2024 FNM Full program_color

The Florida State University College of Music Todd Queen, Dean Elizabeth Avery, Sarah Eyerly, William Fredrickson, and Greg Jones, Associate Deans

The 21st Biennial

Festival of New Music February 1-3, 2024 Committee for the Festival of New Music: Clifton Callender and Evan Jones, Co-Chairs Deborah Bish, Geoffrey Deibel, Eren Gümrükçüoğlu, David Kalhous, George Speed, Liliya Ugay, and Noël Wan

Schedule of Events All events are free and open to the public unless otherwise indicated.

Schedule details are subject to change.

Thursday, February 1, 2024 6:15 P.M. Lindsay Recital Hall

Pre-Concert Lecture Du Yun, featured guest composer

7:30 P.M. Opperman Music Hall

Opening Concert

Friday, February 2, 2024 10:10 A.M. & 11:15 A.M. Opperman Music Hall

Matinee Concerts

10:30 A.M. Dohnányi Recital Hall

Violin Masterclass Miranda Cuckson, featured guest artist

2:00 P.M Opperman Music Hall

Polymorphia Concert Liliya Ugay, director

4:00 P.M. Longmire Recital Hall

Composition Masterclass Du Yun, featured guest composer

7:30 P.M. Opperman Music Hall

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Guest Artist Concert Miranda Cuckson, violin with David Kalhous, piano

Schedule of Events All events are free and open to the public unless otherwise indicated.

Schedule details are subject to change.

Saturday, February 3, 2024 12:00 P.M. & 3:00 P.M. Lindsay Recital Hall

24-channel wave field array Paul Koonce: To Think of Rain (2021)

1:00 P.M. Opperman Music Hall

Electroacoustic Concert

3:00 P.M. Longmire Recital Hall

Composition Masterclass Du Yun, featured guest composer

6:15 P.M. Lindsay Recital Hall

Pre-Concert Lecture Du Yun, featured guest composer

7:30 P.M. Ruby Diamond Concert Hall

Closing Concert (ticketed) University Symphony Orchestra and University Wind Orchestra

Tickets for the closing concert may be purchased at tickets.music.fsu.edu.

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Opening Concert Thursday, February 1, 2024 7:30 P.M. | Opperman Music Hall

Untitled V (2021)

Dorothy Hindman Darci Wright, Kylan Bigby, Jackson Kowalcyk, and Austin Pelella, percussion

The Ocean Within (2011)

Du Yun Noël Wan, harp

No Turns on New York (2020)

Nicholas Villane

Audrey Rancourt, clarinet; Jeremy Hill, viola Shiyi Zhu, piano Emily’s Words (2021)

Timothy Hoekman

Carla Connors, soprano; Karen Large, flute Deborah Bish, clarinet; Gregory Sauer, cello Elizabeth Avery, piano Grey Fireworks (2022)

Tyson Gholston Davis Gabriela da Silva Fogo, violin Yunyao Liu, piano

Der Saus und Braus – character study after Elias Canetti (2017) Jihye Chang Sung, piano INTERMISSION

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Joseph Klein

Run in a Graveyard (2008)

Du Yun Mary Matthews, flute

Open Borders (2018)

Timothy Kramer

Kaitlyn Calcagino, flute; Anne Glerum, clarinet Angel Andres, violin; Marina Burguete-Diago, cello Jackie Kai Zhi Yong, piano dans les dents de la guivre (2021)

Timothy Roy

Noël Wan, harp Dog Days (2022) I. Desert Dances II. Floatin’ the River III. Hot with Mustard

Aaron Houston

Breezeway Brass Quintet Ben Dubbert, trumpet; Schelvin Robinson, trumpet Tarre Nelson, horn; Grant Keel, trombone; Mike Anderson, tuba

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Morning Matinees

Friday, February 2, 2024 10:10 A.M. & 11:15 A.M. | Opperman Music Hall

Perseverate (2023)

Evan O’Dell

Jonah Zimmerman and Matt Hightower, euphonium Mike Anderson and Chris Bloom, tuba Reverie (2019-2020)

Leah Reid

Seventeen Years (2021)

Meadow Bridgham Minyoung Rho, piano

City Electric (2018) I. Busy Intersection, Signals Dark II. Light Drowns the Night Sky III. Flicker and Surge

Aaron Spotts

Connor Croasmun and Jariel Isaac Santiago-Ruperto, clarinet Brad Pilcher, bass clarinet INTERMISSION in these pockets of quiet (2021) Tommaso Bruno, violin Landon Holladay, percussion wire splinters and collapses (2021) Armero (2023)

Nathaniel Parks

Isaac Barzso Nico Gutierrez

Molly Reid, piano Burned into the Orange (2016)

Peter Gilbert Close Quarters Micah Cheng, soprano saxophone; Collin Bankovic, alto saxophone AJ Nguyen, tenor saxophone; Matthew James, baritone saxophone

Phantasmagoria (2020) Brad Pilcher, clarinet; Anna Kirkland, violin Mitchell George, cello

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Meg Okura

Polymorphia Concert Liliya Ugay, director

Friday, February 2, 2024 2:00 P.M. | Opperman Music Hall Trio (2019) I. Tallboy (after Gabriel Kahane’s “Baltimore”) II. Slågedalen (after Salve Håkedal’s home) III. Bariolage (after Bach’s E-Major Prelude) IV. Keening Machine (after a mourning machine)

Dan Trueman

Maya Johnson, violin; Thu Vo, cello Liliya Ugay, bitKlavier Pareidolie (2021)

Moritz Laßmann Fountain Five Wind Quintet Brenna Wiinanen, flute; Nic Kanipe, oboe Connor Croasmun, clarinet; Tarre Nelson, horn; Josie Whiteis, bassoon

Livid Loneliness of Fear (2019)

Ingrid Stölzel

Sahoko Timpone, mezzo-soprano Steven Fireman, flute; Andrew Prawat, clarinet Maya Johnson, violin; Param Mehta, cello; Nick Montoya, percussion Artur Akshelyan, conductor Island of Enchantment (2021) I. to the port II. to the quietude III. to the sun

Liliya Ugay

Lindsey Kovach, flute; Andrew Prawat, clarinet MaryKatherine Whiteley, violin; Evan A. Jones, cello Jackie Kai Zhi Yong, piano; Clinton Washington, percussion Liliya Ugay, conductor by … of, Lethean (2007)

Du Yun

Haiqiong Deng, zheng Pamela Bereuter, flute; Brad Pilcher, clarinet Darrian Lee, violin; Miriam Tellechean, viola; Angelese Pepper, cello Max Levesque, bass; Ian Guarraia and Mackenzie Selimi, percussion Artur Akshelyan, conductor 9

Guest Artist Concert Miranda Cuckson, violin

Friday, February 2, 2024 7:30 P.M. | Opperman Music Hall Spring of Chosroes (1977)

Morton Feldman David Kalhous, piano

de terrae fine (2001)

Georg Friedrich Haas

Tre Pezzi (1979)

György Kurtág David Kalhous, piano

The Sounds of Sand (2023)

Tongyu Lu

Duo (1999)

Rebecca Saunders David Kalhous, piano

Secret Machine No. 7 (2023)

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Scott Wollschleger

24-channel Wave Field Array Saturday, February 3, 2024 12:00 P.M. and 3:00 P.M. | Lindsay Recital Hall

To Think of Rain (2021)

Paul Koonce (b. 1956)

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Electroacoustic Concert Saturday, February 3, 2024 1:00 P.M. | Opperman Music Hall

Dinosaur Scar (1999)

Du Yun Geoff Deibel, saxophone

Meditations on a Warming Planet (2023) I. Parched Earth II. Atmospheric River III. Habitat IV. In Memoriam

Clifton Callender

Heidi Louise Williams, piano Keep the Balance on the Back Curve (2018)

Pierce Gradone

Jared Cummings, alto saxophone In an Artist’s Studio (2022)

Riley Ferretti Marcía Porter, soprano

Lattice Scattering (2018)

Eren Gümrükçüoğlu Rachael Lawson, flute Oliver Schoonover, piano Keith Roberson, animations

Winter of Recrudescence (2020) Concordia (2023)

Melika Fitzhugh Sofia Matus Cancino

Celso Cano, guitar If the Ocean Had Wings… (2022) Quin Nardone, piano

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Wenbin Lyu

Closing Concert

University Symphony Orchestra and University Wind Orchestra Saturday, February 3, 2024 7:30 P.M. | Ruby Diamond Concert Hall NEOWISE (2021)

Roger Zare (b. 1985)

Moon: Disfigured and Looped (2023)

Anak Baiharn

Guilherme Rodrigues, Graduate Associate Conductor Hundred Heads (2014)

Du Yun (b. 1977) University Symphony Orchestra Alexander Jiménez, conductor INTERMISSION

Like an Altar with 9,000 Robot Attendants (2016)

Ryan Lindveit (b. 1994)

Prismata (2022)

Edward Jacobs (b. 1961)

Dàzhài (2023)

David Mailman (b. 2002) University Wind Orchestra Rodney Dorsey, Conductor

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Du Yun Du Yun, born and raised in Shanghai, China, and currently based in New York City, works at the intersection of opera, orchestral, theatre, cabaret, musical, oral tradition, public performances, electronics, visual arts, and noise. Her body of work is championed by some of today’s finest performing groups and organizations around the world.

Known for her “relentless originality and unflinching social conscience” (The New Yorker), Du Yun’s second opera, Angel’s Bone (libretto by Royce Vavrek), won the 2017 Pulitzer Prize in Music. She was nominated for a Grammy Award in the Best Classical Composition category for her work Air Glow. Her collaborative opera Sweet Land with Raven Chacon (for opera company The Industry) was the 2021 Best New Opera by the North America Critics Association. Four of her feature studio albums were named The New Yorker’s Notable Recordings of the Year, in 2018, 2019, 2020, and 2021, respectively. Her latest monodrama opera In Our Daughter’s Eyes was a notable performance of the year in 2022 by The New Yorker.

A community champion, Du Yun was a founding member of the International Contemporary Ensemble; served as the Artistic Director of MATA Festival (2014-2018); conceived the Pan Asia Sounding Festival (National Sawdust); and founded FutureTradition, a global initiative that illuminates the provenance lineages of folk art and uses these structures to build cross-regional collaborations from the ground up. Du Yun was named one of 38 Great Immigrants by the Carnegie Foundation (2018), “Artist of the Year” by the Beijing Music Festival (2019). In 2022, she was granted a Creative Capital Award for an AR inter-generational Kun-opera project. Asia Society Hong Kong has honored her for her continued contribution in the performing arts field. Other notable awards include Guggenheim, American Academy Berlin Prize, Fromm Foundation, Foundation for Contemporary Arts. The Carnegie Foundation and the Vilcek Prize in Music have honored her as an immigrant who have made lasting contributions to the American society. In 2023 Harvard University honored her as centennial medalist, the highest recognition for its alumni.

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As an avid performer and bandleader (Ok Miss), her onstage persona has been described by the New York Times as “an indie pop diva with an avant-garde edge.”

Du Yun is Professor of Composition at the Peabody Institute, and Distinguished Visiting Professor at the Shanghai Conservatory of Music.

Her concert music is published worldwide by G. Schirmer.

Miranda Cuckson Violinist Miranda Cuckson delights audiences internationally as soloist and collaborator in a wide range of music, from older eras to the most current creations. In recent years she has become one of the most acclaimed and passionately committed performers of contemporary music, playing innumerable concerts and premieres of new works and moving new music more into the center of musical life.

Upcoming highlights of her 2023/24 season include recitals at San Francisco Performances, Princeton University, Florida State University, and a performance of the Georg Friedrich Hass Concerto for Violin and Orchestra No. 2 – written for and premiered by Cuckson with the Tokyo Symphony Orchestra – with the Vienna Radio Symphony Orchestra. Cuckson embarks on a Germany recital tour in October, and performs multiple concerts in New York State including Hudson View Gardens and at PS21: Performance Spaces for the 21st Century.

