the University of Memphis Percussion Festival, Denison University’s TUTTI Festival, and will also make his Austrian debut with Orphic Percussion at the Internationales Halleiner Schlagzeugfestival. In June 2022, Leach will serve as the Marjorie Bruce Holland Artistin-Residence for ÆPEX Contemporary Performance,
MICHAEL LOCKWOOD CROUCH
California, and is pursuing an educational doctorate (EdD) in Educational Theatre at NYU Steinhardt. As a director and performer, she has worked with a number of companies including Sojourn, The Theatre School at DePaul, Free Street, Pegasus, Court, eta, and Theater Unspeakable. Quenna has received Chicago Department of Cultural Affairs and Special Events grants, artist residences at Santa Fe Art Institute Equal Justice and Free Street Theatre, and a Lincoln City Fellowship from the Speranza Foundation. Continuing to build the world she wants to see/live in, she is developing personal practices of poetic and participatory performance.
Michael Crouch has recorded over 250 audio books for publishers large and small. He is best known for narrating contemporary fiction, young adult, and middle grade novels. His work has earned AudioFile Magazine’s Golden Voice Lifetime Achievement Honor, Audie Awards, multiple Earphones Awards, YALSA and ALSC honors, a Voice Arts Award, and Best of the Year listings from Audible, Slate, School Library Journal, Publishers Weekly, AudioFile, Parade, and Booklist.
LOGAN MOORE A recent graduate from the University of North Texas, Logan is a rising talent in the Ohio jazz scene. Even before graduating high school, he had opportunities to play in professional bands led by Vaughn Wiester and Rick Brunetto, as well as being a featured soloist with the Columbus Jazz Orchestra after winning the Hank Marr Jazz Award. Since graduating and moving back to Columbus, Logan has kept busy performing with big bands such as Vaughn Wiester’s Famous Jazz Orchestra, Rick Brunetto’s Big Band, Swing’s The Thing, and Artistic Jazz Orchestra, as well as small groups such as The Brewtet at Zaftig Brewing, Hot Tonic, Largemouth Brass Band, and Waves De Aché.
Acclaimed and bestselling authors include Rick Riordan, Gore Vidal, Louis L’Amour, Rebecca Makkai, Stephenie Meyer, James Patterson, Becky Albertalli, Adam Silvera, Madeleine L’Engle, Gayle Foreman, and many more.
QUENNA LENÉ BARRETT Quenna Lené Barrett (she/ her) is a theater artist and practitioner, developing programs to amplify teen and community voice and hold space to rehearse, tell, and change the stories of their lives. She is a company member with the Illinois Caucus for Adolescent Health’s For Youth Inquiry company, Associate Artist with Pivot Arts, recent cocurator for Theatre on the Lake, and is the Associate Director of Education at the Goodman Theatre.
Aside from performing, Logan is also an active arranger. Not only does he arrange for many different sized ensembles, since the summer of 2019, he has been recording these arrangements all on saxophone and sharing to YouTube weekly. These videos have since gained the attention and admiration of musicians such as Jacob Collier, Alex Hahn, and Saxologic.
Quenna received her BFA from NYU Tisch Drama, MA in Applied Theatre from the University of Southern
CONCERT I FIFTH HOUSE ENSEMBLE AND AUSTIN WINTORY PRESENT, Journey LIVE Wednesday, March 23, 2022 7:00 pm, Sharon Martin Hall - Eisner Center Austin Wintory, arr. Patrick O’Malley Patrick O’Malley, conductor
Mason Spencer, viola
Dalia Chin, flute Grace Hong, oboe Elizandro Garcia-Montoya, clarinet
Herine Coetzee Koschak, cello Joshua Lambert, double bass Jeremy Vigil, piano
Nick Ritter, bassoon
Jennifer Ruggieri, harp
Parker Nelson, french horn
Alex Wier, percussion
Khelsey Zarraga, violin
Alexandra Olsavsky, soprano
Gamers: Gabe Donnelly, Alec Gau, David Henning, Evan Lang, Malcolm McDonough, Hayden Mong, Nicholas Richert, Ali Ziegler-Khan
You wake alone, surrounded by miles of burning, sprawling desert, and soon discover the looming mountaintop. Faced with rolling sand dunes, age-old ruins, caves and howling winds, your passage will not be an easy one. A cloaked avatar, you travel and explore this ancient, mysterious world alone, or with a stranger you meet along the way. While the goal is to get to the mountaintop, the experience is the discovery of who you are, the story of this place, and your purpose. The Chicago-based Fifth House Ensemble (praised by the New York Times for its “conviction, authority and finesse”) teams up with composer Austin Wintory to present an original, interactive live performance of his Grammy-nominated score to the video game Journey. Described as “the most beautiful game of its time” by IGN, critics have called Journey one of gaming’s crowning achievements. Created by thatgamecompany, it is the fastest selling game to date on the Sony Playstation Network. Never quite the same each time it is played, Journey is an interactive parable, an anonymous online adventure to experience a person’s life passage and their intersections with others. In this unprecedented collaboration, live musicians respond to the actions of game players in real time on stage.
Journey created by thatgamecompany. Journey PS4 and special Live build by Tricky Pixels Ltd
SUN MIN KIM, FACULTY, AND GUEST ARTISTS Thursday, March 24, 2022 3:00 pm, Burke Recital Hall - Eisner Center
The Best of Both Worlds
Habitats - V-Bromeliads
Let Freedom Ring
Jennifer Bernard MERKOWITZ Deborah Barrett Price, viola Sun Min Kim, piano
Sun Min Kim, piano
Riley Conley, trumpet Sun Min Kim, piano
Justin Snyder, piano
Zach Gulaboff DAVIS
Peter Vukmirovic STEVENS Cora Kuyvenhoven, cello
Sun Min Kim, piano
JULIA WOLFE // Earring
“Earring” was written as a part of a collection of 25 study pieces for piano published by the Associated Board of the Royal Schools of Music (UK). At the start of “Earring” the hands are completely independent—one hammering away in irregular rhythms at the top end of the piano, the other hand playing a slow dreamy melody in mid-range. The task is to maintain a clear sense of both worlds at the same time. For most of this short work the two hands coexist separately, taking little notice of each other as they transform.
JENNIFER BERNARD MERKOWITZ // The Best of Both Worlds
The title “The Best of Both Worlds” came to me while I was thinking about the genesis of the opening motive—a falling tritone followed by a rising perfect fifth—which figures prominently in the piece. I was minding my own business at the dining room table when I heard a sequence of four notes plucked on my children’s out-of-tune ukulele that compelled me to write them down. I thought about the way that my home life as a wife and mother interacts with my work life as a composer and professor. Some days, I think I have the best of both worlds. Some days, I think I have the best of neither of those worlds, as I frantically run from one thing to the next, wondering if I do any of it well. Many people have similar different worlds that they inhabit, and there are many pairs of worlds in this piece. The slow, lyrical first section clashes with the bluesy, aggressive nature of the second section. The scales used share similar collections of notes, but change color when the emphasized tonic shifts. These conflicts play out in different ways as the piece progresses, reaching a cautious resolution by the end. It was a pleasure for me to write this piece for the two instruments whose worlds I inhabited during my musical training. Many thanks go to the Ohio Music Teachers Association, who commissioned the piece for their 2017 conference, to the Virginia Center for the Creative Arts, the place where I could escape from one world into another to complete the work, and to Suzanne Newcomb and Steve Wedell, who gave the premiere performance.
ZACH GULABOFF DAVIS // Reverie
“Reverie” explores the dialogue and contrast between both instruments. As the work unfolds, listen for changes in character and emotion, leading to an ending reminiscent of the opening.
ROBERT McCLURE // bloom
“bloom” (2021), for piano and electronics was commissioned by and written for pianist Justin Snyder. The title references several images that contributed to the compositional process. It’s the tangled, rising bloom of jellyfish. It’s the soft, hazy blue glow emanating from fish and invertebrates from the ocean depths and bioluminescent algae shimmering on the surface. It is the vision of light surrounding, but not touching.
PETER VUKMIROVIC STEVENS // August Ruins
nurtured in order not to lose it. I use the patriotic song “My Country ‘Tis of Thee” to represent our democracy, with the verse “let freedom ring” as a frequent refrain. Through continuous manipulations of the song, I seek to represent the many struggles that democracy faces. These variations grow ever more aggressive and chaotic until the gospel song, and anthem of the civil rights movement, “We Shall Overcome” emerges. Its message of hope and call for unity speaks to the promise of a true democracy. Although “We Shall Overcome” eventually becomes the dominant voice, the chaos never completely dissipates, symbolizing that the struggle for freedom is ongoing. Unfortunately, I received an extremely poignant reminder about the fragility of our democracy the day that I finished this work: January 6, 2021. On this day an angry mob stormed the US Capitol.
Stevens composed “August Ruins” for cello, a series of five semi-interconnected works for solo cello, between 2010 and 2012.
“August Ruins” for cello is a meditation on the advancement of human progress. The first work, “August Ruins,” embodies the restless pursuit to find personal inner harmony in this world. The series has been described as, “Living works that reshape themselves over time.”
MICHAEL LUKASZUK // Habitats - V-Bromeliads
This piece is the fifth in a series of experimental sound works that explore the idea of digital ecologies. Each piece consists of a generative composition program that records the interactions of various sound-making objects. This particular piece is inspired by the idea of bromeliads in nature, and their ability to function within a larger habitat while acting like a self-contained ecosystem at the same time.
ROB SMITH // Let Freedom Ring
“Let Freedom Ring” is one of twelve solo piano works commissioned by the Texas New Music Ensemble for their 2020-2021 Season, No Time for Silence. The ensemble, under the direction of composer Chad Robinson, believes that artists should be a voice for change and sought works that would address the multiple crises we faced in 2020, such as the covid pandemic, racism, politics, and global warming. “Let Freedom Ring” is a reflection on our democracy. The events of 2020 made me recognize how fragile our democracy is, and how it must be constantly
CONCERT III DENISON SYMPHONY ORCHESTRA AND WIND ENSEMBLE Thursday, March 24, 2022 7:30 pm, Sharon Martin Hall - Eisner Center Golden Embers African Violet
Tyler MAZONE Jimmy KAUCHULIS
Denison University Wind Ensemble Dr. Christopher Westover-Muños, conductor — Brief Pause —
Big Beautiful Dark and Scary
Denison University Symphony Orchestra Dr. Philip Rudd, conductor
BECKY TURRO // Glass Clouds
“Glass Clouds” mixes natural and fantastical elements. It is inspired by tan and pink cumulus clouds as they are sharpened by sunlight. These clouds are prominent and bold, yet have a colorful translucence to them that brings to mind a city way up in the sky that is made entirely of glass.
TYLER MAZONE // Golden Embers
“Golden Embers” is about a dream that has been stuck in my head for several years now. I was standing in my driveway and the sky is quite purple, as in the cover photo, except the trees had no leaves. Instead the trees had golden embers floating off of them. I slowly walked down the driveway while admiring the massive amount of embers coming off of every single tree in the area. Slowly, I began to float and soar up into the sky and then the dream faded away...
Clouds are huge and move slowly through the sky. There is also a fragility to them. They are easily blown and morphed by the wind. They also bring to mind heaven and spirituality, inspiring fear of the unknown at times, other times allowing us to marvel beneath its grandeur.
JIMMY KAUCHULIS // African Violet
ALLEN MOLINEUX // Attack Mode
“African Violet” is one of the fruits of my long term research into the music and culture of the Ewe people of Southern Ghana. Various versions of the themes are combined in multiple counterpoints on traditional Ewe percussion parts, played by the strings and optional percussion. Call and Response patterns based on Ewe concepts happen among the instruments, and, between solo instruments and the ensemble, bringing the entire piece to a thrilling climax.
This work was composed in response to a call for scores that involved a very advanced school string orchestra wanting a piece with a duration of no more than five minutes. This motivated the composer to create an intense, aggressive work that should keep the players focused on producing such an effect. The piece’s title was chosen to make certain as to what their mindset should be throughout and for that matter, what the listener should expect to experience.
ASH STEMKE // Emergent
To emerge is to rise up or come into notice from concealment or obscurity. Given the constant addition of countless new ideas, emotions, and memories to our repertoire of experiences, which parts will we remember? Which events, theories, or stories will be emergent at the end of each day? At the end of each year? At the end of our lives?
JULIA WOLFE // Big Beautiful Dark and Scary
This is how life feels right now.
WOODWINDS AND MORE Friday, March 25, 2022 10:30 am, Burke Recital Hall - Eisner Center
Everybody should have these Kevin N. Wines, tenor
Cullyn D. MURPHY
hold still while the world turns Hanna Hurwiz, violin Deborah Barrett Price, viola Sneaking Around Big Sky
Emily Klepinger, bassoon Hanna Hurwitz, violin Sun Min Kim, piano
Andrew Delamater DAVIS
Jane K (Evgeniya KOZHEVNIKOVA) Carolyn Redman, mezzo-soprano Sam Reich, piano Leslie Goldman Maaser, flute Steve Rosenberg, oboe Evan Lynch, clarinet Emily Klepinger, bassoon Jocelyn Standley, french horn
Bassoon Quartet Emily Joy SULLIVAN Nate Centa, Scott Hanratty, Emily Klepinger, Jesse Schartz; bassoons Outcry
Philip Rudd, violin
Kieran inspired me a lot while writing this piece. Another source of inspiration was tv shows. I watch many television shows where teenagers are fighting crime or solving mysteries. These episodes almost always take place late at night. Nearly every character on those shows is sneaking around. Some are putting secret evil plans into motion, while others are trying to foil those plans, and one couple is just sneaking off from the group to make out in a broom closet. There’s something fun about watching other people be sneaky and being in on their secret.
CULLYN D. MURPHY // Everybody should have these
“Everybody should have these” is an abstraction of exploitation and absurdity in televangelism. The text is taken from a “Super Deluxe” video parodying televangelists Jim and Lori Bakker’s interview with Mike Bickle and his grandson Hudson on the television program “Grace Street”. Fearmongering is employed by the Bakker’s to sell apocalyptic radiation-removing water bottles. The reorganizing, repeating, and splicing nature of the text is used to highlight the deceptively obvious spiritual opportunism that unfortunately wreaks havoc on so many who do not have the financial means to survive it.
People can sneak around with lots of different intentions and lots of different outcomes. I chose the title “Sneaking Around” because I expect each performer and each audience member will have a different interpretation of the phrase and the music. I personally envision this piece taking place in a dark city alley at night, but it could be about someone trying to destroy the world, or a secret rendezvous, or just a cat trying to get into the cabinet under the sink without you noticing and then protesting his innocence.
ANDREW THOLL // hold still while the world turns
“hold still while the world turns” is an attempt at finding a place that is static, despite the activity and continual change that surrounds it; blurring clarity between individual voices; sensing the rate at which time passes by; and listening for the sounds that aren’t really there.
ANDREW DELAMATER DAVIS // Big Sky
When I set out to write “Big Sky” I was interested in the concept of space, inspired in part by my travels out West. There is a certain, almost indescribable, sense I get looking out into the vastness of the sky, especially from the top of a mountain or a tall building. Importantly, I hear a very specific kind of music associated with this feeling and it’s that music that begins and ends my piece. While the bookends of “Big Sky” are inspired by this notion of endless space, I did not want the piece to feel static and motionless. The piece, therefore, diverges from its point of origin and gradually morphs into something entirely different by the middle before returning to where it began.
MAGGIE McGINITY // Sneaking Around
I wrote “Sneaking Around” during the Online Summer Composition Workshop with Jenni Brandon: Writing for the Solo Bassoon in summer 2020. A day or two before the workshop began, Kieran, my tuxedo cat, meowed a couple of meows that I thought were particularly melodic. So I sang them back to him, and then I pulled out my piano keyboard app on my phone and found the notes. Those particular pitches make up the first notes of my piece “Sneaking Around.”
JANE K (EVGENIYA KOZHEVNIKOVA) // Salt
repetition and variation that was both authentic to me as a composer and satisfying to me as a listener. The material builds modularly, through more and more elements being gradually layered in, as is often the case in popular music. However, the main groove-based material is repeatedly interrupted by an offbeat, angular gesture that generates tension and unpredictability, threatening to take over the piece as it gains steam.
Written by Jane K (Evgeniya Kozhevnikova) for 2021 Fresh Squeezed Opera Vocal Lab, “Salt” is a setting of the poem by Katherine E. Young. According to Young, “Salt” has its roots in the 1892 version of Paul Sébillot’s “The Dirty Shepherdess” that appears in The Green Fairy Book, edited by Andrew Lang. A vain king asks his daughter to tell him how much she loves him, and she says she loves him as much as the salt in her food. Deeply offended, the king disowns his daughter and forces her to flee his kingdom but, after a series of plot twists, is forced to admit that salt is indeed the best thing in life.
The lyrical second section of the piece is a study in contrast—an exploration of what happens when meter recedes and pitch and gesture take focus. Several identical instruments sounding the same pitch creates an entirely different texture and mood; the high range, pitch collection and lack of clear downbeat create a questioning, yearning quality that contrasts the irreverence found earlier in the piece. Eventually, the upward-reaching gestures change the harmonic palette and create a quasi-impressionistic texture that grows more and more tenuous. In the final section of the quartet, all the main thematic materials intersect and integrate, reconciling the earlier fragmentation. Vulnerability and strength, reverence and irreverence, and questions and answers co-exist in the layering of different gestures and rhythms.
