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Dedicated to the creation and performance of new music

A CO NC E R 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

F EB R U A R Y 23, 2010

8:00

PM


THE NEW YORK COMPOSERS CIRCLE FEBRUARY 23, 2010 8:00 PM When Time Is Over: Four Emily Dickinson Songs . . . . . . . . . . . . . . . . . . Richard D. Russell 1. The heart asks pleasure first 2. I saw no way 3. There is a pain so utter 4. When time is over Sofia Dimitrova, soprano

Tamara Cashour, piano

Michael's Suite . . . . .. . . . . . . . . . . . . . . . . . . . . . Ezra Laderman 1. Moderato 2. Two Lines Converging 3. Presto 4. Lento – Presto – Lento – Lento Michael Laderman, flute

Vocalise * . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cesar Vuksic Slow – Flowing – Very Rhythmic – Wild – Delicatissimo Sofia Dimitrova, soprano

Pollypiano, a Musical-Theatre Diorama * . . . . Tamara Cashour 1. 2. 3. 4. 5. 6. 7.

Promenade Trial Run A Slap In the Face Another Jerzoid Town [not performed this evening] Mack 78-80 The Black and Blue Panthers of Riverside Drive Requiem for Polly Manhattan Saxophone Quartet: Dan Kochersberger Wonki Lee Jay Rattman Tamara Cashour, piano

Jordan Smith


INTERMISSION Three Nocturnes for Violin and Piano * . . . . Jacob E. Goodman 1. Dreamily 2. Calmly 3. Inexorably Stanichka Dimitrova, violin

Sookkyung Cho, piano

Three Poems of Edwin Arlington Robinson *. . . Martin Halpern 1. Credo 2. Richard Cory 3. Cliff Klingenhagen Cesar Vuksic, piano

Twister . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Donald Hagar Kevin Weng-Yew Mayner, double bass

Mia Elezovic, piano

The Players, four movements for violin and piano * . . . . . . . . . . . . . . . . . Eugene W. McBride 1. 2. 3. 4.

=60 =60 =60 Vivo =c.126, Ebullient Lori Miller, violin

Jim Abbott, piano

* World Premiere

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 When Time Is Over: Four Emily Dickinson Songs . . . . Richard D. Russell The Heart asks Pleasure – first – And then – Excuse from Pain – And then – those little Anodynes That deaden suffering – And then – to go to sleep – And then – if it should be The will of its Inquisitor, The privilege to die – I saw no Way – The Heavens were stitched – I felt the Columns close – The Earth reversed her Hemispheres – I touched the Universe – And back it slid – and I alone – A Speck upon a Ball – Went out upon Circumference – Beyond the Dip of Bell – There is a pain – so utter – It swallows substance up – Then covers the Abyss with Trance – So Memory can step Around – across – upon it – As one within a Swoon – Goes safely – where an open eye – Would drop Him – Bone by Bone. I shall know why – when Time is over – And I have ceased to wonder why – Christ will explain each separate anguish In the fair schoolroom of the sky – He will tell me what "Peter" promised – And I – for wonder at his woe – I shall forget the drop of Anguish That scalds me now – that scalds me now!

Three Poems of Edwin Arlington Robinson . . . . . . . . . . . . Martin Halpern I. Credo I cannot find my way: there is no star In all the shrouded heavens anywhere;


And there is not a whisper in the air Of any living voice but one so far That I can hear it only as a bar Of lost, imperial music, played when fair And angel fingers wove, and unaware, Dead leaves to garlands where no roses are. No, there is not a glimmer, nor a call, For one that welcomes, welcomes when he fears, The black and awful chaos of the night. For through it all, above, beyond it all, I know the far-sent message of the years. I feel the coming glory of the light! II. Richard Cory Whenever Richard Cory went down town, We people on the pavement looked at him: He was a gentleman from sole to crown, Clean favored, and imperially slim. And he was always quietly arrayed, And he was always human when he talked; But still he fluttered pulses when he said “Good morning,” and he glittered when he walked. And he was rich – yes richer than a king – And admirably schooled in every grace. In fine, we thought that he was everything To make us wish that we were in his place. And so we worked, and waited for the light, And went without the meat, and cursed the bread. And Richard Cory, one fine summer night, Went home and put a bullet through his head. III. Cliff Klingenhagen Cliff Klingenhagen had me in to dine With him one day, and after soup and meat, And all the other things there were to eat, Cliff took two glasses and filled one with wine And one with wormwood. Then, without a sign For me to choose at all, he took the draught Of bitterness himself, and lightly quaffed It off, and said the other one was mine. And when I asked him what the deuce he meant By doing that, he only looked at me And grinned, and said it was a way of his. And though I know the fellow, I have spent Long time a-wondering when I shall be As happy as Cliff Klingenhagen is.


