28/78 New Music Festival

NEW MUSIC FESTIVAL January 25 - February 2 2019

MESSAGE FROM 28/78 NEW MUSIC ENSEMBLE

Four concerts, three world premieres, two guest artists, and one crazy group of musicians.

The 28/78 New Music Ensemble is excited to welcome you to our first inaugural New Music Festival, co-hosted by Pacific Conservatory of Music and Pacific Arts and Lectures.

This week is the culmination of ten months of hard work – an immense collaboration between Pacific Conservatory of Music students, faculty, staff, and the greater Pacific family. The 28/78 New Music Festival is a celebration of the Conservatory’s great achievements and rich history in the world of new music, from Dave Brubeck ‘42 to current students.

We invite you to join our celebration of music during this nine-day festival as a listener or a participant.

Between interactive workshops, guest artist presentations, and concerts, there’s something for everyone.

Contemporary music is happening at Pacific.

Happen with us!

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CONTENTS

4 - 5 ......... Pacific/Hail 6 - 7 ......... Augmented Percussion 8 - 9 ......... That’s So Metal 10 - 11 ........ Festival Residency Series 12 - 13 ........ Adventures 14 - 16 ........ Guest Artists 17 - 18 ........ Program Notes

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PACIFIC/HAIL

January 25 I 7:30 pm Faye Spanos Concert Hall

Conservatory of Music Students, Faculty, Pacific Singers Micah Vogel, curator

Sarah Jordan (b. 1992)

The Lone Woodsman (2018) Scott Pastor, clarinet

Hendel Almetus (b. 1974)

Kyrie Eleison (2002) Pacific Singers Andrew Lu, conductor Serenade for Flute and Piano, Op. 35 (1946)

Howard Hanson (1896-1981)

Laila Mameesh, flute Sabine Klein, piano Andrew Ardizzoia (b. 1979)

Three Blake Choruses (2009) II. Garden of Love Festival Men’s Chorus Andrew Lu, conductor Burr Phillips, soloist String Quartet (2018)

Kevin Swenson (b. 1995)

Micah Vogel and Sabrina Boggs, violins Krista Swenson, viola Malcolm King, violoncello Dave Brubeck (1920-2012)

Four by Four (1979) Jun Lee and Nicole Allen, pianos

58th Performance

I 2018-2019 Academic Year

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PACIFIC/HAIL

January 25 I 7:30 pm Faye Spanos Concert Hall

FESTIVAL MEN’S CHORUS

PACIFIC SINGERS

Tenor Tristen Collinsworth Kevin Iwai Dorian Jones Emmon Tobias Micah Vogel

Soprano Rachel Ferreira Tanya Harris Nicole Ikeda Hannah Lampkin Gina Mitchell Arianna Morelli Emily Osborne Lauren Woomer

Baritone Sam Berris Brad Parese Burr Phillips

Alto Abigail Anderson Bhakti Chan Ceara Costa Elyse Coty Jasmine Melendez Amanda Mikkelsen

Bass Brandon Lindner Jakob Sandmeier Curtiss Wright

Tenor Justin Beasley Nicholas Davis Kadri Nizam Bass Jonathan Ceja Cruz Gonzalez Davis Mahoney Dion Nickelson Brad Parese Jakob Sandmeier

Special Thanks to: Hendel Almetus Yejee Choi Jason Jeffrey Jorge Torrez

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AUGMENTED PERCUSSION January 27 I 2:30 pm Faye Spanos Concert Hall

Orphic Percussion Quartet, Pacific Percussion Studio Michael Downing, curator Emmanuel Sejourne (b. 1961)

Attraction (2017)

Tyler Golding, marimba and vibraphone Darius Kaliszuk (b. 1968)

Easy Snare (2015)

Kyle Bossert, snare drum Driven (2017)

Ivan Trevino (b. 1983) Stuart Langsam, marimba Sean Clark, vibraphone Jarryd Elias (b. 1993)

Hero’s Journey (2014) Tyler Golding, timpani War Drum, Peace Drum (2013)

