20240273_Canadian Female Composers

THE FLORIDA STATE UNIVERSITY

COLLEGE OF MUSIC Presents

HOUSEWRIGHT VIRTUOSO

SERIES:

“ CHAMBER MUSIC BY CANADIAN FEMALE COMPOSERS ”

Evan A. Jones, Cello

Diana Dumlavwalla, Piano with Michael B. Bakan, Narrator

Eduardo López-Dabdoub, Clarinet

Tuesday, February 27, 2024

Seven-thirty in the Evening Opperman Music Hall

PROGRAM

Suppose I Was a Marigold for cello and piano (1997)

Halcyon for cello and piano (2003)

The Lonely Road for cello and piano (2010)

Prayer and Dance of Praise for cello and piano (1997)

INTERMISSION

Pond Mirrors Bright Sky for cello and piano (2013)

Wild Horse Running for cello and piano (2013)

Billy Collins Suite for clarinet, cello, piano and narrator (2007, rev. 2016)

Emily Doolittle (b. 1972)

Jocelyn Morlock (1969–2023)

Kelly-Marie Murphy (b. 1964)

Elizabeth Raum (b. 1945)

Alexina Louie (b. 1949)

Alexina Louie

Vivian Fung

I. Insomnia (b. 1975)

II. Man in the Moon

III. The Willies

Michael B. Bakan, narrator

Eduardo López-Dabdoub, clarinet

Please refrain from talking, entering, or exiting while performers are playing. Food and drink are prohibited in all concert halls. Please turn off cell phones and all other electronic devices. Please refrain from putting feet on seats and seat backs. Children who become disruptive should be taken out of the performance hall so they do not disturb the musicians and other audience members.

ABOUT THE ARTISTS

Michael Bakan holds the M.A. and Ph.D. in ethnomusicology from UCLA and the B.Mus. in percussion performance from the University of Toronto. He serves as Professor of Musicology and Head of the World Music Ensembles Program at FSU, where he directs the Omnimusica intercultural ensemble and the Sekaa Gong Hanuman Agung Balinese gamelan. Bakan’s many publications include the books Music of Death and New Creation: Experiences in the World of Balinese Gamelan Beleganjur; Speaking for Ourselves: Conversations on Life, Music, and Autism; and World Music: Traditions and Transformations. As a drummer and percussionist he has performed and recorded with artists and organizations including George Clinton, John Cage, Tito Puente, the Toronto Symphony Orchestra, Omnimusica, and the legendary funk band Parliament.

Diana Dumlavwalla holds the D.M.A. in piano performance from the University of Toronto, the M.Mus. in piano performance from the Royal College of Music in London, the B.Mus. in piano performance and voice from Wilfrid Laurier University, and an Associate Diploma from the Royal Conservatory of Music. She serves as Associate Professor of Piano Pedagogy at FSU and previously taught at Western University in London, Canada, where she developed Western’s inaugural doctoral piano pedagogy course. Dumlavwalla has performed in North America, Europe and Australia as a soloist and chamber musician and has presented lecture recitals and papers at numerous conferences; she also serves as a member of the Royal Conservatory of Music’s College of Examiners and adjudicates at local, regional and state/provincial competitions.

Evan A. Jones holds the M.M. and D.M.A. in cello performance and the M.A. and Ph.D. in music theory from the Eastman School of Music. He completed a B.Mus. in cello performance at McGill University and pursued summer studies at Banff, Meadowmount, and Orford. He has given the world premieres of solo works by Clifton Callender, Robert Morris and Ciro Scotto, the North American premieres of two works by Iannis Xenakis, and the New York City premieres of works by Dexter Morrill and Christopher Auerbach-Brown (in Merkin Hall and Weill Recital Hall, respectively). Jones currently serves as Professor of Music Theory at FSU and as assistant principal

cellist in the Tallahassee Symphony Orchestra; he previously served as cello instructor at Colgate University and as Pamela Frame’s assistant at Eastman.