COMPOSERS TAMARA CASHOUR, composer/collaborative pianist/soprano, is a two-time recipient of the ASCAPlus award, for 2009 and 2010. She also won first prize in the 2007 “For Women Only� composition contest sponsored by the New York Treble Singers with her composition Girly Hurly Burly, which premiered in April, 2008 in Manhattan. Additional world premieres: Symphony Space, Golden Fleece Ltd. Cabaret Series, Genesis Opera Arias & Sonnets Series, and Columbia University's Casa Italiana. As a pianist, Ms. Cashour has performed/premiered art song and/or solo piano pieces by John Harbison, Ricky Ian Gordon, Dorothy Chang, Debra Kaye, Nataliya Medvedovskaya, and Noah Haverkamp. As a soprano, she has sung leading roles in Seymour Barab's Ondine with the Center for Contemporary Opera and in Susan Stoderl's The Veil of Forgetfulness and A.F.R.A.I.D with the Brooklyn Repertory Opera. She received a B.A. in Music Theory from Columbia University and an M.A. in Opera Directing and Performance (with a concentration in feminist/avant-garde theatre studies) from New York University. Ms. Cashour's special area of interest as a composer is in the creation of new interdisciplinary forms that test the boundaries of reified amalgams of music, theatre, and performance. Academic positions include: Collaborative Pianist Faculty: William Paterson University (Brass/Woodwinds/Strings Dept.); Vocal Accompanying Staff: Mannes College Extension Division; Vocal Accompanying Staff: Manhattan School of Music, 1999-2007. She is the Organist and Director of Music Ministries at the Presbyterian Church of New Rochelle. Opera/recital/music theatre performances include: Piccolo Spoleto Festival, Lake George Opera, Indianapolis Opera, Natchez Opera Festival, Hawaii Performing Arts Festival, Opera Festival di Roma, New Opera Festival di Roma, George St. Playhouse, and SOPAC. Her Weill Hall accompanying debut was in February, 2002. Website: www.tamaracashour.com. She writes: "Pollypiano is programmatic chamber music; it is a musical narrative tribute to Polly, a 1995 Plymouth Voyager van that I owned and operated during my days as an itinerant music teacher in over 23 different towns in the states of New York and New Jersey. I have named the form of the work "Musical-Theatre Diorama": Polly is meant to be performed as a music theatre piece, with costumes, staging, and masks, the instrumentalists all performing as actor/singers in addition to their instrumental duties; however tonight you will be hearing/seeing a pared-down version missing Movement #4 of the work." 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 a founding editor 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 rondo for cello and piano in the style of Brahms, and a set of Three Bagatelles for piano. 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, and is currently writing music for her forthcoming wedding. The Three Nocturnes for Violin and Piano, which take their inspiration from Chopin's piano nocturnes, all share the musical interval of the fifth (the interval from C up to G) as their basic musical idea. This interval is used both melodically and harmonically in all three nocturnes. A th second performance of the Three Nocturnes will be given by the Orfeo Duo on their March 4 concert.