David Reeves (b. 1971)

Sean Clark, snare drum James Campbell

Garage Drummer (2005)

Lok Man Lei, multi percussion John Psathas (b. 1966)

One Study, One Summary (2005) II. Etude

Michael Downing, marimba and junk percussion Ceci n’est pas une balle (2012)

Compagnie Kahlua

Cameron Leach Gary Smith (b. 1986)

Rendezvous (2015) Orphic Percussion Quartet

60th Performance

I 2018-2019 Academic Year 6

AUGMENTED PERCUSSION January 27 I 2:30 pm Faye Spanos Concert Hall

ORPHIC PERCUSSION QUARTET

Sean Clark Michael Downing Stuart Langsam Cameron Leach Orphic Percussion is a Fresno, California, based percussion quartet dedicated to the creation and performance of new music. Orphic means “beyond ordinary,” a phrase which characterizes the ensemble and its mission: to commission and premiere new works by today’s most compelling composers; to broaden the audience for contemporary music; and to present concerts that are vibrantly communicative, musically expressive, and inspiringly virtuosic or, quite simply, extraordinary.

Orphic first established a presence in Fresno, engaging the community through concerts and collaborations with Fresno State University and University High School. With a firm local foothold, Orphic began cementing their regional reputation. A West Coast tour led to their concerto debut with San Francisco’s Symphony Parnassus, premiering Stefan Cwik’s “Relics: Dances for Percussion Quartet and Orchestra” which the San Francisco Classical Voice nominated for Best New Music Performance of the 2017-18 season.

Since its inception, Orphic has commissioned fifteen new works for percussion quartet, including those by award-winning composers James Wood and Alejandro Viñao. The quartet also has a close relationship with the Nevada County Composers Cooperative (CA), championing the works of Alexis Alrich, Mark Vance, and Durwynne Hsieh.

Upcoming engagements include tours in the Midwest and Pacific Northwest, as well as a performance on the Old First Concert Series in San Francisco. The group will make its international debut at the 2019 Day of Percussion in Nuremberg, Germany, with additional appearances in Hanover and in Gdansk, Poland.

Orphic Percussion is sponsored by Marimba One and Black Swamp Percussion.

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THAT’S SO METAL January 30 I 7:30 pm Faye Spanos Concert Hall

Pacific Heavy Ensemble Band Peter Altamura, curator Golden Hour Echoes (2018)

Peter D. Altamura (b. 1999)

Mitchell Beck, baritone saxophone Study for Vibrating Metal (2018)

Andrew Lu (b. 1996)

Andrew Lu, flute/electronics Solus (1975) I. II. IV.

Stanley Friedman (b. 1951)

Theodore Stone, trumpet Rivers of Nihil (est. 2009)

Subtle Change (including The Forest of Transition and Dissatisfaction Dance) (2018) Pacific Heavy Ensemble Band Avi Graber, harsh vocals Mitchell Beck, alto saxophone Mute (2015)

Native Construct (est. 2013) Pacific Heavy Ensemble Band Amanda Mikkelsen, solo vocals

Windowpane (2003)

Opeth (est. 1990)

Pacific Heavy Ensemble Band Brandon Lindner, solo vocals From The Pinnacle To The Pit (2015)

Ghost (est. 2006)

Pacific Heavy Ensemble Band

63rd Performance

I 2018-2019 Academic Year

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THAT’S SO METAL January 30 I 7:30 pm Faye Spanos Concert Hall

PACIFIC HEAVY ENSEMBLE BAND

Peter Altamura, electric bass Ryan Clark, drums Brandon Lindner, 7-string electric guitar, solo vocals Whitney Perry, keyboard Jakob Sandmeier, 8-string electric guitar

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FESTIVAL RESIDENCY SERIES January 28 - February 2

Monday I January 28 I 11:00 am - 12:15 pm Buck Hall 123 LECTURE: 20th/21st Century Music with Yoshiaki Onishi {from [where} to]: A Musical Self-Introduction Onishi will give a brief overview of his music by talking about “where I am, how I got here, and where I plan to go next.”

