2009 May 26 NYCC Concert at Saint Peters

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Dedicated to the creation and performance of new music presents

A C ONC ER T OF N E W M U S I C S AINT P ETER ' S C HURCH C ITIGROUP C ENTER 54 S TREET & L EXINGTON A VENUE N EW Y ORK C ITY TH

M AY 26, 2009 8:00 PM


THE NEW YORK COMPOSERS CIRCLE MAY 26, 2009 8:00 PM

Pile Driver ** . . . . . . . . . . . . . . . . . . . . . . Richard McCandless Leon Khoja­Eynatyan, percussion Richard McCandless, percussion Matt Smallcomb, percussion Stephen Solook, percussion

Song Cycle on “Holy Sonnets” of John Donne, Op. 1 *** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . John Eaton Batter my heart, three person’d God Spit in my face you Jewes Oh my blacke Soule! What if this present were the worlds last night? At the round earths imagin’d corners

Linda Larson, soprano John Eaton, piano

Spell of Creation: five songs on poems of Kathleen Raine * . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Christopher Montgomery Lyric The Path Spell of Creation Paradise Seed Ark

Nancy Ellen Ogle, soprano Debra Kaye, piano

INTERMISSION


'Sigol' for Two * **** . . . . . . . . . . . . . . . . . . . . Brian Fennelly duo parnas: Madalyn Parnas, violin and Cicely Parnas, cello

Variations for Piano * . . . . . . . . . . . . . . . . . . Jacob E. Goodman Cesar Vuksic, piano

Chain Reaction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Debra Kaye Nancy Ellen Ogle, soprano Debra Kaye, piano

Passacaglia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul Moravec duo parnas: Madalyn Parnas, violin and Cicely Parnas, cello Christopher Oldfather, piano

* World Premiere ** New York Premiere *** Manhattan Premiere **** Winner of the NYCC 2008 Composers' Competition

PLEASE JOIN US FOR A RECEPTION AFTER THE CONCERT

The NYCC thanks the staff and personnel of Saint Peter's Church for their assistance with this concert.


SONG TEXTS Song Cycle on “Holy Sonnets” of John Donne . . . . . . . . John Eaton Batter my heart, three person’d God; for, you As yet but knocke, breathe, shine and seeke to mend; That I may rise, and stand, o’erthrow mee,’ and bend Your force, to breake, blowe, burn and make me new. I, like a usurpt town, to’another due, Labour to admit you, but Oh, to no end, Reason your viceroy in mee, mee should defend, But is captiv’d, and proves weake or untrue, Yet dearely’I love you,’ and would be loved faine, But am betroth’d unto your enemie, Divorce mee,’ untie, or breake that knot againe, Take mee to you, imprison mee, for I Except you’enthrall mee, never shall be free, Nor ever chast, except you ravish mee. Spit in my face you Jewes, and pierce my side, Buffet, and scoffe, scourge, and crucifie mee, For I have sinn’d, and sinn’d, and onely hee, Who could do no iniquitie, hath died; But by my death can not be satisfied My sinnes, which passe the Jewes impiety: They kill’d once an inglorious man, but I Crucifie him daily, being now glorified. Oh let mee then, his strange love still admire: Kings pardon, but he bore our punishment. And Jacob came cloth’d in vile harsh attire But to supplant, and with gainfull intent: God cloth’d himselfe in vile mans flesh, that so Hee might be weake enough to suffer woe. Oh my blacke Soule! Now thou art summoned By sicknesse, deaths herald, and champion; Thou art like a pilgrim, which abroad hath done Treason, and durst not turne to whence hee is fled, Or like a thiefe, which till deaths doome be read, Wisheth himselfe delivered from prison; But damn’d and hal’d to execution, Wisheth that still he might be imprisoned; Yet grace, if thou repent, thou canst not lacke, But who shall give thee that grace to beginne? Oh make thy selfe with holy mourning blacke, And red with blushing, as thou art with sinne, Or wash thee in Christs blood, which hath this might That being red, it dyes red soules to white.