Eduardo López-Dabdoub holds three degrees in clarinet performance: the D.M.A. from the CUNY Graduate Center (where his dissertation on the music of Charles Mingus won the Baisley Powell Elebash Dissertation Award), the M.A. from Queens College CUNY, and the B.Mus. from the University of Manitoba. He serves as Specialized Teaching Faculty in Musicology at FSU, where he teaches, designs, and supervises online music courses. As a clarinetist, López-Dabdoub has performed with orchestras, chamber ensembles, and as a soloist throughout the United States and Canada and has participated in festivals such as the Sarasota Music Festival and the Banff Centre for the Arts. He previously taught courses in musicology at the University of Oklahoma and the City College of New York and coached chamber music ensembles at Queens College.

ABOUT THE COMPOSERS

Composer and Athenaeum Research Fellow Dr. Emily Doolittle’s music has been described as “eloquent and effective” (The WholeNote), “masterful” (Musical Toronto), and “the piece that grabbed me by the heart” (The WholeNote).

Recent activities include the premiere of Reedbird by the Vancouver Symphony, performances of her chamber opera Jan Tait and the Bear by Ensemble Thing at the Edinburgh Festival Fringe as part of the Made in Scotland Showcase, the commission and premiere of Woodwings by the Fifth Wind Quintet in Halifax, Nova Scotia, as part of their Forecasting the Canadian Wind project, and the release of her CD all spring, performed by the Seattle Chamber Players and friends, on the Composers Concordance label.

Doolittle is also active in interdisciplinary research on the relationship between animal songs and human music, and has co-authored scientific papers on the songs of the hermit thrush and the musician wren.

Doolittle was born in Halifax, Nova Scotia, and educated at Dalhousie University, Indiana University, the Koniklijk Conservatorium in the Hague (where she studied with Louis Andriessen on a Fulbright Fellowship), and Princeton University (PhD 2007). Prior to moving to Glasgow in 2015, she was an Associate Professor of Music at Cornish College of the Arts in Seattle.

The late Jocelyn Morlock (1969–2023), one of Canada’s leading composers, wrote compelling music that has been recorded extensively and receives numerous performances and broadcasts throughout North America and Europe. Born in Winnipeg, she studied piano at Brandon University, and later earned a master’s degree and a Doctorate of Musical Arts from the University of British Columbia, where she was recently an instructor and lecturer of composition. The inaugural composer-in-residence for Vancouver’s Music on Main Society (2012–14), she took on the same role for the Vancouver Symphony Orchestra from 2014 to 2019.

Morlock had close ties with the National Arts Centre Orchestra, who in 2015, commissioned My Name is Amanda Todd, a powerful work about the teen from Port Coquitlam, BC, who took her own life due to cyberbullying. It subsequently won the 2018 JUNO Award for Classical Composition for the Year.

“With its shimmering sheets of harmonics” (Georgia Straight) and an approach that is “deftly idiomatic” (Vancouver Sun), Morlock’s music has received numerous national and international accolades, including Top 10 at the 2002 International Rostrum of Composers, the Mayor’s Arts Award for Music in Vancouver (2016) and the JUNO award for Classical Composition of the Year (My Name Is Amanda Todd, 2018).

Most of Morlock’s compositions are for small ensembles, many of them for unusual combinations like piano and percussion (Quoi?), cello and vibraphone (Shade), bassoon and harp (Nightsong), and an ensemble consisting of clarinet/bass clarinet, trumpet, violin and double bass (Velcro Lizards). Cobalt, a concerto for two violins and orchestra, was her first commission for the National Arts Centre Orchestra, in 2009. Her first full-length CD, also titled Cobalt, was released on the Centrediscs label in 2014.

With music described as “breathtaking” (Kitchener-Waterloo Record), “imaginative and expressive” (The National Post), “a pulse-pounding barrage on the senses” (The Globe and Mail), and “Bartok on steroids” (Birmingham News), Kelly-Marie Murphy’s voice is well known on the Canadian music scene. She has created a number of memorable works for some of Canada’s leading performers and ensembles, including the Toronto, Winnipeg, and Vancouver Symphony Orchestras, The Gryphon Trio, James Campbell, Shauna Rolston, the Cecilia and Afiara String Quartets, and Judy Loman.

Murphy was born on a NATO base in Sardegna, Italy, and grew up on Canadian Armed Forces bases all across Canada. She began her studies in composition at the University of Calgary with William Jordan and Allan Bell, and later received a Ph.D. in composition from the University of Leeds, England, where she studied with Philip Wilby. After living and working for many years in the Washington, D.C. area where she was designated “an alien of extraordinary ability” by the US Immigration and Naturalization Service, she is now based in Ottawa, quietly pursuing a career as a freelance composer.