Monday I January 28 I 4:00 - 5:30 pm Recital Hall MASTER CLASS: Pacific String Studio with Mads Tolling Students of the Pacific Strings Studio (taught by Professors Anne Miller and Igor Veligan) will perform works in a masterclass with festival artist-in-residence Mads Tolling.

Wednesday I January 30 I 11:00 am - 12:15 pm Buck Hall 123 LECTURE: 20th/21st Century Music with Yoshiaki Onishi Imagining a Space: On Antefenas-Studies (2018) Onishi present a close look into Antefenas-Studies, his piece that will be premiered on February 2 during the final concert of his residency by 28/78 New Music Ensemble. In particular, Onishi will discuss the use of electronics, as well as approaches to computer-aided music composition.

Mads Tolling and Yoshiaki Onishi’s festival residencies are generously supported through a grant from the Pacific Arts and Lectures committee.

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FESTIVAL RESIDENCY SERIES January 28 - February 2

Friday I February 1 I 2:00 pm DeRosa University Center Ballroom OPEN 78: Open Exploration Bring your instrument and come explore the world of open instrumentation scores with 28/78. At this session, participants will read a variety of accessible contemporary pieces. At the end of the session, one of the works read will be selected for performance at the Adventures concert with 28/78 the following evening.

Friday I February 1 I 4:00 pm DeRosa University Center Ballroom WORKSHOP: String Improvisation Techniques with Mads Tolling Strings students and teachers of all levels are invited to join Grammy award-winning jazz violinist Mads Tolling in this interactive workshop. Participants will be guided through the basics of improvisation and other non-traditional string techniques. Bring your instrument!

Saturday I February 2 I 3:00 - 4:00 pm DeRosa University Center Ballroom PRESENTATION: Implications and Impossibilities in My Creative Research with Yoshiaki Onishi Festival composer-in-residence Yoshiaki Onishi will deliver a presentation on his work and research as composer: “Identifying the connections between music and other artistic and academic disciplines—as well as diverse sociological phenomena—has been a central concern in my compositional process. In this lecture, using my three recent compositions as examples, I will discuss my motivations for such an interdisciplinary approach in the process of composing music. I will consider the role of composers in today’s society and the statement by geographer Oli Mould: ‘Creativity is, indeed must be, political.’”

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ADVENTURES

February 2 I 7:30 pm DeRosa University Center Ballroom 28/78 New Music Ensemble, Mads Tolling, Yoshiaki Onishi Andrew Lu, curator

Liminal Success* (2018)

Scott Nelson (b. 1988)

28/78 New Music Ensemble The Sound of the Light (2008)

Missy Mazzoli (b. 1980)

Laila Mameesh, flute Sabrina Boggs, violin Thomas Hubel, trumpet Josh Dunsford, trombone Diego Bustamante, piano Yggdrasil (2018) I. Jeg drømte mig en drøm II. Bifrost III. Hugin IV. Munin

Mads Tolling (b. 1980)

28/78 New Music Ensemble Faculty Artists Mads Tolling, solo violin Nicolas Waldvogel, conductor TBA

Presentation by Open 78 Open 78 participants Antefenas-Studies* (2018)

Yoshiaki Onishi (b. 1981)

28/78 New Music Ensemble Yoshiaki Onishi, conductor I am in, into* (2018)

Julie Herndon (b. 1986)

28/78 New Music Ensemble * World premiere.

66th Performance

I 2018-2019 Academic Year

Pre-concert Q&A with composers is at 6:30 pm.