DON HAGAR's music spans a wide range of genres, from solo works to opera, music which has been described as fresh, rhythmically exciting, exhaustively inventive, imaginative, and clear in formal design. Reviewers for the Boston Globe have called his music "intimate," "finely structured," and "perky." Hagar's works have been performed by such ensembles and soloists as ALEA III, Boston Composers String Quartet, NuBotl Chamber Players, Wellesley Symphony Orchestra, Dominique LaBelle, Nancy Ellen Ogle, Patricia Sonego, Patrick Dillery, and Geoffrey Burleson, among others. He has received commissions from The Carlisle Project for his ballet The Awesome Fear of Imminent Fall and from the New Boston Chamber Symphony for both First Impressions and Promenade on the Esplanade. Mr. Hagar recently received a commission from harpsichordist Elaine Comparone and violist Veronica Salas to write a piece for them which was premiered at Merkin Hall in New York in June, 2008. In 2004, selections from his opera Inspiration were performed in New York City Opera's VOX Showcase, conducted by George Manahan. Mr. Hagar has produced several concerts in the New York City area, including those with the Xanthos Ensemble of Boston and Sospiro Winds. In August, 2008 Mr. Hagar fulfilled an artist residency at the Virginia Center for the Creative Arts, where he worked on the completion of his second opera, an adaptation of the story Why the Chimes Rang. Heard on both sides of the Atlantic in theaters as well as on radio and television, Hagar's music has been recorded on Capstone Records and is published by Earnestly Music and Dorn Publications. Among the organizations that have honored Hagar with awards and grants have been ASCAP (Young Composers Award), Off-Off Broadway Review, American Music Center, Meet the Composer, and the Bossak/Heilbrun Charitable Foundation. Originally from Elmira, N.Y., Donald Hagar received his B.M. cum laude from Ithaca College, where he studied with Karel Husa and, at the Ithaca College London Center in England, with Justin Connolly. At Boston University, where he received his M.M., his principal composition teachers were Theodore Antoniou and Bernard Rands. Currently living in Brooklyn, Don is a teacher for the New York City Public Schools. Twister was first performed at a Long Island Composers Alliance concert at Queens College over 10 years ago. This is its first performance since then. It is a short piece, built on two sections, with a combination of Impressionist and Minimalist leanings, these influences contributing harmonic color and rhythmic drive, respectively. MARTIN HALPERN had a productive career as playwright, poet, and educator until, in 1994, he retired from the Theater Arts Department at Brandeis University to pursue a second career as composer. Since then, he has earned an M.A. in composition from the Aaron Copland School of Music, Queens College; and there have been more than eighty performances of his chamber and vocal works, and eleven productions of his chamber operas, in the New York area. From 1997 to 2008 he was concerts director of the Long Island Composers Alliance. A distinguished and widely performed composer, EZRA LADERMAN has composed works commissioned by the New York Philharmonic, Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, Pittsburgh Symphony; the orchestras of Minnesota, Dallas, Louisville, Houston, Detroit, Albany, Denver, New Jersey, Indianapolis, Syracuse, and New Haven; and the New York City, Turnau, and Tri-Cities operas. He has also written works for such chamber ensembles as the Tokyo, Juilliard, Concord, Colorado, Lenox, Vermeer, Audubon, and Composers Quartets and for soloists Yo-Yo Ma, Judith Raskin, Elmar Oliveira, Jean-Pierre Rampal, Samuel Baron, Sherrill Milnes, Emanuel Ax, Eugene List, Ronald Roseman, Bernard Garfield, and Ilana Vered, among others. In February, 2003 the Pittsburgh Symphony, with Gunter Herbig conducting and Richard Page as soloist, premiered Ezra Laderman’s Concerto for Bass Clarinet and Orchestra. He is the recipient of three Guggenheim Fellowships, the Prix de Rome, and Rockefeller and Ford Foundation grants. He has served as president of the