What if this present were the worlds last night? Marke in my heart, O Soule, where thou dost dwell, The picture of Christ crucified, and tell Whether that countenance can thee affright, Teares in his eyes quench the amasing light, Blood fills his frownes, which from his pierc’d head fell, And can that tongue adjudge thee unto hell, Which pray’d forgivenesse for his foes fierce spight? No, no; but as in my idolatrie I said to all my profane mistresses, Beauty, of pitty, foulnesse only is A signe of rigour: so I say to thee, To wicked spirits are horrid shapes assign’d, This beauteous forme assures a pitious minde. At the round earths imagin’d corners, blow Your trumpets, Angells, and arise, arise From death, you numberlesse infinities Of soules, and to your scattred bodies goe, All whom the flood did, and fire shall o’erthrow, All whom warre, dearth, age, agues, tyrannies, Despaire, law, chance, hath slain, and you whose eyes, Shall behold God, and never tast deaths woe. But let them sleepe, Lord, and mee mourne a space, For, if above all these, my sinnes abound, ‘Tis late to aske abundance of thy grace, When we are there; here on this lowly ground, Teach mee how to repent; for that’s as good As if thou’hadst seal’d my pardon, with thy blood.

Spell of Creation: five songs on poems of Kathleen Raine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Christopher Montgomery LYRIC Low laughter of light In gleaming sky Dawns over deeps Of memory. If I could listen I should hear, If I could look, I should see The moving waves Of soundless sea.


But eyes blind me, Thoughts bind me, Time ties me, I turn away. It was I who laughed And I was the day, The tremor of joy And the arch of light That spans the sky. THE PATH I have walked on waves of stone Not knowing that the ground I trod Is mirage in a watery glass, A shimmering play of travelling light Whose dangerous seas we call a world. The shadow of the pleasure­dome Midway floats, but deeper drown All images on that surface cast. Houses and cities seem and pass On the meniscus of the flood. There is a path over all waters Leading to my feet alone I have seen radiant from the sun Setting beyond Skye and the more distant isles, And rising over the rainbow seas of Greece. It is the way to the sun’s gate, And I must walk that path of fire That trembles, is scattered, reassembles On all the sunlit moonlit waters of the world. SPELL OF CREATION Within the flower there lies a seed, Within the seed there springs a tree, Within the tree there spreads a wood. In the wood there burns a fire, And in the fire there melts a stone, Within the stone a ring of iron. Within the ring there lies an O Within the O there looks an eye, In the eye there swims a sea,


And in the sea reflected sky, And in the sky there shines the sun, Within the sun a bird of gold. Within the bird there beats a heart, And from the heart there flows a song, And in the song there sings a word. In the word there speaks a world, A word of joy, a world of grief, From joy and grief there springs my love. Oh love, my love, there springs a world, And on the world there shines a sun And in the sun there burns a fire, Within the fire consumes my heart And in my heart there beats a bird, And in the bird there wakes an eye, Within the eye, earth, sea and sky, Earth, sky and sea within an O Lie like the seed within the flower. PARADISE SEED Where is the seed Of the tree felled, Of the forest burned, Or living root Under ash and cinders? From woven bud What last leaf strives Into life, last Shrivelled flower? Is fruit of our harvest, Our long labour Dust to the core? To what far, fair land Borne on the wind What winged seed Or spark of fire From holocaust To kindle a star?


ARK I send soul like a dove Out from this fragile ark Afloat in space. Body puts out a hand And soul’s secure again In time and place. Into the unknown Soul ventures her love To bring back some green leaf. Into the shoreless dark Whence none returns The raven flies.

Chain Reaction . . . . . . . . . . . . . . . .words and music by Debra Kaye I remember November '06... Those were the glory days Of global warming. People were out enjoying the weather, November, and the breeze was like a feather. It worries, waries and weights me. How long can we wait? How long can we wait? And yet, "Who can resist this weather?" And I forget about it? How much can one person do? How much can one person do? Not everyone can be A Bobby Kennedy. How much can one person do? How much can one person do? And how? Coming out of grand central Like bees out of a hive, Carrying a heavy load. Blue­jeaned guy waits to hold the door for me; I wait for the strollered mother and hold it for her. ­ Chain Reaction!


