28/78 New Music Festival 2020

INTRODUCTION

The 28/78 New Music Ensemble is proud to present its second annual 28/78 New Music Festival, with the support of the Conservatory of Music and Pacific Arts and Lectures.

Welcome to Stimuli, an engaging whirlwind of concerts and workshops, featuring two world premieres and a multitude of art forms. Each of the three concerts—Sing, Hear, and See—is aimed at stimulating a different sense, and is the result of collaboration between the Conservatory’s student-run ensembles. Audience members are encouraged to completely immerse themselves in each unique experience, engaging with the work that our artists have created for you.

Thanks to the hard work of the musicians of the 28/78 New Music Ensemble and the support of the Conservatory of Music’s faculty, staff and 28/78 executive team, we are able to bring to you a new music experience like no other.

As always, contemporary music is happening at Pacific.

CONTENTS

2-3 ............................. Sing 4-5 ............................. Hear 6-8 ............................. See 9-11 ........................... Artists 12 .............................. Behind the Scenes 13 .............................. Festival Support

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SING I JANUARY 29, 2020 I 7:30 PM Faye Spanos Concert Hall

Pacific Stocktones and 28/78 New Music Ensemble Dion Nickelson, curator Ariana Grande Medley (2019)

Ariana Grande (b. 1993) Arr. Brian Bui (1999) Pacific Stocktones

I am really a very simple person (2010)

Eve Beglarian (b. 1958)

Pacific Stocktones, Diego Bustamante, piano

Audience Improvisation Activity Led by Kevin Iwai Lullaby for the Witching Hour (2004) Kerry Andrew (b. 1978) Elizabeth Bocks, soprano 1; Gianna Gonzales, soprano 2; Simone Gamble, alto

Intermission Sonic Meditation, Pauline Oliveros Led by Kevin Iwai Lux Aeterna (world premiere) Kevin Swenson (b.1995) Stocktones Vocal Ensemble; 28/78 New Music Ensemble Braydon Ross, conductor Narayana’s Cows (1969)

Tom Johnson (b. 1939)

28/78 New Music Ensemble; Narrated by Pacific Stocktones

Pacific Hail

Lois Warner Winston (1901-1989) Arr. Wyatt Cannon (b. 2000) Pacific Stocktones

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SING I JANUARY 29, 2020 I 7:30 PM Faye Spanos Concert Hall

I am really a very simple person (2010) “It is the first piece I wrote after completing a journey by kayak and bicycle down the Mississippi River. It was inspired by something the visual artist H. C. Porter said to me soon after we met in Vicksburg in November 2009. This choral version uses solfège syllables as the lyrics for the piece, which perhaps will evoke thoughts of the old shape note singing traditions.”

- Eve Beglarian Lullaby for the Witching Hour (2004) “This piece was written as an introduction to a gig we did at the York Spring Festival in 2004. It sets my own text and is influenced by Our Prayer, heard on Brian Wilson’s album Smile, as well as the Belgian/Central African a capella group Zap Mama and the soundtrack to the film Belleville Rendez-Vouz.”

- Kerry Andrew Lux Aeterna (2019) The text of the Lux Aeterna is a part of the traditional Latin requiem mass: Lux æterna luceat eis, Domine, Cum Sanctis tuis in æternum, quia pius es.

Requiem æternam dona eis, Domine, et lux perpetua luceat eis.

Cum Sanctis tuis in æternum, quia pius es.

May light eternal shine upon them, O Lord, with Thy Saints for evermore, for Thou art gracious.

Eternal rest give to them, O Lord, and let perpetual light shine upon them, With Thy Saints for evermore, for Thou art gracious.

Narayana’s Cows (1969) Narayana was an Indian mathematician in the 14th century, who proposed the following problem: A cow produces one calf every year. Beginning in its fourth year, each calf produces one calf at the beginning of each year. How many cows are there altogether after, for example, 17 years?