National Music Council, chair of the American Composers Orchestra, director of the NEA Music Program, and president of the American Music Center. He was elected to the American Academy and Institute of Arts and Letters in 1989 and became its president in 2006. From 1989 to 1995 he served as dean of the Yale School of Music. Michael's Suite was written as a present for his nephew Michael Laderman. Each of the four movements was written to celebrate an important milestone in Michael's life: his high school graduation, his college graduation, his Master's recital, and his Doctoral degree. EUGENE W. McBRIDE’s studies have been at William Paterson College, Juilliard, and the Center for Media Arts. Mr. McBride is a production associate for the New Music Connoisseur and has written critiques of contemporary music for that magazine. He is a member of BMI, the American Music Center, and is one of the founding members of the New York Composers Circle. Mr. McBride is a professional music copyist/engraver. Excerpts of McBride’s compositions can be found on his website: www.eugenemcbride.com. He writes: “Tonight’s premiere of a new work for violin and piano is a joy to anticipate. Lori Miller on violin, James Lynn Abbott on piano: both are superb musicians. The work is called The Players, the title being an homage to musicians; is it not they who make the music come alive? Composers without performers: what is the point? Not unlike a building without tenants. The Players is dedicated to Michael Grossman, a fine violinist with whom I’ve shared joyful performing experiences. Though those performances are many years ago they are fresh as yesterday’s memories.” RICHARD D. RUSSELL a multiple ASCAPlus winner, has had his music performed internationally and at prominent venues in New York. Highlights include a September 11, 2002 memorial performance of Remembrances at Merkin Concert Hall and a performance of Design for Lightning by trombonist Haim Avitsur in Israel. His music has also been performed in Bulgaria and Japan. In New York, some venues have included Symphony Space Thalia, New York University, CAMI Hall, the Ethical Culture Society, and Mannes College of Music. When Time is Over is collated from four poems of Emily Dickinson that ask the big questions of life and death, the necessity (or not?) of suffering, and the inevitability of death. CESAR VUKSIC, composer, pianist, and painter, has appeared throughout the United States, 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 of them written especially for him. As a composer, his own works have been performed in the United States and Latin America by outstanding musicians and presented in concerts and festivals by music organizations such as Buenos Aires New Music Association, Americas Society, North-South 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. His more recent composition Wind, for choir and piano, was written with a grant from New Music Collective. 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." And more recently, in the last issue: "Cesar Vuksic was the pianistic inspiration for the new work... He played it like the master among us he has become, perfectly satisfying the composer's intentions". He writes: “Vocalise, for unnaccompanied soprano, reflects my fascination with the exquisite purity of the soprano voice. I treated the voice like a wind instrument, expressing different moods without any text, and without the usual piano accompaniment.”


PERFORMERS Pianist JIM ABBOTT: Musical Director on Broadway for Joseph and the Amazing Technicolor Dreamcoat, Rent, Aida, Bombay Dreams, and Disney’s Tarzan. Dance arrangements for Tarzan, Aida (Grammy and Tony winner), Bombay Dreams, Sweet Charity, and Wicked (Grammy winner, RIAA Platinum). Orchestrations and conductor for the Chicago Symphony (with Heather Headley). Co-producer of the Aida Dutch cast recording (Gold), the Tarzan German cast recording, and Adam Pascal’s Civilian. Broadway playing credits include Footloose, Cats, Miss Saigon, Sunset Boulevard, Starlight Express, and The Who’s Tommy. He has performed with Aretha Franklin, Dennis DeYoung of Styx, Shirley Bassey, Bob Hope, Vanessa Williams, and Phil Collins, and with Elton John in "Greatest Hits Live" at Madison Square Garden. Currently Musical Supervisor for Tarzan international companies in Holland and Germany, Synthesizer Design for Addams Family, and Musical Director for the workshops of Women On The Verge for Lincoln Center and Bruce Lee: Journey to the West. Pianist SOOKKYUNG CHO has appeared as soloist and chamber musician in numerous concerts in the United States and her native country of Korea. She has performed in such venues as Alice Tully Hall, Steinway Hall, and Sarasota Opera House. Prizes include the prestigious John Erskine Prize from The Juilliard School (2006), top prizes at the Harrison L. Winter Piano Competition (2006) and at the International Beethoven Piano Sonata Competition (2007), and Grace Clagett Ranney Prize in Chamber Music at Peabody (2008). An avid chamber musician, she has studied chamber music with André Emelianoff, Bonnie Hampton, Fred Sherry, and Heidi Castleman, and has also collaborated with such eminent musicians as Michael Kannen, Maria Lambros, and Christina Dahl. Her festival appearances include Yellow Barn, Norfolk, Sarasota, Bowdoin, and Orford, in this country, and New Millennium in Spain. She earned her B.M. from Juilliard under the tutelage of Julian Martin. A recipient of various scholarships and fellowships, she held the A. & C. Levy Scholarship and the Piano Minor Teaching Fellowship during her studies at Juilliard. She received her M.M. at the Peabody Institute of Johns Hopkins University, where she studied with Boris Slutsky and was a Graduate Assistant in Theory. Currently, she is in the Doctor of Musical Arts program at Juilliard as a C. V. Starr Doctoral Fellow, studying with Matti Raekallio and teaching as a Literature and Materials Teaching Fellow. Recognized by audiences for her theatrical flair and sparkling performance, soprano SOFIA DIMITROVA currently makes her home in New York City, where she enjoys a busy career exploring and performing a wide range of music – from rarely performed Baroque gems to works by living composers. Some of her opera roles include Venus in Venus & Adonis by John Blow, the title role in Dido & Æneas with Prismatic Productions, Sospecha and Calliope in a production of La Purpúra de la Rosa at the 2003 Amherst Early Music Festival, Damon in Handel's Acis & Galatea, and Drusilla and Damigella in L'incoronazione di Poppea. Her oratorio repertoire includes solos in Handel's Messiah with Monmouth Civic Chorus under the direction of Mark Shapiro, Graun's Der Tod Jesu and Saint-Saëns' Christmas Oratorio with ARTEK, and Vivaldi's Gloria among others. As an advocate of new music, Ms. Dimitrova has performed and commissioned works by Paul Moravec, David Tcimpidis, Richard Russell, Thomas Addison, Marilyn Bliss, and Kevin McCarter. Ms. Dimitrova has performed in Italy, Switzerland, Portugal, Spain, the United States, and her native Bulgaria. She has performed with The New York Continuo Collective, ARTEK, Musica Bella Orchestra, among others. She's a founder of Ensemble Solaire and a performing member of the New York Composers Circle. She has performed in prestigious venues such as Carnegie's Zankel Hall, Merkin Hall, Metropolitan Museum of Art, and New York Historical Society.


