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PERFORMANCES Flute Choir Concert Tuesday, June 18, 8 pm Grace on Brevard, 219 S Brevard St p. 20

New Music Concert I with Freya Quartet Thursday, June 20, 8 pm St. Peter’s Episcopal Church, 115 W 7th St p. 22

New Music Open Mic Night Friday, June 21, 8 pm Petra’s Piano Bar, 1919 Commonwealth Ave

“Open Floor” Dance Performance Saturday, June 22, 8 pm Open Door Studio, 1318 Central Ave

Iktus Concert Sunday, June 23, 3 pm Grace on Brevard, 219 S Brevard St p. 25

New Music Concert II with Freya Quartet Thursday, June 27, 8 pm St. Peter’s Episcopal Church, 115 W 7th St p. 27

Speed Writing Concert Friday, June 28, 8 pm Levine Properties, 301 E 9th St p. 31

New Music and Dance Concert Saturday, June 29, 8 pm Levine Properties, 301 E 9th St 2  


WELCOME Dear friends, Welcome to the 2013 Charlotte New Music Festival! What began two years ago simply as an idea has blossomed into this two-week festival of new music and dance, attracting talented local artists as well as an impressive group of visiting composers from across the United States (NY, CA, FL, TX, etc.) and Canada, Japan, and Malaysia. I invite you to check out our daily schedule printed in the program and attend as many of these public events as you’d like. There are so many wonderful people to thank for helping support this vision: our illustrious guest composers, performers, and choreographers, who are sharing their time, talent, and expertise; our composer and choreographer participants, who will be working hard over the next two weeks, learning a lot, and producing some exciting new works; photography and videography interns our intern coordinator; and our sponsors, who appear throughout this program and without whom this festival would not exist. Most importantly, we’d like to thank you for your attendance at these events and your support of new music and dance. We are thrilled to bring once again this unique annual event to the greater Charlotte region and are looking forward to many more successful years for the Charlotte New Music Festival! Sincerely, Elizabeth Kowalski Founder and Artistic Director

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SCHEDULE WEEK 1 All events take place at CPCC Central Campus unless otherwise noted. Monday, 6/17 9 am Choreography Lecture, Clay Daniel 9:30 John Allemeier – Repertoire (SL 200) 11 String Quartet Writing, Freya Quartet (SL 200) 2 pm Percussion Writing, Patrick McGinty (SL 211) 2 Dance Technique Class (Worrell Hall) 6 John Allemeier – Composing for Dance (SL 209) 7:30 Orlando Cela, Project Extended Presentation (SL 211) Tuesday, 6/18 9 am Choreography Lecture, Clay Daniel 9:30 Writing for Piano, Danny Spiegel (SL 200) 11:30 Writing for Flute, Erinn Frechette (SL 200) 2 pm Dance Technique Class (Worrell Hall) 8 Flute Choir Concert (Grace on Brevard, 219 S Brevard St) Wednesday, 6/19 11:30 am Dance Technique Class (Worrell Hall dance studio) 2 pm Dance Technique Class (Worrell Hall) 2:30 Mark Engebretson Lecture 1 (SL 211) 4:30 Mark Engebretson Lecture 2 (SL 211) 7 Music & Dance Panel, Craig Bove, James Easteppe, & Clay Daniel (SL 211) Thursday, 6/20 1:30 pm Dance Technique Class (Worrell Hall) 2 Ron Parks – Repertoire (SL 211) 4 Ron Parks – Visual art collaboration w/ Michael Compton (SL 211) 8 New Music Concert I – Freya (St. Peter’s Episcopal, 115 W 7th St) Friday, 6/21 11:30 am Dance Technique Class (Worrell Hall) 2 pm Craig Bove – Morton Feldman (SL 211) 4 Craig Bove – Repertoire (SL 211) 8 New Music Open Mic (Petra’s Piano Bar, 1919 Commonwealth Ave) Saturday, 6/22 11:30 am Dance Technique Class (Worrell Hall) 6 IKTUS class on how to write for Percussion & Piano duo 8 pm “Open Floor” Dance Performance (Open Door Studio, 1318 Central Ave)

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SCHEDULE WEEK 2 Sunday, 6/23 3 pm Iktus Concert (Grace on Brevard, 219 S Brevard St) 5:30 Music and Dance Panel 7 Improv Jam for musicians & dancers – open to public (Worrell Hall, rm 2154) Monday, 6/24 2 pm Dance Technique Class (Worrell Hall) 2 Lawrence Dillon Lecture (SL 211) Tuesday, 6/25 11:30 am Dance Technique Class (Worrell Hall) 2 pm Lawrence Dillon Lecture (SL 211) Wednesday, 6/26 2 pm Dance Technique Class (Worrell Hall) 2 Armando Bayolo – Repertoire (SL 211) 4 Armando Bayolo – Music of Louis Andriessen (SL 211) Thursday, 6/27 11:30 am Dance Technique Class (Worrell Hall) 2 pm Armando Bayolo – Entrepreneurship for musicians/composers (SL 211) 8 New Music Concert 2 (St. Peter’s Episcopal Church, 115 W 7th St) Friday, 6/28 11 am Dance Technique Class (Worrell Hall) 12:30 pm Open Studio with Clay Daniel (301 E. 9th St.) 8 Speed Writing Concert (Levine Properties, 301 E 9th St) Saturday, 6/29 11 am Dance Technique Class (Worrell Hall) 12:30 pm Open Studio with Clay Daniel (Worrell Hall) 8 New Music and Dance Concert (Levine Properties, 301 E 9th St)

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CNMF STAFF Elizabeth Kowalski, Founder/Artistic Director A multi-instrumentalist and vocalist, Elizabeth is experienced in writing for film & dance, and has a passion for creating electro-acoustic music paired with visual art. The influence of world folk music can also be heard in her compositions. In 2012, her piece Moon Garden for guitar and clarinet received third prize in the National MTNA Composition Competition. Another piece that she composed for cello, electronics, and dance, “Triangle Shirtwaist Factory Fire,” won a national award and was performed at the Kennedy Center, May 2012. Aside from writing music, Elizabeth is a freelance musician and performer. M.M. in Composition from the University of North Carolina at Greensboro; B.A. in Music, UNC-Charlotte. www.themusicqueen.com Edward Bender, Program Coordinator Edward currently attends University of North Carolina at Charlotte where he is a North Carolina Teaching Fellow and member of The Arts and Architecture Honors Program. He is a member of The National Fraternity Phi MU Alpha and the University’s chapter Sigma Beta. Edward is currently a junior pursuing a degree in Music Education with a concentration in percussion and composition. Edward writes music for percussion ensembles, marching percussion, and front ensembles. He aspires to obtain his masters in percussion performance and his doctorate in composition. Alex Pierce, Concert/Personnel Manager Alex Pierce is a local band director with a passion for contemporary music in Charlotte. His previous experience with concert management includes: The University of South Carolina, Spoleto Festival USA, The Cleveland Orchestra, The Aldeburgh Festival, St. Louis Symphony, and The University of Akron. He is a graduate of The University of South Carolina and The University of Akron. Daniel Strokis,  Program  Coordinator Recently completed his Bachelor of Music in Guitar Performance and Composition at Winthrop University in Rock Hill, SC. He is studied composition under Dr. Ronald K. Parks & Dr. L. Mark Lewis, and classical guitar performance under Dr. L.H. Dickert. Daniel has won several regional & international composition competitions, including the TVMF Young Composer’s Forum Composition Contest. He has attended masterclasses by Kati Agocs, Alan Mearns, et al. David Schneider,  Program  Coordinator A native of Southern California, David Schneider earned DM and MM degrees in composition at Indiana University and a BM at the University of Southern California. Schneider’s works have been performed by a number of ensembles, including the Minnesota Orchestra, New West Symphony, Thousand Oaks Philharmonic, Entheon Quartet, and several collegiate groups. He currently lives in Charlotte, North Carolina, where he is active as a composer, teacher, singer, and music copyist. He has taught a variety of subjects at Indiana University, the University of Cincinnati, Northern Kentucky University, and Central Piedmont Community College. For more information, visit www.davidschneidermusic.com. Toby Shearer,  Media  Intern  Coordinator Toby Shearer is the Creative Director of the Charlotte production boutique Haberdashery Films and heavily involved in Charlotte’s creative community. He recently finished a documentary about the impact of current immigration policies effect families in Charlotte. Previously he has worked with the American Dance Festival in Durham, NC, Baran Dance company, Dirty Art Club, Pringles and Continental Tire. www.haberdasheryfilms.com

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Matthew Darsey,  Program  Coordinator   Violist Matthew Darsey has led a varied musical life, serving as principal of orchestras and as a chamber musician. He has performed for the Children’s Theater of Charlotte, the opening ceremonies of the World Equestrian Games, in conjunction with Boston Pops Esplanade under Keith Lockhart, and premiered and recorded Thomas Pasatieri’s chamber opera God Bless Us Everyone in New York City. He has performed with orchestras alongside the bands Pink Martini, Earth, Wind and Fire, as well as with Arlo Gutherie in his Thanksgiving weekend concert at Carnegie Hall. He has performed as part of the Niles String Quartet, the Bluegrass Chamber Ensemble, as well as Nu Contemporary Ensemble, and the University of Kentucky Contemporary Ensemble. Matthew earned degrees from UNC School of the Arts and the University of Kentucky, where he served as a graduate assistant. His major teachers include Sheila Browne, Ulrich Eichenauer, and Deborah Lander. Currently, he lives in Charlotte, NC, where he enjoys an active career as a freelance performer and teacher. Adam Watkins, Program Coordinator Mark Adam Watkins is a BMI Composer/Producer/Pianist: He’s composed for Film/TV & has worked on projects with Lou Rawls, Al Jareau, Trans-Sylvania Orchestra, Pageant of the Masters Orchestra, Beyonce, JC Chasez, Lisa Loeb, Brian Setzer, & Jack Sheldon among others. Mr. Watkins has taught at California Baptist University, C.S.U. Los Angeles, and CPCC, and free lances as a pianist with the Charlotte Symphony Orchestra. He holds a B.M. in Piano from C.S.U. Long Beach, & a M.M. Composition from C.S.U., Los Angeles. He has studied with John Prince, Michele Weir, then Jack Smalley, Patrick Williams and John Clayton at the Henry Mancini Institute. His recent favorite advice to fellow composers is two fold: “1. Make a Decision, 2. If the tune is bad, orchestrating it won’t fix it.” www.markadamwatkins.com