Cuckson released a double album, Világ, in January 2023 featuring a Stewart Goodyear piece, which is a new work written for her. The album also includes the Bartók Solo Sonata and music by Aida Shirazi, Manfred Stahnke, and Franco Donatoni.

Venues and festivals have included the Berlin Philharmonie, Suntory Hall, Casa da Musica Porto, Teatro Colón, Guggenheim and Cleveland Museums, Art Institute of Chicago, Strathmore, St. Paul Chamber Orchestra’s Liquid Music series, and the Bard, Marlboro, and Portland Music festivals. She 15

made her Carnegie Hall debut playing Piston’s Violin Concerto No. 1 with the American Symphony Orchestra, and new violin concertos written for her by Haas (in Tokyo, Stuttgart and Porto), and by Marcela Rodriguez in Mexico City.

Her acclaimed discography also includes the Korngold and Ponce violin concertos; albums of music of American composers; her ECM Records album of Bartók, Schnittke, and Lutoslawski; Melting the Darkness, an album of pieces by Xenakis, Bianchi, Rowe, and more. Her recording of Luigi Nono’s La lontananza nostalgica utopica futura for violin and electronics (Urlicht AV), which was named a Best Recording of 2012 by the New York Times.

Miranda Cuckson teaches at the Mannes School of Music at New School University in New York. She studied at The Juilliard School, from PreCollege through her doctorate, and won Juilliard’s Presser Award.

Haiqiong Deng Haiqiong Deng is a master player of the 21-string Chinese zheng and a veteran practitioner of the 7-string qin. She has given numerous performances and lectures at concert halls, universities, museums, and festivals throughout the United States, Europe, Canada, China, Japan, and Singapore. Her discography ranged from solo, ensemble, concerto, and cross-cultural works. Her new album, Zheng Tu, a collection of contemporary zheng music composed by Dr. Chihchun Chi-sun Lee, will be released internationally by Innova Record and Apple Music in early 2024.

Her many awards include the 2021-22 Florida Specific Cultural Project grant, the prestigious 2017 Florida Cultural Heritage Award, the 2013 Florida Individual Artist Fellowship, the 2012 Master Artist of the Florida Folklife Apprenticeship Award, and the winner of the Outstanding Performance Prize at the 1995 Chinese National Zheng Competition in Shanghai.

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Haiqiong has expanded musical expressions by exploring diverse world music traditions. She has learned classical Indian music with sitarist Nalini Vinayak since 2003. They released an album, Stringing Echoes, featuring the Chinese zheng, Indian sitar, and tabla in classical Indian music for the first time in history in 2014. Haiqiong has instilled world music elements into her compositions. Both Fa Xi (2022) and Guru (2020) are deeply influenced by Indian classical music and Layered Fantasy (2014) was inspired by Indonesian Balinese gamelan music.

Haiqiong is the featured artist in the chapter on Chinese music in the widely used university textbook World Music: Traditions and Transformations (McGraw-Hill) by Michael B. Bakan. She directed the FSU Chinese Music Ensemble for 17 years and is currently a visiting professor at the Department of Modern Linguistics and Languages, teaching a special topic class, The Art of the Qin. Haiqiong also serves on the Executive Board of Directors of the Council on Culture & Arts (COCA) in Tallahassee, Florida, to advocate diversity, equity, and inclusivity of art in local communities.

Haiqiong received the Bachelor of Music in Zheng Performance from the Shanghai Conservatory of Music (1997), Master of Arts in Arts Administration (2004) and Ethnomusicology (2006), and Ph.D. in Musicology (2020) from the Florida State University.

FSU College of Music Composition Faculty Clifton Callender is Professor of Composition at Florida State University, teaching composition, music theory, and music programming and computation, and has studied at the University of Chicago, Peabody Conservatory, Tulane University, and King’s College, London. His works, which often draw on mathematics, are recorded on the Capstone, New Ariel, and Navona labels. Recent commissions include Chain Reactions, for the 75th commemoration of Chicago Pile 1 (the first nuclear reactor), Canonic Offerings and Hungarian Jazz, for the Bridges Conference on the Arts and Mathematics, gegenschein, for Piotr Szewczyk’s Violin Futura project, and Reasons to Learne to Sing, for the 50th Anniversary of the College Music Society. A recent composer in residence at Copland House, 17

his music has been recognized by and performed at Third Practice, the Spark Festival, the American Composers Orchestra, SEAMUS, Forecast Music, Composers Inc., Studio 300, the Florida Electroacoustic Music Festival, the International Festival of Electroacoustic Music “Primavera en La Habana,” NACUSA Young Composers Competition, the Northern Arizona University Centennial Composition, the North American Saxophone Alliance Biennial Conferences, the World Harp Congress in Copenhagen and the ppIANISSIMO festival in Bulgaria. Recent works include a focus on the climate crisis, including a setting of Kathy Jetnil-Kijiner’s poem for the 2014 United Nations Climate Summit, Dear Matafele Peinam, and a new work for solo piano and electronics, Meditations on a Warming Planet. Also active in music theory, Callender has published in Science, Perspectives of New Music, Journal of Music Theory, Music Theory Online, and Intégral and serves on the editorial boards of Perspectives of New Music and the Journal of Mathematics and Music, for which he served as Co-Editor-in-Chief.

Eren Gümrükçüoğlu is a composer and improviser of acoustic/ electroacoustic music and a music technologist. His research explores the dynamics of interaction between electronics and live instruments, generative systems, the utilization of non-western elements in concert music, jazz improvisation, and genre divisions with an emphasis on listening practices. He has collaborated with leading ensembles and performers including the JACK Quartet, Mivos Quartet, Semiosis Quartet, Conrad Tao, Ensemble Suono Giallo, Quince Ensemble, Deviant Septet, yMusic Ensemble, New York Polyphony, Quince Ensemble, Istanbul State Symphony Orchestra, and Metropole Orkest among others. His music has been performed around the globe and featured in national and international conferences and festivals such as June in Buffalo, SICPP, ilSUONO Contemporary Music Week, Taproot New Music, ROCC Conference, and SCI. In addition to his academic work, he composed, arranged, performed, and recorded music for film and TV in Hollywood and in Turkey. His studies and years of professional experience in the global music industry span film scoring, jazz composition and improvisation, live performance/touring, audio engineering, and all aspects of music production.

Gümrükçüoğlu writes music that dwells at the intersection of diverse musical styles as a consequence of his wide-ranging experiences in contemporary classical, jazz, and Turkish folk music—bringing together 18

listening practices of disparate genres and cultures. Electronics and improvisation are integral to his compositional process both in terms of generating ideas and exploring live performance possibilities. He refrains from creating a crass amalgam of genres but rather incorporates the idiosyncrasies, contours, shapes, rhythms and pacings of different styles into his music. His compositions evoke the sense of spontaneity and elasticity that are central to musical development in jazz, while at the same time maintaining a rigorous approach to managing musical form and texture that is typical of much contemporary concert music.

His scores are published by Babel Scores, Paris.

Liliya Ugay serves as Assistant Professor of Composition and director of Polymorphia, Florida State University’s new music ensemble.

Described as “vivid, yet ultimately enigmatic” (South Florida Classical Review), “evocative,” “fluid and theatrical…music [that] makes its case with immediacy” (Washington Post and The Arts Fuse) as well as both “assertive and steely,” and “lovely, supple writing” (Wall Street Journal) that “tugs at our heart strings” (OperaGene), her music has been performed in many countries around the globe. Ugay has collaborated with the Nashville Symphony, Albany Symphony, American Composers Orchestra, New England Philharmonic, Yale Philharmonia, Raleigh Civic Symphony, Norfolk Festival Choir, Aspen Contemporary Ensemble, Unheard-Of//Ensemble, Molinari Quartet, icarus Quartet, Antico Moderno, Omnibus ensemble, Andrea Lam, and Paul Neubauer among others. Her compositions have been featured at Aspen, Norfolk, CULTIVATE, MIFA, American Composers, Chelsea, New York Electroacoustic Music, June in Buffalo, and Darmstadt New Music festivals, as well as the 52nd Venice Biennale. She completed residencies with Washington National Opera and American Lyric Theater, which presented her operatic works on the stages of John Kennedy Center Terrace Theater and Merkin Concert Hall, respectively.

Ugay has received awards from the American Academy of Arts and Letters, ASCAP, Yale University, and the Woodruff Foundation; she was also a finalist for the 2019 Rome Prize. In addition, she was a prizewinner of many international composition and piano competitions in the USA, Germany, Italy, Switzerland, Norway, and Russia. Her passion as a pianist is to promote the music of repressed Soviet composers: at Yale she led the concert series Silenced Voices, for which she received guidance from Boris Berman. Originally from Uzbekistan (a former part of the USSR) and raised in a multicultural Tatar/Korean music family, Ugay is particularly inspired 19

by the subjects of immigration, motherhood, diversity, and geographic inequality. She is currently working on a monodrama commissioned

by Opera America IDEA grant, as well as a large choral-orchestral work commissioned by the Redlands Symphony and the National Endowment of the Arts. She holds composition degrees from the Yale School of Music studying with Aaron Jay Kernis, Martin Bresnick, Hannah Lash, Christopher Theofanidis, and David Lang, and a piano performance degree from Columbus State University studying piano with Alexander Kobrin and composition with Fred Cohen.

Participating Composers Anak Baiharn, currently residing in Bangkok, Thailand, is a composer with a fascination for a diverse array of artistic disciplines. His creative passions encompass electronic music, sound art, spectralism, multi-disciplinary art, and traditional Thai music. Baiharn has participated and worked with various ensembles, festivals, and organizations such as the Thailand Philharmonic Orchestra, the Borneo Ensemble, the TACETI Ensemble, the Triphens (---) Ensemble, the Wind Band Association of Singapore, Florida State University Festival of New Music, Manila Composers Lab, New Opera Singapore, Silk Road Youth Commissioned Composition at Beijing Central Conservatory of Music, and the Princess Galyani Vadhana Institute of Music International Symposium.

Composer and improviser Isaac Barzso strives to explore the activity of placemaking and the transfer of data and methods of communication between different mediums, aiming to create music and multimedia art that exists in the gap between. Heavily influenced by the textures of postrock music, the structures of literature and film, and other aspects of pop culture, his work utilizes computer-generated music and computerassisted composition to close the gap be-tween disparate forms of objects and media. Alongside recent collaborators such as Longleash, JACK Quartet, Ensemble Dal Niente, and Yarn/Wire, Isaac’s work has been featured at SEAMUS, NYCEMF, ICMC, and the Darmstadt Ferienkurse. A PhD candidate in Music and Multimedia Composition at Brown University, Isaac previously studied at the Royal Conservatory of The Hague, University of Louisville, and Florida State University with mentors Yannis Kyriakides, Mayke Nas, Richard Barrett, Krzysztof Wołek, and Ladislav Kubík.

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Meadow Bridgham writes acoustic concert music that imbues traditional form and harmony with contemporary techniques, often employing pop-inspired, improvisational, and noise-based characteristics. They have worked with important composers such as William Bolcom, Martin Bresnick, Aaron Jay Kernis, Libby Larsen, Bright Sheng, and Joan Tower. Their music has been performed as part of the American Music Festival, the New York Festival of Song, the Westben Composer-Performer Residency, and the Norfolk Chamber Music Festival, among others. Meadow recently earned the Doctor of Musical Arts degree from the Yale School of Music.

Sofía Matus Cancino is a composer and digital artist whose main interest is the research and production of visual music. Cancino studied piano at the Conservatory of Music of the State of Mexico (2007-12). She graduated with honors from both the B.A. in Digital Art (UAEMEX, 201217) and the M.A. in Music Technology (UNAM, 2020-22). Her work has been presented in festivals and conferences such as SEAMUS, Visiones Sonoras, PRISMS Contemporary Music Festival, Music by Women Festival, NodoCCS, Sound:Frame, among others. Cancino has received the Mykytyn Distinguished Composition Award (ASU-2022) the ‘PEJ’ 2020 (MX) and the ‘Creatividad Emergente’ Award from the Ministry of Culture of the State of Mexico. She is currently a Doctoral Candidate and a Teaching Assistant in the Music Theory and Composition Department at Arizona State University, where she holds a Presidential Graduate Scholarship.