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HEAR I JANUARY 31, 2020 I 7:30 PM Recital Hall

Members of the 28/78 New Music Ensemble Braydon Ross, curator Nine Etudes in Fugue Style (Vol. I) for Piano, Thomas Svoboda (b. 1939) Op.44 (1966) IX. Allegro con humore Diego Bustamante, piano

Winter Spirits (1997)

Katherine Hoover (1937-2018) Carrie Asai, flute

Quintet (2001)

Michael Kamen (1948-2003) 209 Brass

Time Pieces, Op. 43 (1984) Robert Muczynski (1929-2010) IV. Introduction: Andante molto - Allegro energico Scott Pastor, clarinet; Pat Grimm, piano

Ballade for Trombone

Eugene Bozza (1905-1991)

Rebecca Growcott, trombone; Sabine Klein, piano

Entr’acte (2011)

Caroline Shaw (b. 1982) Emily Criss and Maya Balachandran, violins Marissa Staffero, viola; Malcolm King, cello

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HEAR I JANUARY 31, 2020 I 7:30 PM Recital Hall

Quintet (2001) Michael Kamen (1948-2003) made a major contribution to the brass repertoire with his tone poem Quintet. It has been heralded as the most significant new repertoire for brass quintet in the last decade. A graduate of the Julliard School, Kamen was the lead singer and oboist with the famed 1960s chamber music group, New York Rock and Roll Ensemble. He subsequently became a successful and prolific film composer with the scores to the Die Hard trilogy, X-Men, Lethal Weapon, Mr. Holland’s Opus and over 70 others. Michael Kamen wrote Quintet at the request of his Julliard schoolmate and former Canadian Brass trumpeter Ronald Romm. This emotionally moving piece soon became a tribute to the composer after his untimely death.

Entr’acte (2011) “Entr’acte was written in 2011 after hearing the Brentano Quartet play Haydn’s Op. 77 No. 2 — with their spare and soulful shift to the D-flat major trio in the minuet.

It is structured like a minuet and trio, riffing on that classical form but taking it a little further. I love the way some music (like the minuets of Op. 77) suddenly takes you to the other side of Alice’s looking glass, in a kind of absurd, subtle, technicolor transition.”

- Caroline Shaw

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SEE I FEBRUARY 1, 2020 I 5 PM DeRosa University Center Ballroom

28/78 New Music Ensemble, members of the UCSB Senior Dance Company and Benny Huynh Braydon Ross, curator Conduit (2014) Robert Honstein (b. 1980) I. Touch II. Pulse III. Send Carrie Asai, flute; Mitchell Beck, bass clarinet; Jun Lee, piano; Maya Balachandran, violin; Malcolm King, cello; Jonathan Herbers, percussion; Braydon Ross, conductor Dancers: Guillermo Castro, Kacey Hsu, Alex Kmak, Whitney Ross, Mason Teichert

Dance Improvisation Accompanied by the 28/78 New Music Ensemble

Intermission

Cinderella (2014)

Karim Al-Zand (b. 1970)

Carrie Asai, flute; Molly Westlake, clarinet; Thomas Hubel, trumpet Rebecca Growcott, trombone; Maya Balachandran, violin; Emily Criss, violin Ayocuan Pacheco, viola; Malcolm King, cello; Jonathan Herbers, percussion Braydon Ross, conductor

Bjรถrk Cute (world premiere)

Yaz Lancaster (b. 1996)

Animation Synesthesia by Benny Huynh Carrie Asai, flute; Molly Westlake, clarinet; Mitchell Beck, soprano saxophone Thomas Hubel, trumpet; Rebecca Growcott, trombone; Diego Bustamante, keyboard Emily Criss, violin; Ayocuan Pacheco, viola; Malcolm King, cello Antonio Sarzi, double bass; Braydon Ross, conductor

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SEE I FEBRUARY 1, 2020 I 5 PM DeRosa University Center Ballroom

Conduit (2014) Composed for Hand Eye, Sleeping Giant’s evening length collaboration with eighth blackbird, Conduit takes its cue from an interactive sculpture by digital artists Zigelbaum and Coelho. In their ‘640 by 480’, the human body merges with computational process, facilitating simple copy/paste operations between sculptural elements. Set in three movements— Touch, Pulse, Send—Conduit evokes this man/ machine synthesis. As bright waves of color explode from repeated sonic bursts, Touch compulsively repeats the gesture so fundamental to how we interact with our devices.