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GUEST COMPOSERS John Allemeier John Allemeier’s music has been described as having a “sweet sense of mystery” by Fanfare and as “rapturous” by the American Record Guide. His music has been programmed on numerous national and international festivals and has been performed throughout the United States and Europe by professional and collegiate ensembles such as the Duo XXI, Due East, the Petrella Ensemble, the University of Iowa Center for New Music, the University of Iowa Graduate Chamber Orchestra, Oberlin Percussion Group, the Texas Christian University Percussion Ensemble, the University of Illinois Contemporary Chamber Singers, the UNC Charlotte Percussion Ensemble, and the UNC Charlotte University Chorale. He has composed pieces for professional performers such as Wolfgang David, David Gompper, Jeffery Lyman, Nick Petrella, Erin Lesser, Greg Beyer, Mira Frisch, and Paul Sharpe. Most recently, John Allemeier has collaborated with choreographer E.E. Balcos to compose music for dance performances by the dance company EE Motion. Recordings of John Allemeier’s music are available on the Albany, Capstone, and Vox Novus labels. His music is published by Carl Fischer Music Publishers, C. Alan Publications, M. Baker Publications, and European American Music. He received his Ph.D. in Composition from the University of Iowa, his Master of Music in Composition from Northwestern University and his Bachelor of Music in Performance from Augustana College. He has studied in Europe at the 41st and 42nd Internationalen Ferienkurse für Neue Musik in Darmstadt, Germany, and the 6th International Composition Course in Cesky Krumlov, Czech Republic. He currently teaches composition and music theory at the University of North Carolina at Charlotte. More information is available at www.johnallemeier.com.

Craig Bove Composer/performer Craig Bove earned his undergraduate degree at Northwestern’s School of Music and completed his formal training with a PhD at SUNY Buffalo, studying under Morton Feldman, David Felder, LeJaren Hiller, Donald Erb, and Bernard Rands. His compositions have been performed throughout the country and broadcast on radio. He has served as the conductor of the Middlebury Wind Ensemble and has performed, conducted, and presided over concerts of new and standard repertoire including performances at the Weill Recital Hall at Carnegie Hall, the BOCA Art Center in New York, KPFA Radio in San Francisco, and NPR Radio affiliates in New York, Vermont, and California. Bove’s own music has evolved from repetition and overlapping of cycles of events at various structural levels into what now could be described broadly as a pairing of poetic and prosaic, regularly and irregularly recurring events, and the rigorously controlled and the freely conceived. His most recent works have taken as their sources the model of a perpetually evolving psychological narrative as an associate/guide to the persistence of nascent sound. He has written for orchestra, various combinations of chamber groups, and vocal ensembles. At Central Piedmont Community College (CPCC), Bove teaches music theory, music history, composition, and is president of the Out Of Bounds Ensemble for New Music, a co-residency new music ensemble in partnership with Winthrop University. He is co-founder and co-director of the Bechtler Museum /CPCC collaborative “Bechtler on Campus” new orchestra music- modern art series. He also serves as chair for the music and dance departments at CPCC.

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Armando Bayolo Born in 1973 in Santurce, Puerto Rico to Cuban parents, composer Armando Bayolo began musical studies at the age of twelve. He holds degrees from the Eastman School of Music, where his teachers were Samuel Adler, Joseph Schwantner and Christopher Rouse; Yale University, where he studied with Roberto Sierra, Jacob Druckman, Ingram Marshall and Martin Bresnick; and the University of Michigan, where he studied with Michael Daugherty, Bright Sheng and Evan Chambers. Mr. Bayolo’s music, which the Washington Post hailed as radiant and ethereal, “full of lush ideas and a kind of fierce grandeur (which unfold) with subtle, driving power” and which the Charlotte Observer says “deserves to be played many more times and in many more places,” encompasses a wide variety of genres including works for solo instruments, voices, chamber and orchestral music. His music has been commissioned by the Fromm Music Foundation, the Aspen Music Festival, the National Gallery of Art, the Syracuse Society for New Music, the Western Piedmont Symphony Orchestra, the South Jutland Symphony Orchestra, the Euclid and Degas Quartets, Duo 46, The Percussion Plus Project, the Puerto Rico Symphony Orchestra and others. A tireless advocate for new music, Mr. Bayolo is founding Artistic Director and Conductor of Great Noise Ensemble and the Curator for New Music for the Atlas Performing Arts Center in Washington, D.C. Mr. Bayolo has been featured on Public Radio International’s Studio 360, the NPR program Fresh Ink, as well as the Washington Post and the New York Times’ Opinionator Blog. He has also contributed articles to New Music Box and Sequenza21, where he is a Contributing Editor. As an educator, he has served on the music faculties of Reed College, Hamilton College, and the Peabody Conservatory of Johns Hopkins University. He is the recipient of a 2011 Fromm Foundation grant from Harvard University, the 2008 Brandon Fradd fellowship in music composition from the Cintas Foundation, a fellowship from the Consortium for a Strong Minority Presence from 2006-2008, and various other awards and honors from the American Composers Forum, the University of Michigan, BMI, ASCAP and the arts councils of Iowa and North Carolina. Mr. Bayolo’s music has recently been released on the Innova label with upcoming releases on Great Noise Ensemble’s home label due in 2013 and is published by his own imprint, Olibel Music. He lives outside of Washington, D.C. with his wife and two daughters. www.armandobayolo.com www.greatnoiseensemble.com

Lawrence Dillon Composer Lawrence Dillon has produced an extensive body of work, from brief solo pieces to a full-length opera. Although he lost 50% of his hearing in a childhood illness, he began composing as soon as he started piano lessons at the age of seven. In 1985, he became the youngest composer to earn a doctorate at The Juilliard School, and was shortly thereafter appointed to the Juilliard faculty. Dillon is now Composer in Residence at the University of North Carolina School of the Arts, where he has served as Music Director of the Contemporary Ensemble, Assistant Dean of Performance, and Interim Dean of the School of Music. He was the Featured American Composer in the February 2006 issue of Chamber Music magazine. Dillon’s music, in the words of American Record Guide, is “lovely…austere…vivid and impressive.” Three recordings of his music were released in 2010 on the Bridge, Albany and Naxos labels. Increasingly in demand, Dillon has completed commissions in the last two years from the Emerson String Quartet, the Ravinia Festival, the Cassatt String Quartet, the Mansfield Symphony, the Boise Philharmonic, the Salt Lake City Symphony, the Daedalus String Quartet, the Kenan Institute for the Arts, the University of Utah and the Idyllwild Symphony Orchestra. Lawrence Dillon is represented by Jeffrey James Arts Consulting. www.lawrencedillon.com

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Mark Engebretson (b. 1964) is Associate Professor of Composition and Electronic Music at the University of North Carolina at Greensboro. He is the recipient of the 2011 North Carolina Artist Fellowship in Composition, and has received major commissions from Harvard University’s Fromm Music Foundation and the Thomas S. Kenan Center for the Arts. He is the founder of the UNCG New Music Festival, with performances at SEAMUS, ICMC, Wien Modern, Third Practice, Festival of New American Music, ISCM, BGSU Festival of New Music and Art, Carnegie Hall, Sala São Paulo, Argentina, Albania, Azerbaijan, Lithuania, Sweden, Norway, China, across America, and throughout Europe. Recordings of his compositions are available on the Albany, Innova, Lotus, and Capstone labels. Engebretson taught composition at the University of Florida, music theory at the SUNY Fredonia and 20th-century music history at the Eastman School of Music. He studied at the University of Minnesota (graduating Summa cum Laude), the Conservatoire de Bordeaux (as a Fulbright Scholar), and Northwestern University, where he received the Doctor of Music degree. At Northwestern he studied composition with M. William Karlins, Pauline Oliveros, Marta Ptaszynska, Michael Pisaro, Stephen Syverud and Jay Alan Yim and saxophone with Frederick Hemke. His teachers in France were Michel Fuste-Lambezat and Jean-Marie Londeix.