Salt by Katherine E. Young Not like sun sinking in vermilion cloud, nor moon sailing a silver-brushed sea, not like waves shushing mutinous seabirds, nor dew beading a web, not agelessly, not immortally – though I, too, am these –
but simply, as in the story of the woman who counts her devotion in grains of salt, seasoning that gives life its savor: that’s what I’ll be for you, o love.
“Salt” appears in Woman Drinking Absinthe by Katherine E. Young (Alan Squire Publishing, 2021). https://alansquirepublishing.com/bookstore/woman-drinkingabsinthe/
KIAN RAVAEI // Outcry
I tried to synthesize the incisive sounds of EDM with the gnarliest innovations of modern composition — metric modulations, modes of limited transposition, twelve-tone rows — resulting in a piece of music suitable for concert halls and raves alike. It spotlights a mode of Iranian classical music called Bidâd (“outcry”), known for its visceral, wailing quality. I hear the very same primal expressive urge in Bidâd, modern classical works like The Rite of Spring (hence the bassoon quote), and the heavier strains of EDM.
JULIA WOLFE // On Seven-Star-Shoes
“On Seven-Star-Shoes” was inspired by the poetry of the bohemian German-Jewish writer Else LaskerSchüler. She was one of the few women associated with the Expressionist movement. Her words have a great sense of mystery and celebration.
EMILY JOY SULLIVAN // Bassoon Quartet
In “Bassoon Quartet” (2016) I chose to build a whole thematic section from one catchy rhythm, allowing it to groove and repeat while finding a balance of
JAZZ ENSEMBLE AND CHAMBER SINGERS Friday, March 25, 2022 3:30 pm, Burke Recital Hall - Eisner Center
Of Time and Passing II. To everything a season
Alleluia (The Rose)
Pity Me Not
Jane K (Evgeniya KOZHEVNIKOVA)
Years, Months, and Days
Philip Everingham, piano Denison Chamber Singers Dr. Harris Ipock, conductor
Evansesque Buzzy’s Blues
Denison University Student Jazz Ensemble Pete Mills, director
Songbird’s Lullaby Stealing Silver
Faculty Jazz Ensemble
Logan MOORE Faculty Jazz Ensemble
Thomas J. JOHNSON
Vincent Millay for voice and piano. The poem is a sonnet (14 lines), reflecting how “the heart is slow to learn what the swift mind beholds at every turn.” The choral version of this piece was premiered on September 27, 2020 by Celebris Ensemble under the direction of Joel Snyder.
DANIEL KNAGGS // Of Time and Passing II. To everything a season
“Of Time and Passing” (2016) is a cycle of three songs commissioned by the London-based ensemble, VOCES8. II. To Everything a Season capitalizes on VOCES8’s ability to effectively interpret popular genres a cappella. This ancient text is taken from Ecclesiastes (dated around 300 B.C.) but I set it to a modern, rhythmically-regular and percussive pop-style idiom. Since popular music in whatever era is designed to appeal to a specific “present time”, it is by its very nature ephemeral, and therefore it struck me as an apt metaphor to evoke the transitory nature of seasons.
COLIN LABADIE // Years, Months, and Days
“Years, Months, and Days” grew out of my participation in “A Sense of Place,” a collaborative art residency that brought together engineer Matt Borland, poet Luke Hathaway, visual artist Sarah Kernohan, and myself. “A Sense of Place” was a means of exploring the “vernacular landscape” of St. Jacobs Country—a heavily touristed rural community with a large Mennonite population— through the conception of several distinct but related interdisciplinary art projects.
COLE REYES // Alleluia (The Rose)
This piece seeks to symbolize the current state of the winter season. The month of December is a time full of holidays, religious and secular — a time filled with loved ones and gifts. We create traditions that we stand by year after year and this piece is a tribute to the evolution of those traditions. I decided to use a classic Christmas text, “There Is No Rose” mostly because of its juxtaposition of English and Latin. We have, standing side by side, the old and the new. Likewise, I have chosen to set the Latin text, apart from “alleluia,” far more stagnantly than I did the English text to further separate them—suggesting the duality of existence during the season. Foremost, I hope this piece brings joy to the singers and audience members who listen to it.
JANE K (EVGENIYA KOZHEVNIKOVA) // Pity Me Not
Written by Jane K (Evgeniya Kozhevnikova) in 2019, “Pity Me Not” is a setting of the text by Edna St.
One of the sites we visited during the residency was an Old Order Mennonite graveyard. We were particularly struck by the convention of listing age on the headstone by years, months, and days lived. We began to reflect on our own ages, and something about calculating them in those terms was more immediate and unsettling than was our conventional, years-only nomenclature. I started writing sketches in which the ages of all four collaborators (in days, months, and years) were used to generate rhythmic and melodic material. Though I often use numerical constraints to generate material, using numbers so immediately connected to the life (and, by extension, death) of me and my collaborators gave a weight and intimacy to the material that I hadn’t previously found. Luke eloquently (and flatteringly) described one of these sketches as “a melody, hymn-like in its key, but odd and unfamiliar in its numerically-dictated intervals: an offering, a celebration, a lament; an expression of both intimacy and disorientation.” These sketches would form the basis for “Years, Months, and Days.”
LOGAN MOORE // Buzzy’s Blues
sometimes transposed up a whole step. Since I was not doing a collection of works or anything about forests, I changed “sylvan” to “silver”. (This also gives a nod to Horace Silver, known for doing fully developed arrangements in a combo setting.) The arrangement opens by gradually layering different melodic and rhythmic lines. After a solo section, the main melody is repeated and followed by a four-part canon. After the canon the piece moves into double time for more solos, followed by an extended interlude in the horns (almost a “shout chorus”). After the last solo section, we hear the main theme again and then go to a surprise ending.
This tune is a simple blues that takes advantage of the rich sound of the dominant 13th chord and rhythmic interaction between the horns and the rhythm section. The melodies are reminiscent of classic tunes for the Count Basie Orchestra by composers such as Frank Foster and Sammy Nestico, and the climactic shout chorus plays on those same influences by integrating simple blues licks with the thick harmonies of the full ensemble.
LOGAN MOORE // Songbird’s Lullaby
I’ve been long fascinated with both harmony and the Brazilian style of Bossa Nova, which both inspired me in the writing of this tune. While many of the progressions follow typical movement of American Songbook tunes, I took many opportunities to explore tonalities outside of the initial C major. The tune itself makes me think of a man telling his son about a mythical songbird that traveled the world, singing it’s lullaby for all to hear and bringing peace to waring nations. The wandering harmony tells of the birds travels to far and distant lands, often fraught with hardship, but at the end of each section, the songbird sings his lullaby and brings peace and happiness to those who hear it.
THOMAS J. JOHNSON// Stealing Silver
My goal in writing this was to create a riff-based tune using relatively simple materials, but still try to have some variety in the piece. One song from Snarky Puppy’s album “Sylva” (a collection of songs about sylvan settings) has a solo section that cycles through dominant 7th chords a minor third apart. (In such a cycle after four chords one is back to the first chord of the cycle.) I decided to build an entire tune on a cycle of minor seventh chords, usually descending, but sometimes ascending and
CONCERT VI FRIDAY NIGHT FICTION: ETHEL AND MICHAEL LOCKWOOD CROUCH VISUAL ART OF CHRISTIAN FAUR
Friday, March 25, 2022 7:00 pm, Sharon Martin Hall - Eisner Center ETHEL Corin Lee and Kip Jones, violin Ralph Farris, viola Dorothy Lawson, cello Early that summer LaNorma
Reading from: Lights All Night Long By Lydia Fitzpatrick
A thoughtful young man* Reading from: Have You Seen Louis Velez? By Catherine Ryan Hyde Navigate and See*
Reading from: Ship of the Dead By Rick Riordan
Reading from: The Journey of Little Charlie By Christopher Paul Curtis
Zachery S. MEIER
The Great Believers*
Music to a Map*
Reading from: The Great Believers By Rebecca Makkai
Reading from: The Best Man By Richard Peck
Tom SCHNAUBER Reading from: The Map of Tiny Perfect Things By Lev Grossman
A Subtle Conversation* Ching-chu HU Reading from: Simon vs. the Homo Sapiens Agenda By Becky Albertalli Mountain Song
*Denotes a world premiere
falls early in the story. In a fashion, it encapsulates what I find so bewildering about that season in our country: how a mysterious disease battered a whole community who were abandoned by those responsible for tending tend to their need. Not knowing when the virus might strike, or whom, there was no option but to step as loving as possible into the void. Having accompanied my own best friend through his AIDS hospice in 2000, much in the book resonated deeply. I was stirred to re-read my own journal from that time, and recalled two realities most saliently: 1) how important it was to be fully present emotionally and physically to the transition Tony was going through, and 2) how little control any of us had over the forces at play. While composing this work, then, I relinquished control. The sound gamut was created through chance operations which were then assembled lovingly and with space. Large segments of the work are realized “in the moment,” with the inspired talent of the ETHEL quartet choosing where and how to assemble given modules. The spoken word and the quartet are in two spheres; the word in the outer world, the vibrating string, in the inner.
JULIA WOLFE // Early that summer
While living in Amsterdam for the year [in 1992] I began “Early that summer.” At the time I was reading a book about US political history. The author would introduce small incidents with phrases like “Early that summer …” Incidents would snowball into major political events or crises. I realized that the music I was writing was exactly like this—that I was creating a state of anticipation and forward build.
ZACHERY S. MEIER // Navigate and See
Written to accompany Rick Roirdan’s Ship of the Dead, “Navigate and See” explores the themes of loss, voyage, and unexpected turn of events as the narration navigates the plunge of the main character into an underwater dinner event. The composition takes on an underscore role to complement and react to moments within the text, creating tension and release to heighten the twists and turns of conversation and observations from the main character, Magnus Chase, and his companions with the host, Aegir, and his nine daughters. This piece was written for ETHEL to accompany the narration by Michael Lockwood Crouch for the 2022 TUTTI Festival held at Denison University.
CHING-CHU HU // A Subtle Conversation
Growing up, LGBT Young Adult fiction as a category didn’t exist. There were very few role models; there weren’t stories in which to find escape or refuge. Today’s storytellers are creating safe spaces for those who are discovering their identity and I relish the opportunity to jump into my younger self and read these stories with those eyes. Simon vs. the Homo sapiens Agenda by Becky Albertalli is one of those eye-opening novels - one that takes a protagonist through 21st century issues. I’m thrilled to be able to collaborate with Michael Lockwood Crouch and ETHEL to help set a scene for the opening pages of the novel that inspired the film Love, Simon.
FELICIA SANDLER // The Great Believers
In her award-winning book The Great Believers, Rebecca Makkai tells the riveting and emotional story of a group of friends living in Chicago in the 1980’s during the AIDS crisis, and the aftermath for those who survived 30 years later. Their story spans two continents, Chicago in the 1980’s and Paris in 2015. The excerpt you will hear in this performance, read so stirringly by Michael Lockwood Crouch,
HYEKYUNG LEE // Mountain Song
“Mountain Song” is the first movement of a six, short-movement piece. Each movement depicts different landscapes that surround a mountain. It employs the five-note scale and montuno style of rhythms. Originally written for clarinet, violin, and piano, this version was arranged for ETHEL in 2021.
CONCERT VII ELECTRONICS AND MORE: NEW MUSIC FOR A SATURDAY MORNING Saturday, March 26, 2022 10:00 am, Thorsen Dance Studio - Eisner Center De Rerum Natura Spinning Jenny Mechanical Thaw Squares Supermassive Apex Predator
fixed media Hanna Hurwitz, violin fixed media
Julia WOLFE Andrew Delamater DAVIS
Robert Thomas McPHEE Robert Thomas McPhee, electronics Aaron Hynds, tuba
Martin J. Van KLOMPENBERG Evan Lynch, clarinet Emily Klepinger, bassoon
Jorge Peixinho - In Memoriam Pedro Baptista, guitar a_voi(ce)_d
Pedro BAPTISTA Wei YANG
ROBERT THOMAS McPHEE // Squares
“Squares” is a solo work for a polyphonic synthesizer, accompanied by live-recorded playback and live signal processing. The composition borrows from a wide variety of styles, ranging from hip-hop to 20th century piano music. “Squares” maximizes the expressive freedom of the performer by allowing a variety of possible electroacoustic instrumentation choices and performance techniques. Under the guidance of a few specific criteria, analog and digital hardware and software instruments are all capable of rendering the piece, and the performer has immense freedom in designing a specific synthesis patch tailored to their needs. Furthermore, the improvised A’ section allows the performer to freely manipulate the recorded A section of the work to their liking, using any available tools.
RODNEY DuPLESSIS // De Rerum Natura
“De Rerum Natura” is inspired by the concept of “naturalness” in physics, which presents a conflict between truth and beauty. In physics, the most natural theories ought to have dimensionless ratios of order one and ought not to have finetuned parameters. The tension between this widely applied concept on the one hand, and the promise of science to shed all bias in pursuit of truth on the other, guided my exploration within the soundscape of this piece. I recorded the sound material in Australia (Alpine National Park), Paris, Siena, and California. Composed at Musiques & Recherches in Belgium and at CREATE in California (2019-2020). The blending and processing of sounds reflects the tension between nature and naturalness; the way things are and the way we want them to be.
As a live-sequenced work, little of which is performed in strict time, “Squares” invites and embraces temporal indeterminacy at both the micro and macro levels. The patch is constructed to accentuate rhythmic idiosyncrasies in the work’s performance. An embrace of the dichotomy between the mechanical time of the instrument and the relativistic time of performers and listeners enables the integration of fixed and free temporal processes.
JULIA WOLFE // Spinning Jenny
The spinning jenny, invented at the start of the Industrial Revolution, was a machine that could spin many spindles, mounted on a large wheel, at once. Invented by James Hargreaves in Stanhill/ Oswaldtwistle/Lancashire, England, the spinning jenny dramatically increased cloth production. My “Spinning Jenny” also employs strings moving at a rapid-fire pace, but in this case the bow speeding across the four violin strings to make a constant run of changing harmonies, colors, and rhythms.
An intricate modulation matrix and the use of generative sound design elements and invariance inspired by the limitations of the hardware itself emphasizes the live experience of this performance on the ASM Hydrasynth. The Roland SP-404sx digital sampler enables an improvised critique of the live performance through recording, processing, and playback on-stage.
ANDREW DELAMATER DAVIS // Mechanical Thaw
“Mechanical Thaw” is a short work. The idea for the piece came from slow, synthetic, icy chords that grow and develop over time. The chords are punctuated with recordings of radio and other natural sounds. The piece reflects an attempt to reach the outside world, a feeling common to so many of us during this pandemic.
AARON HYNDS // Supermassive
of this work stem from the observation of a range of techniques, effects, gestures and structures present in Peixinho’s guitar works. During the 20th century’s second half, shaping the avant-garde musical movement in Portugal, the composer develops and utilizes an array of characteristic elements, which are now explored in a systematic way. Jorge Peixinho’s works catalogue, elaborated by Delgado, Machado, and Machado (2002), was consulted as the main source for the identification of 21 guitar works composed through 24 years (1971-1994). With the gathering of Jorge Peixinho’s manuscripts and ensuing analysis and hands-on exploration with the guitar, there were identified recurrent and characteristic elements on Peixinho’s guitar writing. This proposal is intended to contribute for the dissemination of the barely known guitar role in Jorge Peixinho’s works, as well as pay a deserved and heartfelt tribute to the composer.
I wrote this work for my senior recital, and in a lot of ways, it epitomizes the compositional work that I did during my undergraduate years. The original tuba part was improvised, but many years later, the document of that performance has taken on a bigger life of its own. After receiving a request for the music for “Supermassive,” I sat down and transcribed my premiere performance. That version is now the ‘official’ version of the work, and I am glad to see such an ephemeral performative act become much more permanent.
MARTIN J. VAN KLOMPENBERG // Apex Predator
“Apex Predator” began life as all pieces do: with a small child who loves dinosaurs. During a video chat with my nephew, Georgie, he very excitedly told me of the Titanboa, the largest snake that ever existed. Having never heard of this monstrous beast, I took to the internet, and after falling into a wormhole, stumbled upon an article on apex predators. When one thinks of apex predators, the top link in the food chain, the usual thought goes to lions, tigers and bears, however, depending on the biome, apex predators come in all sorts of species, sizes, speeds and colors. This disparity is what I hoped to explore. The bengal tiger, the well-known hunter, stalking and pouncing its prey; the alligator snapping turtle, wading in its muddy home, waiting for a chance to strike; the majestic orca, king of the oceans; the golden eagle, with its brilliant wingspan; and the Komodo dragon, the largest lizard on earth, with its poisonous bite and shockingly fast speed.
WEI YANG // a_voi(ce)_d
The piece is a result of two observation of interesting use of voice under the covid restriction: one is the longing to external communication in proximity with others, as normally it would be before the covid; the other is the increasing tendency to talking to self, as a relief for the first longing. In the piece, I tried to capture the psychological conditions concerning these two aspects: loneliness, exhaustion, uncertainty, etc. All the material comes from a pantry recording of some voice improvisation before covid, which were intended as the tape portion for a choral piece but never took place. But it is interesting to see so much of the private and even “negative” emotional quality described above were already present, which almost renders the unearthing process of the original materials’ darker sides therapeutic and soothing.