Elizabeth Raum has had a career in music that has spanned over 45 years beginning in Halifax where she played principal oboe with the Atlantic Symphony Orchestra before coming to Regina when her husband was offered a position in the Music Department of the University of Regina in 1975. She joined the Regina Symphony Orchestra at that time and from 1986 until her retirement in 2010, played principal oboe as a member of the Chamber Players.

Raum has established herself as one of Canada’s most eminent composers with commissions coming from such important performing groups as the Royal Winnipeg Ballet, St. Lawrence String Quartet, Symphony Nova Scotia, the Calgary Philharmonic, the CBC, the Hannaford Street Silver Band, Ottawa International Chamber Music Festival, Music Toronto, Concours de Musique du Canada, Scotia Festival, EckhardtGramattee National Competition, Thunder Bay Symphony Orchestra, Saskatoon Symphony Orchestra, Regina Symphony Orchestra, Maritime Concert Opera, as well as many other performing organizations and individuals. Her music is played all over the world in concerts and festivals throughout Canada, the US, Europe including Rome, England, Portugal, Switzerland, Germany, Hungary, Russia, China and Japan.

An extremely prolific composer, her works include 4 operas, over 90 chamber pieces, 18 vocal works, choral works including an oratorio, several ballets, concerti and major orchestral works. She enjoys a reputation of being one of Canada’s most ”accessible“ composers, writing for varied mediums and in remarkably diverse styles.

One of Canada’s most sought after composers, Alexina Louie has written for many of the country’s leading soloists, chamber ensembles, new music groups and orchestras. Her works have become part of the standard repertoire, in particular her many compositions for piano which are frequently performed by students and professionals alike. Perhaps best known of these is Scenes from a Jade Terrace, commissioned by Jon Kimura Parker.

Louie’s orchestral works have received a multitude of important international performances. Some of the world renowned conductors who have performed her music include Sir Andrew Davis, Leonard Slatkin, Alexander Lazarev, Charles Dutoit, Bramwell Tovey, Gunther Herbig, Pinchas Zukerman, Kent Nagano, Peter Oundjian, Carlos Kalmar, James Judd, and Ingo Metzmacher.

Louie’s music has also been selected for productions by The National Ballet of Canada. Dominique Dumais’ a hundred words for snow (2003) was set to Louie’s O Magnum Mysterium: In Memoriam Glenn Gould, which The Globe and Mail described as Louie’s “profoundly beautiful” homage to the late Glenn Gould. In 2007, The National Ballet of Canada commissioned Louie to write Wolf’s Court, a new work in collaboration with choreographer Matjash Mrozewski.

In 2009, the Canadian Opera Company presented Louie’s full-length, mainstage opera The Scarlet Princess (with libretto by Tony Award-winning playwright David Henry Hwang (M. Butterfly) in concert before a sold-out audience in Toronto. The live recorded concert was broadcast across Canada and was received with enormous praise.

Most recently, Louie’s highly anticipated Triple Concerto for Three Violins and Orchestra, jointly commissioned by the Toronto Symphony, the National Arts Centre Orchestra and the Montreal Symphony for their three concertmasters, was performed by all three orchestras during Canada’s celebratory 150th Anniversary year.

Louie has twice won JUNO awards (Canada’s equivalent of the Grammy) for Best Classical Composition. In addition to the JUNOs, she is the recipient of many awards and honours, including the Jules Léger Prize for Chamber Music, the National Arts Centre Composers Award, the Chalmer’s Award in Composition, an honourary doctorate from the University of Calgary, as well as many other distinctions.

JUNO Award-winning composer Vivian Fung has a unique talent for combining idiosyncratic textures and styles into large-scale works, reflecting her multicultural background. NPR calls her “one of today’s most eclectic composers.”

Fung is currently at work on a new flute concerto for the Vancouver Symphony Orchestra, a piano trio for L’arc Trio, and a piece for the UK’s Tangram Collective. The Metropolis Ensemble commissioned (Un)Wandering Souls for Sandbox Percussion to premiere at the Bongsokol Festival in December 2020. In July 2020, the CBC Virtual Orchestra gave the online world premiere of Fung’s Prayer, led by Yannick Nézet-Séguin. He led The Philadelphia Orchestra in a virtual performance of Prayer in fall 2020.