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ADVENTURES

February 2 I 7:30 pm DeRosa University Center Ballroom 28/78 NEW MUSIC ENSEMBLE

Andrew Lu, flute/conductor* Laila Mameesh, flute* Scott Pastor, clarinet* Tristen Collinsworth, bassoon/electronics* Braydon Ross, horn Thomas Hubel, trumpet* Joshua Dunsford, trombone* Fernando Lozano, percussion* Tyler Golding, percussion Ryan Clark, drums Diego Bustamante, piano* Micah Vogel, violin* Sabrina Boggs, violin* Anne Plescia, viola* Zachary Zumstein, viola Laura Robb Martín, violoncello* Malcolm King, violoncello Jonathan Ivy, violoncello Yuki Nagase, bass William Peralta, bass *

Founding member

28/78 New Music Ensemble is a student-run chamber music ensemble at University of the Pacific in Stockton, CA. The ensemble focuses on the performance of contemporary music works from a diverse array of composers. 28/78 was formed in March 2018 by conductor Andrew Lu, and debuted during Conservatory Concert Hour in April 2018. The goals of 28/78 are to provide a valuable supplement to ensemble members’ musical education; become ambassadors of the Conservatory’s contemporary music scene; encourage the listening to and performance of new music in the Conservatory and greater Stockton communities; and commission and promote the performance of works by a diverse range of composers.

Learn more about the 28/78 New Music Ensemble and Festival at www.2878music.com.

FACULTY ARTISTS Mathew Krejci, flute Nicolasa Kuster, bassoon

Ann Miller, violin Igor Veligan, violin 13

GUEST ARTISTS

Mads Tolling (composer/soloist, Yggdrasil; festival artist-in-residence) Mads Tolling, internationally renowned violinist and composer, is a two-time Grammy Award-Winner and the 2016 DownBeat Critics Poll Rising Star violinist. Mads has been featured on NPR’s Morning Edition, and his recordings have received rave reviews in DownBeat Magazine, the Washington Post and the San Francisco Chronicle. He has performed with Chick Corea, Ramsey Lewis, Kenny Barron and Paquito D’Rivera. Mads is a former member of both the Turtle Island Quartet and bassist Stanley Clarke’s band. Since 2008, he has led his own quartet, and their album, Mads Tolling & The Mads Men – Playing the 60s, came out in 2017.

More at www.madstolling.com Julie Herndon (composer, I am in, into) Julie Herndon is a composer and performer working with internal/ external space through improvisation, text, graphics, and electronics. Her work explores the body’s relationship to the self, to performance, and to tools like instruments and technology. Her electroacoustic work has been described as “blended to inhabit a surprisingly expressive space” (San Francisco Classical Voice).

Her recent compositions have been performed by ensembles including JACK Quartet, Ensemble Proton Bern, Line Upon Line Percussion, Retro Disco, Elevate and Left Coast Chamber Ensemble. Performances include festivals and venues such as Artistry Space and Hotel Vagabond in Singapore, soundSCAPE in Italy, MATA Festival and MIS-EN_PLACE Bushwick in New York, Megapolis Audio Art Festival in Oakland, and Hot Air Festival in San Francisco.

As an educator, Julie has instructed classes at Stanford, Mills College, and Santa Fe Community College, as well as assisted in courses in Copenhagen and Stockholm in subjects ranging from anime to transidiomatic art-making. As a collaborator, Herndon is co-founder of hi, a duo featuring harmonium and clarinet with electronics, as well as a member of Dirt and Copper. She is currently Composer in Residence with Elevate Ensemble and a doctoral candidate (Hume Fellow) at Stanford University studying with Mark Applebaum, Brian Ferneyhough, Patricia Alessandrini, and Jaroslaw Kapuscinski.

More at www.julieherndonmusic.com 14

GUEST ARTISTS

Yoshiaki Onishi (composer/conductor, AntefenasStudies; festival artist-in-residence) Japanese-American composer and conductor, Yoshiaki Onishi received his doctorate in music composition from Columbia University in 2015. Before Columbia, he studied at Yale University and at University of the Pacific. As a composer, he has worked on commissions that have come from such festivals and organizations as Philharmonie Luxembourg, Takefu International Music Festival, and Gaudeamus Muziekweek. His music has been performed by many ensembles, including Asko|Schönberg Ensemble, Klangforum Wien, Nieuw Ensemble, and Ensemble Intercontemporain. He is the recipient of the 2018 Guggenheim Fellowship, the 2018 Fromm Commission, and the Gaudeamus Prize 2011, and his works are published by Edition Gravis in Berlin, Germany. As a conductor deeply engaged in promoting the music of today, he is one of the founding members of Ensemble Exophonie Tokyo and currently its Artistic Director/Conductor/Composer Associate.