PEDRO BAPTISTA // Jorge Peixinho - In Memoriam
This proposal for solo guitar, entitled “Jorge Peixinho – In Memoriam,” is intended to crystalize guitar writing characteristics of Jorge Peixinho (1940-1995). The composition and interpretation
ETHEL AND FRIENDS Saturday, March 26, 2022 1:00 pm, Burke Recital Hall - Eisner Center
Emptiness - String Quartet no. 1
ETHEL Corin Lee and Kip Jones, violin Ralph Farris, viola Dorothy Lawson, cello
Tracy Carr, oboe Mark Dal Porto, piano
Sonata for Violin and Piano
Kia-hui Tan, violin Yi Chieh Anita Chiu, piano
Isaac Silva URIA
Mark DAL PORTO
JIANJUN HE // Sonata for Violin and Piano
“Sonata for Violin and Piano” (2021) could be understood as a piece of polystylism since it shows a combination of materials, techniques, and concepts belong to different styles. For instance, diatonic scale, twelve-tone row, whole-tone scale, polytonality, are all seen in this piece. One can hear differently structured chords freely shifting from one to the other.
ISAAC SILVA URIA // Emptiness - String Quartet no. 1
“Emptiness” is a piece created by exploring the sounds of the universe. It uses the strings and its wide range of techniques to represent how the space often seems simple for us, but when we take a moment and look at it, we find the complexity in multiple elements that together form a beautiful canvas for our eyes.
The piece, consisting of three movements, is cast in a fast-slow-fast scheme. All the movements are built “freely”—none of them can be identified as a “typical” form. The beginning phrase of the first movement, played by the violin, is an important thematic idea. It contains minor second, major seventh, and minor seventh. These intervals are emphasized (horizontally and vertically) in all the three movements to characterize and unify the piece. The middle section of second movement employs twelve-tone rows to create a dramatic episode with climax. The third movement recalls all the important themes from previous movements. A twelve-tone row, consisting of four augmented triads, serves as a bridge to connect different thematic ideas. The beginning phrase of the first movement makes its last modified statement on piano to end the piece.
MARK DAL PORTO // In Memoriam
“In Memoriam for Oboe and Piano” is a reflective, somber, yet hopeful piece in response to so many of the world’s recent changes. The plaintive oboe line depicts the individual and the challenges so many of us have experienced. As the piece continues, there are more optimistic, heart-felt, and reflective moments. The conclusion is similar to the introspective opening and represents a nostalgic looking back and forward-looking hope, desire, and expectation that life and we will continue.
STEPHEN MITTON // Caricatures
This quartet is partially inspired by political cartoons and political satire. I am especially interested in the caricaturist’s ability to exaggerate bodily features in a way that conveys a certain message about the character of the person being represented. This quartet is an attempt to create the same effect musically by exploring three different adjectives a political cartoonist might use to describe a person or group he or she is drawing satirically: impetuous, cunning and vain; thus, each movement should be played as a distinct personality.
Combining tonal music with contemporary practice, balancing accessible melody with idiomatic and innovative crafts, “Sonata for Violin and Piano” shows the fusion of different cultures, demonstrates the mixing of various styles, and reflects the diversity of today’s music.
JULIA WOLFE // Blue Dress
My love of American folk music blossomed in the 1980s when I lived in Ann Arbor, Michigan. Ann Arbor is a big folk town with amazing musicians of all kinds. I started to play mountain dulcimer and accompanied myself singing. I picked up the bones, played folk guitar, and assisted an instrument builder in making psaltries. Many of my compositions reference folk songs—like Four Marys (for string quartet) and Cruel Sister (for string orchestra.) For the Bang on a Can All-Stars I wrote Steel Hammer (a deconstruction of the John Henry ballad), and Reeling (featuring Canadian mouth music.) In “Blue Dress for String Quartet” my folk roots come to the fore with fiddling licks, fragments of song, humming, and bows deep into the string. The work was inspired by a field recording of a woman singing “pretty little girl with a blue dress on.”
CAMERON LEACH, PERCUSSION Saturday, March 26, 2022 3:00 pm, Sharon Martin Hall - Eisner Center
João Pedro OLIVIERA
Not a Haiku
Alexis BACON — Brief Pause —
A Greek Tragedy (2014)
63 Across 81 Down (2019)
Trilogy (2000) I. Concentrics II. Pelogy III. Tamboo
Ceci n’est pas une balle (2012)
MIKEILA McQUESTON // Glass Remnants
JOÃO PEDRO OLIVIERA // Kontrol
2020 has felt like a maelstrom of foreboding headlines. This particular composition was written in response to my learning about the Glass fire in California, one of far too many West Coast fires in recent memory.
“Kontrol” is a virtual percussion piece. Movements correspond to sounds and sounds correspond to invisible instruments.
ROBERT McCLURE // Not a Haiku
It has been particularly difficult to hear about natural disasters like the Glass fire while simultaneously trying to isolate due to COVID-19. One begins to feel as if their world is both too big and too small. This composition aims to explore that headspace and fluxes between an outlet for anger, a lullaby for the heartbroken, and a prayer for the hopeful.
“Not a Haiku” was written after many conversations with Scott Shinbara about the possibility of the composition. The multiple percussion set up consists of the following which were chosen based on Scott’s personal collection of instruments; 4 double-headed toms (8” 10” 12” 14”), pedal bass drum, 2 mini timbales (6” and 8”), 2 woodblocks, log drum, and a wooden-headed tom. The pre-recorded sounds are organized into three categories: metal sounds (opera gongs, nipple gongs, tam-tams, cymbals, metal pipes), electronically produced sounds (static, pitches, clicks), and sounds created from using my own voice (yells, humming, pitches). The piece is constructed in three large parts and breaks down further into a 5-part arch form. I took the ratio 5:7:5 to devise the length of these three large sections. Also, this ratio determines the metric scheme using bars of 5/8, 7/8, and 5/8, which increase exponentially. This scheme is used for the first large section and then run in reverse for the last large section. The ratio also constructs a gong cycle that is run throughout the entire piece, as it would be in traditional gamelan music. And finally, even the instrument selection shows the ratio of 5:7 with wooden instruments to drums respectively. This piece was not inspired by the Japanese form of poetry, “haiku” which has a 5-7-5 syllable structure. It does not try to incite imagery of nature. Despite the numeric connection to the poetic art form, this piece is not a haiku. This piece was written for and is dedicated to Scott Shinbara.
Because this piece was originally conceived for Sunhouse Percussion sensors, the melodic components contain a limited number of sounds (8 chords and 8 melodic notes).
ALEXIS BACON // Ojibwe Song
“Ojibwe Song” is a ten-minute electroacoustic piece for percussion and fixed media. To record the audio, I interviewed Alphonse Pitawanakwat, a First Nations Ojibwe speaker who moved to the Lansing area as a young man to work in the auto industry. Now retired, he is one of many Ojibwe (Chippewa) speakers who have been contributing to the rebirth of the Ojibwe language. During my interview with Alphonse, I learned much of his life history, including stories of his rural childhood on Manitoulin Island, the last unceded reserve in Canada; testimony of how his mother was forbidden to speak Ojibwe as a child in her Catholic boarding school; and his fond memories of singing in his church choir. These spoken phrases
allowed me to frame the piece as a metaphor for the rebirth of the Ojibwe language: the speaker became lost in a fog (the language was threatened); he experienced corporal punishment (the language nearly disappeared); and after passing through the fog he was again able to sing church hymns and songs written in Ojibwe (the language is returning).
puzzle, 144 to be exact, 63 across and 81 down. Furthermore, there are embellishments and a tape track with clips of every word/phrase in the puzzle to emphasize or communicate with the sounds of the drum set. I have always been inspired by words and how equally mundane yet beautiful they can be in the right context. I wrote this piece as a way to not only to capture that inspiration, but to explore a new rhythmic language that only the words themselves could have helped me discover.
As always in my electroacoustic music, the percussion and the recording intertwine to create an atmosphere that carries the listener on an emotional journey. The percussionist acts as the protagonist while the audience is surrounded by evocative atmospheric sounds that portray the drama of the story suggested by the recordings. My goal with this and with my other electroacoustic works is to explore ways in which some of the complex tapestry of American voices can be heard through my work.
DAVE MARIC // Trilogy
“Trilogy” is a piece written for a fiendishly large percussion setup and electronics. The electronic track consists of sounds from the instruments contained within the percussion setup, essentially blurring the line between what’s being performed live and what’s in the pre-recorded track. Dave’s music is heavily influenced by electronic dance music, and many of those styles are represented throughout “Trilogy’s” three movements.
DAVE MARIC // A Greek Tragedy
Written for two snare drums and electronics, “A Greek Tragedy” combines a recorded phone call between the composer and his mother with a similarly interactive snare drum part. The phone conversation revolves around Dave’s Greek heritage, while the snare drums mimic this conversation with a relationship all their own. This piece was originally written for the 2014 Modern Snare Drum Competition, and was later edited and recorded by Cameron Leach.
ALEXANDRE ESPERET // Ceci n’est pas une balle
“Ceci n’est pas une balle,” or “This is not a ball,” is a piece for body percussion, electronics, and theatre. The piece tells the story of an imaginary bouncy ball, beginning with its arrival, then showcasing the dramatic antics it causes, and finally wrapping up with a big reveal. This is a fun crowd favorite that always closes my solo performances.
ANCEL NEELY // 63 Across 81 down
“63 Across 81 Down” was translated from a crossword puzzle I spent time creating while home for a summer. The rhythmic and instrumental skeleton of the piece was generated by nothing more than the vowel and consonant information from each word and phrase in the crossword
FIFTH HOUSE ENSEMBLE, WE ARE GOOD Saturday, March 26, 2022 7:00 pm, Swasey Chapel
Quenna Lené Barrett, theatre artist
Nick Ritter, bassoon
Herine Coetzee Koschak, cello
Dalia Chin, flute
Parker Nelson, french horn
Joshua Lambert, bass
Grace Hong, oboe
Khelsey Zarraga, violin
Jeremy Vigil, piano
Elizandro Garcia-Montoya, clarinet
Mason Spencer, viola
Collaborators: Michael Rohd, Leila Ramagopal Pertl, Brian Pertl Participants: Monica Ayala-Martinez and the Introduction to Latin American and Caribbean Students, Cheryl McFarren and the Theatre Performing Voices Students, Susie Kalinoski and The Mindfulness Advocacy Students, Paving the Way from the Center for Belonging and Inclusion, Faculty Ombuds Group
Loop for Violin, Viola, and Cello
Turbulent Mind for Flute, Clarinet, Piano, Violin, Viola, Cello
What of the past stays with us by choice, and what stays with us because memory and history linger?
Reeling arr. for Dectet
Julia WOLFE arr. by Fifth House Ensemble ACT II
What responsibility do we have for what happened before we were alive?
Pale in Your Shadow for Horn, Oboe, and Piano Blue Bird
Griffin CANDEY HyeKyung LEE
Whose truth do we believe? Integrity for Flute, Bass Clarinet, Piano, Violin, Viola, and Cello
How can people make difficult decisions together?
HEADLINES for Dectet
Ching-chu HU ACT V
How do we want future generations to remember us?
Umoja for Flute, Oboe, Clarinet, Horn, and Bassoon Fixed media by Chisanga Simwenwa
Text scores composed by the Denison community during the Tutti Festival will be interspersed throughout this evening’s program.
We Are Good is an experimental music/theater residency and performance process developed with writer/director and civic practice pioneer Michael Rohd and theater artist/practitioner Quenna Lené Barrett that explores the ways we as a community deal with the past and imagine our futures. Designed to foster authentic inquiry among audiences of varied social and political backgrounds, We Are Good uses techniques developed with Deep Listening practitioners Leila Ramagopal Pertl and Brian Pertl to bring strangers together through communal music-making in an original work that provokes participants to explore: What role should the past play in decisions about the future? How do past events shape us? What responsibility do we have for what happened before we were alive? How does a community make hard choices together? Who do we believe? At a time when the ability to think for one’s self while balancing contributions to a collective whole is more urgent than ever, We Are Good offers participants of diverse viewpoints and beliefs the opportunity to connect through the visceral experience of communal music making, paired with a compelling allegorical story that brings immediate context to the urgent need for mutual respect, shared experience, and open dialogue.
GRIFFIN CANDEY // Pale In Your Shadow
“Pale In Your Shadow” responds to one of Fifth House Ensemble’s prompts for their We Are Good program: what responsibility do we have for what happened before we were alive? The question immediately brought to mind the concept of generational curses—specifically, breaking generational curses.
CARLOS SIMON // Loop
The pandemic of COVID-19 has continued to influence my social, professional and personal life in ways that I never imagined. Day to day life has been like a continuous “loop”; a never-ending quarantine loop. This piece reflects my feelings about the mandated stay-at-home order during this crisis.
That language—“breaking curses”—summons up distinctly violent imagery, a hammer blow that promises to, in one fell swoop, rid us of generational loose ends; it imagines our forebears as the antagonists and us as the protagonists, neatly delineating consequence and blame. In reality, intergenerational trauma rarely divvies up so neatly: some wounds are intentional, some not—some people had choices, some less so—sometimes, someone’s harmful actions were reacting, in large part, to the broken circumstances they themselves inherited. In some cases, blame is warranted, but we really only reach that space once we soften to a difficult reality: sometimes, those who caused the harm we inherit were simply people trying (if perhaps failing) to do their best. While this doesn’t relieve anyone of blame, it might help us right the ship away from destructive cycles.
WENBIN LYU // Turbulent Mind
I wrote “Turbulent Mind” in the fall of 2021. It is a two-movement suite for mixed sextet. Each movement in this suite is short, ranging from one minute to two minutes in length. This piece directly reflects all my emotions during the Covid-19 pandemic. Even under that situation, a monotonous lifestyle still cannot obstruct my turbulent mind. After everything we have gone through, we become stronger and stronger, which is the spirit of the piece.
JULIA WOLFE // Reeling
For my field recording I’ve used a fantastic clip of a French Canadian singer. He’s an older man and he sings a very beautiful kind of music that’s basically the music that you make when you don’t have a fiddler and you don’t have a banjo. You just use your voice. You sing syllables in a sing-song twirly way. I started this project from a very pure place, just using his voice. And little by little I go from his world to my world, which is much more cacophonous and has a more urban sensibility. There is a very personal connection for me. I love folk music and I’ve played a lot of folk music. So in a way I’m connecting my own history by going to his singing and revving it up.
“Pale In Your Shadow” approaches, in its own small way, that duality: moving between the desire to break curses with sheer force and the reality of breaking them with an openness of understanding.
HYEKYUNG LEE // Blue Bird (Parang-Sae)
“Birds, birds, blue birds, do not disturb the greenbean fields. The farmers will cry if the flowers are dropped and lost.
Birds, birds, blue birds, sitting on our green-bean fields. If the green-bean flowers dropped, the farmers will be angry and you will be thrashed.
the flute and bass clarinet the role of the protestor and the string quartet the role of those who would silence them. Coming from my own personal experience calling out the racism and hypocrisy of a person in a position of power, the most difficult part of the experience was not necessarily the backlash from the other higherups, but more so the indifference of my colleagues. For me to so clearly see an issue and be completely livid and to be met with deafening silence and sometimes anger from people whom I considered to be my friends- there was never another time in my life where I felt more alone. Even so, the only regret I have from that experience is that I wish I did more. Integrity - the practice of being honest and showing a consistent and uncompromising adherence to strong moral and ethical principles and values.
Birds, birds, blue birds, sitting on our green-bean fields. We see our fathers’ and mothers’ ghost above those fields. Birds, birds, blue birds, why did you fly in now? Why did you fly in this spring when the pines and bamboos are barely green?” “Blue Bird” is inspired by a Korean folk tune for children, “Parang-Sae (Blue Bird),” which was a lament for the death of a hero, Jeon Bong Jun, who led an unsuccessful uprising (known as Donghak Peasant Movement) against corrupt rulers and invading Japanese troops in 1894. His nick name was the Green Bean General. The blue bird is known to disturb the green bean field. The song was often used as lullaby because of its simplest melody in a slow tempo. Originally written for bass clarinet and piano in 2013, it is arranged for the Fifth House Ensemble to premiere at the 10th Tutti New Music Festival in March, 2022. The piece utilizes the minimum melody and harmony. Through the repetitions and variations of the materials in rhythms and different groupings in meters, the piece tries to capture the sad history and memories.
CHING-CHU HU // HEADLINES
Everywhere you turn there are headlines, soundbites, or acronyms to get our attention. The voices are louder now; they are more insistent. But what are they saying? Over the past few years have we lost our ability to find common ground? Have we forgotten how to listen? With “HEADLINES” you will decide what is played and how. You are the audience, but you are also a collaborator. You have a choice, as you do in the world around you. You can observe, or you can participate. You can find the truth to an article and you can find hope in a desperate situation. Tonight, you get to shape this experience.
ETHAN SOLEDAD // Integrity
For Fear No Music as part of the Oregon Bach Festival Composer Symposium 2021 (Project #1: Social and Racial Justice). This piece explores the idea of speaking up against racism and injustice and being silenced for it. I portray this concept by giving
Thank you to Fifth House Ensemble for allowing all of us to “play.”
VALERIE COLEMAN // Umoja
“Umoja” is the Swahili word for “unity” and is the first day in seven in the African-American celebration of Kwanzaa. The original composition calls for unity through the tradition of call and response and was first meant to be a simple family sing-along song for Kwanzaa. The melody is mainly a french horn solo with supporting rhythms from the upper winds and a constant motor played by the bassoon. Even though the meter is in 3/4 time, the melody and percussive upper wind accompaniment is mostly phrased in 6/8 when there is syncopation. Most importantly, the entire feel should be in 1. Fifth House Ensemble had the pleasure of being introduced to Chisanga Simwenwa through a friend who met him through travels in Zambia. He set Coleman’s piece to lyrics and sent us a beautiful recording of his singing, which precedes the piece. Si si won te tunatuka umoja Mimi nawewe tunatuka umoja Kwa umoja tuna weza kusi mama Tusi po kuwa na umoja tutashuka We all need unity You and I need peace United we stand Divided we fall
COMPOSERS AND PERFORMERS
University of Aveiro under guidance of Pedro Rodrigues and Evgueni Zoudilkine.