Recent highlights include the UK premiere of Birdsong, performed by violinist Midori; the premiere of a trumpet concerto by Mary Elizabeth Bowden and the Erie Philharmonic; The Ice Is Talking, commissioned by the Banff Centre, using ice blocks to illustrate the fragility of our environment; A Child Dreams of Toys, commissioned by the Winnipeg New Music Festival; and String Quartet No. 4 “Insects and Machines,” commissioned by the Red Bank Chamber Music Society and premiered by the American String Quartet.

With a deep interest in exploring different cultures, Fung has traveled to Cambodia, Southwest China, North Vietnam, Spain, and Bali to connect with her roots and collect research for her compositions. Passionate about fostering the talent of the next generation, Fung has mentored young composers in programs at the American Composers Forum, San Francisco Contemporary Chamber Players, San Jose Youth Chamber Orchestra, and Cabrillo Festival of Contemporary Music.

Born in Edmonton, Canada, Fung received her doctorate from The Juilliard School. She currently lives in California and is on the faculty of Santa Clara University.

NOTES ON THE PROGRAM

All program notes were provided by the composers.

Doolittle: Suppose I Was a Marigold for cello and piano (1997)

Suppose I was a marigold is a simple, lyrical piece which I originally wrote for cellist Greg Homza, and for myself as the pianist. When I wrote it, I had in mind that it could also be played by any stringed instrument, but I was thinking about violins and violas; I had no idea that it would one day be played on erhu as well! In the opening section of Suppose I was a marigold, the cello plays a continuous melodic line, while the piano plays a series of gradually shifting arpeggiated chords. The cello and piano come to take on more equal roles, as they start passing back and forth both the melodic and the arpeggiated material. The piece ends with a slightly richer, more extended version of the melodies and harmonies that opened the piece.

Morlock: Halcyon for cello and piano (2003)

Halcyon: A bird, otherwise known as the kingfisher, believed to calm storms during the time of its incubation. According to legend, Alcyon’s husband Ceyx is drowned at sea, with his last thought being of her and that, if he doesn’t live, he may return to her after death. When his body floats back to her, out of grief she throws herself into the sea, but as she does, she is turned into a bird. In her sorrow, she flies over her husband and enfolds him with her wings. The gods take pity on them and turn both of them into kingfishers. During the two weeks around the Winter Solstice in which the kingfishers nest and incubate their young, the weather is unusually placid, hence the term “Halcyon Days.”

Murphy: The Lonely Road for cello and piano (2010)

This work was inspired by the drawing, used on the front cover, by Frederick H. Varley called Lonely Road. This visual artistic work is owned by the National Gallery of Canada and is used with their permission.

It is also used by permission of, and it is copyright by, © Varley Art Gallery of Markham/ City of Markham.

Raum: Prayer and Dance of Praise for cello and piano (1997)

Prayer and Dance of Praise was the commissioned test piece for strings for the EckhardtGramatte National Competition for the Performance of Canadian Music in 1997. The piece grew out of a project that celebrated the women of the Bible who had no voice because of their gender and can be heard in a different form in the chamber work, Searching for Sophia.

The first section, called “Prayer,” is a plea for the woman to be recognized as a person in a tradition that did not encourage this. I wrote the following poem as a verbal expression of the music:

MOTHER

Grant me a voice

Oh Mother of Life.

Don’t let them silence me, Those who would take away

My name,

My children,

My place in existence, Those who would denounce

My very soul;

For I have much to say, I have much to do.

I feel the life stir

Within my body.

And though it be agony

To let it forth, I would willingly suffer To allow that life to exist, To grow and thrive. But it must know

That I was its mother.

The second section, “Dance of Praise,” is derived from Syrian folk music handed down from generation to generation that the composer heard as a child when the extended family would gather for holidays.