Other ensembles he has worked with as a conductor include Nieuw Ensemble of Amsterdam, ECCE Ensemble and Wet Ink Ensemble. Currently, Onishi is the Postdoctoral Fellow in Music Composition at the University of Missouri and serves as Assistant Conductor for the Mizzou New Music Ensemble.

More at www.yoshionishi.com Scott Nelson (composer, Liminal Success) A native of Stockton, Scott attended both San Joaquin Delta College and University of the Pacific to pursue his musical interests. Amidst a rigorous regimen for classical guitar under the tutelage of Travis Silvers from 20122018, he pursued a Bachelor’s in Music Composition at Pacific, beginning in 2014. During that time, he was blessed to study with such fantastic composition mentors as Dr. Robert Coburn, Dr. Francois Rose, and Dr. Eric Wood.

Scott is now continuing his studies in composition at Brigham Young University in Provo, Utah, where he will graduate with a Master’s in Music Composition in Spring of 2020. He loves and appreciates his parents and all they’ve done and still do for him.

He also dearly loves his family, to which he will soon add his fiancée Alicia and her chihuahua, Nikolai.

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GUEST ARTISTS

Nicolas Waldvogel (conductor, Yggdrasil) Nicolas Waldvogel conducts the University Symphony Orchestra and teaches conducting and music history at the Conservatory of Music, University of the Pacific. He joined the faculty of the Conservatory in 2001.

Dr. Waldvogel has guest conducted the Orchestra de la Suisse Romande (Switzerland) and the State Philharmonic “Dinu Lipatti” (Romania). He was a Conducting Fellow at the Tanglewood Festival, where he studied with Gustav Meier, Seiji Ozawa, and John Nelson. He also assisted Horst Stein in a production of Wagner’s Der Ring der Nibelungen at the Deutsche Oper, in Berlin.

Dr. Waldvogel has performed with Yo-Yo Ma, Anonymous 4, and with Alan Gilbert. His recent credits include a performance of Ives’s immense Fourth Symphony, Verdi’s La traviata, Mozart’s Così fan Tutte, Richard Einhorn’s Voices of Light, Bruckner’s Ninth Symphony and the complete symphonies by Jean Sibelius. He also contributed the “Symphony” article for Oxford Bibliographies Online.

Dr. Waldvogel holds a B.A. in music from Harvard University, an M.A. in music from Harvard University, an M.M. in conducting and a Graduate Performance Diploma in conducting from Peabody Conservatory, and a Ph.D. in music history from Yale University. His primary conducting teacher was Frederik Prausnitz.

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PROGRAM NOTES

Liminal Success (2018)

This piece was put together using various music production software, including Reason, Logic Pro and Max/MSP. The audience will hear a fusion of fixed, electronic music with the sound of the live instruments on stage. While I was writing, I was trying to evoke the sounds of my early years playing trumpet in band, my parents having been forced to endure many beginning-band recitals. Hopefully, this takes the audience on a similar walk down memory lane.

–Scott Nelson

The Sound of the Light (2002)

The Sound of the Light, for flute, violin, trumpet, trombone, and piano, was inspired by the children I met when I visited New York Presbyterian Hospital with members of Ensemble ACJW. I was amazed at the complexity and emotional depth of the compositions these young musicians created, and wanted to create a tribute to their enthusiasm and bravery. The Sound of the Light is a musical depiction of growth and transformation.

A lighthearted opening grows into mysterious echoing middle section, but it’s the dancing grooves at the end that I feel best reflect the energy and spirit of all the young composers I met at the hospital.

–Missy Mazzoli

I am in, into (2018)

Performers in this piece reflect on an ambient sense of belonging by sharing their experience being “in” or getting “into” the ensemble. Their words are muffled and melt into the sound of the instruments, while the musical material itself could be said to turn one thing into another, in a slow and gradual process. OR, another way to think of it: I walk into the other room and forget what I came in here for, so I start to grab everything and carry it back with me, bit by bit.