COMPOSERS JOHN EATON was called "The most interesting opera composer writing in America today" by Andrew Porter in The London Financial Times. Eaton's work has been performed extensively throughout the world. In addition, several works have been broadcast on Public Radio and Television, and his opera Myshkin was seen throughout the U.S.A. and foreign countries by an estimated 15,000,000 people. Among his best­known works are his opera The Cry of Clytaemnestra, which has received great public and critical acclaim at its nearly twenty performances, including those under the auspices of the San Francisco Opera, Brooklyn Academy of Music, and Bolshoi Hall of the Moscow Conservatory. The Tempest was called a "formidible intellectual as well as musical achievement ... an opera of stark beauty" by Michael Walsh of Time Magazine following its premiere by the Santa Fe Opera. In 1991 he formed the Pocket Opera Players, which presented his operatic pieces Peer Gynt and Let's Get This Show on the Road to great public and critical acclaim. Nine other one act Pocket Operas followed. His full length comic opera Pumped Fiction, premiered at Symphony Space on June 20th, 2007, was repeated by popular demand on Sept. 6th. Allan Kozinn spoke of it as a “… considerable achievement” in The New York Times. Eaton has been the recipient of many awards. In 1990, he received the "genius" award from the MacArthur Foundation. He has done a lecture tour for Phi Beta Kappa as well as lecturing on his operas at Oxford. Eaton is Professor Emeritus of Music Composition at the University of Chicago. He taught there for 10 years and at Indiana University (Bloomington) for 20. His compositions are handled by Shawnee Press, G. Schirmer (A.M.P.), and the American Composers Alliance. Eaton writes: "Song Cycle on 'Holy Sonnets' of John Donne was written in 1957 and is effectively my Opus 1, by which I mean it is the earliest composition that I accept as being in my own voice and will allow to be performed. The Holy Sonnets chosen run through a soul’s spiritual history." BRIAN FENNELLY studied at Yale with Mel Powell, Donald Martino, Allen Forte, Gunther Schuller, and George Perle (M.Mus '65, Ph.D. '68). From 1968 to 1997 he was Professor of Music in the Faculty of Arts and Science at New York University, where he is now Professor Emeritus. In addition to a Guggenheim fellowship, his awards include three fellowships from the National Endowment for the Arts, three composer grants from the Martha Baird Rockefeller Fund, two Koussevitsky Foundation commissions, and an award for lifetime achievement from the American Academy of Arts and Letters. His music has been awarded prizes in such prestigious competitions as the Louisville Orchestra New Music Competition and the Goffredo Petrassi International Competition for orchestral music; twenty­five of his works have appeared on CD recordings on the Albany, New World, and CRI labels, among others. 'Sigol' for Two, Fantasy Duo for violin and cello, was written in 2008 for Duo Parnas. It is the fifth work based on materials first heard in Sigol Musings (2004) for solo violin, written for violinist Rolf Schulte and dedicated to the composer's granddaughter Sigol Sara Fennelly. The 'Sigol' theme itself can be seen as an imagined portrait of the child, beginning rhapsodically and concluding with a little dance. 'Sigol' for Two is in seven contiguous parts that can be regarded as free variations: the 'Sigol' theme, a scherzando, a nervous fantasy, a paraphrase of the theme, a quixotic drama, a lullaby, and a muted reprise of the scherzando. It is currently being reworked into a concertante work for solo violin and cello with orchestra. JACOB E. GOODMAN, founder of the New York Composers Circle in 2002, is Professor Emeritus of mathematics at City College (The City University of New York), the author of many books and research articles, and co­editor­in­chief of the journal Discrete & Computational Geometry. He has composed and improvised all his life, and has studied composition with, among others, Ezra Laderman and David Del Tredici. Recent compositions