Ronald Parks Ronald Keith Parks, born in Waynesville, NC, is an active composer of acoustic and electronic music. He has written recent commissions for the Out of Bounds Ensemble, the Charlotte Symphony Orchestra’s Composer on Campus Project, Duo XXI, the Red Clay Saxophone Quartet, Torque, the Charlotte Civic Orchestra, the NeXT Ens, and the Force of Nature artist exchange program. Parks has written for numerous prominent performers and ensembles, and his compositions and papers have been selected for inclusion at numerous national and international festivals and conferences. Dr. Parks’ research into granular sampling, granular synthesis methods, and FFT-based spectral filtering is included in the Amsterdam Catalogue of Csound Computer Instruments and has been featured at ICMC, SEAMUS, SCI, and various other conferences and professional venues and has been published in various conference proceedings. His honors and awards include the Aaron Copland Award, the Outstanding Junior Professor Award at Winthrop University, the South Carolina Music Teacher’s Association Commission, Honorable Mentions in the Truman State/MACRO Composition Contest, the Minnesota Composers Forum, and the Shepard Composer of the Year Award, two Giannini Scholarships for Music Composition plus the Chancellor’s Award for Excellence at the North Carolina School of the Arts, and three Graeffe Memorial Scholarships for Composition and the Presidential Recognition Award at the University of Florida. He has received a Meet the Composer grant and was nominated and elected to Pi Kappa Lambda, a national honor society for musicians, and is an honorary member of Phi Mu Alpha. His music is available on Albany Records, the Electronic Music Foundation label, the 2005 and 2006 60X60 CDs, and the Society of Composers, Inc. Student Chapter CD Volume 1 from the University of Florida. Forthcoming releases include Masterworks of the New Era Volume 17 and an upcoming Duo XXI release on Albany Records. Dr. Parks received a BM in composition from the North Carolina School of the Arts, an MM in composition from the University of Florida, and a Ph.D. in composition from the University at Buffalo. He is currently Associate Professor of Composition, Music Technology, and Theory and is the Director of the Winthrop Computer Music Labs at Winthrop University.

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GUEST CHOREOGRAPHERS Martha Connerton Martha Connerton’s dancing career has spanned four decades, beginning with national and international touring at the age of 15. Her work as a ballet dancer included The Andahazy Ballet in Minneapolis, Pacific Northwest Ballet in Seattle and Louisville Ballet. At the age of 19 she began branching out into modern dance, studying with Bill Evans in Seattle, Twyla Tharp in Boston, and Jennifer Muller in New York. Moving to New York in 1983, Martha continued training in ballet and modern dance under Maggie Black, David Howard, Finis Jhung, Lawrence Rhodes, Milton Myers and worked with numerous independent choreographers and with the Joyce Trisler Danscompany and American Ballet Comedy/Funny Feet on Off-Broadway. In addition to her dancing, Martha began to choreograph works early on. In Louisville her choreography caught the eye of Artistic Director, Alun Jones, who commissioned her to create several works during her 5-year tenure there. Martha created her own company, SPHERE, Inc., dually based in Louisville and New York, and she began working as a Teaching Artist for Lincoln Center Institute in 1989. This laid the groundwork for her renowned educational programs that are the foundation of her current day KINETIKids Residencies and KINETYX Active Learning Performances. Relocating to Charlotte in 1993, Martha was Founding Director of DANCEPLACE the Official School of North Carolina Dance Theatre and served as Education Director setting the stage, over her 3-year term, for NCDT’s current day education programs. Since the new millennium Martha Connerton/Kinetic Works has been producing exquisite contemporary dance performances in the Queen City. Our mission is to foster awareness and appreciation of dance as an art form that impacts lives in a direct, positive and evolving process.

Clay Daniel A native of Southport, NC, Clay Daniel has performed with CPCC Dance Theatre, the Gamble/Van Dyke Co., Theatre West Virginia, Theatre Dance Ensemble and for two years was a soloist, rehearsal assistant and a company teacher as well as an ensemble member with Tennessee Dance Theatre in Nashville, TN. He trained in the Humphrey – Weidman technique and Weidman repertory under his mentor, Mary Ann Mee, a former member of Charles Weidman’s Expression of Two Arts Theater in NYC. His training in the technique is supplemented by study with Annie Bryan Griffiths and Jim May of The Jose Limon Company. He holds an MFA in Choreography from UNC – Greensboro and currently is in his second year as a faculty Dance Instructor at CPCC.

Ana Ogbueze Founder and Creative Director for the Dance District (Local Dance Studio and Booking Agency for Adults), Ana Ogbueze, a UNCC grad, has trained at top dance studios nationwide and studied with elite dance professionals such as Laurie Ann Gibson. Throughout her career she has worked as an NBA dancer, commercial tour dancer, choreographer, private instructor and creative director. She has over 15 years of dance experience and training in jazz, hip hop, and contemporary dance. She has also trained with celebrity choreographers for Brittney Spears, Usher, Beyonce, Toni Braxton and Ciara. Ana’s extensive knowledge of the dance industry has given her an expertise in the latest dance styles/techniques and opportunities within the professional dance sector. A few of her major staples include guest spots on “One Tree Hill” and “Hall Pass,” touring with the Oxygen Network’s “Dance You’re A$$ Off,” 2004/2005 Coca- Cola commercial and dancing four years with the NBA dance team, the Charlotte Bobcats, Lady Cats.

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GUEST PERFORMERS Orlando Cela Flutist, conductor, teacher, and arranger Orlando Cela embraces all aspects of music. From Vivaldi’s Double Concerto with Paula Robison to Indian classical music with Samir Chatterjee, Orlando plays flute in a variety of styles and settings, including with the I/O New Music Ensemble, Music at Eden’s Edge, Duo SopraVoce (with violinist Annegret Klaua), and as a solo performer, collaborating with musicians such as pianists Aaron Jackson, Yukiko Shimazaki, Sivan Etedgee, harpist Barbara Poeschl-Edrich, and many more. He has premiered countless works by Anthony De Ritis, Maxwell Dulaney, Zhu Shu Jia, and many others. He has performed in many parts of the USA and abroad in the Czech Republic, Austria, Germany, China, Hungary, Spain, and Great Britain. Orlando is now working on his fifth recording, “Project Extended,” a compilation of pieces by contemporary composers who wrote works for him using nothing except extended techniques. You can find his other recordings on iTunes, Amazon and CDBaby. In the past, he was on the faculty at College of the Holy Cross and at UMass Dartmouth. Orlando studied at DePauw University with Anne Reynolds and Eric Edberg, at the New England Conservatory with Paula Robison, Tamara Brooks, and Frank Battisti, and in Austria with Barbara Gisler-Haase. He has performed in masterclasses for Raymond Guiot, Shigenori Kudo, Alain Marion and Trevor Wye. Visit www.orlandocela.com for more information. Tomoko Deguchi Tomoko Deguchi is an associate professor at Winthrop University, teaching music theory and aural skills. She remains active as a pianist, specializing in contemporary music. She has been a soloist and featured performer at numerous concerts including the 20th-Century Piano Music series, the Young Artist Concert series, Kobe Art Conference Competition concert, and the Buffalo Contemporary Ensemble Concert series. She was selected as one of six finalists in the Crane Festival of New Music, National Student Performers Competition. In 1998, she was the Concerto Competition winner at the University of Wyoming. In the same year, she was invited as a guest performer at Northern Illinois University, where she did a recording for her first solo piano album Syncopated Lady, featuring works of members of the American Composers Forum. Her recording is included in the Music of Laurel Firant. Tomoko Deguchi continues to perform in composer’s conferences and contemporary concerts. In 2008, she founded a new music ensemble, Out of Bounds, which she performs with other featured professional performers from the Charlotte region. Jennifer Dior Jennifer Dior is a graduate of Manhattan School of Music where she earned a Bachelor of Music performance degree in 1987. She has lived in Charlotte NC since 1990 and has been teaching at UNC-Charlotte since 2002. Mrs. Dior also teaches younger students for Community School of the Arts and at her home studio in Charlotte. She has taught at Winthrop University (summer camps) and Wingate University, and she gives master classes and group lessons at many area public and private schools. She has played with the Charlotte Symphony, the South Carolina Philharmonic, the Greenville (SC) Symphony, the Greensboro Symphony, the Roanoke (VA) Symphony, the Asheville Symphony, the Charleston (SC) Symphony, the North Carolina Symphony, and the Western Piedmont Symphony Orchestra. She has played solos on flute and piccolo with the UNC Charlotte Symphonic Band, the Charlotte Symphony Orchestra, and the South Carolina Philharmonic. She has played chamber music in the Charlotte area with Chamber Music at St. Peters, Providence United Methodist series and many others.

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Erinn Frechette Flutist and piccolo player Erinn Frechette joined the Charlotte Symphony in 2002. She has also performed with the Civic Orchestra of Chicago, the Kentucky Symphony and the Charleston Symphony. Erinn began playing the flute when she was nine and went on to attend Broad Ripple Performing Arts High School in Indianapolis, Indiana. After high school, Erinn completed a Bachelor of Music degree at Northwestern University and a Master of Music degree at the University of Cincinnati College-Conservatory of Music. She is currently finishing a Doctoral degree at the University of Cincinnati as well. Other accomplishments include winning third place in the Flute Talk Competition and becoming the only person in the history of the National Flute Association to win first place in both the Young Artist Flute Competition and Piccolo Artist Competition. When she is not playing with the Symphony, Erinn enjoys reading, travel, cooking, biblical archeology, history, watching The Young and the Restless, and spending time with her husband, Martin House, and their dogs, Ginger and Moxie. Patrick McGinty Patrick McGinty, a native of Statesville, NC, graduated from South Iredell High School and earned a Bachelor of Music in music education from the University of North Carolina in Charlotte. Patrick has been active performing as a percussionist throughout the Charlotte area for the past ten years. Mr. McGinty began private percussion studies with Rick Dior in high school and continued his studies with Mr. Dior at UNCC until the completion of his bachelors degree in 2008. Following graduation from high school in 2002, he served as a marching percussion instructor with high school bands throughout the state of North Carolina. In addition, he was employed by Ardrey Kell High School, where he worked as a marching percussion instructor for five years and as Assistant Director for two years. Mr. McGinty has also worked as Adjunct Professor at Gardner-Webb University in Boiling Springs, NC for two years. Currently, Mr. McGinty is the director of percussion studies at Holy Trinity Catholic Middle School and Charlotte Catholic High School. He is a member of various professional organizations, including the Percussive Arts Society, NAFME, and NCMEA. As a performer, Mr. McGinty has performed nationally with a variety of musical organizations. Most recently, he performed with Nashville recording artist Ronnie McDowell, the Jordanaires, the Stamps Quartet, and Millie Kirkham for an Elvis Tribute concert series near Memphis, TN for Elvis week and in Las Vegas, NV in 2012. Mr. McGinty regularly performs with the CPCC Opera Theatre, the Union Symphony Orchestra, and other local music ensembles. JW Turner This season, JW Turner celebrates the tenth year of the Meditations recital series. Since its inception in 2003, Turner has explored an increasingly diverse range of repertoire, collaborating with composers in seven countries and presenting the world premieres of fifteen solo and electro-acoustic works. Turner’s current projects include the presentation of several “featured works,” with accompanying analysis and discussion, drawing from the SACHER variations, works associated with the Darmstadt summer music courses, works by American masters of the last century, and works inspired by the traditional music of Korea and Japan. Turner’s research has been published in the Indiana Theory Review and the Virginia Review of Asian Studies, and in February he will perform at the 12 Nights festival of electro-acoustic music in Miami, Florida. Turner joined the faculty of High Point University in the fall of 2010 to develop and teach the innovative music core curriculum. He is also President-Elect of the Mid-Atlantic Chapter of the College Music Society.