–Julie Herndon

Yggdrasil (2018)

The mighty tree Yggdrasil marks the center of Norse cosmology.

It connects the rest of the cosmos, including the Nine Worlds, in its branches and roots. Tolling’s concerto for violin and chamber orchestra acts similarly to the mythological ash tree by joining various musical styles, including classical, jazz, Latin, and fiddling. The work opens with “Jeg drømte mig en drøm” (I dreamt me a dream), the oldest known song in the Nordic countries. Bifrost, is the rainbow bridge that connects Midgard (Earth) with Asgard, the realm of the gods. Hugin and Munin, depict a pair of ravens that fly all over Midgard, surveying and bringing information to Odin. Yggdrasil was commissioned and premiered by the Pacific Chamber Orchestra.

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PROGRAM NOTES

Antefenas-studies (2018) Antefenas is a spelling variant of an Old English word, antefn, meaning an “antiphon,” “anthem,” or a “hymn song sung in alternate parts.” No religious connotation is intended in this piece; however, throughout the piece I focus on the physicality of alternating sounds. In particular, I am interested in the kinetics of one sound responding to another, eventually forming the perception of a dialogue.

Throughout the piece, dialogue is implied in various ways. In the first part, L’antienne acoustique I (The acoustic dialogue I), an exchange between real and virtual acoustics takes place: the live musicians play short sounds through their instruments that would highlight the acoustics of the room or the hall where the piece is being played. The electronic part responds to these live instrumental sounds with sounds that are passed through impulse responses, artificially generated reverberations that simulate a “virtual” room.

In the second part, Mouvements (movements), the electronic part is absent, and the focus is on the activities on the instrumental parts. “Movements” here refer not only to the fast passages that dominate this part, but also to the movements of the sounds that are exchanged from one instrumental group to another.

The last part, L’antienne acoustique II, is essentially an inverse of the first part, where the live instrumental parts simulate the acoustics that the electronics produced in the L’antienne acoustique I, while the electronic part predominantly produces sounds with dry acoustics. It serves, at least for me, as a signifier of the past that needs to be reconciled so that I can move on.

Antefenas-Studies was commissioned by and written for University of the Pacific’s 28/78 New Music Ensemble and Andrew Lu, in partnership with the Conservatory of Music.

I dedicate this piece to Robert Coburn, in gratitude for introducing me to the world of Max/MSP while I was an undergraduate at the University (sixteen years ago) which has proven essential for creating the electronics component of this piece.

–Yoshiaki Onishi

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Behind the Scenes: Andrew Lu, artistic director Braydon Ross, education and development coordinator Sabrina Boggs, rehearsal coordinator Anne Plescia, social media coordinator Nicolasa Kuster, faculty advisor Andrew Conklin, faculty advisor Peter Witte, Dean of the Conservatory of Music Special Thanks to: James Gonzalez and Stage Crew Jeff Crawford and Owen Hall Recording Studio ASUOP Staff Peter Altamura Briana Bacon Dr. Yejee Choi Ray Cleverly Dr. Robert Coburn Emily Criss Jenna Deibert Eric Dudley Kim Girardi Dr. Eric Hammer Keith Hatschek Yvette Khan Sylwia Lipiec-Qualls Zach Manzi Nico Peruzzi Melissa Riley Dr. Patricia Shands Walt Stedman Splinter Reeds Quintet Kevin Swenson Igor Veligan Dr. Eric Waldon Dr. Nicolas Waldvogel Our Supporters: Pacific Arts and Lectures Committee Robert and Jeannette Powell Scholarship University of the Pacific Conservatory of Music The Presser Foundation Chris Bradshaw Mary Burns Rudy Bustamante Susan Delgardo Patrice Graves Bowen Jiang Shu Ling Chen Meishio Lu Chungshin and Joy Lu Michael Richmond Clay Ross Daniel Wood 19

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