include a set of six intermezzi for piano, two song cycles, a set of variations on a Beethoven theme, a quintet for piano and strings, Variations for a Rainy Afternoon for flute, violin, cello, and piano, a set of nocturnes for violin and piano, and a rondo for cello and piano in the style of Brahms. He recently composed the score for the documentary film Meet Me at the Canoe, produced for the American Museum of Natural History by his daughter, Naomi Goodman. His Variations for Piano was composed in 1962, and recently revised. A twelve­tone work based on an original theme, it is very different in style from Goodman's more recent tonal compositions; yet some similarities come through despite the atonality of the piece. Composer DEBRA KAYE has received a steady stream of commissions since 2003. Support for her music includes grants from Meet the Composer, Mannes College of Music, the Edward T. Cone Foundation, The Fort Wayne Children's Choir, and the New School; residencies—at the Millay Colony and Wurlitzer Foundation. Whether writing in a serious or lighter/funny style, she aims to communicate viscerally, often along a wide range of emotion. Ms. Kaye's music has been played in New York City and beyond at note­able venues such as Mannes College of Music, Weill Hall, and Steinway Hall, and most recently streaming live from radio stations in Chicago and Albany. With roots in the classical tradition, her work is also influenced by jazz and by Dalcroze Eurhythmics with its understanding of momentum. Debra is an avid collaborator; her new working partners this season include Basso Moderno Duo, Access to Music, Random Access Music, and the Chicago group Accessible Contemporary Music. She has served as grants panelist for Queens Council on the Arts and for Mannes College of Music, where she has taught in the Pre­College Division since 1991. She is currently on the board of the Howland Chamber Music Circle, and is former executive director of the New York Composers Circle. Chain Reaction was commissioned and premiered by soprano Nancy Ogle for a Fulbright Ceremony at the University of Maine, the focus —facing environmental challenges. Somewhat of a cabaret piece, Joni Mitchell meets art song, with a touch of drama queen thrown in, it is an ultimately hopeful song about global warming, acknowledging the important effect we can have on others without even realizing it. RICHARD MCCANDLESS has been writing and performing music for percussion with and without electronics since 1973. His performance of his composition Childhood for solo speaking percussionist prompted the Washington Post to report that "Mr. McCandless showed himself to be a master of sounds—subtle, emphatic, expertly shaped and richly expressive." The New York Times has referred to McCandless as a gifted performer, and the Washington Post has commented that "Mr. McCandless clearly places a high priority on communication as well as innovation." In 2007, McCandless was featured in a profile concert on the North River Music series in New York City. From 1980 to 1985, McCandless was the percussionist with the Washington Music Ensemble, with whom he frequently performed in New York at Merkin Concert Hall and Carnegie Recital Hall and in Washington at the Kennedy Center for the Performing Arts and the Library of Congress. McCandless lives in New York City. Additional information is available at www.richardmccandless.com. He writes: "During one period of my life, I walked each day past a construction site at which a large pile driver was in use. The rhythmic theme of the pile driver was a simple two­note pattern at a moderate tempo, but with unpredictable interjections of it at a faster tempo. The other sights and sounds of the construction site joined with those of the pile driver to create an amazing sonic and visual experience. CHRISTOPHER MONTGOMERY's many settings of texts include the Orphic Hymns and poetry by Ovid, John Clare, William Blake, William Carlos Williams, Wallace Stevens, Keith Waldrop, and numerous other 20th century poets. Recent works include Callisto, an opera­ oratorio with Latin text from Ovid's Metamorphoses; Mindworlds, three songs on poems of Wallace Stevens; Of Jean Renaud, variations on a French folk song for string quartet; and Two Cities, for chamber orchestra, musical portraits of New York and New Orleans.


PAUL MORAVEC, recipient of the 2004 Pulitzer Prize for Music, is the composer of over a hundred works for the orchestral, chamber, choral, lyric, film, and operatic genres. His music has earned numerous other distinctions, including the Rome Prize Fellowship from the American Academy in Rome, as well as many prestigious commissions. Premieres in the 2008­9 season include works for Orpheus Chamber Orchestra, Santa Fe Opera, David Krakauer and the Princeton Symphony Orchestra, Jeremy Denk and the Lark Quartet, and Opera Omaha. His extensive catalog of recordings includes three Naxos American Classics CDs: Tempest Fantasy (Pulitzer Prize­winner), Mood Swings, B.A.S.S. Variations, and Scherzo (8.559323), performed by Trio Solisti and clarinetist David Krakauer; The Time Gallery (8.559267), performed by eighth blackbird, and Cool Fire (8.559393), with the Bridgehampton Chamber Music Festival. A graduate of Harvard and Columbia Universities, he has taught at Columbia, Dartmouth, and Hunter College and currently holds the special rank of University Professor at Adelphi University. In 2006­7 he was Composer­in­Residence at Mannes College of Music, and in 2007­8 he served as Artist­in­Residence with the Institute for Advanced Study in Princeton, New Jersey. His website is www.paulmoravec.com, and his catalog is published by www.subitomusic.com. Passacaglia was composed in 2005 for Americans in Rome, a four­CD collection of compositions by Fellows of the American Academy in Rome on Bridge Records. The work was recorded by Trio Solisti.