ERIK AUGIS Jazz pianist Erik Augis currently lives and works as a freelance musician in Columbus, Ohio. In addition to teaching at Denison University. Erik performs with many local and regional musicians and ensembles including the Columbus Jazz Orchestra, the Columbus Symphony Orchestra, Pete Mills, the band FLIPPO, and others.
DEBORAH BARRETT PRICE A respected performer, Deborah Barrett Price currently serves as principal violist of Opera Project Columbus and the McConnell Arts Center Chamber Orchestra, and is an Artist-in-Residence at the Caroga Lake Music Festival. As Founder and Artistic Director of the Chamber Music Connection (CMC), Debbie has directed, conducted, and performed in festivals throughout Europe, including performances at Santa Cecilia in Rome, the Beethoven Festival in Prague, and a collaborative festival with Caroga Arts, CMC, and the Conservatoire de L’Ouest in Switzerland. Debbie joined the Denison String Faculty in Fall 2001 teaching viola, violin and chamber music.
ALEXIS BACON Alexis Bacon is a composer recognized nationally and internationally for both her acoustic and electroacoustic music. Her work draws inspiration from a diverse array of sound worlds, including vanishing American oral traditions, medieval Provençal poetry, Norwegian fiddle music, and Afro-Brazilian religious ceremonies. Throughout her career, she has won awards including the IAWM Search for New Music Pauline Oliveros Prize, the Ossia International Composition Prize, and the ASCAP/SEAMUS student composition commission. Her work has been supported by awards and grants from the Indiana Arts Council, the Percussive Arts Society, the American Music Center, and the American Society of Composers, Authors, and Publishers. A Fulbright scholar in France, she completed undergraduate studies at Rice University and graduate studies at the University of Michigan. She is currently Assistant Professor of Music Composition at Michigan State University. PEDRO BAPTISTA Pedro Baptista’s guitar studies started with Régine Campagnac at the Sintra Music Conservatory and, later, at the Music School of the Lisbon National Conservatory, with Júlio Guerreiro. He then studied at the University of Évora, obtaining his degrees in guitar with Dejan Ivanovic and in composition with Christopher Bochmann and Pedro Amaral. Pedro Baptista concluded his Master’s degree at the University of Aveiro in music teaching under Pedro Rodrigues and Paulo Vaz de Carvalho. Currently he teaches at Music School of the Lisbon National Conservatory and at Montijo’s Regional Conservatory of Arts and is attending Ph.D. studies in Music at
For over a decade, Debbie served as the Cleveland Institute of Music Youth Camerata Strings co-conductor and as music director of the Women-In-Music String Sinfonia. She has received multiple awards for her pioneering work in chamber music education including Baldwin Wallace Conservatory’s Alumni Achievement Award (2013), Columbus Symphony Music Educator Award, (2004) and Chamber Music Society of Lincoln Center Award for Extraordinary Service to Chamber Music (2018.) Ensembles under her mentorship have placed in prestigious national competitions including the Fischoff, St. Paul String Quartet, Coltman, WDAV Young Musicians, and Discover Chamber Music National Competition with features in Alice Tully Hall and on NPR’s From the Top. Her most recent project, a pedagogy video series “Breathe Together, Move Together, Play Together” is available through iClassical Academy. Contact Debbie through cmconnection.org and carogaarts.org. BRETT BURLESON Guitarist Brett Burleson has performed and recorded in a diverse array of musical circumstances. He has played with jazz groups that range from big band to bebop to free improvisation as well as rock and blues bands. Brett has taught at Denison University since 2009 and has been the coordinator of guitar studies since 2018. He also previously served on the faculties of Capital University, Ohio Wesleyan University, Kenyon College
and The Ohio State University. Brett maintains an active performing schedule in Central Ohio and his album “Songs For My Friends” is currently available through Scioto Records (www.sciotorecords.com).
tian University, Hardin-Simmons University, UT-Brownsville, USC, Chapman University, Chicago State University, Southern Utah University, & the Sichuan Conservatory of China.
GRIFFIN CANDEY Griffin Candey is an American composer whose works have been praised for their “charming and elaborate complexity” and their “lyricism and emotional depth.” Recent US, European, and Chinese premieres include songs for soprano Tamara Wilson (Thundercloud Over Half Dome,) a TTBB work (Protocol) for Cantus Vocal Ensemble, and a new work for saxophonist Timothy McAllister and pianist Liz Ames for their forthcoming album. Upcoming works include cycles for renowned vocalists Stephanie Blythe and Kelley O’Connor for premieres in 2022 and 2023, a ballet (Two-Hearted) with choreographer Jillian Hopper and the University of Michigan dance department, a chamber cello concerto (Facsimile,) co-commissioned by New Music Detroit, Chicago’s CHAI Collaborative Ensemble, and Sacramento’s Citywater, a viola concerto (Plein Air) for the Keweenaw Symphony Orchestra, and a chamber quartet (Sugar) for the American Wild Ensemble. A tireless advocate for American opera, Candey currently serves as composer-in-residence with Cleveland Opera Theatre, who will premiere his adaptation of Lorca’s The House of Bernarda Alba (with librettist Caridad Svich) in February 2021. His previous operas—especially Sweets by Kate—have been performed with theaters and universities across the country, including Boston University’s 2017 Fringe Fest, Fort Worth Opera’s Frontiers Festival, and at New York’s iconic Stonewall Inn. Candey is currently earning his DMA in Composition at the University of Michigan, studying with Dr. Kristin Kuster.
Carr’s articles on performance & pedagogy have been published in the NACWPI Journal, IDRS Journal, NM Music Educator’s Magazine, & The Instrumentalist magazine. Tracy is Professor of Double Reeds & Music History at Eastern New Mexico University.
TRACY CARR Oboist Dr. Tracy Carr, is active as a soloist, chamber musician, orchestral musician, & clinician. Her national performance & presentation venues include the IDRS International Conference, CMS National & International Conferences & the Hawaii International Arts & Humanities Conference. She has performed numerous recitals throughout the US & has presented masterclasses at Texas Tech University, West Texas A & M, Abilene Chris-
A recipient of the 2016 Distinguished Studio and Creative Arts Award at BGSU, Chiu also won the first prize in the graduate division in the 2015 Douglas Wayland Chamber Music Competition. As a collaborative pianist, Chiu had played in recitals, chamber ensembles and orchestras. She is also a prize winner in the 2016 Conrad Art Song Competition. Chiu performs regularly with Springfield Symphony Orchestra and Lima Symphony Orchestra where she serves as assistant concertmaster. She was also hired as a
NATE CENTA Nate Centa is in his final year of earning his Bachelor of Music Education at The Ohio State University. While there, his areas of focus have included woodwind pedagogy, high school band, and orchestral performance. He works as a bassoon instructor in Columbus, Ohio offering bassoon lessons for young and advanced students. Nate also works with local school districts to connect students to double reed resources and educators. Nate performs in ensembles around Columbus as a substitute bassoonist. He has performed with the New Albany Symphony Orchestra and Newark Granville Symphony Orchestra. During his time at Ohio State, Nate has played principal bassoon of the Ohio State Symphony Orchestra and Ohio State Wind Symphony. He most recently was named a winner of the Ohio State Concerto Competition during the 2021-2022 school year. YI CHIEH ANITA CHIU Violinist and Pianist Yi Chieh Anita Chiu is a native of Kaohsiung City, Taiwan. At age 4, she began studying the piano and the violin. She served as concertmaster at the National FHSH symphony orchestra, NTUA symphony orchestra BG Sinfonietta, BGSU Philharmonia, and the OSU Symphony Orchestra.
violin mentor for the Detroit Symphony Youth Orchestra during the 2016-17 season. Chiu studied both violin and piano at Bowling Green State University (MM) with Dr. Penny Kruse and Dr. Solungga Liu. She also studied with Dr. Kia-Hui Tan at the Ohio State University (DMA).
tral, choral, and chamber works. That same year he was asked to write a fanfare for the London Symphony that was recorded in February 2022. In the most recent CODA (College Orchestra Director’s Association) International Composition Contest, he was awarded first prize for his orchestral work Song of Eternity. He has also been given certificates of excellence in band, choral, orchestral, and chamber music composition from The American Prize organization. Dal Porto serves on the faculty of Eastern New Mexico University as Professor of Music and Coordinator of Music Theory and Composition. In 2012, he received the ENMU Presidential Award in Research, Scholarly, and Creative Activities. A former student of Donald Grantham, Dal Porto received degrees from California State University, Sacramento, and the University of Texas at Austin. He frequently serves as a guest composer, conductor, and pianist. Further information about Mark can be found at markdalporto.com.
RILEY CONLEY Riley Conley currently performs as Principal Trumpet with the CityMusic Cleveland Chamber Orchestra, and is the Instructor of Trumpet at Denison University, where he directs the trumpet studio and trumpet ensemble. Prior to moving to Ohio, he earned a Bachelor of Music degree at Baldwin Wallace University, and a Master of Music degree at The Colburn School. His primary teachers are Jack Sutte and James Wilt. Mr. Conley is an active orchestral musician in the Cleveland area and has performed with the Firelands Symphony, the Ashland Symphony, the Akron Symphony, the Wooster Symphony, with members of The Cleveland Orchestra in a sacred music series, and most recently made his international orchestral debut in Anguilla as principal trumpet with the World Doctors Orchestra. He has been fortunate to work with esteemed conductors Esa-Pekka Salonen, Rossen Milanov, Rafael Payare, Robert Spano, and Patrick Summers. In 2018, Mr. Conley was awarded “Honorable Mention” for the ages 19-25 category in the Ictus International Trumpet Competition. Summer engagements include performing with the Lake Tahoe Music Festival Orchestra, as well as fellowships at the National Music Festival, the Aspen Music Festival, the Chosen Vale International Trumpet Seminar, and the Pierre Monteux School. His additional former teachers include Raymond Mase, Kevin Cobb, Micah Wilkinson, John Brndiar, and Robert Dolwick. An avid composer of trumpet literature, Riley wrote his first work, Three Miniatures for Solo Trumpet (recorded by Jack Sutte) in 2018. He is currently working on a book of twenty lyrical etudes, to be published in 2022. Riley Conley is a Vincent Bach Performing Artist.
ANDREW DELAMATER DAVIS Andrew Davis is a composer and electric guitarist from Boston, MA who has written for a variety of media both acoustic and electroacoustic. Davis’ early experiences in music were in local concert bands where he played trombone and in rock bands where he played electric guitar. Fused with a strong background in popular music, his music seeks to explore a variety of different genres and musical aesthetics. His works have been performed by groups such as the JACK Quartet, PRISM Quartet, Alarm Will Sound, Daedalus Quartet, the Argento Ensemble, loadbang, the Boston New Music Initiative, the Luna Nova Ensemble, the University of Texas Wind Ensemble, the Yale Concert Band, the Florida State Wind Ensemble, and the University of Texas New Music Ensemble. He has received honors from ASCAP, BMI, The Lyra Society, and ISCM-Texas among others. Additionally, his music has been heard at a variety of festivals including the TUTTI Festival, RED NOTE Music Festival, Mizzou New Music International Composers Festival, New Music on the Point, and SEAMUS. He has held residencies at Atlantic Center for the Arts and ACRE. He earned a B.A. in music from Yale University, an M.M. in composition from the University of Texas at Austin in 2012, a PhD in composition from the University of Pennsylvania in 2017, and M.S. in computer science from Stanford University in 2018. He currently teaches at Wellesley College.
MARK DAL PORTO Dr. Mark Dal Porto has received numerous commissions with his works receiving hundreds of performances by many instrumental and vocal ensembles throughout the US and abroad. In 2019, he released Peace, Nature & Renewal¸ a CD featuring some of his orches-
ZACH GULABOFF DAVIS Described as “beautiful, lyrical” and brimming with “unexpected harmonic shifts” (International Trumpet Guild), the music of Macedonian-American composer Zach Gulaboff Davis centers on the expressive and dramatic possibilities of compositional narrative. Winner of the 2019 American Prize in Composition, Zach maintains an active schedule as a composer and collaborator across the globe.
CHRISTIAN FAUR Christian Faur joined Denison as Director of Collaborative Technologies for the Fine Arts in 2001. He received his B.S. in Physics from University of Northridge California and his MFA in the area of New Media from the University of Danube in Kerns, Austria. Faur has collaborated on a wide range of “new media” projects in the areas of theater, music, and dance. He earned a Best Stage Design distinction from Columbus Alive for his collaboration with Available Light Theater in 2010 and was awarded an Ohio Arts Council Individual Excellence Award in 2013 and again in 2021. His collaboration with composer HyeKyung Lee titled “Dreaming in Colours” was performed at the Columbus Museum of Art in 2015. Faur is internationally acclaimed for his portraits created by hand-cast crayons and his artwork has been exhibited in museums and galleries throughout the United States, Korea and Europe.
RODNEY DUPLESSIS Rodney DuPlessis is a Canadian composer and programmer exploring intersections of science, nature, technology, and music. In his work, he studies processes and patterns from natural and human-made systems to extract latent musicality and visceral sonic narratives. He incorporates algorithmic and intuitive methods, field recording, sonification, and software development to create electroacoustic and chamber music, museum installations, and network music collaborations.
RYAN HAMILTON Ryan is a former member of the Glenn Miller Orchestra and currently is a member and soloist with the Columbus Jazz Orchestra. He can be heard as a soloist on their latest recording, Come Together. He teaches low brass, brass ensemble and jazz trombone studies at Denison. He is also the director of the Columbus Youth Jazz Studio, an honors ensemble for young jazz musicians. In the summer he is on faculty at the annual Miami Valley Jazz Camp. Previous teaching positions include Otterbein University, Mount Vernon Nazarene University, and on faculty at Music For All’s Summer Symposium.
His music has been performed internationally and recognized by prizes such as Musica Nova International Competition (Finalist), Corwin Award for Excellence in Composition (1st prize - Percussion, 1st prize - Solo), and 2020 SEAMUS/ASCAP award (finalist). He has collaborated with new music luminaries such as Los Angeles Percussion Quartet, Formalist Quartet, Hocket, Henrique Portovedo, and Scott Worthington. As a programmer, DuPlessis creates innovative sound processing and synthesis software. In 2020, Duplessis, Curtis Roads, and Jack Kilgore released EmissionControl2, an interactive real-time application for granular synthesis. In 2021, he released QHOSYN, a synthesizer that sonifies a quantum wave function. DuPlessis is dedicated to promoting the presentation of new music and art. He has directed and produced many festivals and concerts, and is co-creative director of the Nomadic Soundsters art collective. DuPlessis holds a BA in Music and Psychology, Masters of Arts in Composition, Masters of Science in Media Arts & Technology, and PhD in Composition at UC Santa Barbara.
SCOTT HANRATTY Bassoonist, Scott Hanratty performs extensively throughout Central Ohio. He is the principal bassoon of the McConnell Arts Chamber Orchestra in Worthington, OH. He has played with the Columbus Symphony Orchestra, Central Ohio Symphony, Westerville Symphony and New Albany Symphony. Scott holds a Master of Music in Bassoon Performance from the Cleveland Institute of Music, Cleveland, OH, under David McGill, and the Bachelor of Music in Bassoon Performance, from the Eastman School of Music, Rochester, NY,
where he studied bassoon under John Hunt. A native of Central Ohio, Scott studied as a young student with Betsy Sturdevant-principal Bassoonist with the Columbus Symphony Orchestra. As a student, Scott was passionate about chamber music and performed in woodwind quintets extensively as an opportunity to study quintet literature. JIANJUN HE Jianjun He received his BA in violin performance from Northwestern National University, MA in music theory from The Arts Academy of China, and DMA in composition from West Virginia University where he studied composition with John Beall. His compositions, numbering over ninety for a wide variety of media, are enjoying growing success in Asia and the United States. They have been featured at numerous new music related festivals and conferences. CD recordings of his music are available on ERM, VMM, Navona, Mark Masters, New Ariel, Innova, Curvepoint, and Da Di labels. In addition to his musical creation, he has published books and research papers on music theory, compositional techniques, ethnomusicology, and music education. Dr. He is currently Professor of Composition at Jacksonville University (Jacksonville, FL). CHING-CHU HU Ching-chu Hu, Director of the Vail Series and Professor of Music at Denison, loves to bring people together through TUTTI. The camaraderie among artists and the creative energy on campus is one he hopes students and guests will absorb and treasure. In addition to composing, teaching, and sweet-talking his amazing colleagues and departments into joining the festivities, he’s also chauffeur to four little ones, Xander, Elisabeth, Nicholas, and Madeline, who think and behave as if they were the center of his universe, which they are. They also are great reminders for what is important in his life: family, music, teaching — it’s all good. The music he’s composing now are messages to them: about life, love, and the world we all live in, and he learns from them too: “Don’t ‘yuck’ my ‘yum.’” He feels fortunate that music has been performed around the world, has won awards, been recorded on CDs and he loves going to artist colonies. If you want to find out more, check out: chingchuhu.com, his website (that needs updating) or go to: soundcloud.com/chingchuhu.