Violinist STANICHKA DIMITROVA, whose playing has been described as “wonderfully full in tone and exuberant in performance” by the San Francisco Classical Voice, recently gave the American premiere of a newly found clarinet quintet movement by W.A. Mozart (completed by Dr. Robert Levin) at the Sarasota Opera House, Florida, where she got to collaborate with world renowned clarinetist Charles Niedich. Ms. Dimitrova was a first prize winner in the “Barbara Krakauer Scholarship Award” competition at the Associated Music Teachers League in New York City, the “Hopes, Talents, Masters” international competition in Dobrich, Bulgaria, and the “Svetoslav Obretenov” national competition in Provadia, Bulgaria, and was a top prize winner at the National Competition for Austrian and German Music in Burgas, Bulgaria. Stanichka Dimitrova is a recent Juilliard School graduate, currently pursuing her D.M.A. degree at Stony Brook University, studying with Philip Setzer, Pamela Frank, Soovin Kim, and Philippe Graffin. MARCIA ECKERT is active as piano soloist and collaborative artist and has appeared in the Mostly Mozart Festival, as well as at Merkin, Alice Tully, and Weill concert halls, and at London’s Leighton House. She has traveled throughout the United States, presenting lecturerecitals on piano music by women composers and on the music of Charles Ives. She has recorded for the Cambria and Leonarda labels. Ms. Eckert is on the faculty of Hunter College, where she was a 1998 recipient of the President’s Award for Excellence in Teaching. She has been teaching piano and chamber music in the Mannes College of Music Preparatory Division since 1983 and is the director of Pianophoria! and Teen Pianophoria!, summer piano intensives in New York City. Ms. Eckert holds degrees in Piano Performance from the Indiana University School of Music and the State University of New York at Stony Brook. Teachers have included Jorge Bolet, Gilbert Kalish, Claude Frank, William Masselos, Seymour Bernstein, Luis Batlle, and Lucy Greene. Born in Zagreb, Croatia, pianist MIA ELEZOVIC was enrolled at the age of 16 at Music Academy Zagreb with Zvjezdana Basic. After graduating in 1995 (at the age of 19), she moved to Vienna, where she studied at the Hochschule für Musik in Wien with Hans Petermandl (19951997). In 1997, she moved to Frankfurt/Main for “Aufbaustudium” with Herbert Seidel. At the same time, she was a student in the master's program at the Music Academy in Zagreb with Zvjezdana Basic, where she received her M.M. degree in 2001. Meanwhile, she worked in master classes with a variety of international teachers, including S. Bishop-Kovachevich, E. PichtAxenfeld, H. Nakamura, O. Yablonskaja, L. Hokanson, J. Perry, J. F. Antonioli, J. Rose, J. O'Conor, D. Pollack, M. Suk (also chamber music classes: Lee Fiser, Mauro Guindani). She completed her “Aufbaustudium” in Frankfurt in the winter of 2001/2002. Ms. Elezovic has performed in concerts internationally, giving solo recitals as well as chamber music concerts in Austria, Belgium, Croatia, Czech Republic, Germany, Italy, Japan, Slovenia, Spain, and the United States. She is a prizewinner at prestigious national and international competitions. In the Spring of 2004, Ms. Elezovic was invited by the Japanese government for a 10-month training program in Japan where she did research in the field of Japanese contemporary music for piano at Showa Music Academy. Since April of 2005 she has been a faculty member at Kyoto University for Music and Art as well as at the British School in Tokyo. In the summer of 2005, Ms. Elezovic was invited to be a member of the faculty at Terra Magica Music Festival in Porec, Croatia, where she taught and performed. In February, 2006, after winning an audition, she was invited to be a piano-soloist member of the Spanish National Ensemble for Contemporary Music in Madrid. She moved to New York City in September, 2007 and enrolled in a unique and new program at Manhattan School of Music called Contemporary Performance, and received her second master's degree in May, 2009. DANIEL KOCHERSBERGER is a New York-based saxophonist active in all phases of contemporary music making. In addition to orchestral appearances with the Mansfield Symphony and the Oberlin Orchestra, Daniel has performed as a soloist, recitalist, and chamber player with