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Freya String Quartet

Founded in 2009 The Freya String Quartet is dedicated to performing a wide range of music, advocating artistic evolution, and teaching the importance of classical music in the Pittsburgh area.

Jason Neukom – Violin Ashley Buckley – Violin Jason Hohn – Viola Katya Janpoladyan - Cello

It has been the personal goal of the ensemble to go beyond the traditions of the classical music world by breaking boundaries and reaching new audiences through innovative performances and methods. Freya joined Symbiotic Collusion in 2011 in an effort to maximize the possibilities of these goals. The members have been featured in performances throughout the US, Asia, South America and Europe and have studied with members of the Cleveland Quartet, Ying Quartet, Alexander String Quartet, Cavani String Quartet, Daedalus Quartet, Fry Street Quartet, Los Angeles Piano Quartet, among others. Freya gives many performances in a variety of venues, using a vast array of repertoire that spans from Shostakovich to Glass and Beethoven to Radiohead. The quartet is also very supportive of new music, having commissioned new works for performance, and always looking for interesting collaborations and projects. Freya has spent the last two years donating time to public schools in the Pittsburgh area by giving short concerts, teaching lesson plans, helping students learn valuable chamber music skills, and assisting music teachers in recruiting students for their programs. Recent performances of Freya include collaborating with Opera Theater of Pittsburgh and The Attack Theatre, staging a well-received production of Ricky Ian Gordon’s Euridice and Orpheus outdoors in the heart of Pittsburgh’s historic Allegheny Cemetery, a set of shows that was included on the Top Ten List for best Pittsburgh classical performance in 2011 in both the Post Gazette and Tribune Review. Freya was also recently featured on WQED’s Bach, Beethoven, and Brunch series, receiving acclaim for both their musicianship and adaptability in different musical styles. The ensemble also has substantial studio experience, most recently recording an entire album of string quartet tracks for The Isaac Merz Band. Freya is currently working on some studio projects, which will result in the release of several albums. These projects include an album of 10 brand new “encore” works by composers Richard Neukom and Sean Neukom set in various styles, and an album that will present a brand new song set featuring the Pittsburgh-based band Eldertone and Freya playing together. For more info: www.symbioticcollusion.com The involvement of the Freya Quartet with the Charlotte New Music Festival is funded in part by a grant from South Arts in partnership with the National Endowment for the Arts and the North Carolina Arts Council.

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Anatoly Larkin Born in Russia in 1979, Anatoly Larkin has been studying and making music from around the age of 4. After undergraduate studies at the Guildhall School of Music and Drama in London, Anatoly completed his doctoral studies in piano performance at the University of Minnesota, where his advisor was Alexander Braginsky. During his years in Minnesota, he was a member of the new music ensemble Zeitgeist, which allowed him to fulfill his passion for contemporary and avant-garde music. With Zeitgeist, Anatoly premiered works by composers such as Paul Dresher, Scott Miller, Amy Wurtz, Jerome Kitzke, Bill Banfield, Anthony Gatto, Kathy Jackanich, Justin Rubin, Michael Wittgraf, and many more. He is active as an improviser, having collaborated with trombonist Patrick Crossland, clarinetist Pat O’Keefe, and violinist Yuri Merzhevsky. In 2005, he moved to Raleigh, NC, to join Zenph, a music technology company. There he developed a software-based process, subsequently trademarked as “Re-Performance®”, that made it possible to hear performances of golden age pianists in famous audio recordings live again, with the help of state-of-the-art reproducing piano technology. He oversaw the recordings of critically acclaimed albums such as “Bach: The Goldberg Variations 1955 Performance,” “Rachmaninoff Plays Rachmaninoff,” and “Oscar Peterson: Unmistakable.” In 2010 and 2012, his re-creations of Rachmaninoff’s and Marvin Hamlisch’s pianism were featured on PBS’ Live from Lincoln Center telecast, in collaboration with violinist Joshua Bell. Anatoly continues to perform, as well as occasionally composing music. He is an enthusiastic music teacher who sees learning music as akin to learning a spoken language and also sees benefit in judicious combinations of traditional methods with computer-based technology to enhance the learning process. In 2013, his upcoming projects include an overview presentation and recording of “Russian composers in their early 30s,” performance of a two-piano version of Stravinsky’s The Rite Of Spring with the Carolina Ballet, as well as the continuing collaboration with composers John Starosta and Craig Bove. Daniel Spiegel Daniel Spiegel is equally at home as a solo performer and as a collaborative artist. He has performed extensively in chamber and orchestral ensembles. Spiegel completed his Master of Music degree in piano performance at the Juilliard School, where he studied with Joseph Kalichstein. Spiegel earned his Bachelor of Music degree at Peabody Conservatory, concurrently earning his Bachelor of Arts degree in English at Johns Hopkins University. He has won numerous competitions and awards, leading to solo performances with the National Symphony Orchestra, the Guilford Symphony, the Montgomery Symphony, and the National Chamber Orchestra, and he has given solo recitals at Carnegie Hall’s Weill Recital Hall. Spiegel has performed extensively as a collaborative artist with both instrumentalists and vocalists, and he has worked with artists such as Joshua Bell, Edgar Meyer, and Midori. His performances of violin and piano works in Ottawa and Montreal were recorded by CBC for broadcast throughout Canada and Europe. He has toured throughout Canada and the United States, and he is a recipient of the Coleman-Barstow award at the 2006 Coleman Chamber Music Competition. Spiegel has recently engaged in fruitful collaborations with choreographers such as Igal Perry, Aszure Barton, and Luca Veggetti. An avid proponent of new music, Spiegel has commissioned, premiered, and performed many works by peers whose music he believes in, such as Ryan Anthony Francis, Daniel Thomas Davis, Avner Dorman, Adam Schoenberg, David T. Little, and Benjamin C. S. Boyle, and he has performed with the Peabody Camerata, the New Juilliard Ensemble, and the Aspen Contemporary Ensemble. He is currently a member of the Pittsburgh New Music Ensemble, which presents new works in innovative and exciting ways. Spiegel premiered two of Ryan Francis’s piano etudes on a concert presented by the Metropolis Ensemble in March of 2008, and his premiere recording of Francis’s solo piano piece Consolations, was released by New Dynamic Records in June of 2009.

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Stephanie Wilson Stephanie Wilson is a lifelong musician. She began studying piano at age five, then added percussion studies while in public school. Ms. Wilson flourished through high school playing percussion in several ensembles including marching and concert band, a percussion ensemble, and many honors bands while studying under Rick Dior of UNC Charlotte. Stephanie holds a Bachelors degree in percussion performance from Appalachian State University where she studied under Dr. Rob Falvo. Since college she has been in frequent demand as a percussionist and has played with the Western Piedmont Symphony, the Asheville Symphony, the Union Symphony, the Carolinas Wind Orchestra, and the Pan Jive Steel Drum band, as well as for numerous churches. Her current activities include regularly teaching percussion at numerous schools in and around the Charlotte area as well as teaching private piano and percussion lessons from her home studio.