Tyson Gholston Davis is an American composer in his senior year at The Juilliard School where is a recipient of the Jerome L. Greene Fellowship studying with Robert Beaser. Davis began composing at the age of eight years old and entered the University North Carolina School of the Arts a high school freshman, studying with Lawrence Dillon. In the summer of 2019, Davis worked with the National Youth Orchestra of the United States of America (NYO-USA) and Antonio Pappano to premiere his work, Delicate Tension, a piece that was commissioned by the American Embassy in Berlin for the 30th Anniversary of the fall of the Berlin Wall. The work was performed in Berlin, Edinburgh, and Hamburg. Since then, Davis has been a leading desired composer to be performed and commissioned by leading ensembles. He has been the recipient of more than 22 commissions by organizations such as The Juilliard String Quartet, the Albany Symphony, The Saint Paul Chamber Orchestra, Eighth Blackbird and other ensembles.

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Riley Ferretti is a Japanese-American composer and vocalist whose music explores the idea of human connection through choral, instrumental, and electronic music. Her inspiration spans numerous sources, from poetry to nature to personal experiences. She recently graduated from the University of Louisville with a B.M. in Music Composition, where she won the 2021-2022 KMEA Collegiate Composition Competition for her choral piece, The Oak, and received the Sixty-Second Annual Alumni Award. She is currently pursuing a Master’s in Music Composition at the University of Florida, where she is concentrating on the connection between the voice and live electronics as well as the creation of unique textures in instrumental and vocal music.

A native of Stafford, Virginia, Melika M. Fitzhugh (A.B. Harvard-Radcliffe, M.M. Longy School of Music of Bard College) studied conducting and composition with Thomas G. Everett, Beverly Taylor, James Yannatos, Roger Marsh, Jeff Stadelman, and, most recently, John Howell Morrison.

Mel’s compositions have been performed internationally by the PHACE Ensemble, Quarteto Larianna, the Brouwer Trio, Sarah Jeffery, Radcliffe Choral Society, Berit Strong, John Tyson, Miyuki Tsurutani, and Aldo Abreu.

The artist, also a film and stage composer, is currently a member of world/ early music ensembles Urban Myth, Balkan Fields, and the Quilisma Consort.

Peter Gilbert’s work combines traditional instrumental writing with elements of improvisation, live-performed electronics, and other media.

His music, whether in multi-media theater, film, installation or a traditional concert, thrives on the act and art of collaboration. Gilbert’s music has been included in music festivals and conferences around the world including the ICMC International Conference, Darmstadt Ferienkurse, Society of Composers (SCI) National Conference, SEAMUS National Conference, Electronic Music Midwest. Nuova Consonanza Festival, Muestra de Musica Visual México, Global Composition World Soundscape Conference, Chamber Music Campagna (Italy), Balance-Unbalance International Conference (Australia), STREAMS International Music Festival, New Music Miami ISCM Festival, New Music & Art Festival Bowling Green, Third Practice Music Festival, Look & Listen Festival, Western Illinois New Music Festival, AugustArt Festival NYC. Gilbert has written works for renowned soloists such as Emanuele Arciuli, Daniel Lippel, Mario Caroli, Richard White, Jeremias Schwarzer, Camilla Hoitenga, Magdalena Meitzner, Martin Tchiba, Michael Veit, Stephen Porter, Monica Robescu, Jeb Wallace, Michael Walker, Philipp Stäudlin, Michael Norsworthy, Carson 22

Cooman, and Terry Everson. He has also collaborated with outstanding ensembles such as Klangforum Heidelberg, Arditti Quartet, Lorelei Ensemble, Bang on a Can All-Stars, Ekmeles, Boston Conservatory Wind Ensemble, Soli Fan Tutti (Staatstheater Darmstadt), New Mexico Winds, Iridium Quartet, Pianarmonio, Silver Reed Duo, and FretX. He has also been performed by Sonic Art Quartet, Splice Ensemble, counter(induction, One World Symphony, Red Light New Music, SO Percussion, New Thread Saxophone Quartet, Forward Motion, Peabody Camerata, Verspiel New Music, as well as numerous university wind ensembles and percussion ensembles. Gilbert is also committed to writing music for local ensembles that support young musicians such as the Albuquerque Junior Symphony, the UNM Children’s Chorus, and numerous New Mexico High School and Middle School bands. Other accolades and commissions have come from the Barlow Foundation, the Siemens Music Foundation, New Music USA, the Russolo Foundation, the Look & Listen Festival, the Third Practice Festival, the Institut International de Musique Electroacoustique de Bourges, the Washington International Composers Competition, The “Bohemians Prize” from the New York Musicians Club, and the ZKM | Institut für Akustik und Musik. Gilbert has also done film scoring for numerous celebrated documentaries which have garnered prizes including the Tallgrass Film Festival Outstanding Documentary Feature, Winner—ABQ Indie Film Festival, and the Grand Jury Prize of the Provincetown Film Festival. He has taught composition, electronic music, music theory and music history at Harvard University, Wellesley College, Northeastern University, University of Massachusetts-Dartmouth, Case Western Reserve University, and the Cleveland Institute of Music. He holds degrees from Illinois Wesleyan University and the Cleveland Institute of Music, and a PhD from Harvard University. Since 2010 he has served as Associate Professor of Composition and coordinator of the composition and music technology areas at the University of New Mexico.

Pierce Gradone’s music echoes the strange brew of musical cultures that made up his childhood, from playing bluegrass in the hills of Appalachia to sprinting the marathon of blinding-fast pentecostal shout music.

Described as “gorgeous, expansive” (I Care If You Listen) and “en-gaging” (Chicago Tribune), his works explore the notion of music as an embodied art, emphasizing the somatic aesthetic experience by engaging with performative agency and virtuosity. His music been performed by Eighth Blackbird, Ensemble Signal, Imani Winds, the Chicago Civic Orchestra, Pacifica Quartet, Quince Ensemble, Riot Ensemble, and Switch Ensemble, among others. He has received commissions and awards from the Fromm Music Foundation at Harvard University, American Modern 23

Ensemble, Ensemble Dal Niente, Luna Nova, Line Upon Line Percussion, Ursa Ensemble, and others. Based in Chicago, Pierce is a faculty member in the Department of Radio/TV/Film at Northwestern University.

Nico Gutierrez is a composer of concert, film, and video game music.

He began his musical studies at age seven and began composing at age twelve. His compositions have been premiered, performed, and professionally recorded by members of the Chicago Symphony, Hollywood Bowl Orchestra, the Orquesta Filarmónica de Bogotá, International Contemporary Ensemble, Fort Worth Youth Orchestra, and the Texas Boys Choir. His works have been recorded and performed in prestigious concert halls around the world including the Bass Performance Hall, Teatro Mayor Julio Mario Santo Domingo, and Palau de la Música Catalana.

An ambassador of Latin-American music, Nico has served as composer in residence for the Barcelona Festival of Song in 2014, 2019, and 2022.

In March 2018, Nico was invited to the Fundación Fox in Guanajuato, Mexico where he rehearsed with their youth orchestra and conducted his music, in concert, for Former Mexican President Vicente Fox. Nico’s love for writing film music has led him to work for Hollywood composers such as Mark Isham and Heather McIntosh on several films and television series like The Nevers (HBO Max), Duck, Duck, Goose (starring Zendaya), Dumplin’ (starring Jennifer Aniston), and One Dollar (CBS All Access). Nico earned his Bachelor’s degree in music composition from Texas Christian University in 2015 and his Master’s degree in Scoring for the Screen from Columbia College Chicago in 2017. He is currently pursuing a doctoral degree in composition at Florida State University.

Described as “bright with energy and lilting lyricism” (New York Classical Review), “dramatic, highly strung” (Fanfare), and “utterly rich with purpose and heart” (Huffington Post), Dorothy Hindman’s music has been featured at Carnegie Hall, the United Nations, the Muziekgebouw, and around the world by new music luminaries including Bent Frequency, Empire City Men’s Chorus, Fresh Squeezed Opera, Gregg Smith Singers, Splinter Reeds, the [Switch~ Ensemble], dal niente, Robert Black, Craig Hultgren, Stuart Gerber, and more. Awards and recognition in-clude the Mellon Foundation, Miami-Dade Cultural Affairs, American Prize, Global Music Awards, ISCM/New Music Miami, Iron Composer, NACUSA and others. Her recordings appear on innova, Albany, Capstone and Living Artist; scores available from Subito, NoteNova, and dorn/Needham. She is Associate Professor of Composition at the Frost School of Music. doro-thyhindman. com 24

Timothy Hoekman has written in many genres, but most of his works include voice: over 60 songs for voice and keyboard, vocal chamber works, orchestral songs, anthems, an opera, and an oratorio. He has also written pieces for orchestra, piano, organ, harpsichord, trumpet, and concert band. His compositions have been published by Theodore Presser, Colla Voce, Plymouth Music Company, Recital Publications, and Classical Vocal Reprints. He was named the 2002 MTNA-Shepherd Distinguished Composer of the Year for his song cycle To Make a Prairie. His music has been recorded for Albany Records, Azica Records, and Mark Records.

Hoekman is Professor Emeritus of Vocal Coaching and Collaborative Piano at Florida State Uni-versity. He has served as coach and pianist for Glimmerglass Opera (1988-2011), Florida Grand Opera, Des Moines Metro Opera, Michigan Opera Theater, Opera Grand Rapids. He currently spends summers as a lieder coach for the American Institute of Musical Studies in Graz, Austria.

With a “strong voice in composition” (Ellen Taaffe Zwilich), the music of Aaron Houston (b. 1991) lives where the energetic soul of rock, folk music, and more collides with his classical training in unexpected ways that the Tallahassee Democrat said “[feels] alive and tangible to the audience.” As a composer, Aaron has been recognized as an award nominee from the Academy of Arts & Letters, a finalist for the ASCAP Morton Gould Young Composer Awards, winner of the Dallas Winds 2020 Fanfare Contest, and winner of the Civitasolis Quintet 2020 Call for Scores, among others. His music has been performed by the Albany Symphony (NY), Dallas Winds, the Baltimore Choral Arts Center and more throughout the United States, Germany, and Brazil. Aaron holds degrees in composition from Baylor University and Florida State University where he was the recipient of the 2017-2018 Ellen Taaffe Zwilich Fellowship for orchestral composition.

Edward Jacobs completed his undergraduate work at the University of Massachusetts, Amherst in jazz performance, and then in composition (Salvatore Macchia, Robert Stern) was followed by graduate study at the University of California, Berkeley in composition (Andrew Imbrie, Olly Wilson, Gerard Grisey); and a doctorate at Columbia University (Mario Davidovsky, Chou Wen-Chung, Marty Boykan, and George Edwards).

His music is published by C. F. Peters, ACA, and APNM. Jacobs’ work as a composer has been recognized with a Guggenheim Fellowship and the Charles Ives Fellowship of the American Academy of Arts & Letters.

Jacobs began teaching at East Carolina University in 1998, where he has received three Research/Creative Activity Grants, a prestigious TeacherScholar Award, and was named Robert L. Jones Distinguished Professor of 25

Music in 2014. His activities have also included the founding and direction of the North Carolina NewMusic Initiative (March, 2001); the creation of a unique commissioning program; and work in the Pitt County Public Schools (2004-2008) collaborating with middle school general music teachers in his “Young Composers Project,” which sought to make the creation of music a fundamental part of our children’s education. Recent summers have brought Jacobs to the Composers Conference and to the Snow Pond Composers Workshop, two programs which bring together remarkable musicians pursuing the development and adventure of new musical ideas.

Joseph Klein is a composer of instrumental, vocal, electroacoustic, and intermedia works, whose music has been described as “a dizzying euphoria... like a sonic tickling with counter-point gone awry” (NewMusicBox), exhibiting a “confident polyvalence [that] heightens its very real excitement” (The Wire). His work reflects an ongoing interest in processes drawn from such sources as fractal geometry, chaos, and systems theory, often inspired by natural phenomena, and frequently incorporating theatrical elements as a component of the extra-musical narrative or as an organic outgrowth of the musical process itself.