such groups as the Contemporary Music Ensemble of Oberlin, the Manhattan Saxophone Quartet, the Chamber Winds Ensemble of Manhattan, and the Manhattan Wind Symphony. Daniel recently made his solo NYC debut performing with Paul Cohen in the Concerto Grosso of William Latham with the Brooklyn Conservatory Wind Orchestra. Daniel received his B.M. at the Oberlin Conservatory of Music and is currently an M.M. candidate at the Manhattan School of Music, where he studies with Dr. Paul Cohen. MICHAEL LADERMAN (fluteperformer.com) is a recitalist, orchestral and chamber player, jazz musician, and recording artist. David Sherman wrote in a review of the album Kabala (MMC Records CD #2087) of music by Matthew Fields for soundstage.com/music that "Michael Laderman flawlessly negotiates the lengthy programmatic work Rooster's Court Ball in a studio recording that is a pleasure to listen to.” Mr. Laderman has performed in the New York area and internationally, including a 1996 Weill Recital Hall debut as a winner of Artists International and in concerts at National Flute Association conventions (1996, 2002, 2009); the 1995 New York Flute Club Flute Fair; the Settimana Musicale Senese at the Accademia Chigiana, Siena, Italy; twice at Merkin Hall with the Stony Brook Contemporary Chamber Players; and at festivals in New York City with the jazz band, ZSound Collect. He took part in two NYFC concerts at CAMI Hall – one as winner of their Young Artists competition – and a special NYFC concert at the Stephen Wise Synagogue in memory of Samuel Baron. His teachers include Mr. Baron, Keith Underwood, Sandra Miller, Julius Baker, Thomas Nyfenger, and Trudy Kane, plus master classes with Alain Marion, Philippe Pierlot, Peter-Lukas Graf, et al., under a Javits Fellowship. His article “The Power of Omnipotens,” (The Beethoven Journal, Vol. 13/2 [Winter 1998]), addresses the structural, text-interpretive, and spiritual significance of the setting of the “Pater Omnipotens” section of the Gloria in the Missa Solemnis. Mr. Laderman is an Adjunct Professor of Music at Polytechnic Institute of NYU and the Preparatory Center for the Performing Arts at Brooklyn College. Korean saxophonist WONKI LEE was born in Tokyo, Japan in 1989 and began playing the saxophone at the age of thirteen. In Japan, his teachers included Akemi Endo and Shiro Hatae. As a member of the wind orchestra in the Dokkyo School in Tokyo, he won the Tokyo Wind Orchestra Competition and Tokyo Ensemble Contest in 2004. During the summer of 2005, he was accepted into the 11th Hamamatsu International Wind Instrument Academy and Festival where he studied with saxophonist Otis Murphy. In the same year, he moved to New York City to begin studies with Dr. Paul Cohen, a renowned concert saxophonist and music historian, at the Manhattan School of Music. As a member of the pre-college division, Wonki won the 2006 Concerto Competition and subsequently performed Henri Tomasi's Concerto for Alto Saxophone and Orchestra the following year with the Manhattan School of Music Pre-College Philharmonic Orchestra. Its recording was broadcast on a WQXR radio show. As an active concert saxophonist in New York and Japan, Wonki performs a wide range of music, including solo premieres, chamber music, and as a member of the Manhattan Saxophone Quartet. Wonki made his Carnegie Recital Hall debut in February, 2008 and has performed at the Metropolitan Museum, Greenfield Hall, Paul Hall, Merkin Concert Hall, Time Warner Building, and Macy's. Recently he won first prize in the MTNA Young Artist New York State Competition at Eastman School of Music, and third prize for the LISMA International Music Competition. As a Yamaha artist, he uses Yamaha Custom Saxophones exclusively and has given concerts in Tokyo. He is currently pursuing undergraduate studies at Manhattan School of Music. The MANHATTAN SAXOPHONE QUARTET is an ensemble dedicated to presenting the saxophone and its music as a serious concert medium. The MSQ has recently given recitals at the Metropolitan Museum of Art, Lefrak Hall at Queens College, and Greenfield Hall in Manhattan, and has made several guest appearances at new music concerts throughout the region. Upcoming