COMPOSER PARTICIPANTS Zach Albrecht is a Junior Music Composition Major at the Baldwin Wallace Conservatory of Music. His teachers include Dr. Fang Man, Dr. James Hirt. Dr. Clint Needham, and Dr. Steven Mackey. He also studies both western and non-western percussion with Josh Ryan. Following the completion of his studies at BW, he plans on pursuing graduate and post-graduate degrees in composition. A native of Malaysia, Hong-Da Chin (b. 1985) thrives in his composition and performing career. His solo and chamber works have been selected for commissioning projects, such as Orlando Cela's “Extended” CD recording project and Nina Assimakopoulos’ commissioning project. Recently, Chin's Paradise of Birds was premiered by Dolce Suono Ensemble at the Curtis Institute of Music. Chin also composed Fable for Orkiestra Muzyki Nowej, which was premiered in Poland in December 2012. With his Chinese bamboo and Western flutes, Chin has appeared in Singapore, Hong Kong, Japan, Poland, as well as Chicago, Charleston, SC (Spoleto Festival USA), and New York City (Lincoln Center Festival). Chin earned his B.M. in composition from the University of Houston, and M.M. in composition from the University of Louisville studying with Steve Rouse, computer music with Krzysztof Wolek, and flute with Kathy Karr. In August, Chin will begin his doctoral studies at Bowling Green State University, studying with Marilyn Shrude. For more information, visit hongdachin.wordpress.com. Natalie Dietterich (b. 1992) is a composer from Harleysville, PA and will be entering her senior year at West Chester University in the fall. She has studied composition with Dr. Robert Maggio and Dr. Adam Silverman, among others at WCU, and privately with Dr. Andrea Clearfield and Missy Mazzoli. Recent commissions include two from the WCU Theory/Composition faculty, for string quartet and symphony orchestra, and one from her violin professor Sylvia Ahramjian, for string orchestra. Later in 2013, Natalie will be attending the highSCORE summer festival in Pavia, Italy. Born and raised in Pittsburgh, Daniel English is a versatile composer, comfortable in almost any medium. Completing a degree in music composition at Baldwin Wallace University Conservatory, Danny's ultimate goal is to compose music for television and film. Past teachers have included Clint Needham, James Hirt, and Fang Man. An avid jazz musician and composer, Danny has performed his music in many venues, including the Cleveland Museum of Art and the historic Brothers Lounge. His current projects include a suite of jazz-inspired pieces for orchestra and an art song cycle. An audio nerd as well, Danny was an intern with WQED Multimedia in Pittsburgh in 2012, working in post-production with acclaimed sound engineers and radio personalities. Danny is honored to be a participating composer at the 2013 Charlotte New Music Festival and is excited to bring his music to a new audience. Garrett Austin Hecker is a composer and percussionist from South Florida. His music explores stylistic hybridity, rhythmic complexity, political subjects, and humor. He completed his MM in composition at the University of Florida and he earned his BM in composition from the University of Miami. He will be beginning his PhD at the University of Florida in the fall of 2013. He has primarily studied composition with Scott Stinson, James Paul Sain, and Paul Koonce. Hecker’s music has been performed throughout Florida. Andrew Scott Israelsen enjoys humor, dissonance, absurdity, and storytelling. His compositional pursuits traverse jazz, world, improvisation, noise, and folk music. He graduated from Illinois State University in 2011 where he studied double bass and composition with Dr. Carl Schimmel, Dr. Martha C. Horst, Dr. William

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Koehler, and Dr. Alex Miller. He attended the SoundSCAPE Festival in 2012in Maccagno, Italy where he developed a penchant to show up to improvisation class with vegetables, plants, and rocks fashioned into rudimentary instruments. He enjoys sitting down for a songwriting session with his puppet Alphons or riding off into the sunset on his bicycle to sing about horses and mountains with low self-esteem. Christian James, born in 1992 in Auray, France and raised in Metropolitan Detroit, is a composer, improviser, vocalist, and multi-instrumentalist of diverse backgrounds and training. After committing much of his childhood to professional musical theatre in Northville, MI, Christian is now entering his fourth year of undergraduate study in composition at Oberlin conservatory. As a composer he has studied with Eric Wubbels and Daniel Tacke, received masterclasses from James Wood and Philip Cashian, and participated in a winter arts residency at the Banff Centre. He also studies ethnomusicology (his minor at Oberlin), Javanese gamelan, and Sumatran talempong with Dr. Jennifer Fraser; organ performance with James David Christie and Jack Mitchener; and Hindustani khyal (Classical North Indian voice) with sitarist Hasu Patel. Additionally, he has backgrounds in carillon, piano, classical guitar, and flute performance. These practices collectively inform his composition, which attempts to effectively convey relationships between multiple musical perspectives and traditions. Chung Eun Kim, a native Korean composer, is currently pursuing her doctoral degree at Rutgers, where she studies under Gerald Chenoweth. She has also studied with Charles Fussell, Robert Cogan, Pozzi Escot, and Seung Hyun Youn. Kim plays piano, organ, and Hae-guem, a traditional Korean string instrument. She received an M.M. at the New England Conservatory in Boston and B.M. and M.M. degrees at Ewha Womans University in Seoul, Korea. A graduate of Illinois State University (2012) with a Bachelor of Music in composition, Steven Kowaleski (b.1989) has received the Harland Peithman Award for Outstanding Music Theory Students and departmental recognition from the ISU School of Music. Steven has studied composition extensively with Carl Schimmel, and he has also studied under Martha C. Horst, Alexander E. Miller, Matthew Halpard, Kathryn Alexander, Laura Schwendinger, and Michael Klingbeil. In addition to composing contemporary concert music, Steven has experience in electronic and media composition with Pro Tools, Adobe Auditions, Logic Pro, and MaxMSP, and he is an active classical guitarist. Accepted into the ISU Honors Research Mentorship Program in 2011, Steven began work on an orchestration text focusing on composition for classical guitar, guitar ensemble, and guitar orchestra. He worked under the advisement of Angelo L. Favis and has continued writing the text independently. Steven is currently attending the Hartt School of Music to pursue a Master of Music in composition and is studying with Elizabeth Brown. Steven’s music has been performed by the JACK quartet, Robert Black’s bass studio, Duo Fortysix, and members of the International Contemporary Ensemble. Michael Lukaszuk was born in Kingston, Canada in 1989. He studied music theory and composition at the University of Western Ontario, where he recently completed a master’s degree, composing a thesis for string orchestra and live electronics. Michael’s principal composition teachers have included Omar Daniel and Peter Paul Koprowski. He has participated in masterclasses and workshops with composers and contemporary music ensembles in Canada and the U.K. Kaito Nakahori is a Japanese composer based in Tokyo and San Francisco whose works have been described by Timeless Atmosphere as, “very Japanese, very elegant.” He received his Bachelor of Music in composition from the Toho College of Music with the Syuseki award and is currently working on his Master of Music degree at the San Francisco Conservatory of Music. Kaito has been the recipient of several honors in Japan. His pieces have been performed in Europe, America and Japan by many famous musicians such as Aki Takahashi. He has recently been involved in the international project entitled A-EN Composer's Project with Hikari Kiyama and is a member of the Tokyo International Association of Artists as well as the Japanese composer group The Sound Set. Adam Scott Neal is a composer whose work embraces a range of artistic engagement including acoustic and electroacoustic composition, video, electronics tinkering, and improvisation. He is currently a PhD fellow at the University of Florida, and previously earned degrees from Queen's University Belfast and Georgia State University. Adam has enjoyed over 100 performances of his music in twenty states, as well as Canada, China, Italy, Slovenia, Switzerland, and the UK. Dale Sakamoto: Dale Sakamoto is a writer, composer, and arranger native to Orange County, California. He graduated from Vanguard University, summa cum laude, with a double BA in music composition and English literature, where he studied under Greg Glancey. He will attend Baylor University in 2013 to receive his MM in music composition. As a composer he has written many pieces ranging in style from a Czech art song to a symphonic tone poem with three movements. His pieces have been performed by the San Jose Chorale, and he

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has won several competitions including the ASCAP Hatz Recognition Award for his piano piece Fleur de l’hiver. Composer Paul Sayed has had the humbling privilege of having his pieces premiered by top caliber musicians such as Alan Black, principal cellist of the Charlotte Symphony Orchestra. Sayed earned a Master of Music in composition from the Longy School of Music of Bard College, in Cambridge, Massachusetts and a Bachelor of Arts in music from Davidson College, one of the nation's top liberal arts colleges, located in Davidson, North Carolina. His teachers in composition include Dr. John Morrison, Dr. Jennifer Stasack, Dr. Jeremy Van Buskirk, Dr. Paul Brust, and Dr. Hayes Biggs. Recently, Sayed won the Honors Competition at the Longy School of Music with his piece, Metropolitan Snapshots. Haerim Seok is a composer from Seoul, South Korea. She has studied at Yonsei University, Seoul, Korea. Currently she is pursuing her doctoral degree at the College-Conservatory of Music, University of Cincinnati, where she studies with Joel Hoffman. She has also studied composition with Jiesun Lim and Douglas Knehans. Her recent works are focused on conversational gestures between different voices. Haerim’s work has been performed in Korea, USA, Croatia, and Japan. Kyle Simpson is a trumpeter, bandleader, composer, and educator from Lakeland Minnesota. He received a B.M. in music performance with a jazz emphasis at Lawrence University in Appleton, Wisconsin and a masters in music composition from the University of Montana. He has been awarded fellowships to study composition at the European American Musical Alliance in Paris, France, the Henry Mancini Institute in Los Angeles, and Ostrava Days in Ostrava, Czech Republic. Simpson has written many works for wind ensemble, jazz ensemble, orchestra, and chamber groups. After completing his studies, Simpson went on the road with the World Famous Glenn Miller Orchestra under the direction of Larry O’Brien as a section and solo trumpet. His jazz compositions have been performed by the Glenn Miller Orchestra and featured at the Buddy DeFranco Jazz Festival in Missoula, MT and the Banff Jazz Workshop. His contemporary compositions have been performed by members of the Czech National Symphony, the Washington PA Symphony, and the Janaček Philharmonic. Recently Simpson participated in the NYU/ASCAP Film Scoring Workshop in New York City. Simpson is currently Assistant Professor of Music at Washington and Jefferson College in Washington, PA, where his duties include teaching wind ensemble, jazz ensemble, and trumpet. David Vess (b. 1991) grew up in Spruce Pine, NC. He is a graduate of the UNC School of the Arts, with a BM in tuba performance. He has studied tuba with Matt Ransom, Roger Bobo, and Oystein Baadsvik. He has studied composition with Kenneth Frazelle and Nicholas Rich. David has served as Keyboard Teaching Assistant at UNCSA under Dr. Karen Beres. He has attended Le Domaine Forget, a Canadian Music Festival, and premiered his Brass Quintet No. 1 there in 2012. David will be attending the Boston Conservatory this fall to pursue an MM in composition. Kaitlyn Wagner is a promising young composer whose works have been performed by the Cleveland Institute of Music, members of the Carolina Philharmonic and by many performers at the University of North Carolina at Greensboro. She has been commissioned by the Carolina Philharmonic, Pinecrest High School, churches, and multiple professional performers. Ms. Wagner is a member of the National Society of Collegiate Scholars and is vice president of the University of NC Greensboro chapter of the Society of Composers, Inc. She is the winner of the Harold Schiffman composition competition, a Holt Music Scholarship, and she is a two-time alumnus of the Cleveland Institute of Music's Young Composers Program. Her teachers have included Randall Woolf, Alejandro Rutty, and Mark Engebretson. Ms. Wagner is currently a rising sophomore at the University of North Carolina at Greensboro, majoring in music composition and viola performance. Paul Watkins is a composer and trombonist from San Jose, CA. He holds Bachelor of Arts degrees in music and psychology from the University of CA, Davis, and is currently pursuing his Master of Music degree at the Longy School of Music in Cambridge, MA. His music has been performed by Fifth House Ensemble, pianist Adam Marks, mezzo-soprano Jen Beattie, members of the Empyrean Ensemble, and the UC Davis Summer Symphony, among others. At UC Davis, he was the recipient of the President’s Undergraduate Fellowship, the Outstanding Senior Award, and the Olga Brose Valente Memorial Prize for excellence in music composition, which he won twice. His primary composition teachers include Kurt Rohde, Ross Bauer, Laurie San Martin, and John Morrison. In his music, he has enjoyed exploring dense counterpoint, irregular form, incorporating theatrical and humorous elements, and avoiding self-promotion. Evan Jay Williams (b.1989) is a composer and writer from Upstate NY. His music has been performed by the new music groups Defenestration and the Rocky Ridge Contemporary Music Ensemble, and he has published more than half a dozen works of short fiction in the journals The Finger, Nevermore, and Signatures. His composition studies have taken him across the country, and he will begin graduate studies in the fall at Carnegie Mellon University.