Literature is another important influence on his work, with recent compositions based on the writings of Franz Kafka, Elias Canetti, and Alice Fulton, among others. Klein holds degrees from Indiana University and the University of California, San Diego, and currently serves as Distinguished Teaching Professor and Chair of Composition Studies at the University of North Texas.

Paul Koonce studied composition at the University of Illinois, and the University of California, San Diego where he received the Ph.D. in Music.

Previous positions include Moorhead State University and Princeton University. His music focuses upon issues of representation and perception in electroacoustic sound. As a software developer, he has explored the invention of computer technologies for the manipulation of sound and timbre, developing tools for exploring the parallels between musical and environmental sound phenomena. Recent work has branched into the area of electroacoustic performance with the development and use of data gloves, virtual instruments, and real-time processing. He is the recipient of fellowships from the Guggenheim and McKnight Foundations, and has received awards and commissions from the Luigi Russolo International Competition for Composers of Electronic Music, the National Flute Association, Prix Ars Electronica Electronic Arts Competition, the Electroacoustic Music Contest of Sao Paulo, the 26

Bourges International Competition, and the International Computer Music Association. His music is available on the SEAMUS, Mnemosyne, ICMA, Panorama, Innova, Einstein, Centaur, and Mode records labels.

Timothy Kramer’s works have been performed by major orchestras and chamber ensembles throughout the U.S., and in Europe and Asia. He has received grants from the Guggenheim Foundation, the NEA, the MacDowell Colony, Meet the Composer, BMI, ASCAP, and the AGO, and commissions from the Midwest Clinic, the Utah Arts Festival, and the Detroit Chamber Winds, among others. He was Composer-Not-in-Residence with the San Francisco Choral Artists from 2019-2022. His degrees are from Pacific Lutheran University (B.M.) and the University of Michigan (M.M., D.M.A.), and he was a Fulbright Scholar to Germany. Originally from Washington State, he taught at Trinity University in San Antonio for 19 years, where he also founded CASA (Composers Alliance of San Antonio). In 2010 he moved to Illinois College as Chair of Music and named the Edward Capps Professor of Humanities in 2013, and Professor Emeritus in 2020. More information may be found at timothykramer.com.

Moritz Laßmann first studied composition with Claus Kühnl at the Dr. Hoch’s Conservatory in Frankfurt am Main (GERMANY) and then continued his studies in the composition class of Pro-fessor Markus Hechtle and Professor Wolfgang Rihm at the Hochschule für Musik in Karlsruhe (GERMANY), which he successfully completed with the soloist exam in 2021. He has won prizes at national and international composition competitions. Furthermore, some of his compositions have been selected for US, Russian, Serbian and most recently Australian concert series.

Since October 2021 he is a lecturer for instrumentation and notation techniques at the Univer-sity of Music in Karlsruhe. He attended master classes with Dieter Ammann, Nikolaus Brass, Chaya Czernowin, Dietrich Eichmann, Arnulf Herrmann, Jochen Kuhn, Rebecca Saunders, Johannes Schöllhorn and Manos Tsangaris, among others.

Ryan Lindveit is an American composer who takes inspiration from literature, art, science, technology, and personal experience in order to craft colorful and emotionally vivid musical journeys. Ryan holds degrees from the University of Southern California (BM), Yale University (MM, MMA), and the University of Michigan (DMA). In addition, he earned the Certificate in Music Theory Pedagogy from the University of Michigan. His teachers include Aaron Jay Kernis, Michael Daugherty, David Lang, Martin Bresnick, Christopher Theofanidis, Bright Sheng, Frank Ticheli, Andrew Norman, Ted Hearne, and Donald Crockett. His works have been commissioned 27

and performed by distinguished ensembles including the Minnesota Orchestra, Alarm Will Sound, “The President’s Own” United States Marine Band, American Composers Orchestra and others. His work has received recognition from BMI, ASCAP, SCI, the American Academy of Arts and Letters, the National Band Association, Symphony in C, Tribeca New Music, and the Texas Music Educators Association. Ryan has held fellowships or residencies at the Aspen Music Festival, Mizzou International Composers Festival, ACO Underwood New Music Readings, Next Festival of Emerging Artists, Red Note New Music Festival, the International Young Composers Meeting (Apeldoorn, NL), Oregon Bach Festival Composers Symposium, and California Summer Music. A committed educator, Lindveit has taught composition, music theory, orchestration, film music, and music technology privately and at the collegiate level. He currently serves on the faculty of the College of Music at the University of Tennessee, Knoxville as Lecturer of Music Theory and Composition.

As a composer and arranger, David Mailman is inspired by his historical studies and sounds from his Chinese heritage, and works to write exciting original music that performers from all walks of life can find themselves in and enjoy. David also dedicates himself to bringing accessible arrangements of Chinese classical music to the Western band repertoire.

In 2021, David was the collegiate winner of the National Association for Music Education’s Student Composers Competition. His work for band Dàzhài was a finalist in 2023 “The President’s Own” Marine Band Call for Scores. He has been lucky to have his works performed across the United States by groups of diverse skill levels, including the Eugene Difficult Music Ensemble and Vanderbilt University Concert Band, and is excited for upcoming performances by the Florida State University Wind Orchestra and Vanderbilt University Orchestra. David is a student at Vanderbilt University studying Chinese history and music. David’s concentration is in twentieth-century Chinese music, particularly the interaction of politics and musical composition in the late twentieth century. He is currently completing his undergraduate thesis on the political dimensions of Chinese classical music written in the Western idiom between 1949 and 1992. David is in his final semester at Vanderbilt, and is immensely grateful for his studies in composition under Drs. Stan Link and Michael Slayton.

Evan O’Dell is a contemporary composer from Atlanta, Georgia. His musical style can be best described as eclectic, synthesizing elements of 20th and 21st century western contemporary compositions with jazz, contemporary hip hop, and video game scores. Above all else, O’Dell 28

believes in the possibility for contemporary music to be made accessible to a mainstream audience. When looking for inspiration, his favorite artists include George Crumb, Natasha Barrett, Kendrick Lamar, and Sofia Gubaidulina. Throughout his career O’Dell has had the opportunity to work with several premiere contemporary ensembles such as the JACK Quartet and the wind trio Bantam Winds who premiered O’Dell’s work An Abandoned Mall last October. Additionally, O’Dell was selected as one of the featured composers at the 2023 Penn State New Music Festival.

Upon Graduating with a bachelor’s degree in music composition from Columbus State University, he plans to pursue a master’s in composition in Europe.

A Tokyo native, Meg Okura is a Grammy-nominated violinist and composer based in the Bronx, New York. She won the 2023 ISJAC Fundamental Freedom Commission Awards, 2022 BRIO Awards, 2021 NYC Women’s Fund, 2021 Jazz Road, 2020 Copland House Residency Awards, 2018 Chamber Music America New Jazz Works, and others. After earning BM and MM degrees from Juilliard as a violinist, she made a difficult switch to jazz upon graduation. Dubbed “the queen of chamber jazz” by All About Jazz, Okura leads her Pan Asian Chamber Jazz Ensemble. Okura has released nine albums under her name and two more in the works this year.

Her credits appear over 100 times in albums, films and live videos. PACJE’s fourth album, Ima Ima (2018), was chosen the “Best Releases of 2018” on All About Jazz and the New York Times Editor’s Pick, and her release of 2018 NPO Trio Live at The Stone was Bandcamp’s Best of March 2018.

Nathaniel Parks is a Baltimore-based composer and singer whose work has become increasingly obsessed with vulnerability and the beauty found in the mundane. Nathaniel’s music has been performed around the country by members of Ensemble dal Niente, the International Contemporary Ensemble, and Jack Quartet, and has been presented at both the Society of Composers, Inc. National Conference (2017) and the Society of Composers, Inc. Region VI Conference (2018). He has received fellowships from the Kimmel Harding Nelson Center for the Arts (2023) and Millay Arts (2023). Nathaniel was the recipient of the Otto Ortmann Award in Com-position (2020) and was a semi-finalist for the American Prize in Choral Composition – Student Division (2018).

Leah Reid is a composer, sound artist, researcher, and educator, whose works range from opera, chamber, and vocal music, to acousmatic, electroacoustic works, and interactive sound installations. Her primary 29

research interests involve the perception, modeling, and compositional applications of timbre. Winner of a 2022 Guggenheim Fellowship, Reid has also won the American Prize in Composi-tion, first prize in the KLANG! International Electroacoustic Composition Competition, first prize in Musicworks’ Electronic Music Competition, Sound of the Year’s Composed with Sound Award, the International Alliance for Women in Music’s Pauline Oliveros Award, and second prizes in the Iannis Xenakis International Electronic Music Competition and the International Destellos Competition. Reid received the D.M.A. and M.A. in music composition from Stanford University and the B.Mus from McGill University. She is currently an Assistant Professor at the University of Virginia. www.leahreid.com Timothy Roy composes music steeped in imagery and allusion, which often seeks to elicit a sense of time, place, and feeling. His music has been presented at such venues and events as the National Theater of Taipei, Music Biennale Zagreb, ZKM Karlsruhe, Birmingham ElectroAcoustic Sound Theatre (BEAST), Bowling Green New Music Festival, Toronto Electroacoustic Symposium, International Computer Music Cconference, and the International Electroacoustic Music Festival of Chile, “Ai-maako.” He has received honors from the Salvatore Martirano Memorial Composition Award (1st Prize), ASCAP/SEAMUS Student Commission Award (1st Prize), Giga-Hertz Production Prize from ZKM (Honorable Mention), Prix Destellos (1st Prize), Città di Udine (Finalist), among others. Roy has taught composition, theory, and electroacoustic music at Western Michigan University and Rice University. He is currently completing a Doctor of Musical Arts degree from Rice University.

Aaron Spotts (b. 1980) is a composer and educator living in Tallahassee, Florida, creating con-temporary classical, electro-acoustic, improvisatory, film, and popular music. He holds the doctorate in music composition from Florida State University (FSU), having studied with Ladislav Kubik, Clifton Callender and Ellen Taaffe Zwilich. Recent highlights include: His orchestral work, Sketch Book, being chosen as a finalist for both the Tampa Bay Symphony’s 3rd Annual Call for Scores Competition and the Chelsea Symphony’s Composition Competition; Inter-being selected for the Chicago Ensemble’s “Discover America IX” competition; Life for Life receiving honorable mention in the 2019-2020 American Prize orchestra division; a commission from The Ambassador Trio being premiered in Vancouver, B.C.; and the performance of his electro-acoustic string quartet, The Light Through the Trees, in Washington, DC. aaronspottsmusic.com.

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Dan Trueman is a musician: a fiddler, a collaborator, a teacher, a developer of new instruments, a composer of music for ensembles of all shapes and sizes. He has worked with ensembles such as So Percussion, the PRISM Quartet, Eighth Blackbird, Gallicantus, the JACK Quartet, as well as individuals like scientist Naomi Leonard, choreographer Rebecca Lazier, poet Paul Muldoon, director Mark DeChiazza, fiddler Caoimhín Ó Raghallaigh, vocalist Iarla Ó Lionáird, guitarist/songwriter Monica Mugan, and many others. Dan’s work has been recognized by fellowships, grants, commissions, and awards from the Guggenheim Foundation, the Barlow Endowment, the Bessies, the Fulbright Commission, the American Composers Forum, the American Council of Learned Societies, Meet the Composer, among others. Current and recent projects include bitKlavier (the prepared digital piano); The Fate of Bones, a new record with Caoimhín Ó Raghallaigh; The Cross Quartets, a set of string quartets in scordatura, for Brooklyn Rider and the Bergamot Quartet; 12 Preludes for bitKlavier (recording in progress with Cristina Altamura and Adam Sliwinski); Songs That Are Hard To Sing, for So Percussion and the JACK Quartet (released by New Amsterdam Records in 2019); Midden Find, for fiddler Caoimhín Ó Raghallaigh and Contemporaneous (in progress); Olagón, an opera featuring Iarla Ó Lionáird, with text by Paul Muldoon and directed by Mark DeChiazza with the Crash Ensemble); There Might Be Others, with choreographer Rebecca Lazier and scientist Naomi Leonard (winner of a Bessie Award, Outstanding Music Composition).