HANNA HURWITZ Playing with “live-wire splendor” (The New York Times) violinist, Hanna Hurwitz, is a musician who equally enjoys performing classics of the repertoire as well as new music of our time. Her recent activities have included performances at SoundSCAPE Festival (Italy), Valencia International Performance Academy (Spain), Ritsos Project (Greece), Festival Internacional Cervantino (Mexico), and June in Buffalo (New York). She has performed with leading new music ensembles such as Mivos Quartet and Argento Chamber Ensemble and is currently a member of the acclaimed Grossman Ensemble for the 21/22 season, and a permanent member of Ensemble Dal Niente. Hanna also serves as co-founder and violinist of Zohn Collective, an ensemble interested in interdisciplinary collaboration and the creation of new music. The group has released studio recordings under the labels of Oberlin Music and Albany Records, and has been awarded grants by the National Endowment for the Arts, Mid Atlantic Arts Foundation, Ditson Fund, and New Music USA. Hanna also enjoys an active and varied teaching career. She currently holds the position of Assistant Professor of Music and Coordinator of String Studies at Denison University. Previously, Hanna held positions at Northern Kentucky University and the University at Buffalo. Hanna holds a Bachelor’s Degree and Performer’s Certificate from the Eastman School of Music, a Master’s Degree from The University of Texas at Austin, and a Doctorate of Musical Arts with a minor in Performance Psychology from the Eastman School of Music and the University of Rochester. AARON HYNDS Dr. Aaron Hynds is a Kentucky-based audio engineer, low brass performer, and composer. He currently works as the Lecturer of Music Business & New Media for the University of Kentucky. His creative practice as both performer and composer focuses on the intersection of digital and analog domains, with a particular emphasis on the use of his primary instrument, the tuba. He has performed widely throughout the United States, with many recent performances consisting exclusively of newly-written compositions for the tuba and bass trombone. His music has likewise been performed in a number of venues around the world, including at (inter) national conferences like the 2018 SEAMUS and the 2016
Toronto International Electroacoustic Symposium. Upcoming projects include the performance and engineering of a double-CD of commissioned works for the tuba, titled Colossus: New Works for Solo Tuba, and the publication of the print version of his doctoral document, The Composer’s Guide to the Tuba. HARRIS IPOCK Harris Ipock serves as Assistant Professor and Director of Choral Activities at Denison University. He has previously conducted ensembles at Harvard University, Shenandoah Conservatory, Boston University, and Clayton State University. Harris performs regularly as a professional chorister with ensembles such as Conspirare, Santa Fe Desert Chorale, Yale Choral Artists, and Spire Chamber Ensemble. He appears on a dozen commercial recordings, including the GRAMMY-winning Conspirare recording entitled The Sacred Spirit of Russia. Harris holds a D.M.A. in choral conducting from Eastman School of Music, M.M. degrees in choral conducting and vocal performance from East Carolina University, and B.M. and B.A. degrees in vocal performance and economics from UNC-Chapel Hill. THOMAS J. JOHNSON Dr. Tom Johnson is Professor of Psychology at Indiana State University, where in 2005 he was awarded the Theodore Dreiser Research and Creative Activities Award for his research on substance abuse in college students. Tom studied trumpet with Bill Adam and jazz arranging and composition with Dominic Spera and Brent Wallarab of Indiana University. He also studied composition with Daniel Powers of Indiana State University and Joel Naumann of the University of Wisconsin. Tom’s compositions include jazz and contemporary classical music as well as pop songs, jingles, choral works, and music and lyrics for two musicals. His suite for woodwind quintet, “Four Cartoons”, was a finalist in two international composition contests. Over the past year, Tom worked with a virtual jazz orchestra composed of Indiana University jazz students and alumni to record seven of his big band charts. Later this year he plans to record a CD of more of his jazz compositions. Tom performs professionally on piano and plays trumpet in several community ensembles.
JIMMY KACHULIS Jimmy Kachulis, Award Winning Composer, Conductor, Scholar, Educator, Professor Berklee College of Music. Jimmy’s career highlights include: Dozens of International Composition Competitions including: TUTTI Festival 2022, New York City Contemporary Music Symposium 2022, 2021, Veridian String Quartet, Odin Quartet Commission, International Trombone Festival 2021, 2019, Memorial Concert for Morton Feldman, American Beethoven Society, Sao Paulo CCC, International Society of Bassists, among many others. Producer/ Music Director - Stuff, Martha Reeves, John Lewis, Jon Hendricks, Empire Brass Quintet, A Chorus Line, Sam Pilafian, Nanae Mimura, George Coleman. Songwriter Emmy Award winning TV shows, Disney movies. Early Music - Richard Taruskin, Russell Oberlin, Paul Maynard, Alex Blachley. Berklee College of Music - Developed the World Music and Songwriting curricula. Tufts University, The Boston Conservatory, Emerson College - Created courses in World Music and Culture. Berklee Online - Created curricula for Songwriting: Melody, Songwriting: Harmony, Songwriting: Writing Hit Songs. Created Songwriter’s Workshop Series - Hal Leonard Publishing. Grammy Award - Music Educator - finalist. Studies - (African) Godwin Agbeli, David Locke, (Indian) George Ruckert, Jerry Leake, Warren Senders, Jazz - George Coleman, Frank Foster, Don Sebesky, European Classical – Louise Talma. Presentations - African Polyphony/African Harmony, Multi-dimensional Rhythms of West Africa, Indian Ragas + Talas. Degrees - MA - Tufts University, BS Music Education - Hunter College, CUNY. DANIEL KNAGGS Daniel Knaggs’s music is commissioned and performed across the globe. After living in Mexico, Nicaragua, and France and studying six foreign languages, he continues to explore the interplay between music and linguistics while maintaining an international outlook in his work. Increasingly sought after as a composer, Knaggs has recently been commissioned by the Choir of Trinity College Cambridge, Wells Cathedral Choir, the Yale Norfolk Summer Choral Festival, and the Musica Vera Festival (Torun, Poland). Performers of his work include the Mexico City Philharmonic Orchestra, the Vancouver Chamber Choir (Canada), Ars Nova Coral da UFMG (Bra-
zil), Le Madrigal de Lille (France), Ensemble à ContreVoix (Canada), the Polish Chamber Choir (Poland), Crakow Singers (Poland), Jauna Muzika (Lithuania), Fusion Vocal Ensemble (Australia), Polyphonic Voices (Australia), Coro Ricercare (Portugal), the Houston Chamber Choir, Coenobium Vocale (Italy), and the Tokyo Cantat Festival choirs (Japan). Knaggs is Founding Artistic Director of Ensemble Invocatio, a new professional choir based in Poland with inaugural performances given in March, June, and December 2022. Other upcoming engagements include the premiere of a brand new work of his by the Sofia Philharmonic Orchestra (Bulgaria) in July 2022, conducted by the composer, and the premiere of a major new work of his by the Houston Chamber Choir and River Oaks Chamber Orchestra in October 2022. Daniel now serves as Visiting Assistant Professor of Music Composition and Theory at the College of Wooster, Ohio.
Orchestras, the Columbus Youth Symphonic Band, regional orchestras, honor bands, and are frequently accepted into university music programs. Currently, she plays principal bassoon with the New Albany Symphony Orchestra and in the bassoon sections of the McConnell Arts Center Chamber Orchestra and the Newark-Granville Symphony Orchestra. In addition, she has performed with the Charlotte Symphony Orchestra in North Carolina, Columbus Symphony Orchestra, ProMusica Chamber Orchestra, Opera Project Columbus, Central Ohio Symphony, Lancaster Festival Orchestra, and Westerville Symphony Orchestra. She studied bassoon performance at The Ohio State University where her primary teachers were Karen Pierson and Chris Weait. While attending Ohio State, she was the winner of the D.M.A. concerto competition and performed Ellen Taaffe Zwilich’s bassoon concerto with the Ohio State Symphony Orchestra, which became the concentration of her research for her D.M.A. document, Concerto for Bassoon and Orchestra by Ellen Taaffe Zwilich: Background, Analysis, and Performance Application.
SUN MIN KIM South Korean pianist Sun Min Kim serves as Coordinator of Keyboard Studies and Assistant Professor of Music at Denison University. He made his début with the Ulsan Symphony Orchestra at age 13, performing Grieg’s Piano Concerto. He has been a prizewinner of national and international competitions such as the Maria Canals International Piano Competition, MTNA, and International Crescendo Music Awards. In 2008, the professional music fraternity Mu Phi Epsilon awarded him the Sterling Achievement Award, the highest honor that the fraternity bestows upon its collegiate members. As a laureate of various awards, he debuted at Carnegie Hall’s Weill Recital Hall, Merkin Concert Hall, and other prestigious venues across the United States and abroad. Sun Min Kim completed the Doctor of Musical Arts degree in Piano Performance and Literature with a minor in Collaborative Piano at the Eastman School of Music, where he studied with and served as teaching assistant for Nelita True.
During the day, you will find her advising undergraduate music majors at Ohio State, and in her free time, hanging out with her husband, Alexander, two cats, Locrian and Dorian, and Brock-Lee the dog. JANE K (EVGENIYA KOZHEVNIKOVA) Jane K (Evgeniya Kozhevnikova) is a composer, pianist, and educator. Her works have been performed at regional, national, and international level music events. She has been working as a composer and musician in theatres, performing original music with her jazz band, and teaching piano. Jane composes in various styles and genres, from classical to jazz and tango, tastefully blending them. In 2020, she released a jazz-tango album Tango Avenue with her original works.
EMILY KLEPINGER Dr. Emily Klepinger is the instructor of bassoon at Denison University and maintains a private studio of middle and high school students in the Central Ohio area. Her students have been members of OMEA All-State ensembles, the Columbus Symphony Youth
In 2019, Jane received a DownBeat Magazine Outstanding Performance award in the Latin jazz category with her original jazz-tango compositions. In 2019, she became one of the winners of the “Music Now” contest, a part of Indiana State University Contemporary Music Festival. Jane became a runner-up at the University of North Carolina Greensboro Call for Scores and Competition. Her choral
works were awarded the 1st Prize and a Special Prize at the 2020 International Composers’ Competition Opus Ignotum (Czech Republic). In 2021, she was awarded 2nd Place of the American Prize in Chamber Vocal Composition (student division).
As a composer, Colin writes notably un-classical music for classical instruments. Through simple patterning and subtle variation, he seeks to build intricate yet clear structures and sounds. As a performer, he does exactly the opposite; he creates noisy and chaotic textures, usually with mutant guitars or homemade circuits. He often roots around in thrift stores, hunting for odd sounds in the world of forgotten electronics. Somewhere between these two extremes lies his work as a sound designer. He has spent countless hours in darkened sound booths crafting rich soundscapes for productions of several theatrical works.
Jane holds two master’s degrees, in Music Composition and Music Performance, from Western Michigan University. She is working on her doctorate degree in Music Composition at the University of Florida. CORA KUYVENHOVEN Dr. Cora Kuyvenhoven is adjunct cello professor and co-director of chamber music at Denison University and assistant principal cellist of ProMusica Chamber Orchestra. Cellist of the Lyrata String Quartet, she is also one of the four awesome cellists that are UCelli: the Columbus Cello Quartet. Her chamber music adventures have brought her to Banff, Cambridge Chamber Music Festival, the LA Philharmonic Institute, Taos Summer Festival, recorded and broadcast with the Advendo String Trio and toured Japan with the LOGOS Quartet. Cora has been soloist with many orchestras. The Windsor Star heralded her Haydn D Major performance as expressing a great “joie de vivre.” As a member of the Toronto Symphony for seven years, she recorded and broadcast extensively, and toured in Europe, Asia, Australia, and North America. Cora obtained her A.R.C.T. licentiate from the Royal Conservatory of Music in Toronto, and was a national finalist in the Canadian Music Competition. She received her MFA from the University of Wisconsin - Milwaukee, under the tutelage of the Fine Arts Quartet. Cora received a post master’s degree at University of Michigan-Ann Arbor. Her DMA is from the University of Iowa (2000) where she was the recipient of the Iowa Performance Fellowship, and the Peltzer Award. She lives in Columbus with her husband and kitty. In her spare time Cora loves hiking and organizing musical get togethers.
Colin has taught music both in classrooms and private studios. Above all, he encourages people to find their own path through music by exploring the intersections between imagination, knowledge, and technique. He is also committed to fostering music in the community, having held various administrative and organizational roles in several local arts and not-for-profit organizations. Colin currently lives in Kitchener (formerly Berlin), Canada. He has been fortunate enough to perform or have his work performed across Canada and abroad. When he isn’t listening to music he can usually be found trying to sniff out a good barbecue joint. HYEKYUNG LEE An active composer/pianist, HyeKyung Lee has written works for diverse genres and media: from toy piano to big concerto, from electronic music to children’s choir. Her commissions include the Bonnie McElveen Commission for Maestro Gerard Schwarz and Eastern Music Festival, Renée B. Fisher Piano Competition, and Meg Quigley Vivaldi Bassoon Competition. Lee’s music has been described as “virtuosic fantasy where continuous rhythmic motion smoothly joined contrasting moods and effectively propelled from one section to another, showing a penchant for colorful timbers, expressive lines, and lively rhythmic interaction of instruments.” Born in Seoul, Korea, HyeKyung studied at YonSei University and University of Texas at Austin where she received DMA in composition and piano performance certificate. Her music has been supported by the National Endowment for the Arts, Meet the Composer Fund, and residencies at Yaddo and MacDowell Colony (among others). She is Associate Professor at Denison University in Granville, Ohio.
COLIN LABADIE Colin Labadie used to race home after school so he could secretly play his dad’s guitar before he got home from work. After mastering countless Metallica solos as an aspiring twelve year old, he eventually went on to become a Doctor (…of music).
MICHAEL LUKASZUK Michael Lukaszuk is a composer and computer musician from Kingston, Ontario. Much of his output as an artist and scholar is focused on generative approaches and the use of creative coding to facilitate new approaches for composition, improvisation and performance. His use of electronics is often focused on creating a dialogue between objects from various genres within electronic music and earlier musical practices. His music and research have been presented at multiple International Computer Music Conferences, the Toronto International Electroacoustic Symposium, and can be found in publications such as Emille, the journal of the Korean Electroacoustic Music Society and eContat! (Canadian Electroacoustic Community). He won 1st Prize in the Hugh Le Caine – electroacoustic music category of the 2015 SOCAN Foundation Awards. He holds a DMA in Composition from the University of Cincinnati, College-Conservatory of Music and is a PhD Candidate in Cultural Studies at Queen’s University, where he also teaches electroacoustic music and music technology courses at The Dan School of Music & Drama. Michael directed the Cincinnati Integrated Composers Laptop Orchestra Project (CiCLOP) from 2015-2017. EVAN LYNCH Evan Lynch is the affiliate instructor of clarinet at Denison University in Granville, Ohio, and a freelance clarinetist in the central Ohio area. He has performed as a soloist and chamber musician nationally and internationally, including performances in Belgium, China, Israel, Italy, and Poland. Orchestral playing experience includes performances with the ProMusica Chamber Orchestra (OH), Montgomery Symphony Orchestra (AL), Columbus Symphony Orchestra (GA), and he was a finalist for the International Clarinet Association Orchestral Audition Competition in 2014. Dr. Lynch holds a bachelor’s degree in clarinet performance from Arizona State University, a master’s degree in higher education administration from Auburn University, and a doctorate degree in clarinet performance from The Ohio State University. His principal clarinet teachers include Caroline Hartig, Robert Spring, David Odom, and Jeremy Reynolds.
WENBIN LYU Wenbin Lyu (b. 1994) is an award-winning US-based Chinese composer and guitarist. The composition written by Wenbin Lyu combines contemporary western techniques with ancient oriental culture. He seeks inspiration from nature, science, and videogames. Lyu’s music has been performed at many events, including Tanglewood, ICMC, NYCEMF, NSEME, Alba International Music Festival, TUTTI, Collage Composers Colloquium, Arts Letters & Numbers, 1:2:1, Ivy League Spring Festival Gala, NCPA Young Composer Programme, China National Symphony Orchestra Young Composer Program, Chinese National Music Festival, among others. His music has been performed by Beijing Symphony Orchestra, Tianjin Symphony Orchestra, NEC Philharmonia, CCM Concert Orchestra, Del Sol Quartet, Tacet(i), icarus Quartet, and Transient Canvas. Based on his outstanding academic performance, he was honored to receive the China National Scholarship in 2016 and Donald Martino Award for Excellence in Composition in 2020. Lyu is the recipient of ASCAP Morton Gould Young Composer Awards, CCM Orchestral Composition Commission Competition, NEC Honor Competition; Two VR movies that he composed premiered at the Cannes International Film Festival in 2016. Lyu serves as a composer-in-residence at HAcappella where based at Harvard University and the all-female musician group New Downbeat in Cincinnati. B.A., China Conservatory, M.M., NEC. Lyu is currently pursuing a Doctorate in CCM, where he studies with Mara Helmuth and Douglas Knehans. LESLIE GOLDMAN MAASER Leslie Goldman Maaser, D.M.A is the Affiliate Studio Instructor of Flute at Denison University the Director of the Denison University Flute Ensemble. She is the Principal Flutist of the Newark-Granville Symphony Orchestra. Leslie has been a member of the Columbus Bach Ensemble, the Welsh Hills Symphony Orchestra, and has performed as a soloist and clinician throughout China and has performed with Opera Project Columbus, Opera Columbus’ Light Opera Orchestra, the Westerville Symphony, and the Columbus Symphony. She has also performed with the Opera Theatre of Rochester (NY), Madison (WI) Symphony Orchestra, Wisconsin Chamber
Orchestra, the Rome Festival Orchestra, and the East Lansing Opera Company. She has been a featured soloist with the Welsh Hills Symphony Orchestra, Columbus Bach Ensemble, as well as at the Ohio Music Education Association Conference, Ohio Wesleyan University, the Chamber Music Connection, Central Ohio’s Contemporary Music Festival, the University of Iowa, University of Northern Iowa, Schoolcraft College, State University of New York at Brockport, and Indiana State University. She has performed at the National Flute Convention as a competition winner. She holds a Doctor of Musical Arts degree in flute performance from The Ohio State University. She earned her Master of Music degree from the University of Wisconsin in Madison, and her Bachelor of Music degree from Michigan State University. Leslie Maaser was formerly on the music faculties of Wright State University, Mt. Vernon Nazarene College, Valparaiso University, and Luther College. TYLER MAZONE Tyler Mazone is a deaf composer from New York State and is currently living in Michigan. He is working towards a Master’s in Composition at Michigan State University and is a graduate of The Crane School of Music. Tyler writes mainly chamber, solo, and wind band music. His music has been played by ensembles such as The _____ Experiment and the US Air Force Band. Tyler’s main goal with his composition work is to make music accessible and enjoyable for all! ROBERT MCCLURE Robert McClure’s music attempts to discover beauty in unconventional places using non-traditional means. His work has been featured at festivals including NYCEMF, Beijing Modern Music Festival, ISCM, TIES, SEAMUS, and ICMC. His works may be found through ADJ·ective New Music, Bachovich Music Publications, Resolute Music Publications, and Tapspace Publications as well as on ABLAZE, Albany, and New Focus Record labels. Robert received his doctorate from Rice University’s Shepherd School of Music. Robert has previously held positions at the Shanghai Conservatory of Music and Soochow University in Suzhou, China. He serves as Assistant Professor of Composition/Theory at Ohio University.