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All audio & sound equipment for the CNMF concerts have been generously supplied by Guitar Center in Matthews, NC, off of Independence Blvd.

Craig Bove, Department Chair Music & Dance @ CPCC (704) 330-2722 www.cpcc.edu

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FLUTE CHOIR CONCERT Tuesday, June 18, 8 pm Grace on Brevard 219 S. Brevard St., Charlotte, NC featuring Orlando Cela, flute Patrick McGinty, percussion Charlotte Flute Choir Flames must not encircle sides

Robert Dick

For You and Me

Haerim Soek

Conversations between wind and water Knife in the Water I. II. III. IV. V.

Hong-Da Chin Michael Lukaszuk

Kalon

Silvia Simons

Lied

Heinz Holliger

Stations of the Suburban Mind I. Raj Raag’s Vegetable Stand II. Garbage Chad is Glad You Glad III. Gary G. in the Mall IV. Drunk and in Control of a Bicycle Quick Turn Around

Andrew Scott Israelsen

Mark Adam Watkins

Unbreakable

Eric Lacy

Saṅkīrtana-yajña

Christian James

Double Clutch

David Kulma 20  


For You And Me, Haerim Soek For You And Me was composed for the 2013 Charlotte New Music Festival. Throughout the work, the flutist and percussionist are having a conversation. The percussionist is a listener at the beginning of the piece, reacting to the flutist, who is the speaker. At the end of the middle section, there is a solo section where the percussionist presents what the listener has heard and thought. Finally, the two find balance in the speaker-listener relationship. Knife in the Water, Michael Lukaszuk This piece consists of five miniatures based on the many sounds and movements of water, such as drips, ripples and waves. Knife in the Water is the title of a 1962 film by Roman Polanski. It depicts tensions that arise between a married, bourgeois couple and a young hitchhiker whom they invite to join them on a yacht trip. Polanski’s use of water to express fear and jealously was influential throughout my compositional process. Stations of the Suburban Mind, Andrew Scott Israelsen Perspectives change as one jumps between corporeal forms in our connected, modern world. Here, one sells fruits and vegetables listening to the hottest guru's chart busting raag, while over there a man reeking of garbage has muddled memories of an old commercial from his youth. In that cavernous retail center the dead rise to walk the fabled halls, ruminating their distaste with pop culture. Somewhere, someone mounted on a bicycle, drunk, discovers a helmet would have been a nice accoutrement. Saṅkīrtana-yajña: Music as Sacrifice and the Rāga of Western Imaginations, Christian James Saṅkīrtana-yajña, a Sanskrit term meaning “responsorial song as a devotional offering,” refers to my experiences with American practitioners of Krishna consciousness (also known as the Hare Krishna movement), many of whom interact daily with music originally composed for an Indian idiom despite their own, differing musical backgrounds. Similarly, this piece attempts to engage with conceptions of classical Indian form and harmony that accumulate from a cultural perspective wherein such music is “otherized:” the Western concert hall. The result is a migration of cultural significances, wherein the percussion and flute choir serve to contextualize the flute soloist and articulate changing harmonic and rhythmic priorities.

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NEW MUSIC CONCERT I, WITH FREYA QUARTET Thursday, June 20, 8 pm St. Peter’s Episcopal Church 115 W. 7th St., Charlotte, NC featuring Freya String Quartet Erinn Frechette, flute Daniel Spiegel, piano Stephanie Wilson, percussion 9 Dreams of Flying

Music by Ronald Parks Visual art component by Michael Compton

Adhmad

Adam Scott Neal

Broomstick

Lawrence Dillon

Quintet for Piano Quartet and Vibraphone

Zach Albrecht

Kings of Infinite Space

Kaitlyn Wagner

String Quartet No. 2

Chung Eun Kim

I. II. III.

For the Piano, Book II: Souvenirs

Evan Jay Williams

I. Adventuring the City II. Another Rhyme for Love III. Drunken Ave Marias IV. Sodden, Downtrodden Angels V: Soft Music and Loud Champagne

Purple Monkey Dishwasher

Paul Watkins

Whitewater

Elizabeth Kowalski 22  


9 Dreams of Flying, Ronald Parks, began as an exploration of the sensations experienced when dreaming of flying. I did not not want to create a direct narrative of such dreams, rather, the intent was to loosely model the illogical unfolding of events in such dreams. Dreams in which the impossible becomes possible and reveals itself as a long-forgotten ability. The final version was clearly influenced by my collaboration with Michael Compton, who created the visuals. We corresponded regularly and Michael shared images with me that were connected to neural networks. I was so struck by the imagery that the piece took on a slightly different direction, reflecting the process by which synaptic connections are made and networks form. Michael quickly picked up on this in the music. He wrote "...we can interpret your composition as the journey from the first spark of brain activity to consciousness awakening. The first piano notes, pulsing like morse code, suggest the first synaptic signals trying to connect with the outside world. Each voicing and part that joins in is visualized as the construction of more and more complex neural networks." 9 Dreams of Flying was written for the 2013 Charlotte New Music Festival. Special thanks to Elizabeth Kowalski. Adhmad, Adam Scott Neal - Adhmad is a Gaelic word for wood. As a substance, wood can exhibit numerous textures depending on its source plant and method of manipulation. This piece attempts to demonstrate an analogous range of textures through articulation—sometimes smooth, sometimes rough, sometimes solid, sometimes brittle. Broomstick, Lawrence Dillon - To illustrate the first of his six artistic principles – Lightness – Italo Calvino recalls the weight of the domestic life borne by women through the centuries. In a leap that conveys the power of the imagination, these women took the tool of their servitude – the broom – and transformed it into an extraordinary symbol of lightness and power, donning their steep-peaked hats and soaring off to the moon. Quintet for Piano Quartet and Vibraphone, Zach Albrecht - Composed for the 2013 Charlotte New Music Festival. It begins with the piano playing very rhythmic and syncopated figures in the lowest octave of the piano. This “rocking” motion between two notes is picked up by other instruments and is a gesture that pervades the entire piece. The syncopated gestures are then doubled by the cello and eventually expanded on by all the instruments, although at different times. Essentially in a rondo-esque form, there are three main tonal centers that are explored during this brief piece. These tonalities are mixed together with various polymeters to create an exciting and vibrant texture. For the Piano, Book II: Souvenirs, Evan Jay Williams - Taking a cue from Debussy and other composers who have collected their piano works in “books,” I wrote this set of pieces as a subsequent addition to my first Book (2010), regardless of the differences between the two works. Unlike my earlier piano music, which was structured more along the lines of a collection of preludes, Souvenirs is a suite of pastiches that record impressions of various adventures in locales both sundry and venerable. While the five brief “chapters” are not programmatic, they definitely have a story to tell (despite their length) both individually and when taken as a whole. Coincidentally, while a flood destroyed the piano that was the dedicatee of my earlier piece, a house fire damaged the keyboard on which I had composed much of the original material that eventually found its way into this composition. So it goes. In any case, I challenge you not to take them too seriously and to go along with the ride. The final movement was arranged for piano from a section of my brass quintet, Perambulations (2013). Purple Monkey Dishwasher, Paul Watkins - In choosing the concept and title, I dove into the rich source material found in early seasons of The Simpsons. One especially great moment features our protagonist, Bart Simpson, as he attempts to prolong a teacher strike in order to keep the school closed. He begins a rumor that the principal of the school, Skinner, says the teachers will crack under the pressure. The spread of the rumor becomes a game of telephone in which the end result is the original message, followed by three nonsensical words. In my piece, the flute plays the role of the inciter, and the strings embellish the flute’s statements in increasingly unrelated ways. The end result is that these embellishments, though nonsensical, nevertheless have an effect on the governing body (“We’ll show him! Especially for that ‘purple monkey dishwasher’ remark.”). Kings of Infinite Space, Kaitlyn Wagner - "O God, I could be bounded in a nutshell, and count myself a king of infinite space—were it not that I have bad dreams." -William Shakespeare, Hamlet …