Nicholas Villane’s works strive to achieve energetic and goal-oriented musical journeys. Born in 1996 in California, Nicholas has resided in Florida for the past decade with both states providing inspiration and experiences for his works. Growing up in a musical household, he began learning clarinet at the age of 10, and shortly after began to write his first melodies. Villane’s music is broadly influenced, shaped by the belief that music is a shared human experience, welcoming audiences regardless of musical background and knowledge. Nicholas has had works read and recorded by members of Ensemble C Barré, Talea Ensemble, Ekmeles, Icarus Quartet, ~Nois Sax Quartet, Momenta, and Polymorphia. Nicholas is entering his third year of DMA studies at FSU studying under Dr. Lilya Ugay.

He holds the M.M. from Ithaca College studying with Dr. Evis Sammoutis and Dr. Jorge Grossmann, and the B.M. from Stetson University under Dr. Sydney Hodkinson.

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Wenbin Lyu is a Chinese composer and guitarist based in the United States, whose compositions blend contemporary Western techniques with ancient oriental culture. His work draws inspiration from nature, science, and video games. Lyu has received fellowships from prestigious institutions and festivals such as the Tanglewood Music Center, Cabrillo Festival Composers Workshop, Blackbird Creative Lab, and Atlantic Center for the Arts. His works have been featured at numerous events, including the SCI, RED NOTE, TUTTI, Alba, Cabrillo, NMG, Tanglewood, ICMC, NYCEMF, EMM, IRCAM, SEAMUS, and SPLICE, and have been performed by acclaimed ensembles including the Beijing Symphony, Buffalo Philharmonic, Tianjin Symphony, Cabrillo Festival Orchestra, Fifth House Ensemble, Del Sol Quartet, Icarus Quartet, Society for New Music, Capitol Quartet, Transient Canvas, and Hyper-cube.

Roger Zare has written for a wide variety of ensembles, from solo instruments to full orchestra. Often inspired by science, mathematics, literature, and mythology, his colorfully descriptive and energetic works have been performed on six continents by such ensembles as the American Composers Orchestra, the Minnesota Orchestra, the Sarasota Orchestra, the Australian-based Trio Anima Mundi, the Donald Sinta Quartet, and the New York Youth Symphony. An award winning composer, Zare has received the ASCAP Nissim Prize, three BMI Student Composer Awards, an ASCAP Morton Gould award, a New York Youth Symphony First Music Commission, the 2008 American Composers Orchestra Underwood Commission, a 2010 Charles Ives Scholarship from the American Academy of Arts and Letters, a Copland House Residency Award, Grand Prize in the inaugural China-US Emerging Composers Competition, and many other honors. An active pianist, Zare performed his chamber work, Geometries, with Cho-Liang Lin, Jian Wang, and Burt Hara at the 2014 Hong Kong International Chamber Music Festival. He has been composer in residence at the Chesapeake Chamber Music Festival, the Salt Bay Chamber Music Festival, the Chamber Music Festival of Lexington and the SONAR new music ensemble. Zare holds a DMA (‘12) from the University of Michigan, where he studied with Michael Daugherty, Paul Schoenfield, Bright Sheng, and Kristin Kuster. He holds degrees from the Peabody Conservatory (MM ‘09) and the University of Southern California (BM ‘07), and his previous teachers include Christopher Theofanidis, Derek Bermel, David Smooke, Donald Crockett, Tamar Diesendruck, Fredrick Lesemann, and Morten Lauridsen. Zare currently serves as assistant professor of music at Appalachian State University and previously taught composition at Illinois State University.

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FSU College of Music Faculty Performers Elizabeth Avery serves as Associate Dean for Academic Affairs and Director of Graduate Studies. Avery joined the FSU College of Music faculty in 2023, after twelve years on the faculty of the University of Oklahoma, where she served as Associate Director/Coordinator of Graduate Studies and held the Edith Kinney Gaylord Presidential Professorship. She has also taught at Indiana University’s Jacobs School of Music, Austin Peay State University, Castleton State University, and the Crane School of Music. She earned the DMA in Piano Accompanying and Chamber Music from the Eastman School of Music, MM in Collaborative Piano from the University of Michigan, and BME from the Crane School of Music. She also completed the Special Studies program at the Prague Conservatory, performing Czech solo and chamber music while honing her expertise in Czech lyric diction.

Recognized for her remarkable blend of “artistic sensitivity and masterful virtuosity,” Avery is an accomplished collaborative pianist whose musical journey spans continents and genres. Performing widely across the United States, Canada, Scandinavia, and Europe, she engages audiences through collaborative performances, lecture-recitals, and masterclasses.

Her vocal coaching work encompasses repertoire from Monteverdi to modern composers, leading to collaborations with such renowned conductors as Leonard Slatkin, Giancarlo Guerrero, and John Mauceri. Her mastery of lyric diction across multiple languages and command of a wide-ranging song repertoire is evident not only in her vocal coachings, diction classes, and repertoire courses, but also in frequent invited guest lectures and master classes.

As an artist and scholar Avery’s interests are varied, but always gravitate to new music. She is committed to commissioning and premiering new works for voice and piano, having brought new performances to such prestigious venues as Weill Recital Hall and Steinway Hall in New York City.

Among her ongoing commission undertakings is the collaborative project East Wing Songs, with mezzo soprano Ann Marie Wilcox Daehn; this series of song volumes, exclusively composed by women composers, imports the listener into the authentic lived narratives of the First Ladies of the United States. No One Saves the Earth from Us but Us, a 30-minute song cycle composed by Lisa Neher that premiered in 2021, is an urgent call 33

to action interweaving texts of environmental poets Craig Santos Perez and Felicia Zamora. This evocative and unique composition is sung by Quinn Patrick Ankrum via fixed media and executed solely by the pianist.

A live, collaborative version of the cycle will premiere in spring 2024 on the Cincinnati Song Initiative’s 2023-2024 concert series. Avery has also paired with Ankrum to establish Living Song Project, a groundbreaking initiative dedicated to enhancing access to living composers and their compositions through an expansive searchable database.

Deborah Bish is Associate Professor of Clarinet at Florida State University.

Before moving to Tallahassee in 2001, she served as the professor of clarinet at Henderson State University. She has performed with orchestras throughout the United States, including the Arizona Opera (most notably in a production of the Ring Cycle), the Mainly Mozart Festival Orchestra under the direction of Jeffrey Siegel, the Phoenix Symphony, the North Carolina Symphony, and the Arkansas Symphony. Currently, she is a member of the Tallahassee Symphony Orchestra.

Bish has been featured as a recitalist, clinician, and chamber musician at several festivals and conventions including performances at Weill Recital Hall in Carnegie Hall; the Shanghai Conservatory in Shanghai, China; the International Clarinet Association’s ClarinetFests in Lincoln, Austin, Vancouver, Atlanta, and Salt Lake City; the College Band Director’s National Association Convention in Atlanta; the Florida Music Educator’s Association Convention in Tampa, Florida; the Wallowa Lake Chamber Music Festival in Enterprise, Oregon; and the Festival Internacional de Inverno in Vale Vêneto, Brazil. Bish is very active in the commission, research, and performance of new works. Her recent projects include a recording of the works of Gregory Wanamaker, featuring two pieces written for her by Wanamaker titled clarikinetics and Sonata.

Bish has served as an adjudicator in a variety of competitions, including both the Young Artist’s Competition and the High School Competition for the International Clarinet Association. Bish holds degrees from Arizona State University, where she studied under Robert Spring, and Florida State University, where she studied under Frank Kowalsky.

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Celso Cano is Visiting Assistant Professor of Guitar at Florida State University. Prior to his appointment at FSU, Cano served as faculty at Nova Southeastern University, Bronx Conservatory of Music, and Bloomingdale School of Music in New York City. His interests include performing both early and contemporary music, and expanding the repertoire through transcription and composition for guitar. As a performer, he has been the recipient of numerous prizes and awards including the Andrés Segovia Competition in Spain and the D’Addario Foundation Fellowship. His Eclipse for guitar, cello, and percussion was composed and performed while in residence at the Baryshnikov Art Center in New York City. His solo guitar piece, Souvenirs, received the Ignacio Cervantes Prize at the 2019 Leo Brouwer International Composition Competition.

Cano was born in Lima, Peru and moved to the United States at the age of eleven. He began his classical guitar studies with Lou Mowad in South Florida in 1987. In high school he attended the Stetson International Guitar Workshop, where he performed in masterclasses with Stephen Robinson and Adam Holzman. He earned the B.M. in guitar performance at the University of Arizona, where he studied with Thomas Patterson, and the M.M. from Florida International University, where he studied under Rafael Padrón and Mesut Özgen. At FIU, he also learned to play lute while studying with lutenist and musicologist David Dolata. He became the first guitarist to win the School of Music’s annual concerto competition, performing Joaquín Rodrigo’s Concierto de Aranjuez with the FIU Symphony Orchestra under the direction of James Judd. Cano earned the D.M. in guitar performance from Florida State University, where he studied under world-renowned guitar professor, Bruce Holzman.

A Washington, D.C. native, Geoffrey Deibel has emerged as a leading, innovative voice for the teaching and performance of the saxophone and contemporary music. He maintains a multi-faceted career as performer, teacher, and researcher. His most recent recordings include Iannis Xenakis’ Dmaathen with percussionist Ji Hye Jung, and his debut solo recording, Ex Uno Plures. He can also be heard on the Wet Ink Ensemble’s latest recording, Missing Scenes. He has performed with the Athens Saxophone Quartet, and with the International Contemporary Ensemble at the Park Avenue Armory (NYC) in the full North American Premiere of Louis Andriessen’s De Materie, and has given recitals throughout the U.S. and in Europe. Geoff has been an invited guest lecturer at Die Staatliche Hochschule für Musik und Darstellende Kunst, Stuttgart, at University College Cork, Ireland, and many Universities in the US. He has appeared at the Internationale 35

Ferienkurse für Neue Musik, Darmstadt, the International Iannis Xenakis Festival in Athens, Greece, and World Saxophone Congresses in the UK, Europe, and Thailand.

Geoff has commissioned new works by both established and emerging composers, including Drew Baker, Caleb Burhans, Viet Cuong, Nathan Davis, Claudio Gabriele, Martin Iddon, Robert Lemay, Marc Mellits, Joseph Michaels, Forrest Pierce, David Rakowski, David Reminick, Jesse Ronneau, and Eric Wubbels. He has also premiered the music of Louis Andriessen, Georges Aperghis, Jason Eckardt, Hiroyki Itoh, Pierre Jodlowski, Marc Mellits, Elliott Sharp, Jagoda Szmytka, Mari Takano, Hans Thomalla, and Amy Williams.

Geoff is a member of the critically acclaimed h2 quartet, first prize winners at the Fischoff Competition and NASA Quartet Competitions, finalists at the Concert Artists Guild Competition, and recipients of multiple Aaron Copland Fund Grants. American Record Guide has hailed h2 as a group of “artistic commitment…boasting superb blend, solid technique, [and] tight rhythm.” h2 has seven recordings available, and maintains a non-profit organization to promote the creation of new works for the saxophone quartet. Geoff is also a seasoned orchestral performer, and serves as principal saxophonist with the Tallahassee Symphony Orchestra. He previously served in the same capacity with the Wichita Symphony, and has also performed with the New World Symphony and Grant Park Symphony.

As a jazz musician, Geoff has performed with the Grand Rapids Jazz Orchestra and the Truth in Jazz Orchestra, and has performed locally on the Fisch Haus Jazz Series. He has also had the opportunity to perform alongside Ruben Alvarez, Ron Blake, Allison Miller, James Moody, and Matt Wilson. For four years, he served as the President of the Board of Directors for the Wichita Jazz Festival.