MAGGIE MCGINITY Maggie McGinity (b. 1992) is an award-winning composer who aims to write music that is contemporary yet accessible to a range of audiences. She draws on her two decades of performance experience to inform and inspire her compositions. Her music has been performed in California, Iowa, Michigan, New Hampshire, New York state, New York City and Texas, as well as virtually at the fifth annual international Music by Women Festival, the 2021 Mid-Atlantic Flute Convention, and the 2021 Texas Flute Society Virtual Flute Festival. Her works have been read by the ÆPEX Ensemble and Akropolis Reed Quintet at the Spring 2019 and Fall 2019 Central Michigan University (CMU) New Music Symposiums respectively. Ms. McGinity’s solo traverso flute piece “Theatrics” was chosen as a winner of Amaranti Ensemble’s “Guinevere’s Tale” call for scores. Ms. McGinity won the 2019 CMU ACDA chapter’s choral composition competition for her SATB work “I Have No Words.” She received an Honorable Mention in the 2019 CMU School of Music Annual Composition Competition for her work “The New Medusa” for SATB choir. She recently earned a Master of Music degree in Composition from CMU, where she studied with Dr. Evan Ware. She attended the 2020 Online Summer Composition Workshop with Jenni Brandon, The Walden School 2019 Creative Musicians Retreat, the 2019 Summer Composition Intensive at Saint Mary’s College, and the 2019 CORO Composer’s Intensive. More information about her music is available on her website, www. maggiemcginity.com. ROBERT THOMAS MCPHEE Tommy McPhee (b. 1998) is an emerging electroacoustic composer who has been writing music for over half his life. McPhee has an extensive compositional and musical background within a wide variety of styles ranging from hip-hop to acoustic chamber music. With the support of a full academic scholarship, McPhee studied Music Composition at Lamar University in Beaumont, Texas under the guidance of Dr. Nick Rissman. He obtained his BM in May of 2021. Entering university as a predominantly commercial musician, McPhee’s studies at Lamar introduced him to a plethora of musical styles beyond what he experienced as a performer in his high school’s band, orchestra and choir. He has since produced
ZACHERY S. MEIER Zachery S. Meier is a composer, collaborator, and flutist whose work seeks to blend physical and sonic art forms to create acoustic sculptures of sound. Much of their creative output resides in chamber ensembles and solo works, but in 2017 was recognized by the National Bandmaster’s Association for their wind ensemble work, Reigniere. Meier has received performances from the JACK Quartet, United States Air Force Band, Ho Chi Minh Ballet Orchestra, CCM Wind Symphony, George Mason Wind Symphony, Washington State University Wind Ensemble, and others. Meier is completing their PhD at the University of Iowa with David Gompper, Jean-Francois Charles, and previously with Josh Levine. They hold degrees from Washington State University and the University of Minnesota where they studied with Ryan Hare, Scott Blasco, Gregory Yasinitsky, and Justin Rubin, respectively. Additionally, Meier currently serves as visiting instructor at Denison University in Granville, OH in music theory, acoustic and electronic composition, and queer studies.
a prolific output of music that transcended conventional notions of genre, instrumentation, and form, integrating the vernacular and experimental in novel ways. McPhee frequently performs and improvises with hardware electronic instruments, which he believes can enable a concise and tactile compositional language. He facilitates the musicality inherent to concepts of “instrumentation” and technological architecture throughout these works as well as in his acoustic and computer music. More recently, he has begun to explore the extended possibilities of real-time sound synthesis and performance with computers. McPhee is currently in his first year as an MM Music Technology candidate and graduate assistant at Georgia Southern University. Upon graduation, he plans to pursue a doctorate integrating technology and composition. McPhee plans to work in academia and/or pedagogy within these fields. MIKEILA MCQUESTON Mikeila McQueston is an Atlanta-based composer and soprano who delights in storytelling and the capacity of the human voice. Recently named one of the National Opera Association’s Dominick Argento Fellows in Opera Composition, Mikeila’s works have been performed by academic and professional ensembles across the United States, including Coro Vocati, Invicta Trio, and others. Her choral piece “I will bless you” from Dear World was published by Hal Leonard through the Craig Hella Johnson Choral Series. She also placed 2nd in the American Prize student division for choral composition for her piece Descent. Though primarily known for her vocal writing, Mikeila also enjoys writing for a variety of instruments and ensemble types. She was a winner of the LSU Symphonic Winds Call for Scores and her chamber work, The Minotaur will be performed by the Constantinides New Music Ensemble at Carnegie Hall in April 2022. Mikeila received her BM in composition and vocal performance from Louisiana State University and is currently pursuing MMs in both composition and vocal performance from the University of Tennessee. In her free time, Mikeila enjoys playing the harp.
JENNIFER BERNARD MERKOWITZ Jennifer Bernard Merkowitz is a composer, pianist, and violist whose pieces incorporate a fascination with rhythms, patterns, and stories. She is Professor of Music at Otterbein University in Westerville, Ohio, where she has taught composition, theory, aural skills, and electronic music since 2008. She has been commissioned by organizations such as the Ohio Music Teachers Association (2017 Composer of the Year), the Johnstone Fund for New Music, Third Practice Electroacoustic Music Festival, and Dance NOW! Miami. Recordings include Les Crapauds de la Fontaine (The Toads from the Fountain) for bass clarinet and electronics on Ravello Records’ Mind and Machine Vol. 2 and a solo percussion piece And the Dish Ran Away with the Spoon, which can be heard on Joseph Van Hassel’s album Correlates on Soundset Recordings. Recent projects include Kate and the Beanstalk, a musical setting of the book by Mary Pope Osborne with illustrations by Giselle Potter for the Westerville Symphony’s Tunes and Tales program, and Old Soul, a piece for alto flute and electronics commissioned by Lindsey Goodman. A native of the Niagara Falls, NY area, Dr. Merkowitz holds a BA in Music and a BS in Computer Science from the University of Richmond and
an MM and DMA in Composition from the University of Cincinnati College-Conservatory of Music. She lives in Westerville, Ohio with her husband, two sons, and two cats. For more information and samples of her compositions, please visit: https://www.jbmcomposer.com. PETE MILLS Saxophonist and composer, Pete Mills is currently Coordinator of Jazz Activities at Denison University. His discography includes 4 releases as a leader with his most recent, Sweet Shadow, released on Vancouver’s Cellar Live Records. A native of Toronto Canada, Mills has received grants from The Canada Council and was a recipient of the North Carolina Arts Council Jazz Composer’s Fellowship. As a sideman he appears on over a dozen CDs and performs regularly throughout the U.S and Canada. He holds degrees from the Eastman School of Music and The University of North Texas and in addition to his duties at Denison, Mills is Program Director for the music series, ‘JAG Presents’ (through the Jazz Arts Group of Columbus) and is a member of the saxophone section of The Columbus Jazz Orchestra. STEPHEN MITTON Stephen Mitton (b. 1991) is a composer, performer, and educator based in Ann Arbor, Michigan. He is currently pursuing his Doctorate in Music Composition at the University of Michigan where he has studied composition with Bright Sheng and Michael Daugherty. Stephen also holds a Master’s degree in Music Composition from Arizona State University where he studied with Jody Rockmaker, James DeMars, and Rodney Rogers. Stephen has written socially and environmentally conscious music for a wide variety of genres ranging from contemporary dance to full orchestra. He is the recipient of numerous awards and grants and was most recently named MMTA’s Commissioned Composer for the year 2021.
rows. As an educator and pedagogue, Stephen has taught music at both the K-12 level and the collegiate level for over a decade, and much of his current work centers on championing emerging composers by facilitating commissioning projects with local ensembles and school districts through his publishing company, Leading Tones Music. ALLEN MOLINEUX Allen Molineux (b.1950) received a B.M. degree in composition from DePauw University, a M.M. in composition degree from the Eastman School of Music and a D.M. in composition from Florida State University. In addition, he attended the Lukas Foss Workshop at Indiana University in 1981, Gunther Schuller’s 1986 Atlantic Center for the Arts Workshop and Pierre Boulez’s Carnegie Hall Workshop in 1999. His orchestral work “Trifles” was the winner of the Tampa Bay Symphony’s first composition contest; receiving three performances by them in 2017. In addition, it is now released on the ABLAZE Records label and is published by Da Vinci Publications. His work “Zappy” for brass quintet and three percussionists was chosen as the winner of the Percussive Arts Society’s 2017 composition contest. In 2019, his “Something Unsettled” for trumpet and piano was the winning submission in Catagory I for the McMurry New Music Project and his “Tears of Ramah” was the first place winner of the Hillcrest Wind Ensemble Composition Contest and was performed by the University of Louisville’s Wind Ensemble at the College Music Society’s National Conference. In 2021, his “Scherzi” was recorded by composer/pianist Jeffrey Jacob on the New Ariel label and his string orchestra piece “Contentamento” by conductor Pawel Kotla and the Kalisz Philharmonic Orchestra on the Phasma-Music label. CULLYN D. MURPHY Composer, conductor, and reluctant vocalist, Cullyn D. Murphy (he/him) focuses on amplifying the already existent musical components of sight, taste, touch, and smell in order to gain access to different modes of storytelling through music. More recently, he has been revisiting his rock band roots in communal music-making by creating music that engages with different varieties of performer input through unconventional notation and co-composition. Murphy’s music has been described as “theatrical,” “riveting and inventive,” and
In his compositions, Stephen aims to grab audiences’ attention by generating short, memorable motifs and melodies that serve an overarching narrative or concept and is intrigued by the possibilities that open up when a variety of harmonic languages converge to this end: lush tonality interspersed with harmonies built on open fourths and fifths; Debussian flourishes juxtaposed with twelve-tone
“push[ing] the idea of what music and musical organization is.” (Composer’s Toolbox). Murphy is an active performer, director, and composer for the new music trio AmiEnsemble. He has received fellowships through the RED NOTE New Music Festival, the Loretto Project, and the Line Upon Line Winter Composer Festival. His music has been performed and commissioned by the Longleash Trio, Fifth House Ensemble, Line Upon Line Percussion, the Thompson Street Opera Company, Unheard-of Ensemble, Illinois State University’s Symphonic Wind Ensemble, Louisville University Symphony Orchestra, Wm. Riley Leitch, Will Yager, Jasmine Tsui and many others. His private studies include Roy Magnuson, Carl Schimmel, Sean Shepherd, Martha C. Horst, Steve Rouse, Krzysztof Wolek, Eric Moe, Mathew Rosenblum, and Amy Williams. Sounds/Sights at www.cullynmurphy.com
(orchestra, chamber ensembles, vocal music, film scores etc.), and have been performed across the United States as well as in France and Germany. Often when writing a new piece, O’Malley considers the listener’s imagination as much as every other musical element – an admittedly and enjoyably subjective endeavor. THE GROCERY LIST: Most recently, O’Malley has been recognized and/or performed by organizations including the American Composers Orchestra, the Columbus Symphony Orchestra, the Milwaukee Symphony Orchestra, Los Angeles Philharmonic’s Next On Grand National Composers Intensive with wild Up, the Society of Composers Inc., The American Prize 1st Place for orchestral music in 2015 (with additional awards in orchestral, chamber, and wind band music in 2014), the Boston New Music Initiative, ASCAP’s Morton Gould Award (finalist in 2012, 2014, 2015), and Fulcrum Point New Music Project. He has spent summers as a student at various music festivals, including the Aspen Music Festival, Bowdoin Festival, Fresh Inc. Festival, and FUBiS composition course in Berlin. He is gratefully indebted to his private teachers over the years for helping guide his work, the most recent of which include Andrew Norman, Samuel Adler, and Frank Ticheli. O’Malley is currently pursuing a doctorate degree in composition at the University of Southern California’s Thornton School of Music. For more information, visit www.patrickomalleymusic.com
JOÃO PEDRO OLIVEIRA Composer João Pedro Oliveira holds the Corwin Endowed Chair in Composition for the University of California at Santa Barbara. He studied organ performance, composition and architecture in Lisbon. He completed a PhD in Music at the University of New York at Stony Brook. His music includes opera, orchestral compositions, chamber music, electroacoustic music and experimental video. He has received over 70 international prizes and awards for his works, including three Prizes at Bourges Electroacoustic Music Competition, the prestigious Magisterium Prize and Giga-Hertz Special Award, 1st Prize in Metamorphoses competition, 1st Prize in Yamaha-Visiones Sonoras Competition, 1st Prize in Musica Nova competition. He taught at Aveiro University (Portugal) and Federal University of Minas Gerais (Brazil). His publications include several articles in journals and a book on 20th century music theory. www.jpoliveira.com
BRIAN PERTL Brian Pertl is an improviser, ethnomusicologist, and is currently the Dean of the Lawrence Conservatory of Music. He is passionate about reframing the conventions of a classical music education, and classical music performance. He has staged musical events inside racquetball courts, stairwells, sandstone canyons, and cedar forests. His piece, Land of Snows, for Tibetan horn, didjeridu, conch shell trumpet, and harmonic singing, was recorded in the Dan Harpole Cistern in Port Townsend Washington which boasts a 45 second reverb. Pauline Oliveros requested that Brian perform the piece with her on her 80 birthday concert at Experimental Media and Performing Arts Center at Renssalaer. Trained as a trombonist, Brian also plays the didjeridu, Tibetan horns, and many other instruments from around the world. Brian and his wife Leila co-teach the Deep Listening Lab at Lawrence University lead creativity workshops and retreats in a wide variety of settings from hallway houses to corporate board rooms.
PATRICK O’MALLEY Patrick O’Malley (1989) is a composer whose works explore the musical interplay between emotion, color, energy, and landscape. Currently living in Los Angeles, O’Malley grew up in Indiana, where he cultivated an interest in composition from hearing music at the local orchestra, studying piano and double bass, film scores at the movie theater, and even MIDI compositions for videogames being written at the time. His pieces span many of the contemporary mediums for classical music
LEILA RAMAGOPAL PERTL Leila Ramagopal Pertl is a creator, collaborator, innovator, and improviser who firmly believes that music is a human birthright. Everything she does stems from that profound belief. Her collaborative compositions are designed to help all participants rediscover their inner musicianship through shared musical creation. All participants leave knowing that their voices were absolutely critical in creating a transformational work that never existed before. Leila is one of 6 International Deep Listening certification instructors, teaches in the Music Education Department at Lawrence University, and has created and led two innovative music programs in elementary schools where every student drums, sings, dances, composes and improvises. As the Music Education Curator for the Mile of Music Festival in Appleton Wisconsin. Leila and her team lead 60 hands-on music-making events for the 75,000 visitors. She is the Wisconsin Music Education Association Chair for Composition and Improvisation and was recently appointed to the Smithsonian Folkways International Music Education Committee.
such as Tarik O’ Regan, Derrick Skye, Kay Rhie, and Juan Pablo Contreras among his past mentors. He makes his home in Los Angeles, where he studies music composition with Richard Danielpour — one of his favorite living composers — at the UCLA Herb Alpert School of Music. CAROLYN REDMAN Carolyn Redman, mezzo-soprano, is originally from Bellevue, Ohio and received a MM and DMA in vocal performance from the Ohio State University. She has performed operatic roles as well as musical theater roles with various professional companies including Des Moines Metro Opera, Opera/Columbus, Opera Project Columbus, Columbus Light Opera, Cincinnati Opera, Weathervane Playhouse, and Lyric Opera Cleveland. She was selected as an apprentice artist with both Des Moines Metro Opera and Cincinnati Opera Young Artists programs and was also chosen to perform in masterclasses and performances at the Instituto Superior de Arte of the Teatro Colon in Buenos Aires, Argentina. She has been a winner or finalist in four competitions, including a first place finish in the Opera/Columbus vocal competition. Recent roles include La Badessa in Suor Angelica, Berta in Il Barbiere di Siviglia, Miss Todd in The Old Maid and the Thief, Zita in Gianni Schicchi, Gertrude in Roméo et Juliette, Martha/Ayah in The Secret Garden, Golde in Fiddler on the Roof, Jo in Mark Adamo’s Little Women, Second Lady in The Magic Flute, and Countess Charlotte Malcolm in A Little Night Music. She has also been a featured soloist in oratorios and other concert works with groups such as Cantari Singers, Denison University, Columbus Bach Ensemble, Marion Civic Chorus, Master Singers, Inc. Chorale, New Albany Symphony, Saint Joseph Cathedral, Westerville Symphony, and the American Institute of Musical Studies in Graz, Austria. In addition to performing, she serves on the voice faculty of Denison University.