PERFORMERS LEON KHOJA­EYNATYAN graduated with honors from the Komitas National Conservatory in Yerevan, Armenia and the Maimonides State Conservatory in Moscow. He is currently Chair of the Percussion Department at the Levine School of Music in Washington, D.C., and a member of the Sacumba Percussion World quartet. He is a founder of YERPER (Yerevan Percussion Ensemble), and has played with the Pekarsky Percussion Ensemble and the Moscow Contemporary Percussion Ensemble. He has performed in the U.S., France, Austria, Germany, Sweden, Finland, Switzerland, Greece, Poland, and other European countries, as well as in countries of the former Soviet Union. Since moving to the United States, he has appeared with numerous orchestras and music groups, and has been a soloist at various venues including the Kennedy Center, the Library of Congress, the White House, the Smithsonian Institution, and Wolf Trap. He is a founder and former president of the Armenian chapter of the Percussive Arts Society. Soprano LINDA LARSON’s operatic experiences bring a dramatic element to all of her performances: she has sung leading operatic roles throughout the United States with companies including New York City Opera National Company, Opera Illinois, Syracuse Opera, Tri­Cities Opera, Indianapolis Opera, and Opera Memphis. Linda has enjoyed tragic death onstage as Gilda, Violetta, and Hoffmann’s Antonia; her characters on the lighter side include Musetta, Susanna, Fiordiligi, Gretel, Mabel in Pirates of Penzance, both Rosalinda and Adele in Fledermaus, and others. Recognized for her commitment to new American music, Linda has performed several pieces of composer John Eaton, including the world premiere of his opera Pumped Fiction at the 2007 American Composers Alliance Festival. She has sung with Washington Square Contemporary Music Society, Ensemble X, Brooklyn New Music Collective, Encompass New Opera Theatre, and Voices of Change, and has performed new music at the Bowdoin International and Chintimini Chamber Music Festivals. Composer David Glaser, American Academy of Arts and Letters award­winner, wrote Moonset No. 1 for her; and in February 2008 Linda premiered chamber music of Cynthia Lee Wong at Carnegie’s Weill Recital Hall. Linda holds degrees from the University of Michigan and the University of Texas at Austin, and participated in the Twentieth Century Opera and Song program at the Banff Centre for the Arts. She has taught at New York University, Ithaca College, and Cornell.