Louie: Pond Mirrors Bright Sky for cello and piano (2013) and Wild Horse Running for cello and piano (2013)

I was contacted by Bryan and Silvie Cheng about their performance of my piece Bringing The Tiger Down From The Mountain II as part of Cheng² Duo’s 2011 Carnegie Hall debut recital programme. Due to the success of their debut, the presenters immediately asked them back for the 2012 - 2013 season. For this return engagement, the duo requested that I write them a special new work to be premiered on their New York concert, resulting in a set of two pieces – Pond Mirrors Bright Sky and Wild Horse Running.

The first piece reflects the support that Bryan and Silvie give to one another, both as devoted brother and sister, as well as duo partners. To achieve this, I created phrases in Pond Mirrors Bright Sky which allow the performers to jointly stretch and shape the melodic lines. In another section, the piano plays a melody in descending chords accompanied by fast repeated figurations on the cello.

Subsequently the instruments switch musical materials. Another part explores very fast dovetailing of melodic lines resulting in a dense and scurrying texture, one instrument mirroring the other. Toward the end, the performers play fast thirty-second note parallel phrases an octave apart. Finally the piece arrives at a playful finale which suggests sunlight playing on the surface of a pond.

The second piece, Wild Horse Running, was inspired by Silvie’s Chinese zodiac sign. She was born in the Year of the Horse. It was my intention to convey not only the power and speed of the noble creature, but also the poetry of its motion. This piece has dramatic musical gestures for the cello – strummed four note chords, struck finger board, some unusual glissandi passages, and exaggerated vibrato, among other techniques.

The set of pieces was made possible by the financial assistance of the Toronto Arts Council and the Cheng² Duo New Music Fund and is dedicated to the memory of Bryan’s cello teacher and mentor, Yuli Turovsky.

Fung: Billy Collins Suite for clarinet, cello, piano and narrator (2007, rev. 2016)

Text for Billy Collins Suite (2007)

Music by Vivian Fung/Poetry by Billy Collins

Insomnia

Even though the house is deeply silent and the room, with no moon, is perfectly dark, even though the body is a sack of exhaustion inert on the bed, someone inside me will not get off his tricycle, will not stop tracing the same tight circle on the same green threadbare carpet.

It makes no difference whether I lie staring at the ceiling or pace the living-room floor, he keeps on making his furious rounds, little pedaler in his frenzy, my own worst enemy, my oldest friend.

What is there to do but close my eyes and watch him circling the night, schoolboy in an ill-fitting jacket, l eaning forward, his cap on backwards, wringing the handlebars, maintaining a certain speed?

Does anything exist at this hour in this nest of dark rooms but the spectacle of him and the hope that before dawn I can lift out some curious detail that will carry me off to sleep–the watch that encircles his pale wrist, the expandable band, the tiny hands that keep pointing this way and that.

The Man in the Moon

He used to frighten me in the nights of childhood, the wide adult face, enormous, stern, aloft. I could not imagine such loneliness, such coldness. But tonight as I drive home over these hilly roads I see him sinking behind stands of winter trees And rising again to show his familiar face.

And when he comes into full view over open fields he looks like a young man who has fallen in love with the dark earth,

a pale bachelor, well-groomed and full of melancholy his round mouth open as if he had just broken into song.

The Willies

“Public restrooms give me the willies” – AD FOR DISINFECTANT

There is no known cure for them, unlike the heeby-jeebies or the shakes which Russian vodka and a hot bath will smooth out.

The drifties can be licked, though the vapors often spell trouble.

The whips-and-jangles go away in time. So do the fantods. And good company will put the blues to flight and do much to relieve the flips, the quivers and the screamies.

But the willies are another matter. Anything can give them to you: electric chairs, raw meat, manta rays, public restrooms, a footprint, and every case of the willies is a bad one.

Some say flow with them, ride them out, but this is useless advice once you are in their grip.

There is no way to get on top of the willies. Valium is ineffective. Hospitals are not the answer.

Keeping still and emitting thin, evenly spaced waves of irony may help but don’t expect miracles: the willies are the willies.

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*University Musical Associates Executive Committee

The University Musical Associates is the community support organization for the FSU College of Music. The primary purposes of the group are to develop audiences for College of Music performances, to assist outstanding students in enriching their musical education and careers, and to support quality education and cultural activities for the Tallahassee community. If you would like information about joining the University Musical Associates, please contact Kim Shively, Director of Special Programs, at kshively@fsu.edu or 850-644-4744.

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