In Pulse long lines in the flute and cello move through a cloud of asynchronous repeated notes, evoking that instantaneous moment when data passes from finger to screen. Finally, Send completes the transfer. Action follows as the music energizes and accelerates, moving briskly to a wild conclusion.

Cinderella (2014) German filmmaker Lotte Reiniger (1899–1981) was a unique visual artist. As early as 1918 she pioneered a distinctive “silhouette” technique: an animation method using backlighting, stop-motion filming, and elaborate hand-cut paper figures. Reiniger began making her own films in the early 1920s (Cinderella is one of her earliest) but came to prominence in 1926 with the release of Die Abenteuer des Prinzen Achmed [The Adventures of Prince Achmed], the first surviving feature-length animated film.

(It predates Disney Studio’s first animated feature, Snow White, by some 11 years.)

Reiniger and her husband, director Carl Koch, worked on the film unassisted for three years.

Aschenputtel [Cinderella], Reiniger’s second film, was first screened in Weimar in 1922 and later reprised in London in the version with English subtitles presented this evening. Most of Reiniger’s films are settings of fairy tales or fables, and the enchanting, dreamlike atmosphere of folk tales which well suits her visual sensibilities.

Cinderella uses the original Brothers Grimm’s version of the story. Cinderella travels to the grave of her deceased mother and receives the magical intervention of birds, and her evil step-sisters resort to drastic measures to fit into the missing slipper. Reiniger’s charming silhouettes wonderfully capture the elegance, the whimsy and the occasional black humor of this classic story.

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SEE I FEBRUARY 1, 2020 I 5 PM DeRosa University Center Ballroom

Björk Cute (2019) “Jesus Christ! (Hallelujah!)

I bought that ssss before I even know the price (hey!)

This 13K up on my finger, bssss, you right (true) Them diamonds dancin’, yeah, that boy be lookin’ nice (ayy) I guess this what you call that mmmmmmmm ice Got a thotiana, put her in designer She Italiana, she a sorta kinda She Björk cute, so she really fine Just sorta weird, and she got some cake She gimme OPB for my ODB, these APC, do your ABC’s I’m a young dread-head with anxiety And I love it when a bbbbbbbbb tryin’ me” - (REEL IT IN by Aminé)

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ARTISTS

28/78 New Music Ensemble 28/78 New Music Ensemble is a student-run contemporary chamber music ensemble at University of the Pacific. Founded in March 2018 by alumnus Andrew Lu (BM Music Education ‘19), the ensemble incorporates students from a wide range of backgrounds and Conservatory majors. The goals of 28/78 NME are to provide a valuable supplement to ensemble members’ musical education, become ambassadors of the Conservatory’s contemporary music scene, and promote the performance of works by a diverse array of composers.

Carrie Asai, flute Molly Westlake, clarinet Mitchell Beck, saxophone Thomas Hubel, trumpet Rebecca Growcott, trombone Diego Bustamante, piano Jun Lee, piano

Maya Balachandran, violin Emily Criss, violin Ayocuan Pacheco, viola Malcolm King, cello Antonio Sarzi, double bass Jonathan Herbers, percussion Braydon Ross, conductor

Pacific Stocktones Entirely student run, the Pacific Stocktones sing original arrangements of music from a variety of genres and aim to provide a fun performing experience. They are comprised of students with various majors from around University of the Pacific.

Soprano Abby Anderson Mara Baldwin Elizabeth Bocks

Alto Simone Gamble Gianna Gonzales Lily Tumbale

Bass Kevin Iwai Dion Nickelson (Beatbox) Curtiss Wright

Tenor Filo Ebid Noah Gonzales

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ARTISTS

209 Brass Andrew Marcopulos, trumpet Jack Chivers, trumpet Braydon Ross, horn Rebecca Growcott, trombone Josh Lopez, tuba

Stocktones Vocal Ensemble Curtiss Wright Kevin Iwai Dion Nickelson Josh Cabardo Noah Gonzales Filo Ebid Dorian Jones Rebecca Growcott Simone Gamble Lily Tumbale Alex Istudor Gianna Gonzales Abby Anderson Mara Baldwin Lauren Woomer Elizabeth Bocks Wyatt Cannon, Max/MSP Technician

UCSB Dancers UCSB Dancers are senior dance majors and members of the Senior Dance Company at UC Santa Barbara. They have trained in modern and ballet extensively, performed in numerous shows on campus and in the wider Santa Barbara area, and explored choreographic processes of their own. They are currently working on repertory by professional choreographers with the UCSB Dance Company, which will be performed locally and internationally for the company’s tenth annual Europe tour this spring.