KIAN RAVAEI Kian Ravaei composes music that delivers bold melodies, heartfelt directness, and visceral power. His growing body of work has often been praised for combining rigorous compositional technique with naturalness and penetrating emotion. Born in 1999 of Iranian immigrants, Ravaei spent his childhood playing jazz, producing electronic dance music, and singing in a rock band when he should have been practicing piano sonatas. His diverse output has included a book of piano preludes inspired by mythical creatures, a string quartet that synthesizes Western and Persian classical music, and an orchestration for dubstep DJ and producer Wooli. Ravaei’s music has been performed by leading musicians such as interdisciplinary artist Anoush Moazzeni of the Iranian Female Composers Association, guitarist JIJI, and pianists Stefano Greco and Jihye Chang. He has been commissioned by notable organizations and ensembles such as the Canadian Music Centre and Salastina. As of the 2021/22 season, Ravaei is a newly appointed Composer Teaching Artist Fellow with the Los Angeles Chamber Orchestra. He is an alum of the Curtis Institute of Music Young Artist Summer Program, and he counts prominent composers
SAM REICH Sam Reich is instructor of piano and theory at Denison University.
COLE REYES Cole Reyes (b. 1998) is a Brooklyn-based composer, educator, conductor and performer originally from the Chicagoland Area. His music is influenced by the modern expression of tonality and post-minimalism and seeks to create a rich sonic atmosphere for a wide audience. It explores the intersection between personal experience and the greater world beyond. His music has been awarded by groups such as IL-ACDA, the National Flute Association, Lux Choir, new Ear Contemporary Chamber Ensemble, the Huntsville Master Chorale, the Six Degrees Singers, and San Francisco Choral Artists and many others. He has collaborated with artists such as the JACK Quartet, Transient Canvas, the Rhythm Method Quartet, Juventas New Music Ensemble, Inversion Da Capo, Dashon Burton, the Momenta Quartet, and Unheard-of//Ensemble. He received his undergraduate degrees in music and mathematics from Washington University in St. Louis. While there, he had the opportunity to study with Christopher Stark and LJ White. He currently attends New York University where he is pursuing a master’s degree in Concert Music Composition, studying with Robert Honstein, Michael Gordon, and Julia Wolfe. DOUGLAS RICHESON Currently bass Instructor at Denison University, Doug is also Co-Principle of the Newark/Granville Symphony Orchestra and bassist with the Columbus Symphony Pops. Doug has recorded and performed throughout the world with Tony Bennett, The Count Basie Orchestra, Ralph Sharon, Phil Collins, Gene Bertoncini and Mary Chapin Carpenter and maintains a busy schedule in Ohio performing and recording with The Cleveland Jazz Orchestra, Kim Pensyl, Phil DeGreg and Speakeasy. SETH ROGERS Originally from Cleveland, drummer Seth Rogers is now based in Columbus, OH. He actively performs around the Midwest in many genres and is best known as a jazz drummer. A member of the music faculty at Denison University in Granville, OH, Seth teaches Applied Percussion, Music Theory, directs the Latin Percussion Ensemble and the Balinese Gamelan Dwara Udyani. Seth holds degrees in Music, Economics, and Jazz Studies respectively from Denison University and Youngstown State University.
MICHAEL ROHD Michael Rohd co-founded the Center for Performance and Civic Practice, where he holds the position of Lead Artist for Civic Imagination. He is founding artistic director of the 19 year old national ensemble-based Sojourn Theatre, where he has led the devising and producing of many of the company’s twenty-six major theatre works. In 2015, he received an Otto Rene Castillo award for Political Theater and The Robert Gard Foundation Award for Excellence. He is an Institute Professor at Arizona State University’s Herberger Institute for Design & the Arts and is author of the widely translated book Theatre for Community, Conflict, and Dialogue. He was the 2013-2016 Doris Duke Artist-in-Residence at Lookingglass Theater Company in Chicago. Recent and current projects include collaborations and productions with Goodman Theater, Americans for the Arts, Nashville’s MetroArts, Cleveland Public Theater, Catholic Charities USA, Cook Inlet Housing Authority Alaska, ASU/Gammage, and Steppenwolf Theater. STEVE ROSENBERG Steve Rosenberg has served as Adjunct Instructor of Oboe at Denison University since 1983. He currently performs with the Newark Granville Symphony Orchestra and Central Ohio Symphony. For ten years he was a member of Pro Musica Chamber Orchestra of Columbus, and has performed with the Lancaster Festival Orchestra, Columbus Symphony, Opera Columbus Orchestra, BalletMet Orchestra, and Broadway Series, among others. He played with the Lancaster Festival Orchestra in the award-winning Marquis Classics recording of works by William Bolcolm. Principal instructors include Jerome Roth of the New York Philharmonic, James Caldwell of the Oberlin Conservatory of Music and William Baker of The Ohio State University. Steve served as Artistic Director of CityMusic Columbus for 30 years currently serves as Orchestra Manager of the Lancaster Festival in Ohio, a position he has held since 1988. PHILIP RUDD Philip Rudd joined the Denison University faculty in 2017 after completing doctoral studies in orchestral conducting at the University of Iowa. An eclectic and broadly experienced musician, Dr. Rudd is equally
comfortable in educational, liturgical, orchestral, choral, and theatrical settings. He holds a Bachelor of Music Education degree from Millikin University, and completed his Master of Music degree in orchestral conducting at Illinois State University in 2009. His DMA dissertation research examined the influence of gender and class politics on the development of late-Victorian English women’s orchestras. Dr. Rudd has principally studied conducting with Glenn Block and William LaRue Jones. FELICIA SANDLER Described as a composer of music with a “breathless beauty,” Felicia Sandler writes music that is full of color and energy. She composes in all genres, and has a particular love for choral music, with her works having been performed by choral ensembles on every continent. Sandler’s compositions are published by E.C. Schirmer Music Publishing, Alliance Music Publications (Simon Carrington Series), Shawnee Press, Mark Foster Music Company, Dancing Flea Music, and are recorded on Mark Master and Naxos Labels. Her work Pulling Radishes for 9 percussion was included as incidental music in the Berlin film company ZeroOne’s production Peter Handke: In the Woods. Might be Late. Sandler’s scholarship centers on the music of the Ghanaian composer Dr. Ephraim Amu—the “father of Ghanaian art music.” Together with Dr. Misonu Amu, (Amu’s daughter), Sandler is developing a critical edition of his complete works. Her studies in the traditional music of Ghana have included programs with C.K. Ladzekpo (CA), Obi Nyim Nda and Emashie Cultural groups (Ghana), and most recently with Nani Agbeli and Emmanuel Attah Poku (MA). Sandler teaches full-time at the New England Conservatory of Music in Boston MA. JESSE SCHARTZ Jesse Schartz is a highly regarded studio teacher, clinician, and freelance musician in the Columbus area with expertise in both bassoon and saxophone. Jesse teaches privately out of his home studio, is a Master Instructor of bassoon and saxophone with Music & Arts in Worthington, and is a faculty member at The Ohio State University’s School of Music where he teaches the Bassoon Techniques course for music education majors. Jesse also performs regularly as a member of the New Albany Symphony Orchestra and the Westerville
Symphony. Prior to settling in Columbus, Jesse served nearly two decades at home and abroad in the United States Air Force Bands as principal bassoon and woodwind quintet music director. He also frequently performed on saxophone with various Air Force jazz and ceremonial ensembles during his Air Force career. Jesse has toured extensively in the United States, and has performed in over 20 countries throughout Europe and the Middle East. He has also performed frequently as an associate musician on bassoon and contrabassoon with many orchestral ensembles, most recently with the Virginia Symphony Orchestra, Virginia Musical Theatre, Virginia Arts Festival, and the Columbus (Ohio) Symphony. He received his Bachelor of Music degree from the University of Arkansas, his Master of Arts in Education degree from the University of Phoenix, and his Master of Music degree from The Ohio State University. TOM SCHNAUBER German-American composer Tom Schnauber is co-founder of the Boston-based arts organization WordSong, and a former co-president of Composers in Red Sneakers, Boston. He holds a Ph.D. in Composition and Music Theory from the University of Michigan. He has also studied French horn performance, ethnomusicology, conducting, and did a small stint in Hollywood scoring films no one will ever see. A versatile composer, Schnauber enjoys writing for a variety of ensembles, including unaccompanied instruments, chamber ensembles, solo voice and vocal ensembles, string orchestra, and symphony orchestra. He has also written three regularly performed children’s musicals and one irregularly performed comic chamber opera, as well as incidental music for numerous theatrical productions. His music has been performed throughout the United States and Europe by ensembles such as the Charleston Symphony Orchestra, the Chamber Orchestra Kremlin, the Columbia Orchestra, the Freon Ensemble, and the Ulysses String Quartet. He has received commissions from, among others, the Annapolis Chamber Orchestra, the Cambridge Madrigal Singers, the Falls Church Chamber Orchestra, and the Shakespeare Concerts. Schnauber’s music can be heard on the Quartz and Navona labels. He is a proud Trekkie and Whovian. For more information, please visit: www.tomschnauber.com
ROB SMITH The vibrant and highly energetic music of Rob Smith is frequently performed throughout the United States and abroad. His music has received numerous awards, including those from the Aaron Copland House, ASCAP and the National Band Association. Commissions have come from the Texas Music Festival Orchestra, the New York Youth Symphony Chamber Music Program, the American Composers Forum, and several nationally renowned university wind ensembles, among many others. A wide variety of ensembles have performed his music, including the Ethel and Enso string quartets, Soli Chamber Ensemble, American Modern Ensemble, New World Symphony Percussion Consort, Pittsburgh New Music Ensemble, Standing Wave Chamber Ensemble (Canada) and the Minnesota Symphony Orchestra. In 1997, he was the recipient of a Fulbright Grant to Australia, which led to a teaching position at the University of Wollongong in 1998. Currently, he teaches at the University of Houston’s Moores School of Music where he is Professor of Music Composition and Director of the AURA Contemporary Ensemble. From 2003-2014 he served as one of the artistic directors of Musiqa, a Houston-based contemporary chamber ensemble. Boosey & Hawkes, Carl Fischer, Southern Music, C-Alan Publications, and Skitter Music Publications publish his music. For more information, please visit: http://robsmithcomposer.com JUSTIN SNYDER Justin Snyder has collaborated with artists of diverse disciplines including dancers, visual artists, poets, performance artists, fashion designers, perfumers, and laser artists. He has performed at such venues as The Kennedy Center, Wigmore Hall, the U.S. Supreme Court, the Barbican Centre, the TED conference stage, Harvard University, the Marigny Opera House, The Horse Hospital (London), Sadler’s Wells (with Pina Bausch Tanztheater Wuppertal), the Leighton House Museum, City University New York, the Smithsonian National Portrait Gallery, the Mexican Cultural Institute (D.C.), Teatro del Lago (Chile), the Shanghai Concert Hall, the Guangzhou Opera House, and on concert tours in Asia and South America with the U.S. State Department. Justin is the co-founder, along with Irena Menk, of Escforescent- a multi-sensory project which merges music, visual art installation, and scent.
ETHAN SOLEDAD Bold, dramatic, with an exquisite attention to detail, Ethan Soledad (b. 1999) is a Filipino-American composer whose work aims to express emotions in their most raw form. An experienced singer, he incorporates drama in his work, emphasizing the importance of silence and one’s perception of time. Ethan’s music draws from a wide palette of compositional styles and colors ranging from impressionism and neoclassicism to post-minimalism and the avant-garde. His musical style is marked by unapologetic expression, dynamic extremes, and the ability to do more with less but never shying away from doing more with more. Festivals and programs attended include the Etchings Festival, Charlotte New Music Festival, the Oregon Bach Festival Composer Symposium, zFest, and the Curtis Institute’s Young Artist Summer Program. He is the grand prize winner of the 2021 Stephen Paulus Emerging Composers Competition for his piece for choir, cello, and piano “When I Rise Up” and the 2019 Rachel Moore Choral Composition competition with his piece “The Beauty of Cosmic Things.” He graduated with his Bachelor of Arts in Music at Florida State University 2021. JOCELYN STANDLEY Jocelyn Standley, horn, originally hails from Kansas City, MO. She holds degrees from the University of Illinois at Urbana-Champaign, The Cleveland Institute of Music, and SUNY Stonybrook. In 1997 she was awarded a Fulbright Grant and a Frank Huntington Beebe Grant, both for study in Paris. Ms. Standley has been a member of The Columbus Symphony and ProMusica Chamber Orchestra. She currently performs with the Central Ohio Symphony and the Newark Granville Symphony Orchestra. She lives in Newark, OH with her four children that she shares with Gene Standley (deceased.) ASH STEMKE Ash Stemke “…simply composes music he wants to hear, because it is beautiful…and manages nonetheless to avoid the too-wellknown and trite.” (Steven Kruger, New York Arts). Ash’s music explores self-similarity, teleology, and transformation, and was recently performed by yMusic, the Riverside Symphony, the Boston New Music Initiative, and musicians of the Paducah Symphony Orchestra. Soon, his commissioned film score
EMILY JOY SULLIVAN Emily Joy Sullivan (b. 1987) writes music animated by the spirit of song, dance, and storytelling, grounded in a deep respect for vernacular traditions and their immense communicative potential. Her works have been performed in New York, Chicago, Memphis, Melbourne, Vancouver, Valencia, and Cape Town. She holds a Master’s Degree in Music Theory & Composition from SUNY Fredonia and a BA in Music from Amherst College, where her feminist musicology thesis was “Envoicing Eve: Femmes Fatales in Carmen, Salome, and Lulu.” She also holds a Master’s degree in Early Childhood and Childhood General Education, and she is active as an educator and choral-community-maker, in addition to her composing. Sullivan is currently pursuing a PhD in Music Theory & Composition at UC Davis, where she researches confessional singer-songwriters, emotional prosody, and lyricism.
“Launch Sequence” will be sent on a 238,900-mile journey to the moon (!)—as part of Carnegie-Mellon University’s MoonArk project. Recently, Ash won first prize in the San Francisco Choral Artists’ New Voices Project and was honorably mentioned by the MidCities Chamber Singers and the Uproar Duo. His music has been featured at events such as New Music on the Bayou, DIGITECH, the FSU Festival of New Music, numerous SCI conferences, and the Schoenberg Academy in Vienna, Austria. Currently, Ash serves as Assistant Professor of Music at Murray State University, where he teaches courses in music theory, aural skills, composition, and digital music. He holds a Doctor of Music from Florida State University, a Master of Music in Composition and a Post-Baccalaureate Certificate in Music Theory from the University of North Carolina at Greensboro, and a Bachelor of Music with Highest Honors from the University of North Carolina at Chapel Hill. www.ashstemke.com PETER VUKMIROVIC STEVENS Stevens’ works are widely performed and programmed around the world, and he appears regularly as a pianist. His readily recognizable musical language ranges in style from concert to experimental with instrumentation from solo to large orchestra. His multimedia artworks are regularly exhibited in the US and Europe. He is a recent recipient of awards for music from The Migros Cultural Percentage, The City of Berne, Canton Berne and Canton Solothurn in Switzerland. Stevens’ upcoming album for piano and spoken word, S LENCE, with Penny Rimbaud (Crass) will be released in early 2022 on One Little Independent in London. Stevens is currently artist-in-residence at the Centre des Récollets in Paris. He has held residencies at La Cité Internationale des Arts (Paris), VICC (Sweden) and Haytayan House (Armenia). He is developing a new electronic musical instrument, the Ambit, which offers musicians new possibilities to compose and plot their performances in 3-D. Stevens is executive director of Arpaviva Recordings, a label dedicated to recording and publishing contemporary music, films, and media works. His professors have included Bern Herbolsheimer and Samuel Jones.
KIA-HUI TAN Violinist Kia-Hui Tan has performed as concerto soloist, recitalist and chamber musician in the majority of the U.S. and on five continents, including at London’s Barbican Hall and New York’s Carnegie Weill Recital Hall. Described in The Strad as a “violinist whose virtuosity was astonishing,” she has premiered works by more than 80 living composers, amongst her repertoire of over 400 solo or chamber works. She has performed and recorded with various new music ensembles and is frequently invited to perform at contemporary music festivals and conferences, often presenting themed lecture-recitals on the vastly unexplored repertory for unaccompanied solo violin. In response to the COVID-19 pandemic, in August 2020 Tan published a free open-access web resource, www.soloviolinworks.com, which provides programming details to approximately 700 unaccompanied violin works with circulating scores and recordings. Tan studied piano, violin, music theory and composition in her native country, Singapore, before receiving scholarships to study with David Takeno at the Guildhall School of Music and Drama (BMusHons) and David Updegraff at The Cleveland Institute of Music (MM/DMA). An experienced orchestral violinist, she had served as concertmaster under
Sir Colin Davis and Mstislav Rostropovich, amongst other notable conductors. As Associate Professor at The Ohio State University, Dr. Tan continues to be active as performer, masterclass presenter and competition adjudicator while incorporating principles of Tai Chi and Alexander Technique in her violin playing and teaching.
music often draws inspiration from natural landscapes. They believe that art is created for two reasons: as a means to marvel at the world’s beauty, or as a suggestion for change. Becky’s music has been performed across the United States by ensembles such as the Akropolis Reed Quintet, Kalliope Reed Quintet, Fifth House Ensemble, subtle cheetah, and the Ma’at Quartet.