NANCY ELLEN OGLE holds a Master of Music degree in vocal performance from Indiana University, where she studied voice with Martha Lipton. Her postgraduate studies have included important work with Birgit Nilsson, Edward Zambara, Allen Rogers and Elizabeth Cole. Her concert career has included television appearances in Canada and Germany as well as the United States, and performances in Mexico, England, Ireland, Austria, Russia, Georgia (Republic), and Japan. Recent operatic appearances include Leonore in Beethoven's Fidelio and Brünnhilde in Wagner's Die Walkure with the Apollon Arts Society in St. Petersburg (Russia), and Isolde in Wagner's Tristan und Isolde with the Surry Opera (Maine). Ms. Ogle has performed premieres of many concert works, including pieces by John Eaton, Don Stratton, Jan Gilbert, Marilyn Ziffrin, Don Dilworth, and Mary Ann Joyce. Ms. Ogle is a Maine Touring Artist. With help from accompanying musicians and also scholars of poetry and composition, she has evaluated hundreds of scores of unpublished works by American composers living throughout the United States and abroad. Drawing from published and unpublished sources, she has created programs, in the lecture­recital format, which she has performed principally in the New England area. Ogle's recital programs include such subjects as "The Poetry of Edna St. Vincent Millay," "American Poetry of the 1930s," "American Poetry of the 1950s," "American Women Poets," "American Women Composers," "New York Composers," and "Maine Composers." Her research and performance in the field of modern American song literature has been supported by such organizations as the National Poetry Foundation, the Maine Humanities Council, the Women's Literary Union, the Live Poets Society, The Gerard Manley Hopkins Summer School, and the Maine Composers' Forum. Recordings of Ms. Ogle's work are to be found on Capstone, Cormorant, Woodsum, and Music Media Productions labels. Ms. Ogle is currently Professor of Music at the University of Maine, where she teaches voice and directs the Opera Workshop. Pianist CHRISTOPHER OLDFATHER has devoted himself to the performance of twentieth­ century music for more than thirty years. His eclectic career on all keyboard instruments has taken him as far as Moscow and Tokyo. The New York Philharmonic, the San Francisco Symphony, and Ensemble Moderne in Germany have all presented him as soloist, and he is a longtime member of Boston's acclaimed Collage New Music ensemble. His recording of Elliott Carter's Duo for Violin and Piano with Robert Mann was nominated for two Grammy Awards in 1990. He has collaborated with the conductor Robert Craft and can be heard on several of his recordings. duo parnas are well­known both as an extraordinary chamber duo and individually as two of the top young artists and virtuosos of their generation. Sisters Madalyn Parnas, violin, and Cicely Parnas, cello, have been featured in numerous national radio programs and magazines, and have released the highly acclaimed CD PARNAS DOUBLE, with a second CD due this spring. They have taken first prize in an international chamber music competition performing in Carnegie Hall, and have each won top prizes in national soloist competitions. This season Madalyn and Cicely began concertizing with the incomparable artist Peter Serkin. This trio will open the Music Mountain Festival this summer and more Serkin/Parnas concerts are slated for next season. Collaborations with master conductor Jaime Laredo and David Alan Miller resulted in a resounding call for more concerto concerts in 2009­2010, and these are also scheduled. MADALYN PARNAS, 18, revealed a robust musical personality early, earning top prizes in violin, piano, and voice by age 10. Critics consistently endorse “teen phenom” Madalyn, who has now performed over 30 concerti with orchestra, noting that this “dazzling” young artist plays with a uniquely profound musicality and noble generosity. Carrying a 4.0 GPA, Madalyn is completing her junior year in college majoring in music industry and French. A student of James Buswell of NEC, Madalyn performs on a 1687 Gioffredo Cappa violin. Sixteen year old CICELY PARNAS, soloing with orchestra at age nine and setting award records the same year, has now performed dozens of concerti. She is compared to her


grandfather, the great cellist Leslie Parnas for her exquisite tone, intuitive musicality, and absolute fearlessness in performance. With her “prodigious technique and Olympian poise,” critics predict a meteoric rise. Studying with renowned cellist Peter Wiley at Bard, Miss Parnas is a straight­A college freshman concentrating in music and German. She plays a 1790 William Forster cello. Percussionist, educator, and studio musician MATT SMALLCOMB has been a member of the New York City music community since 2003. He performs in a variety of musical settings including orchestral, chamber, jazz, and improvisation. As an orchestral musician, he has performed with The New World Symphony, The New Amsterdam Symphony, and with many New York City area orchestras. As a chamber musician, he has performed with Ensemble du Monde, The New York Percussion Group, The Garden State Percussion Trio, The New York Wind Symphony, The Park Avenue Chamber Symphony, and The Philadelphia Virtuosi Chamber Orchestra. Currently, he is performing and recording with the new music group Cordis based in Boston. Mr. Smallcomb holds a Bachelor’s Degree in music education from Wilkes University in Wilkes­Barre, PA, and a Master’s Degree in music performance from The Mannes College of Music in New York City. He serves on the percussion faculty at the Wilkes University Conservatory. More information is available at www.mattsmallcomb.com. Critically acclaimed percussionist STEPHEN SOLOOK is an active classical, world, and solo musician in New York City. As a driving force in new music, he has been responsible for over 30 premieres, working with such composers as Pulitzer Prize­winner Paul Moravec, Bruce Adolphe, David Loeb, and David Tcimpidis. Currently he is the Principal Percussionist/Tim­ panist with the Park Avenue Chamber Symphony, the New York Repertory Orchestra, and the Ensemble 212 Orchestra. As a chamber musician, he is a member of the New York Composers Circle, the trio Tonal Center, and the duo Aurora Borealis. Recently, Mr. Solook has been working with the internationally renowned Jose Limon Dance Company. He has performed as a soloist in Massachusetts, Michigan, and New Jersey, and throughout New York State. His concerto engagements include Darius Milhaud’s Concerto for Percussion, Ney Rosauro’s Marimba Concerto, and the New York premiere of Davide Zannoni’s Concertino dell’ Incenso. For more information, please visit web.mac.com/stephensolook. CESAR VUKSIC, composer, pianist, and painter, has appeared throughout the U.S.A., South America, Europe, and Japan as a recitalist, soloist with orchestra, and chamber musician. He has premiered numerous compositions by South and North American composers, some written especially for him. As a composer, his own works have been performed in the U.S.A. and Latin America by outstanding musicians, and presented in concerts and festivals by music organizations such as Buenos Aires New Music Association, Americas Society, North­South Consonance (New York), New York University, Western Michigan University, InterAmerican Music Festival (Washington, D.C.), etc. He has been a recipient of several grants from Meet the Composer and the Queens Council on the Arts. Recently, Queens Public Television gave him a grant to videotape and broadcast his Queens Rhapsody for narrator, clarinet, violin, trombone, percussion, and piano. Barry L. Cohen wrote in The New Music Connoisseur: “It was Mr. Vuksic's playing that, to us, made for as fine an event as anyone will ever come across.” Staff for this concert: Patricia Leonard, producer Joseph Pehrson, stage manager Fedor Kabalin and Eugene Marlow, at the door Paul Geluso, sound recordist Gayther Myers, reception Stephen W. Leibholz, publicity Jacob E. Goodman, programs