Geoff holds degrees in history and music from Northwestern University and the doctoral degree from Michigan State University. His principal teachers have included Joseph Lulloff, Frederick Hemke, Leo Saguiguit, and Reginald Jackson. Geoff has held teaching positions at the University of Florida and Wichita State University, where he was the recipient of the 2015 College of Fine Arts Award for Scholarly and Creative Activity, and the 2016 WSU Faculty Award for Excellence in Creative Activity. He currently serves as Associate Professor of Saxophone at Florida State University.

He also serves on the faculty of the Cortona Sessions for New Music, and 36

the Great Plains Saxophone Workshop. Geoff is a Yamaha, Vandoren, and LefreQue performing artist, and performs on Yamaha Saxophones, and Vandoren reeds, ligatures, and mouthpieces exclusively.

Rodney Dorsey is Professor of Music at the Florida State University College of Music where he conducts the FSU Wind Orchestra and guides the graduate wind conducting program.

Dorsey comes to FSU from the Indiana University Jacobs School of Music where he conducted the IU Wind Ensemble and taught graduate conducting courses. Prior to his tenure at the Jacobs School, Dorsey served on the faculties of the University of Oregon, University of Michigan, DePaul University and Northwestern University. He also gained extensive experience teaching in the public schools of Florida and Georgia.

Dorsey studied conducting with Mallory Thompson, John P. Paynter, and James Croft. He was a clarinet student of Fred Ormand and Frank Kowalsky.

During his conducting career, Dorsey has led performances at several prominent events including the American Bandmasters Association Convention, College Band Directors National Conference North/Northwest Regional Conference, and the Bands of America National Festival. He is active as a guest conductor, clinician, and adjudicator in the United States.

International engagements include Hungary, Canada, and Bulgaria.

Dorsey’s commitment to community has been demonstrated by his participation on the board of directors for Music for All and the Midwest Clinic. He currently serves as the president of the Midwest Clinic.

Other professional memberships include the College Band Directors National Association, National Association for Music Education, Florida Bandmasters Association, Kappa Kappa Psi, Tau Beta Sigma (honorary), Phi Mu Alpha Sinfonia, and Alpha Phi Alpha Fraternity Incorporated. Dorsey is also an elected member of the American Bandmasters Association.

Most recently Dorsey was named a Yamaha Master Educator.

An award-winning teacher, performer, and composer, Matt Hightower is the Assistant Professor of Tuba and Euphonium at the Florida State University College of Music and principal tuba with the Tallahassee Symphony. Prior to his appointment at Florida State, Hightower held similar positions at the University of Kentucky and Texas A&M University37

Kingsville.

An avid chamber musician, Hightower was tubist with the Corpus Christi, Kingsville, and University of Kentucky Brass Quintets. He has also performed with the Lexington Philharmonic Brass Quintet, the Mirari Brass Quintet, the Atlas Tuba Quartet, Backburner Tuba-Euphonium Ensemble, and Concert:Nova Hightower has appeared with the Bloomington Camerata Orchestra, The Columbus (IN) Symphony, The Evansville Philharmonic, The Iceland Symphony Orchestra, The Louisville Ballet, The Jackson Symphony, the Lexington Philharmonic, the Victoria Symphony Orchestra, the Victoria Bach Festival, the WCIT World Orchestra in Yerevan, Armenia, and David Baker’s 20th Century Bebop Band.

Hightower, a product of entrepreneurship, firmly believes in the importance of 21st-century musicians who acquire and maintain a diverse set of skills.

As such, Hightower’s career embodies every aspect of the music process from composing and arranging to recording and performing. Hightower’s debut album, Re(in)spiration, released in 2019, was a finalist for the 2021 ITEA Roger Bobo Award for Excellence in Recording. According to the International Tuba Euphonium Association Journal, “Re(in)spiration illustrates Hightower’s outstanding skills as a performer and artist” and “showcases [his] total control of the horn, concrete fundamentals, and musical sincerity.” He can also be heard on the University of Texas Wind Ensemble’s Wine Dark Sea, Society of Composers, Inc.’s Flare: Vol 32, the University of Kentucky Faculty Brass Quintet’s New Music for Brass Quintet, and the University of Kentucky Tuba-Euphonium Ensemble’s Blue Thunder, amongst others.

Hightower himself has been the recipient of several awards, including the 2010 KMEA Intercollegiate Composition Contest, the 2021 ITEA Winston Morris Award for Tuba Ensemble Composition, and the 2023 ITEA Harvey Philips Award for Excellence in Composition for tuba in a solo role. Many of his arrangements and original works are published through Potenza Music and Absolute Brass Publishing. He is also a composer for Fannin Musical Productions, where he arranges and composes music for high school marching bands across the United States.

Hightower is also a dedicated educator whose students have won prizes at the Leonard Falcone Competition, Macauley Chamber Music Competition, and various regional and International Tuba-Euphonium 38

Conferences including the inaugural ITEA Collegiate Ensembles Competitive Showcase Competition in 2023. As an active member of the International Tuba Euphonium Association, Hightower has performed and adjudicated at several regional and international ITEA events and hosted the 2022 Midwest Regional Conference at the University of Kentucky.

Hightower earned the BM in music education from Murray State University, the MM in tuba performance from Indiana University, and the DMA from the University of Texas at Austin. His primary instructors were Ray Conklin, Daniel Perantoni, and Charles Villarrubia, with additional instruction in the field of composition from Mike D’Ambrosio, John Fannin, and P.Q. Phan.

Matt Hightower is a B&S performing artist.

Alexander Jiménez is Professor of Conducting, Director of Orchestral Activities, and String Area Coordinator at The Florida State University College of Music. He has recorded on various labels such as Naxos, Navona, Neos, Canadian Broadcasting Ovation, and Mark. Jiménez has a strong dedication to contemporary composers and has collaborated with renowned composers like Ellen Taaffe Zwilich, Ladisalv Kubík, Anthony Iannaccone, Krzysztof Penderecki, Martin Bresnick, Zhou Long, Chen Yi, Harold Schiffman, Louis Andriessen, and Georg Friedrich Haas. As a guest conductor, he has led performances in the United States, Europe, and the Middle East, including appearances with prestigious orchestras like the Royal Scottish National Orchestra, the Brno Philharmonic, and the Israel Netanya Chamber Orchestra. He is equally comfortable conducting professional and educational orchestras, including regional and state honor orchestras in various states, as well as the NAfME All-Eastern Honor Orchestra in 2009. Jiménez has also worked with the Boston University Tanglewood Institute and the Blue Lake Fine Arts Camp.

Under Jimenez’s leadership, the orchestral studies program at FSU has grown and gained recognition as one of the top programs in the country.

The University Symphony Orchestra has been featured at conferences such as the College Orchestra Directors National Conference and the American String Teachers Association National Conference. The University Philharmonia has performed at the Southeast Conference of the Music Educators National Conference and the College Orchestra Directors Association National Conference in 2023. The national PBS broadcast of Zwilich’s Peanuts Gallery® featuring the University Symphony Orchestra was recognized as an outstanding performance in 2007. In 2023, the University Symphony Orchestra embarked on a tour, delivering acclaimed 39

performances at the Steinmetz Concert Hall of the Dr. Phillips Center for the Performing Arts in Orlando, as well as in Santiago and Santo Domingo in the Dominican Republic.

Jimenez’s former students can be found worldwide, conducting in academic institutions, youth orchestras, and professional orchestras, including notable organizations such as the National Tour of Les Miserables, the Los Angeles Philharmonic, the National Opera, the Merola Opera Program of the San Francisco Opera, The Yerevan State Opera, Appalachian State University, Indiana University, the Rochester Philharmonic Youth Orchestra, Ithaca College, Whitman College, and Carthage College.

In addition to his conducting work, Jiménez is also a busy adjudicator. He serves as an international ambassador for the European Festival of Music for Young People in Belgium and frequently adjudicates and provides clinics for Festival Disney. At FSU, he has received University Teaching Awards in 2006 and 2018, The Transformation Through Teaching Award, and the Guardian of the Flame Award, recognizing his outstanding mentorship. At the Blue Lake Fine Arts Camp in Michigan, Jiménez holds positions as a principal conductor of the Festival Orchestra, Blue Lake Camerata, and serves as artistic director. Jiménez also serves as conductor of the Tallahassee Ballet, has appeared on numerous occasions with the Tallahassee Symphony Orchestra, and was the music director of the Tallahassee Youth Orchestras from 2000 to 2017.

Evan A. Jones, Professor of Music Theory and Coordinator of Music Theory and Composition, holds the Ph.D. in music theory and the D.M.A. in cello performance from the Eastman School of Music. Jones supervises freshman aural skills and teaches modal counterpoint, form and analysis, music since 1945, post-tonal aural skills, and atonal theory. He received the Florida State University Undergraduate Teaching Award in 2007, having previously won teaching prizes from both the Eastman School and the University of Rochester. He is a past winner of the Sproull Fellowship from the University of Rochester and a Doctoral Fellowship from the Social Sciences and Humanities Research Council of Canada; he was also a co-recipient of the inaugural Alfred Mann Dissertation Prize from the Eastman School.

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Jones has presented his research at numerous regional, national, and international conferences. His dissertation and related papers focus on pitch-class voice leading in chromatic music; other research interests include transformational theory, 20th-century rhythm and meter, and the interaction of analysis and performance. He has published articles on the music of Xenakis, Schubert, Quantz, and Orlando di Lasso in Perspectives of New Music, Computer Music Journal, the Journal of Schenkerian Studies, and Intégral, and in several edited collections of essays. Supported by a publication subvention grant from the Society for Music Theory, he edited and contributed to a collection of twenty essays entitled Intimate Voices: The Twentieth-Century String Quartet (Rochester, 2009), which was awarded the Society for Music Theory’s Citation of Special Merit in 2010.

He has also co-authored two textbooks on modal and tonal counterpoint (with Douglass Green) and an anthology of tonal music for sight singing and ear training (with Matthew Shaftel and Juan Chattah). From 1997– 99 he served as co-editor of Intégral, a peer-reviewed journal of music theory; he now serves on that journal’s editorial board. He was elected to the Executive Board of the Society for Music Theory in 2010.

An active cellist, Jones has given the world premières of solo works by Clifton Callender, Robert Morris, and Ciro Scotto, the North American premières of solo and chamber works by Iannis Xenakis, and the New York City premières of works by Dexter Morrill and Christopher AuerbachBrown (in Merkin Hall and Weill Recital Hall, respectively). He has performed under the auspices of the Banff Centre for the Arts, Baroque Southeast, the College Music Society, Electronic Music Midwest, Music on the Lake, the Music Teachers National Association, Musique Royale, the Orford Arts Centre, the Scotia Festival of Music, the Society for Electroacoustic Music, the Spark Festival of Electronic Music and Arts, the Syracuse Society for New Music, and the Tallahassee Bach Parley, as well as on faculty recital programs at the Florida State University. He previously appeared as principal cellist of the Binghamton Philharmonic, the Orchestra of the Southern Finger Lakes, and the Montreal Chamber Players, and currently serves as assistant principal cellist in the Tallahassee Symphony Orchestra.

David Kalhous is increasingly gaining recognition and critical acclaim in the United States and Europe for his wide-ranging repertoire and adventurous programming spanning more than three centuries. He has appeared as a soloist with Prague Symphony Orchestra FOK, Prague Philharmonia, Israel Symphony Orchestra, Moravian Philharmonic, and Chamber Philharmonia 41

Pardubice. As a recitalist and a chamber musician, he performed at the Prague Spring Festival, Gilmore Keyboard Festival, Czech Philharmonic Chamber Music Series, Czech Radio’s Studio Live Rising Stars Series. In New York City, he appears at Bargemusic, Symphony Center, and Spectrum; in Chicago, at PianoForte Foundation and Constellation. Kalhous regularly performs, lec-tures, and teaches masterclasses at leading American, European, and Israeli universities and conservatories.

He has recorded for Czech Radio and Television, and has written, produced, and hosted pro-grams devoted to piano music for Prague’s Classic FM Radio. David Kalhous’ interest in new music has resulted in collaboration with many composers who have dedicated works to him.