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Kings of Infinite Space is an exercise in musical space. The main theme, an ephemeral moving line, acts as a person walking through various musical spaces. In the beginning, the theme is cloaked in a soft and delicate texture, from which it moves into a shifting and uneasy buildup until finally entering a place of modern and edgy surroundings, as evidenced by a heavy 7/8. From there, it goes through more musical transformations, becoming a lush forest, a gently rocking boat, and finally, in the purposefully unsatisfying end, an open door. String Quartet No.2, Chung Eun Kim - String Quartet No. 2 is based on the tune, L'homme armé, which is a popular tune used for the Ordinary of the Mass in the Renaissance era. The three movements have different approaches of adopting the tune. In the first movement, one can clearly hear the tune at first, but then it becomes gradually distorted. L'homme armé is varied in the second movement with a swing rhythm. The melody, texture, and harmony in the last movement contrast with those of L'homme armé, featured in the middle section. Whitewater, Elizabeth Kowalski - Designed to take the listener on the same whitewater rafting experience I had one summer, the piece combines elements of the actual river and physical rafting experience. This is pieced together with feelings of adventure, fear, and glory. Motives in the beginning represent rocks, eddies, and rapids. The next section of the river is smoother, looking deceptively calm on the top, but right under the surface is a fast-moving current over the solid riverbed and rocks at the bottom. The third section begins to pick up out of the calmness and you, the rafter, realize that you may have made a huge mistake. Waves pick up velocity and strength rhythmically pounding and throwing the raft. You even go airborne at times. Suspense builds. You spot a waterfall and your internal alarm is screaming in the midst of all of the action. You finally reach the point of suspension while you plunge down the waterfall…….

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IKTUS PERCUSSION Sunday, June 23, 3 pm Grace on Brevard 219 S. Brevard St., Charlotte, NC featuring Denise Fillion, piano Chris Graham, percussion Lavender Mist

Dale Sakamoto

Chromadescent

David Vess

Mesh Interior

Garrett Austin Hecker

once bitten, twice shy

Natalie Dietterich brief intermission

Kontakte

Karlheinz Stockhausen

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Lavender Mist, Dale Sakamoto – While traveling across the U.S. and Europe a few years back I had the opportunity to view several art museums, from the expansive ceilings of the Sistine Chapel to the long hallways and rooms of the Art Institute of Chicago. Although I had seen several paintings by the artist Jackson Pollock before, I had never appreciated them until I saw them in person. The collision of colors and textures exhibited by the thick paint and strokes formed a cohesive whole that transfixed me for a long time. In the same way, this piece reflects the feeling and textures found in Pollock's piece, Lavender Mist. The collision of motifs and ideas throughout this piece come back rhythmically, melodically, harmonically, and dynamically while all the other parts evolve underneath to create a complete and cohesive whole. The fragments by themselves don't mean anything without the entire compilation. Chromadescent, David Vess – Preparing to compose this piece, I discovered that I really wanted to explore the sounds of light. I chose all metallic instruments for my piece because of the way light reflects off metal. As I was researching different forms of light, I discovered interest in luminescent and iridescent light. I was struck by the way the different types of fish at the very bottom of the ocean use luminescence to create their own light from their bodies and this led to the image of strange and wonderful shapes drifting in a deep place surrounded by darkness. The title pairs the two themes, "chroma" meaning color, and "descent" into the dark deeps of the ocean. Mesh Interior, Garrett Austin Hecker – Mesh Interior is comfortable but relentless. Its texture is permeable and fetishized. Just try to resist. once bitten, twice shy, Natalie Dietterich – Much of the form and interactions between the two instrument lines are derived from the concept of the title. The pitch material itself comes from the pitch set (0, 6, 11) and its variations. The original set and its permutations are clearly presented at the beginning of the piece. In the B section, pitch sets are used more vertically and the percussion takes a more prominent and soloistic role. The A section then returns, longer and more developed than before. Kontakte, Karlheinz Stockhausen – "For Electronic Sounds, Piano and Percussion" The title ‘Contacts’ refers, among other things, to connections between a purely electronic sound world and the world of acoustic instruments. Secondly, Stockhausen discovered that if the speed of a steady electronic pulse (or clicks in loudspeakers) is increased then the individual clicks merge together to become a note with a definite pitch and the faster the speed of the clicks the higher the pitch. He had discovered the continuity between rhythm (events separated in time) and pitch (notes, the stuff of conventional melody and harmony). This is heard most clearly at around 17 minutes into the piece where a single note snakes down and up and down, then swoops so low it becomes a series of individual clicks. Finally the clicks resonate to become pitch once more. The composition of sound in space, the location of sound(s), direction and speed of travel, rotation and ‘flooding’ (starting at a single point, filling space, ending at a single point), all of these ideas were also developed in Kontakte. Stockhausen invented a rotation table, onto which was mounted a loudspeaker, which could be turned to face microphones, one in each of the four corners of the studio. The microphones were connected to the four individual tracks of the tape, which of course, in concert playback, are connected to the loudspeakers. So Stockhausen’s invention enabled complex movement of spatialization and sound in space – whirling, jumping, flying and spinning, in different directions and at different speeds. Stockhausen’s seminal work is influential for its contribution to the development of a revolutionary new medium of music and also for integrating of electronic music with acoustic music. Kontakte was composed before the invention of synthesizers and digital computers. Equipment used in the realization of the piece was originally for testing and maintenance in radio stations.

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NEW MUSIC CONCERT II, WITH FREYA QUARTET Thursday, June 27, 8 pm St. Peter’s Episcopal Church 115 W. 7th St., Charlotte, NC featuring Freya String Quartet Erinn Frechette, flute Patrick McGinty, percussion Tomoko Deguchi, piano Whitewater

Elizabeth Kowalski

Descent into Sentience

Craig Bove

Urgency

Kyle Simpson

Visits from the Crowman

Steven Kowaleski

Seven Morsels in the Form of a Persimmon 1. Monday 2. Tuesday 3. Wednesday 4. Thursday 5. Friday 6. Saturday 7. Sunday

Paul K. Sayed

Aurora Australis

Daniel English

…the clock is ticking…

Hong-Da Chin

Waiting to Sing… I. Senza Misura II. Singing

Armando Bayolo

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Whitewater, Elizabeth Kowalski See p. 24 for program notes. Urgency, Kyle Simpson – Urgency was written in the bustling spring of 2013. While many different events were happening concurrently in my life, I started thinking about this piece, which was written specifically for the Charlotte New Music Festival. The piece is about the super speed our lives sometimes take in this iPhonesmartphone, technological age where everything has to happen immediately. Calls, emails, and texts need to be answered without hesitation. In this fast-paced internet age, there is no time for space. The piece is constructed around a series of minor chords that relate to each other by the interval of a third. All the melodic material has been derived from these chord progressions. The rhythmic permutations and ostinati help give a sense of immediacy and tension to the piece. Urgency tries to capture the spirit of this new era spinning rapidly out of control as we attempt to hang on and ride this supersonic journey of life in the information age. Visits from the Crowman, Steven Kowaleski – The Crowman is a recurring figure in many of my lucid dreams. It appears as a dark silhouette of a large man with the head of a crow. The Crowman is harmless more often than not, simply looming in the corner of my room or at my bedside. However, I associate the Crowman with his few haunting instances of torment and nightmare-like experiences. Visits From The Crowman chronicles one of my more aggressive encounters with this dark, taunting figure. Seven Morsels in the Form of a Persimmon, Paul K. Sayed – Seven Morsels in the Form of a Persimmon draws influence from three sets of piano miniatures: Trois morceux en forme de poire by Erik Satie, La muse ménagère by Darius Milhaud, and Sechs kleine Klavierstücke by Arnold Schoënberg. Instead of a direct musical connection, it is the concepts in these three piano pieces that inform the Seven Morsels. Like these pieces, the Seven Morsels experiment with brevity, form, and expression. Each short movement serves as an aural hors d’oeuvre with enough flavors to momentarily satisfy a craving while creating a desire for a second tasting. Aurora Australis, Daniel English – Aurora Australis was composed in early April 2013. The compositional process began when I was taking an evening walk along one of the small lakes in the Cleveland Metroparks. I was looking at the sky, enjoying the sunset, when some music started flowing through my mind. I rushed back to my apartment and began writing down a few notes and rhythms. I then went on my computer and started looking at sunset pictures on the internet for more inspiration. I ended up on a website that had not just sunset photos, but photos of starry night skies. I continued scrolling through photos until I came across some stunning pictures of the northern and southern lights, the aurora borealis and aurora australis. I was particularly awed by a few photos taken from Antarctica of the aurora australis. This was all the inspiration I needed, and I set to work writing my piece for the Charlotte New Music Festival. In Aurora Australis, I try to convey the mysterious and magical beauty of those bands of light over the night sky through the unique colors and timbres of percussion instruments. ...the clock is ticking..., Hong-Da Chin – This string quartet is an homage to György Ligeti. ...the clock is ticking... has a musical duality: col legno battuto (striking with the wood of the bow) technique, which represents the ticking of clocks, and the melodic line, which represents the lamentations of dying clocks. This duality is influenced by Ligeti's mechanical music and lamento motif that is widely used in his music. Waiting to  Sing...,  Armando  Bayolo,  was  commissioned  by  New  York  violist  Nardo  Poy  (a  founding   member  of  the  Orpheus  Chamber  Orchestra,  member  of  the  Metropolitan  Opera  Orchestra  and  generally   active  freelance  musician)in  1999  but,  for  a  variety  of  reasons,  he  never  performed  it.    It  is  premiered   here,  fourteen  years  after  the  fact,  by  Jason  Hohn,  violist  of  the  Freya  Quartet,  and  pianist  Tomoko   Deguchi.    Going  back  on  this  piece  (for  which  I  never,  oddly,  wrote  a  program  note  before  tonight)  after   all  this  time  has  proven  a  strange  task.    It's  the  last  of  what  I  consider  my  mature  pieces  (pieces  composed   since  early  1998  or  so)  to  see  the  light  of  day,  and  it  reflects  the  aesthetics  of  a  younger,  less  experienced,   but  also  more  eager  composer  who  is  still  seeking  and  finding  his  voice.       Waiting  to  Sing...  is  cast  in  two  parts  that  are  themselves  divisible  into  two  sections.    In  the  first,  a  free   recitative  gives  way  to  a  highly  rhythmic  music  essentially  built  on  a  series  of  ostinati.    The  second  begins   with  a  songful  passacaglia  of  sorts  in  which  only  the  pianist  is  allowed  to  be  lyrical  while  the  violist  spins   a  series  of  ornamental  variations  on  the  recurring  progression.    This,  in  turn,  gives  way  to  another,  more   obsessive  and  highly  rhythmic  passacaglia  on  an  ostinato  which  grows  increasingly  out  of  control  until   the  lyrical  material  takes  control  once  again.    This  time,  however,  the  viola  is  allowed  to  sing  (hence  the   title),  as  is  typical  of  its  character  in  solo  chamber  music.    This  section  provides  the  work's  apotheosis  and   is  the  focus  of  the  entire  sonata,  which  ends  in  a  somewhat  festive,  more  energized  mood.    Waiting  to   Sing...  was  written  in  Ann  Arbor,  Michigan  in  the  winter  of  1999  and  revised  in  January,  2001.    It  is   dedicated  to  Bright  Sheng,  with  whom  I  was  studying  at  the  time.  