The NEW YORK COMPOSERS CIRCLE is an artistic and educational organization of composers and performers, dedicated to new music, whose mission is to provide a platform and forum for composers of concert music of all genres, for the development and performance of their works, for the continued growth of the art, and for the development and education of new audiences for new music. As such, the NYCC offers its members various opportunities for testing works in progress, performing completed works in concert, and fostering collaboration and development, both artistic and professional. The NYCC taps the rich creative potential of New York City in an original way: it is unique among composers' organizations in providing a regular monthly forum for those who create new music to maintain an ongoing interaction with their peers. All who are enthusiastic about new music are welcome—composers, performers, dancers, poets, and listeners. This frequently available and rich creative exchange, and the opportunities it brings for networking and collaboration, makes participation in the Circle an invaluable experience. In addition, it offers the inspiration and camaraderie borne of our common involvement in music and our common commitment to bringing new music into the world. Inspired by a workshop at the American Music Center, Jacob E. Goodman founded the New York Composers Circle in the spring of 2002 as an association of composers meeting monthly to play their music for each other. It soon became apparent that we had the artistry and commitment to present our music before an audience. In May, 2003, the NYCC produced its first public concert at Saint Peter’s Church, featuring Pulitzer Prize­winning composer David Del Tredici, along with eleven of the NYCC's original members. This well­attended concert was favorably reviewed in the New Music Connoisseur. The NYCC continues to evolve by tapping the rich vein of talent and resources among its members. Under the continued leadership of Debra Kaye, and more recently of John de Clef Piñeiro, the NYCC's membership has more than quadrupled since its inception, and the number of its concerts has grown from one each season to its current calendar of four concert presentations during the 2008­09 season. The group continues to expand its programs. Informal readings of new pieces allow member composers to "test fly" their works with some of New York's finest professional and advanced student musicians. Such events, along with our monthly music salons and collaborations with other groups and institutions, support the creation of new music through the various stages of its development. In the 2004­05 season, award­winning composer Ezra Laderman joined members of the NYCC in its spring concert. In addition to its own two concerts, in March, 2006 the NYCC presented a joint concert with the performing ensemble ModernWorks, presenting a piece by John Eaton; during the following season we collaborated with New York University in our first concert at NYU's Frederick Loewe Theatre. In the summer of 2007 the NYCC held its first annual composers' competition, open only to nonmembers. The winning work in the 2008 competition, Brian Fennelly's 'Sigol' for Two, is receiving its premiere performance at this evening's concert. Recently the NYCC launched a new outreach initiative—the New York Composers Circle Community Encores program—in which we send performers out to institutions around the city such as schools and senior centers, with the aim of acquainting previously untapped audiences with concert music of the 20th and 21st centuries. Our performers are accompanied by an NYCC member who introduces the artists and the works they present. The first outreach performance in this series took place to great audience acclaim on February 24, 2009, at the Hebrew Home in Riverdale; Nataliya Medvedovskaya presented a program of piano works introduced by our Executive Director, John de Clef Piñeiro. This program was repeated at a JASA community center on May 1, 2009, and additional outreach programs are planned for next season. We are happy to announce that all four NYCC concerts of the 2009­2010 season will take place at, and under the sponsorship of, Saint Peter's Church.