He regularly performs with Fonema Consort in Chicago and Konvergence in Prague. He gave the debut performance of Ligeti’s piano Études and Feldman’s For Bunita Marcus in Prague, and is preparing a CD of eight newly commissioned works for piano.

David Kalhous studied at the Prague Conservatory with Jaroslav Čermák. He subsequently attended Hochschule für Musik in Vienna, Rubin Academy of Music at Tel-Aviv University, and Yale University, and studied with Paul Badura Skoda, Emil Leichner, Victor Derevianko, David Northington, and Peter Frankl. He also worked with Jerome Lowenthal at the Music Academy of the West. David Kalhous holds a DMA from Northwestern University, where he worked with Ursula Oppens. He previously taught at Texas Tech University School of Music.

Flutist Mary Matthews enjoys an active career as an international soloist, chamber musician, orchestral flutist, and pedagogue, and has performed on four continents in venues such as Carnegie Hall, Severance Hall, the Sydney Conservatorium of Music, Fundação Universidade do Sul de Santa Catarina, Festival Goethe Institut Música Nueva, and Cité Internationale des Arts. Matthews is an Assistant Professor of Flute at Florida State University’s College of Music; prior to her appointment at FSU, she served as Associate Professor of Flute at Tennessee Tech’s School of Music.

She currently serves as second flute of the Tallahassee Symphony, and she performs regularly with orchestras such as the Nashville Symphony, Knoxville Symphony, and Chattanooga Symphony, among others.

An active studio musician and recording artist, Matthews can be heard on soundtracks for film, TV, and video games on Netflix, HBO, and Disney.

She has released four albums including Intersections (Ravello Records), 42

Three-Nine Line (MSR Classics), Charuhas (Naxos), and Preludes & Recitations (Tonsehen Records). She has a fifth album forthcoming with the Maryland Chamber Winds.

An avid performer of new music, Matthews has premiered over 50 new works. She is known for her command of extended techniques and her adventurous programming. She is half of Duo Rossignol with soprano Hillary LaBonte, and the two have been featured at Carnegie Hall’s Weill Recital Hall, the New Music Gathering, the Dairy Arts Center’s Soundscape series, and the National Flute Association convention. She also performs as a member of Khemia Ensemble, a 12-member ensemble dedicated to the programming of diverse and innovative repertoire. Khemia Ensemble is 2023 winner of the Chamber Music America Classical Commissioning Grant with composer Anuj Bhutani. They have been featured at venues and festivals including National Sawdust, the Mizzou International Composers Festival, Strange Beautiful Music, New Music Gathering, Latin IS America, the Missouri Summer Composition Institute, and the Biennial New Music Festival in Córdoba, Argentina. Passionate artist educators, Khemia has also held residencies at more than a dozen universities in North and South America.

In June of 2021 she released her first method book, co-authored by Nicole Chamberlain, titled Beatboxing and Beyond. The book is published

by Spotted Rocket and was reviewed as “a revelation – it’s a worthy addition to all our libraries” (Flutist Quarterly). She was awarded the 2022 Scholastic Research Award from Tennessee Tech University for the book, and the National Flute Association named Beatboxing & Beyond a finalist in the 2022 Newly Published Music awards.

A native of Rochester, NY, Matthews began her formal flute studies at the Eastman School of Music’s Preparatory Program. She holds the Doctor of Musical Arts Degree from The Hartt School, the Master of Music Degree from the Peabody Institute of the Johns Hopkins University, and the Bachelor of Music Degree from the Baldwin Wallace Conservatory of Music. Her primary teachers include Jan Angus, George Pope, and Janet Arms. MaryMatthewsFlute.com Assistant Professor of Flute Karen McLaughlin Large teaches flute lessons, flute ensemble, low flutes, Baroque flute, and Wind and Percussion Pedagogy at the FSU College of Music. Large is passionate about helping students navigate their unique paths in the music world. She does this 43

in her lessons and classes through activities in areas such as music entrepreneurship, audition and competition preparation, community outreach, and grant-writing. Large previously served as Associate Professor of Flute and Music Theory at Kansas State University.

Large enjoys performing in concerto, solo, chamber, and large ensemble settings. She plays regularly with Traverso Colore: Baroque Flute Ensemble, Tornado Alley Flutes, and the Florida Flute Orchestra. She also previously performed with the Konza Wind Quintet, Topeka Symphony Orchestra, Tallahassee Symphony Orchestra, Northwest Florida Symphony Orchestra, and Pensacola Symphony Orchestra. As a guest artist, she has enjoyed performing and teaching at universities in Kansas, Oklahoma, Missouri, Nebraska, Tennessee, and Florida.

Large’s research interests include flute transcriptions of Romantic music, creation of the world’s first Virtual Flute Choirs, Baroque flute performance practice, and the intersection of music theory and flute performance. In Spring 2018 she released her first solo CD which featured her original transcriptions, entitled, String to Silver: Flute Transcriptions of Works in the Romantic Tradition. Large regularly performs and presents her research at national and international conferences. Large earned her DM, MM, and BM degrees at Florida State University studying with Eva Amsler, Stephanie Jutt, and Joshua Carter.

Award-winning soprano Marcía Porter made her New York solo recital debut in Weill Recital Hall at Carnegie Hall in 2005. An active recitalist, the soprano has performed in numerous venues throughout the United States, Italy, Brazil, and the Czech Republic. Porter has sung at such prestigious international festivals as the Prague Proms, Piccolo Spoleto Festival, the Ravinia Festival, and the Ameropa International Chamber Music Festival.

She has performed with such national and international organizations as the Czech National Symphony Orchestra, the San Antonio Symphony Orchestra, Beijing International Symphony Orchestra (Beijing, China) and the Camerata Filarmonica Bohemia (Prague, Czech Republic). Porter has also performed with the Lyric Opera of Chicago, Opera Theatre of St. Louis, Chautauqua Opera, Dayton Opera, and Chicago Opera Theatre.

Porter’s discography includes the 2011 world premier recording of Requiem für Mozart, works for soprano and orchestra by Antonio Rosetti, which was released by the German record label Ars Produktion and the 2013 recording, Open Thine Heart, a recording of contemporary American vocal works, which was released by Albany Records.

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A Fulbright Scholar and Rotary International Cultural Ambassadorial Scholar, Ms. Porter has won several other awards and honors including the 2004 National Association of Teachers of Singing (NATS) Artist Award Competition, the NATS Intern program, finalist in the Metropolitan Opera Central Regional Competition, Jessye Norman Graduate Fellowship in Voice, Opera Carolina Young Artist Recital Program Award, and the Farwell Award. In 2011-2012 Porter was a Fulbright Scholar to Brazil. Her research was entitled “Bridging boundaries through musical collaboration and cultural exchange: a lecture and recital series of contemporary classical Brazilian and African American vocal literature.” During her residency at the Universidade de São Paulo, she presented numerous recitals, lectures and masterclasses in cities throughout Brazil including São Paulo, Campinas, Alphaville, Ribeirão Preto and Brasilia.

Porter is a Professor of Voice at the Florida State University College of Music.

She is a much sought after clinician and has presented masterclasses throughout the mid-western and southeastern US. She has served on the faculty of Ameropa International Chamber Music Festival in Prague, Czech Republic and as a visiting Professor of Voice at Universidade de São Paulo. Porter, a graduate of the New Orleans Center for the Creative Arts, received her Bachelor’s and Master’s degrees in voice performance from Northwestern University. Porter earned a Doctor of Musical Arts degree in performance from The University of Michigan, where she studied with world-renowned Metropolitan Opera singer Shirley Verrett. Previous teachers include Margaret Harshaw, Carmen Mehta, and Kathleen Kaun.

Professor of Cello Gregory Sauer joined the College of Music in 2006. A native of Davenport, Iowa, Gregory Sauer attended the Eastman School of Music and the New England Conservatory. His principal teachers included Ada Marie Snyder, Charles Wendt, Paul Katz, Laurence Lesser, Bonnie Hampton and Colin Carr. For eleven years prior to his arrival at FSU Sauer taught at the University of Oklahoma, where he was named Presidential Professor (2005).

Praised for his versatility, Sauer performs in many different musical arenas.

He has appeared in recital at the Old First Concert Series in San Francisco, the Crocker Art Museum in Sacramento, the Brightmusic Concert Series in Oklahoma City, at universities and schools of music such as the Blair School of Music at Vanderbilt, the Shepherd School at Rice University, the University of Iowa and the University of Tennessee, among many others.

Sauer was a prizewinner in the Hudson Valley Philharmonic and Ima Hogg 45

National competitions and has performed concertos with the Hudson Valley Philharmonic, the Houston Symphony, the New American Chamber Orchestra, the Quad City Symphony, Oklahoma City Philharmonic, the Columbus (GA) Symphony, the Tallahassee Symphony, and the Missoula Symphony, among others.

Sauer joined the Carpe Diem String Quartet in 2019, playing concerts in Carnegie Hall’s Weill Recital Hall, Siena, Italy, and in the group’s first China tour. Along with his brother, Thomas Sauer, he serves as co-Artistic Director of Chamber Music Quad Cities in their hometown of Davenport, Iowa. Other chamber music ventures have resulted in appearances at the Austin Chamber Music Center, the Snake River Music Festival, the Victoria Bach Festival, the Texas Music Festival, the Colorado Music Festival, and the Garth Newel Music Center. As a member of the Fidelio Quartet, a prizewinning group in the London International String Quartet Competition, he performed concerts in the UK, Germany, Italy, and the Tanglewood and Aspen Music Festivals.

In 2006, Sauer was appointed to the music faculty at Florida State University. Prior to that he taught eleven years at the University of Oklahoma, where he was named Presidential Professor. Other teaching/ performing positions have been a visiting professorship at the University of California at Los Angeles, summer programs such as the Texas Music Festival, the Duxbury Music Festival, the Foulger International Music Festival, the Green Mountain Chamber Music Festival, Red Lodge Music Festival, and the Hot Springs Music Festival.

Sauer attended the Eastman School of Music and the New England Conservatory. His teachers included Ada Marie Snyder, Charles Wendt, Paul Katz, Laurence Lesser, Bonnie Hampton, and Colin Carr. Sauer has recorded for MSR Classics, Harmonia Mundi, Albany, and Mark Records.

Pianist Jihye Chang Sung has appeared as soloist and collaborative artist in venues throughout the United States, Canada, Korea, France, Brazil, Costa Rica, and Honduras. Her performances and recordings have been broadcast on KBS TV and KBS FM Radio Korea, PBC TV Korea, Yedang TV Korea, and Costa Rica Classical Radio. She has appeared as a soloist with the Wonjoo Philharmonic Orchestra, the Virtuosi of Festival Internacionale de Musica in Recife, the Indiana University New Music Ensemble, Fargo Moorhead Symphony Orchestra, Montgomery Symphony Orchestra, the Sun-Hwa Philharmonic Orchestra, and the Hot Springs Festival Ensemble.

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Chang has showcased her versatility and excellence on many prestigious stages with renowned musicians, including Frank Cohen (clarinet), Richard Young (viola/violin), and Bion Tsang (cello). She was also a guest artist at the Virtuosi Festival in Recife and Festival Inverno de Garanhuns in Brazil and Arts Festival Olivet in France. Recent engagements include an appearance at the Fort Worth Chamber Music Society, a lecture and solo performance for the Guest Artist Series at Converse College, performance for Minnesota State University Moorhead’s Dante-The Divine Comedy Project, and numerous appearances at the Cummer Museum and Museum Of Contemporary Arts in Jacksonville. In the 20162017 season, she launched a multi-year solo recital project, “Continuum 88,” commissioning and premiering works related to the most prominent genres of piano literature. This project began with a program entitled “Preludes Plus” at Framingham State University’s Noontime Concert Series, and will continue with premieres and commissioning of composers across the world on stages in Seoul (Korea), Nashville, Fort Worth, and Asheville among others. This season also features the world premiere of Robert Aldridge’s Piano Concerto No. 2 at the Brevard Music Center.