ANDREW THOLL Andrew Tholl is a composer, violinist, and improviser. Hailed by the Los Angeles Times as “vigorously virtuosic,” his compositions and performances have been heard across the United States and Europe. As a composer, Tholl’s conceptual interest lies in the exploration of the passage of time, the physicality of making music, noise, nostalgia, and memory. His style is heavily informed by a synthesis of musical influences, the integration of improvisation, and the development of instrumental technique through a practice-led approach. As a soloist and chamber musician, he is dedicated to the performance of new music and the collaborative process between composer and performer. Tholl is a co-founder of the “superb” (LA Times) Formalist Quartet, a new-music-focused string quartet dedicated to presenting challenging new repertoire and close collaboration with composers. Tholl is also a member of Grammy-nominated, Los Angeles based new music ensemble Wild Up, whose unique programming juxtaposes works across genres, creating visceral, thought-provoking performances. Aside from his work as a “classical” musician, Tholl maintains a second musical life writing and performing pop, punk, noise and improvisational music as a violinist, drummer, and guitarist. Additionally, he has worked extensively in scoring for film, dance, and theater as both a performer and composer. He teaches at UC Santa Barbara and Ventura College and lives in Los Angeles, where he continues to be involved with music for concert halls, art galleries, films, puppet shows, bars, garages, bedrooms, and coat closets.
During their undergraduate studies, Turro has collaborated in four dance works, one being with the New York City based dance company, Kinesis Project. Recently, they have enjoyed studying, premiering works and collaborating with artists at the Fresh Inc Festival (2020), the Connecticut Summerfest (2018-19) and the New York Musical Festival’s songwriting workshop (2017). In 2019, Turro was selected as the winner of subtle cheetah’s call for scores, where the quintet premiered, recorded and toured Breathing Lessons. In 2020, they received the Louis Smadbeck Composition award for their saxophone quartet, Drop. They were also awarded the 2020 commission from the Kenosha Community Foundation to compose the wind trio, 72 Miles (Scenes Along the NJ AT), for Fifth House Ensemble. ISAAC SILVA URIA Isaac Silva U. is an Ecuadorian composer who was born in Belgium. His passion for film scoring started at a very young age while watching movies and playing video games with his brother. At the age of 5 he started piano lessons under the instruction of Sandra Marín. He graduated from the National Conservatory of Music in Ecuador. Soon after his graduation, he attended the LUCA School of Arts in Leuven, Belgium, where he studied Piano Performance with Jan Vermeulen and Choral Conducting with Kurt Bikkembergs. He returned to Ecuador to study Contemporary Music Performance in Piano and graduated from Universidad San Francisco de Quito in 2018.
BECKY TURRO Composer Beck (Becky) Turro (b. 1997, New Jersey) has become known for creating works that are “incredibly serene and so evocative.” (Kari Landry, CityBeat). Having grown up in the Appalachian area of northern New Jersey, their tuneful and visceral
He received a Professional Certificate in Pro Tools and a Professional Certificate in Composing and Orchestrating for Film and TV, through Berklee Online at Berklee College of Music. He was also a participant of the NYU Scoring for Videogames Workshop. He is currently attending the University of North Carolina School of the Arts pursuing his masters of Fine Arts in Film Music Composition. He is a student of Chris Heckman.
MARTIN J. VAN KLOMPENBERG Originally from Holland, Michigan, Martin J. Van Klompenberg has been a bassoonist with the United States Army Bands since 2013. Currently, he performs with the 101st Airborne Division “Air Assault” Band out of Fort Campbell, Kentucky. He previously performed with 323rd Army Band “Fort Sam’s Own,” at Fort Sam Houston, Texas, the 282nd Army Band at Fort Jackson, South Carolina, and the United States Air Force Band of the West. Prior to joining the ranks of military musicians, he attended the University of Arizona, where he obtained the Doctorate of Musical Arts degree, studying with William Dietz. He also earned degrees from Arizona State University and Western Michigan University, studying with Albie Micklich and Wendy Rose, respectively. A proponent of new music, Martin is active in commissioning projects for new works for bassoon, working with composers such as Jamie Leigh Sampson, Dylan Findley, Rob McClure, and Brian Bunker. In 2021, he premiered “As You Speak” for alto flute and bassoon by Malaysian composer, Shao Fern Teo, along with flutist Danielle Breisach. DR. CHRIS DAVID WESTOVER-MUÑOZ An award-winning conductor/creator, Chris David Westover-Muñoz has conducted and curated programs for wind ensembles and orchestras nationally and internationally. He was awarded First Prize by the jury of the 2019 Warsaw Wind Ensemble Conducting Competition and his work has been described as “elegant, bold, vibrant, inspiring and centered,” by Augusta Read Thomas. Dr. Westover-Muñoz is assistant professor of music at Denison University and was recently named Music Director of the Newton Mid-Kansas Symphony Orchestra. Dr. Westover-Muñoz maintains an active profile as a research scholar and has presented his work on Vincent Persichetti and Beethoven at Hong Kong Baptist University and the conferences of the College Band Directors National Association and Internationale Gesellschaft zur Erforschung und Förderung der Blasmusik. His album of IWW music will be recorded and released in 2022. He has conducted across the United States and in the People’s Republic of China and maintains a relationship with ensembles and conductors in Poland. Westover-Muñoz sees his work as a conductor as equal parts collaborator, curator, and creator. His work is primarily motivated by
the social function of music—how music brings people together to engage with the challenging issues of our time through the collective act of music making. He holds the Doctor of Musical Arts in Orchestral Conducting from the University of Oklahoma and the Master of Music in Wind Conducting from the Meadows School of the Arts at SMU. KEVIN N. WINES Tenor, Kevin N. Wines is on the music faculty of Denison University teaching private voice lessons and classes in world music. He is currently directing Singers’ Theatre Workshop. He previously served as conductor and pianist for STW for 19 years. He also has music directed a number of productions for the Denison Theatre Department. Serving as Resident Music Director for Weathervane Playhouse in Newark, he has music directed nearly 30 productions for the semi-professional regional theatre company. Kevin has sung locally with the Newark-Granville Symphony, and appeared in many Opera/ Columbus and Columbus Light Opera productions. He also was featured in numerous productions at Virginia Opera as well as appearing in principle roles with Dayton Opera, Chautauqua (New York) Opera, and Lyric Opera Cleveland, among others. A graduate of The Ohio State University, Kevin holds master’s degrees in voice performance, choral conducting and piano pedagogy. He is also director of music for Trinity Episcopal Church in downtown Columbus. AUSTIN WINTORY Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others. In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nomi-
nated video game score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” five G.A.N.G. Awards and host of others. The score features the Macedonia Radio Symphonic Orchestra and a lineup of top soloists. Orchestral excerpts, and the stand alone mini-concerto “Woven Variations” have been consistently scheduled for concert performances all over the world since its release. Beginning humbly as a Kick starter campaign, Austin’s next major game effort was Stoic Studio’s The Banner Saga, 65 a unique and mature turn-based strategy / RPG hybrid with a dazzling art direction. The score featured the Dallas Wind Symphony, America’s premiere wind ensemble, and an all-star trio of YouTube musicians: Malukah, Peter Hollens and Taylor Davis. The game and soundtrack were released in early 2014 to critical and commercial success; the score earned Austin over a dozen awards and nominations, including his 4th and 5th British Academy Award nominations, and won the first-ever peer-voted ASCAP Composer’s Choice Award for “Best Video Game Score of the Year.” He is currently working with Stoic on The Banner Saga 2, which was announced live, on-stage at The Game Awards in December 2014 to an audience of nearly 2 million people.
doctoral studies at the university’s Center for Digital Arts and Experimental Media, working closely with Richard Karpen and Joseph Anderson.
Passionate about education, Austin is a regular public speaker at schools and events around the world, in addition to pre-concert talks and workshops. He also serves on the Board of Directors for the non-profit Education Through Music – Los Angeles, as well as the Board of Directors for the Society of Composers and Lyricists. For more information, visit www.austinwintory.com WEI YANG Wei Yang is a composer/pianist from China. His works often display ritualistic and theatrical characteristics through the examination of the relationship between body (physical gestures, voice, body movements, etc) and the sound production. His works have been presented in the U.S., China, Poland, Japan, Finland, Canada, Austria, Germany, France, Mexico, Brazil and Switzerland. Wei received his Doctor of Musical Arts from University of Washington under the supervision of Joël François-Durand. He is currently undertaking his second
ENSEMBLE ROSTERS AND STUDENT ARTISTS DENISON UNIVERSITY JAZZ ENSEMBLE
DENISON UNIVERSITY CHAMBER SINGERS
Pete Mills, director
Harris Ipock, conductor
Sopranos Katherine Barbour Sophie Gilson Ava Oberle Ally Peterson Maisey Frederick Megan Barker Lanie Rogers Micaela Amato Olivia Jump Hannah Gilson Monica Bradford Tenors Sam Fujikawa Isaac Appel Max Wisnefski Ari Friedman Taicheng Chen
Altos Micah Stromsoe DeLorenzo Sydney Orrison Talia Raider-Roth Aliya Brennan Clara Logan Anna Buescher Brooke Halaby Alex Orphanos Lilah Landsman Callie Natiello
DENISON JAZZ ENSEMBLE Claire Anderson, alto sax Ali Ziegler-Khan, tenor sax Steve Krak, baritone sax* Alec Gau, trumpet Rachel Duvall, trumpet Namo Satchanan, guitar Erik Augis, piano** Ari Rubin, drums Doug Richeson, bass** DENISON FACULTY JAZZ ENSEMBLE Pete Mills, saxophone Ryan Hamilton, trombone Brett Burleson, guitar Erik Augis, piano Doug Richeson, bass Seth Rogers, drums
Basses Hayden Mong Nick Meyers Sam Carter Anton Maninang Nicholas Reichert Gabe Donnelly
DENISON UNIVERSITY WIND ENSEMBLE Chris David Westover-Muñoz, conductor
Flute/Piccolo Antonio Baldovinos Isabel Chen HeeYoung Chae Ava Graham Yoorae Kim Madeleine Murphy Esther Zhang Saxophone Annika Bruce, tenor Ali Ziegler-Khan, alto
Clarinet Samantha Chang Runan Liu Anika Schwingel Yuxin Zhou
Trombone Zachary Broeren Evan Lang Euphonium Anel Sosa
Trumpet Carter Patton Riley Conley**
Tuba Nicky Sherrick
Horn Max Willard
Percussion Rita Costa Dawson Kimbell Charles Vogelgesang Piano Sun Min Kim**
*Denison Staff Member **Denison Faculty
TUTTI ORCHESTRA ROSTER Denison Symphony Orchestra Dr. Philip Rudd, Director Violin I Katherine Ji, concertmaster Liam Jeanette, asst. concertmaster Wanling Baker Hayden Bryant Madeline Henricksen Kevin Mun Julie Zhao
Oboe Charlie Smith
Violin II Xishen Chen, principal, Sara Jarecke asst. principal Katie Amrine Sophia Hwang Amelia Keefer Wenyi Shi Nicolas Thompson Rainer Yaeger
Euphonium Anel Sosa
Flute Antonio Baldovinos Madeleine Murphy Esther Zhang
Trumpet Carter Patton Riley Conley* Trombone Evan Lang Zach Broeren
Viola Duncan Jones, principal Adam Cohn, asst. principal Tricia Klosterman Daniel Seely Jenavier Tejada Simone Williams Cello Emily Ji, principal Zoe Petterson, asst. principal Sam Chang Henry Kline Sophia Park
Bass Ben Katz, principal Maya Doskocil, asst. principal Haoyue Liang Clarinet Ryan Liu Anika Schwingel Bassoon Emily Klepinger* Horn Jocelyn Standley* Adam Koch* Percussion Charles Vogelgesang Hayden Mong Dawson Kimball Piano Sam Reich* Electric Guitar Larry Marotta*
*denotes guest artists and faculty
ACKNOWLEDGEMENTS AND THANKS! TO President Adam Weinberg and Provost Kim Coplin for their encouragement and support; TO Zachery Meier, who is an amazing organizer, colleague and co-host, stepping in and getting it all taken care of; TO HyeKyung Lee, a fantastic colleague, chair, and co-host; TO Marla Krak, and Hanna Hurwitz, my new partners in artistic crime; TO Kathy Peter, Elizabeth Dauterman, Hannah Frye, Anne Peterson, Phil Meyer, Andy Johns, and Owen Beamer, the amazing EISNER team that makes sure we can do what we want to do; TO Margot Singer, for advocating the mission of the arts far and wide; TO Christian Faur, and his support for our division and our activities; TO Christine Montgomery, who has been keeping me on top of all that needs to be done; TO Jordan Fehr, our recording engineer, and Robin Pickenpaugh, providing amazing audio support for our concerts; TO Megan Hancock and the Denison Museum for their coordination and collaboration; TO Greg Lott, Monica Ayala-Martinez, Cheryl McFarren, Susie Kalinoski, _______ and their students for shaping We Are Good; TO the student gamers, who helped make Journey Live such a cool event; TO Tony Reimer and Mike McFerron, the good folks at New Music Engine for helping our entire festival by setting up our submission needs; TO Dylan Price, and Bon Appétit, for all the food and receptions; TO the Department Fellows - you are true ambassadors to our department; TO all the student composers who helped throughout the festival - this festival is for you and by you - thank you. TO OUR ARTISTS: TO Julia Wolfe, an amazing composer and model for our discipline, for your beautiful music, your time, and your ideas; TO Fifth House Ensemble for your artistry and your willingness to bring what you do and the gifts you share with your community to our community — thank you for your willingness, your feedback, and openness to go along for this crazy TUTTI ride; TO Herine Koschak, for your collaborative spirit, your artistry, and willingness to jump into TUTTI and all that we wished to do; TO ETHEL - our family, our Ensemble-in-Residence —we treasure every visit, every collaboration, and we appreciate you more and more with each visit—thank you for your adventurous spirit and amazing artistry; TO Cameron Leach, thank you for bringing your energy back to TUTTI and crafting such amazing programs; TO Michael Lockwood Crouch, for the sensitivity you bring to your words, you’ve been the inspiration for crossing disciplines and creating new works;, TO Quenna Lené Barrett, for guiding us through We Are Good and giving our community ways to engage and think; TO Logan Moore for bringing your artistry to our students;; TO Philip Rudd, Chris Westover-Muñoz, Harris Ipock, and Pete Mills conductors of our Orchestra,Wind Ensemble, Chamber Singers, and Jazz Ensemble respectively, for taking on new works this semester so willingly into an already busy semester; TO Sun Min Kim, our rockstar pianist, whose amazing energy is the epitome of professionalism; TO Emily Klepinger, bassoonist extraordinaire, for organizing and performing in so many pieces; AND TO OUR PERFORMERS: A big thank you to all who performed. Without you, we would be sitting in an empty hall, waiting to be filled with music. Thank you for your hard work, dedication, and adding more performances to your already full schedules. THANK YOU! – CHING-CHU
CELEBRATING TEN SEASONS OF TUTTI HISTORY FEATURED GUEST COMPOSER David Felder, 2004 Evan Chambers, 2006 Derek Bermel, 2009 Chen Yi, 2011 Gabriela Frank, 2013 Mary Ellen Childs, 2015 Augusta Read Thomas, 2017 Adam Schoenberg, 2019 Daniel Romain, 2020 Julia Wolfe, 2022
FEATURED ARTIST/ENSEMBLE Sebastian Berwick, 2004 Kalistos, 2006 Brooklyn Rider, 2009 Brave New Works, 2011 Pittsburgh New Music Ensemble, 2013 ETHEL, 2015 NOW Ensemble, 2017 Third Coast Percussion, 2019 Sybarite Five, 2020 Fifth House Ensemble, 2022
OTHER GUEST ARTISTS/ENSEMBLES 2006 Avendo 2009 Brave New Works Kojiro Umezaki Dwight Adams 2011 Chris Froh Columbus Childrens’ Choir Chamber Music Columbus 2013 Kia-Hui Tan Mayumi Hama Chris Froh Minju Choi
2015 Miwa Matreyek Ian Rosenbaum Sandra Mathern Mad Mohre David Baker River Song Quintet 2017 ETHEL Minju Choi Ron Coulter Alison Crocetta Berry & Nance Dance Project Mark Lomax Patrick Burke Emily Pinkerton
2019 ETHEL Natalie Miebach Michael Lockwood Crouch Tara Booth Columbus Symphony String Quartet 2020 ETHEL Miwa Matreyek Columbus Symphony Wind Quintet Cameron Leach Bobbie Selvaggio Jennifer Hambrick
COVER: 雹 “HAIL,” 2005, BY HU HUNG-SHU 42”X42” OIL ON CANVAS
2022 ETHEL Cameron Leach Michael Lockwood Crouch Quenna Lené Barrett Logan Moore