Friends of the New York Composers Circle Judith Anderson Naoko Aoki Oliver Baer Roger Bermas Gary Bloom Nancy R. Bogen­Greissle Hervé Brönnimann Barry Cohen Gloria Colicchio Mary Cronson David Del Tredici & Ray Warman Gary DeWaal & Myrna Chao Robert & Karen Dewar Mr. & Mrs. John Eaton Michael & Marjorie Engber Margaret Fairlie­Kennedy Anne Farber Allen C. Fischer & Renate Belville Amy Roberts Frawley Victor Frost Peter & Nancy Geller Lucy Gertner Dinu Ghezzo Essie Glusman Linda Hong Carl Kanter David Katz David Kaufman

Barbara Kaye Richard Kaye Daniel Klein Alvin & Susan Knott Susan Korn Herbert & Claire Kranzer Gabriel & Carol Laderman Michael Laderman Raphael Laderman Dorothy Lander Arnold & Michelle Lebow Mr. & Mrs. Robert Leibholz Stephen & Ann Leibholz Erwin Lutwak Joseph & Nina Malkevitch David Martin Martin Mayer William Mayer Christopher Montgomery William & Beryl Moser Richard Pollack & Lori Smith Bruce S. Pyenson Marjorie Senechal Abby Jacobs Stuthers Alice & Al Teirstein Raymond Townsend Sally Woodring Martin Zuckerman

The NYCC gratefully welcomes donations large and small, which help make our concerts possible. Contributions to the New York Composers Circle are tax­deductible under Section 501(c)(3) of the Internal Revenue Code. Your donations may be sent to the address on the back of this program.


The New York Composers Circle Board of Directors John Eaton Dinu Ghezzo Jacob E. Goodman David Katz Stephen Leibholz, Chair Administration John de Clef Piñeiro, Executive Director David Katz, Treasurer Eugene Marlow, Membership Coordinator Elliott Carter Ezra Laderman

Honorary Members John Eaton Dinu Ghezzo Tania León Paul Moravec Composer Members

Roger Blanc Richard Brooks Tamara Cashour Robert S. Cohen John de Clef Piñeiro Peter Dizozza Margaret Fairlie­Kennedy Brian Fennelly Victor Frost

Jacob E. Goodman Donald Hagar Martin Halpern Noah Haverkamp Hubert Howe Fedor Kabalin Carl Kanter Debra Kaye Stephen Leibholz

Patricia Leonard Eugene Marlow Peri Mauer Eugene W. McBride Richard McCandless Nataliya Medvedovskaya Yekaterina Merkulyeva Christopher Montgomery Gayther Myers

Miki Nakanishi Joseph Pehrson Frank Retzel Dana Richardson Richard Russell Inessa Segal William Vollinger Cesar Vuksic

Performer Members Demetra Adams, soprano Haim Avitsur, trombone Mary Barto, flute Adam Berkowitz, clarinet Virgil Blackwell, bass clarinet Allen Blustine, clarinet Sofia Dimitrova, soprano Stanichka Dimitrova, violin

Tiffany DuMouchelle, soprano Marcia Eckert, piano Oren Fader, guitar Leonard Hindell, bassoon Jill Jaffe, viola Sibylle Johner, cello Michael Laderman, flute Maxine Neuman, cello

Margaret O'Connell, mezzo Javier Oviedo, saxophone Lisa Pike, horn Anthony Pulgram, tenor Stephen Solook, percussion Patricia Sonego, soprano Anna Tonna, mezzo­soprano Arlene Travis, soprano

Contact New York Composers Circle 110 West 90th St., Unit 5­J New York, NY 10024 www.nycomposerscircle.org

The next New York Composers Circle concert will take place February 16, 2010 at 8 PM, at Saint Peter's Church, Citigroup Center, Lexington Ave. & 54th St. For more information please check the NYCC website.