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Music Lessons, www.southernparkmusicschool.com 704-676-1002

CHOREOGRAPHER PARTICIPANTS Caroline Calouche, Artistic and Executive Director of Caroline Calouche & Co., began dancing at Gaston Dance Theater in Gastonia and graduated from Texas Christian University with two B.F.A. degrees, in ballet and modern dance, and then furthered her studies in a graduate choreography program at the Salzburg Experimental Academy of Dance in Austria. Caroline established her contemporary and aerial dance company in 2005 in the Charlotte area. Her company is known for their unique and innovative performances that incorporate traditional and invented aerial apparatus. Along with creating new works for Caroline Calouche & Co., she has choreographed for the dance department at UNCC and Winthrop University, Salzburg Experimental Academy of Dance, Contemporary Ballet Dallas, Florida Community College at Jacksonville and The School of North Carolina Dance Theatre. Her work has been performed in the U.S., Austria, and Germany. Caroline is a certified trainer in Pilates (BASI™) method and GYROKINESIS®. Caroline is also the creator and director of the Charlotte Dance Festival. Elsie Mufuka – Founder of Mufuka Works, LLC Dance Company in 2010 with the intention of concentrating on dance education and dance performance for the community. The inspiration comes from Mufuka’s Zimbabwean descent and life experiences being born and raised in Gardens Corner, SC and living in Johannesburg, South Africa for two years in 2008. Since the opening of the company, MufukaWorks has started two dance education programs at Burton Wells Recreation Center in Beaufort, SC and currently Albemarle Recreation Center in Charlotte, NC. MufukaWorks have traveled to many different areas for dance workshops being implemented at Whale Branch Elementary in Beaufort, SC, Penn Center in St. Helena , SC, Bluffton School of Dance in Bluffton, SC just to name a few. Dance performances performed at Gullah Festival, Piccolo Spoleto; All Walks of Life Inc.; Links Inc. Dance Performance School Series; Levine Children’s Hospital. Company repertory is Return to Sender, One Blood, Our World: the stories of our community, and Invisible. Jean Jang was born in South Korea, finished elementary school in Seoul and started dance training when she was five years old. She moved to Austin, Texas with her brothers and her parents when she was twelve years

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old. She continued her dance training at Ballet Austin Academy while participating in many performances such as The Nutcracker and Young Artists Spring Show. She also attended multiple dance and choreography intensives including; Lines Ballet Summer Intensive, Ballet Austin Summer Intensive, and Regional Dance of America National Choreography Intensive (Chosen as a Project Tier Choreographer). She got accepted to Butler University as a Dance Performance major and began in August, 2009 and graduated with a degree Bachelor of Fine Arts in Dance Performance on May, 2013. Rezenkia Snipe has obtained a Bachelor of Arts degree in dance, performance and choreography and also has earned her certification in pilates training. She has performed with, Lesole's Dance Project, a professional dance company of South African and modern dance in Washington, D.C for two years. She has toured on numerous stages all over the north and southeast for various audiences, for families of high government status from all over the world, and has been given the opportunity to perform for the President's daughter, Sasha Obama. She has established her company ZEN Inc. Zenistry Dance Company. It includes the genres of contemporary dance, lyrical, jazz, pantsula, and afro-fusion. The company consists of three entities, The Zen Institute, an institution for technique training; Zenistry Dance Ensemble, a performing company; ZEN Fitness, a fitness training program, and a soon-to-come dance movement therapy program. She attends Pratt Institute for her M.S in dance movement therapy. She dances for Mufuka Works Afro Russe Dance Company and Caroline Colouche & Co. Aerial Dance Company. She teaches for Order My Steps Christian Dance Company. One of the main missions of her company, ZEN Inc. Zenistry Dance Company, is to enrich the lives of people with art and dance by giving a holistic approach to movement. Arlynn Zachary is a graduate from Goucher College with a degree in choreography, Magna Cum Laude. She began her dance training as a college freshman with Dance Central (CPCC in Charlotte, NC) and performed with their resident company. After receiving her Associate of Arts degree, she transferred to Goucher to study dance composition. While at Goucher she not only studied aspects of dance, but also spent a large portion of her time dedicated to the Goucher Pilates Center. Over the years she has performed works by many professional choreographers including, Sean Curran and Jennifer Archibald. She has a background at Goucher in Stage Production and was a Technical Stage Production intern with Bates Dance Festival where she was the Lighting Designer for Jennifer Archibald and Lisa Race. Her choreography has been displayed at ACDFA, Goucher’s Repertory Dance Ensemble Spring Concert, the North Carolina Dance Festival’s Bonus Day Audience Choice Show, and many other professional venues. She performed professionally in the Charlotte area from 2011-13 with The Wake Project. Currently she is a board member and secretary for both the KinetiCollective and Charlotte Dance Festival, teaching modern and hip-hop in the Charlotte area, and working for Echo Contemporary Dance Company as their Assistant Rehearsal Director, Stage Manager, and Lighting Designer. She is also the Founder and Artistic Director of THE MARK dance company.

Thank you for participating in the 2013 CNMF Join us in 2014 June 16-28

312 W. Trade St., Suite 101, Charlotte, NC 28202 Phone: (704) 377-3467, Fax: (704) 377-3469 www.uptownprint.com            

orders@uptownprint.com

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Speed Writing Concert Friday, June 28, 8 pm Levine Properties, 301 E 9th St featuring Jennifer Dior, flute Matt Darsey, viola JW Turner, cello Stephanie Wilson, percussion Anatoly Larkin, piano This concert presents pieces composed by our composer participants in a limited amount of time during the festival itself. Please see insert for more information on the pieces to be performed. featuring music by Steven Kowaleski, David Vess, Haerim Soek, Zachary Albrecht, Edward Bender, Evan Williams, Garrett Hecker, Kaitlyn Wagner, Adam Neal, Natalie Dietterich, Daniel English, Michael Lukaszuk

New Music and Dance Concert Saturday, June 29, 8 pm Levine Properties, 301 E 9th St This concert is the presentation of the choreography/composer collaboration that has taken place over the past two weeks. Please see insert for more information on the pieces to be performed. featuring choreography by Caroline Calouche, Elsie Mufuka, Arlynn Zachary, Jean Jang, James Anthony, Rezenkia Snipes featuring music by Kaito Nakahori, Hong-Da Chin, Andrew Israelsen, Chung Eun Kim, Christian James, Dale Sakamoto, Elizabeth Kowalski, Paul Sayed, Kyle Simpson dancers Yasmin Shah, Ali Ozmeral, Shelby Jones, Natallia Raigosa, Ellen Brown, Christina Thomas, Sumayyiah Smith, Amatullah Smith musicians Freya String Quartet Jason Neukom, Ashley Buckley, Jason Hohn, Katya Janpoladyan Erinn Frechette, flute Patrick McGinty, percussion Valarie Valois, piano

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Thank you to the Guitar Center in Matthews, NC for supplying all audio & sound equipment for the CNMF concerts!

Thank you to Carolina Piano Movers for transporting the piano!

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Cnmf concert program 2013  

2013 Charlotte New Music Festival Concert Program Booklet

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