Guillermo Castro Kacey Hsu Alex Kmak Whitney Ross Mason Teichert

10

ARTISTS

Yaz Lancaster is a performer-composer and poet based in Brooklyn, NY. They are primarily interested in the performance of new/contemporary and underperformed works, collaboration and the representation of minorities in art. They currently serve as an adjunct professor of violin at the Steinhardt School at New York University.

Yaz is currently working on projects with the 27/78 New Music Ensemble and Shepherdess, among others.

They were selected as a runner-up of the 2019 Hildegard Competition at National Sawdust (NYC), and their piece firn was premiered at the National Sawdust Ensemble in early June 2019.

Kevin Swenson received his Bachelor of Music degree in Composition from University of the Pacific. At Pacific, he studied under Dr. Robert Coburn, Dr. Francois Rose, and Dr. Andrew Conklin. In the fall of 2019 he began studies toward a Master of Music degree in Composition at Syracuse University. In addition to his studies, he works as a full time teaching assistant.

Benny Huynh is a third-year Communication and Media X major at Pacific. His main interest lies in photography as well as in marketing and social media. He is also involved in videography, editing, web design, graphic design and other forms of art (both physical and digital). He enjoys learning about different types of media and art, and this project with the 28/78 team is an avenue for him to learn more.

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BEHIND THE SCENES

Braydon Ross, artistic director Emily Criss, operations manager Diego Bustamante, rehearsal coordinator Maya Balachandran, social media coordinator Rebecca Growcott, graphics designer Wyatt Cannon, development coordinator Molly Westlake, education coordinator Eric Dudley, faculty coach Andrew Conklin, faculty advisor Peter Witte, Dean of the Conservatory of Music

Special Thanks

Conservatory of Music Administration and Faculty: ASUOP Staff Peter Altamura Briana Bacon Eve Beglarian Brass Over Bridges Jack Chivers Dr. Yejee Choi Kim Girardi James Gonzalez and Stage Crew Jennifer Goodwin Dr. Eric Hammer Kevin Iwai Yvette Khan Yaz Lancaster

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Sylwia Lipiec-Qualls Andrew Lu Zach Manzi Andrew Marcopulos Monica Motta Dion Nickelson Melissa Riley Whitney Ross Leslie Rudbeck Kevin Swenson Lily Tumbale Dr. Nicolas Waldvogel And the many others who have contributed to our efforts.

FESTIVAL SUPPORT

University of the Pacific Conservatory of Music Pacific Arts and Lectures Committee Robert and Jeannette Powell Scholarship The Presser Foundation Chris Bradshaw Mary Burns Rudy Bustamante Susan Delgardo Patrice Graves Bowen Jiang Shu Ling Chen Andrew Lu Meishio Lu Chungshin and Joy Lu Michael Richmond Clay and Rachel Ross Daniel Wood

SUPPORT OUR STUDENTS Every gift to the Conservatory from an alumnus, parent or friend makes an impact on our students. Our students rely on your generosity to enable them to experience a superior education.

If you would like your contribution to go directly to the 28/78 New Music Ensemble, please be sure to mention ‘28/78’ when you give. These gifts help to commission new works and create experiences like the New Music Festival.

Thank you!

Please, contact Briana Bacon, Assistant Dean for Development, at 209.946.7441 to make a gift today. You may also send a check payable to University of the Pacific: University of the Pacific, Conservatory of Music Attn: Briana Bacon 3601 Pacific Avenue Stockton, CA 95211 Pacific.edu/Conservatory

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Contemporary music is happening at Pacific