Together with violinist Benjamin Sung, Chang was one of the recipients of the 2009 Aaron Copland Fund Recording Grant. They recorded four pieces for violin and piano by young American composers, three of which were written for them, and the album was released on Albany Records in June 2013. She was also the first winner of the Mikhashoff International Competition for Pianist-Composer Collaboration in 2008, and gave her winner’s recital at the Hallwalls Contemporary Art Center in Buffalo, NY. Other awards and honors include the Henry Kohn Award for outstanding achievement at the Tanglewood Music Center, an Honorary Fellowship from the Montgomery Symphony Orchestra, the President’s Award from Seoul National University, and the Grand Prize from the Samick Piano Competition, Korea. As a recording artist, she has released several commercial CDs including Piano for Easy Listening on Sony/ BMG Korea, Classics for Children on Seoul Record, Korea, and a solo piano collection for children (I am Piano) from Universal Korea. She also curated a collection of 12 CDs entitled 12 Months of Classical Music for Sony Music Korea.

Most recently she recorded Steve Rouse’s Sonata for Violin and Piano, written for herself and violinist Benjamin Sung, for the Parma label.

An avid performer of new music, Chang has been a frequent guest artist of the Studio 2021 Series at Seoul National University, and new music festivals at Ball State University and the University of Louisville. Most recently she was a guest artist at Florida State University’s Ligeti Festival, 47

New Music Festival, and John Cage Festival. She has premiered more than thirty works, many of them written for her, and has closely worked with David Dzubay, John Harbison, George Perle, Steve Rouse, Marc Satterwhite, and Gunther Schuller, among others. Her doctoral research on the etudes of György Ligeti and Unsuk Chin has evolved into an ongoing series of lectures and recitals exploring the piano etudes and miniatures of the 20th and 21st centuries, which she has presented at Indiana University, University of Louisville, Seoul National University, Florida State University, and Auburn University Montgomery. This research interest also developed into a lecture series on the subject at the Brevard Music Center.

Chang holds the degrees of Doctor of Music and Master of Music in Piano Performance from the Jacobs School of Music at Indiana University under the tutelage of György Sebök, Reiko Neriki, and Edward Auer. She received her Bachelor’s degree summa cum laude from Seoul National University.

She also had the privilege to study with Emanuel Ax, Marc Durand, Claude Frank, Pamela Frank, Robert Levin, Yo Yo Ma, Ursula Oppens, and John Perry at the Tanglewood Music Center, Banff Centre’s Chamber Music Residency, Orford Festival, and Sarasota Music Festival. She has served as a faculty member at Concordia College, MN, North Dakota State University, and Troy University AL, and as the Artist in Residence for the Rosemary Beach Foundation’s “Music In Pictures,” supported by Florida Division of Cultural Affairs in the past.

Chang has served as Visiting Assistant Professor at Florida State University’s College of Music and is on the piano faculties of the Brevard Music Center and the Nuevo Mundo Festival Aruba. She is also a core member of Intersection Contemporary Ensemble in Nashville.

Sahoko Sato Timpone, mezzo-soprano, is a native of Tokyo who grew up in Japan, Germany, and the U.S. She made her Carnegie Hall debut with the Academy of St. Martin in the Fields and has since performed in many operas and concerts throughout the U.S., Europe and Asia, including the Baltimore, Syracuse, Berkshire, St Petersburg and Chautauqua Operas, Opera Maine, the Saito Kinen Festival, the Seiji Ozawa Ongakujuku, the Tokyo Opera Nomori and the Seattle, Oregon, West Virginia, Chautauqua, Singapore, and Sapporo Symphonies. She also made her Off-Broadway debut as Sun Yi Nam in Figaro 90210 to critical acclaim (Marcellina in the updated version of Le nozze di Figaro).

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She has performed solo recitals nationally and internationally including Bangkok, Thailand, sponsored by the Nomura Cultural Foundation, as well as in Granada, Spain, where she won the First Miguel Zanetti International Spanish Song Competition in 2008.

Her recent and future performances include the Verdi Requiem with the Battenkill Chorale, Music Worcester, and Masterwork Chorus at Carnegie Hall. In 2021, she released her solo CD, Songs of Japonisme, from Sheva Collection and is the author of the textbook for the online singing course

by Phonim Music in Japan.

She is a graduate of New England Conservatory and Manhattan School of Music and received the DMA from Rutgers University where she was the recipient of the Irene Alm Memorial Award for excellence in performance and scholarly research. She been on the faculty of the Florida State University College of Music since 2017 and has also been invited as guest artist and faculty member at the Alion Baltic International Music Festival in Estonia and at the Lunigiana International Music Festival in Italy Lauded as “a huge talent [with] hidden power and amazing maturity” (Bart van Oort), Taiwanese-American harpist Noël Wan (1994) made her international debut with the Utrecht Symphony Orchestra in 2010. She has performed across North America, Europe, and Asia and has been featured as a soloist at Carnegie Hall, the Muziekgebouw, American Harp Society Summer Institute, World Harp Congress, and Yellow Barn Summer Music Festival. Among her international distinctions are Gold Medal and the Mario Falcao Prize in the 12th USA International Harp Competition; First Prize and the Forgotten Lore Prize in the 2010 Dutch Harp Festival Competition; Grand Prize in the 2014 Carmel Music Society Competition; and Second Prize in the 2013 Nippon International Harp Competition, 2015 Korea International Harp Competition, and 2021 Prix Orford Musique. Additionally, her artistic and scholarly work has been supported by the Illinois Distinguished Fellowship, Chimei Arts Foundation, Presser Foundation, and Ontario Arts Council.

Wan is an alumna of the University of Illinois (B.M., D.M.A.) and the Yale School of Music (M.M.), and her primary teachers include Ann Yeung, June Han, Chimei Hung, Erika Waardenburg, Dan Yu, Doug Rioth, and Linda Wood Rollo. As an educator and scholar, she has contributed to Harp Column, The Collective, and The American Harp Journal, where she has written 49

on philosophy, music education, and feminism. Wan has taught at the University of Notre Dame, Saint Mary’s College, and Western University. nywharp.com Praised by New York critic Harris Goldsmith for her ‘impeccable soloistic authority’ and ‘dazzling performances’, American pianist Heidi Louise Williams has appeared in solo and collaborative performances across North America and internationally. Her engagements have included recitals at Lincoln Center’s Alice Tully Hall, Weill Hall at Carnegie Hall, the Taiwan National Recital Hall in Taipei, the Kennedy Center, the Chicago Cultural Center, the Brevard Music Festival, the French Embassy in Washington D.C., and festivals in France and Italy. She has given multiple guest artist residencies in leading conservatories and universities in Taiwan and China and has presented lecture-recitals and performances at national and international conferences held by the Society of American Music, the College Music Society, and the International Clarinet Association. Her playing has been featured on WFMT Chicago, Classic 99 St. Louis, WQLN Pennsylvania, and KUAT Tucson radio stations, on WWFM Trenton, New Jersey for David Dubal’s ‘The Piano Matters’, and on classical stations throughout Taiwan and Canada.

Williams is actively involved in the promotion of new music and has worked with many distinguished composers. Her 2011 Albany Records solo album, Drive American, was named among the top ten classical albums of 2011 in the Philadelphia City Paper, featured in Fanfare’s 2012 Critics’ Want Lists, and has been described as ‘veritably operatic’, ‘bold yet thoughtful’, ‘unflappable’, ‘provocative and stimulating’ (Fanfare), possessing ‘…the muscularity and poetic power to bring this demanding repertory to life’ (American Record Guide). Her 2019 Albany Records solo release Beyond the Sound, featuring sonatas by Griffes, Walker, Floyd, and Barber, was selected twice for inclusion in the 2020 Fanfare Critics’ Want Lists, garnering the headline by British music critic Colin Clarke: “Brilliant programming meets performances of fire meets excellent recording meets superb documentation: this is a significant release from all angles.”

An avid chamber musician, Williams has collaborated with numerous outstanding American and international artists. Other recording projects for Albany Records include her award-winning 2018 release with soprano Mary Mackenzie, Vocalisms, a 2-disc album devoted to premiere recordings of American Art Songs by Crozier, Harbison, Primosch and Rorem; and Conversa, an album of North and South American cello-piano 50

duos including a World Premiere by André Mehmari, released in December 2021 with cellist Gregory Sauer. Her playing has been published in the Modern Classical American Songbook Volume I. She has also recorded for the Naxos, Centaur and Neos labels.

Recipient of both a 2020 Undergraduate Teaching Award and a 2020 Outstanding Graduate Faculty Mentor Award from Florida State University, Williams joined the FSU College of Music in 2007. Her growing roster of graduate and undergraduate students have won prizes regionally, nationally, and internationally in both solo and collaborative contexts.

They have earned awards to pursue graduate and artist diploma degrees at prestigious institutions including the Guildhall School of Music and Drama, the Eastman School of Music, and the University of Michigan among others, and they are actively gaining employment in recognized teaching and performing roles both in the U.S. and abroad. Williams completed her BM, MM, and DMA degrees at the Peabody Institute in Baltimore, Maryland, where she studied with Ann Schein and coached chamber music with Earl Carlyss, Samuel Sanders, Stephen Kates, and Robert McDonald. Prior to this, she studied with William Phemister at Wheaton College, where she later taught as his sabbatical replacement.

She is artist-faculty for the MasterWorks Music Festival, has served as festival pianist for the Sunriver Music Festival, and has also taught and performed at the Interharmony International Music Festival and Csehy Chamberfest in Philadelphia. heidilouisewilliams.com.

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Festival Performers Carla Connors, soprano Marcía Porter, soprano Sahoko Timpone, mezzo-soprano Angel Andres, violin Tommaso Bruno, violin Gabriela da Silva Fogo, violin Maya Johnson, violin Darrian Lee, violin Anna Kirkland, violin MaryKatherine Whiteley, violin Jeremy Hill, viola Marina Burguete-Diago, cello Mitchell George, cello Evan A. Jones, cello Param Mehta, cello Angelese Pepper, cello Gregory Sauer, cello Thu Vo, cello Max Levesque, bass Celso Cano, guitar Noël Wan, harp Elizabeth Avery, piano David Kalhous, piano Yunyao Liu, piano Quin Nardone, piano Molly Reid, piano Minyoung Rho, piano Oliver Schoonover, piano Jihye Chang Sung, piano Heidi Louise Williams, piano Jackie Kai Zhi Yong, piano Shiyi Zhu, piano Liliya Ugay, bitKlavier Pamela Bereuter, flute Kaitlyn Calcagino, flute Steven Fireman, flute Lindsey Kovach, flute

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Karen Large, flute Rachael Lawson, flute Mary Matthews, flute Brenna Wiinanen, flute Nic Kanipe, oboe Deborah Bish, clarinet Connor Croasmun, clarinet Anne Glerum, clarinet Andrew Prawat, clarinet Audrey Rancourt, clarinet Jariel Isaac Santiago-Ruperto, clarinet Brad Pilcher, clarinet/bass clarinet Josie Whiteis, bassoon Geoff Deibel, saxophone Micah Cheng, soprano saxophone Jared Cummings, alto saxophone Collin Bankovic, alto saxophone AJ Nguyen, tenor saxophone Matthew James, baritone saxophone Ben Dubbert, trumpet Schelvin Robinson, trumpet Tarre Nelson, horn Grant Keel, trombone Matt Hightower, euphonium Jonah Zimmerman, euphonium Mike Anderson, tuba Chris Bloom, tuba Kylan Bigby, percussion Ian Guarraia, percussion Landon Holladay, percussion Jackson Kowalcyk, percussion Nick Montoya, percussion Austin Pelella, percussion Mackenzie Selimi, percussion Clinton Washington, percussion Darci Wright, percussion

SPECIAL THANKS The Festival of New Music would like to extend sincere thanks to the following for their support: Nick Smith and the College of Music Recital Hall Staff Nicole Folkert, Michelle McDaniel, Megan Mowery Emma Robbins, Kim Shively, and Wendy Smith Amy Diaz de Villegas and Stephanie Pieczynski (WFSU) The FSU College of Music Board of Advisors The College of Music Piano Technology Staff and Associate Dean Greg Jones

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