performances include Dutchess Community College, Saint Peter's Church at Citigroup Center, and Nicholas Music Center in New Brunswick. The quartet has premiered works by Remy Leboeuf, Justin Janer, and Jay Rattman, and has worked closely with New York composer Steve Cohen. The Manhattan Quartet consists of Jordan Smith, Dan Kochersberger, Wonki Lee, and Jay Rattman. The playing of KEVIN WENG-YEW MAYNER (double bass) has been described as "fabulous" by The New York Times, while the New York Concert Review has noted his "commanding technique." He has steadily established himself as a versatile chamber musician and soloist, pushing the expectations of modern audiences. He has performed throughout New York City, including all three stages of Carnegie Hall, and recorded on the Aeon Label. As an active chamber musician in both the traditional and contemporary repertoires, Kevin has spent many summers at the Yellow Barn Chamber Music Festival in Vermont, where he has contributed to the distinctly innovative programming. He has collaborated with numerous eminent artists including Susan Narucki and members of the Takács, Brentano, and Mendelssohn String Quartets, and with the Florestan Piano Trio. In his youth, Kevin was first introduced to music through underground dance music, and soon began to write electronic music and spinning house. This adventurous spirit leads him to meld his classical training with wider varieties of music: In Istanbul, he has performed with Makam singer Kani Karaca. Closer to home, Kevin has toured domestically with Savion Glover's classical orchestra, where his improvisation has captured the attention of the Village Voice, which noted his "fragmentary question-and-response" solos. He studied music at Johns Hopkins and Yale University. In his spare time, he enjoys marksmanship, yoga, the game of Go, and working on his trusty, rusty pickup truck. LORI MILLER received a B.M. in violin performance from New England Conservatory and an M.A. from New York University. She has performed with many New York-area orchestras including American Ballet Theater, New Jersey Symphony, Opera Orchestra of New York, Bronx Arts Ensemble, Northeastern Pennsylvania Philharmonic, New York City Opera National Company, Chautauqua Symphony, and Radio City Orchestra, and has played in numerous Broadway shows. She is a founding member of the Queen’s Chamber Band, a chamber ensemble with concert series at Merkin and Weill Halls featuring baroque and contemporary music. She has also recorded/performed with many popular artists including Aretha Franklin, Elton John, Joss Stone, Alicia Keyes, Billy Joel, Kelly Clarkson, R. Kelly, and Brian Wilson. DANIEL MOLKENTIN, tenor, maintains an active schedule performing works ranging from Schütz and Bach to contemporary pieces written especially for him. Highlights of last season included Mahler's Das Lied von der Erde with the INSONICA Ensemble of New York, Mozart's Requiem with the String Orchestra of Brooklyn, and Schubert's Die schöne Müllerin at Steinway Hall. This season brings performances of J.S. Bach's Magnificat and Cantata 106 (Gottes Zeit ist die allerbeste Zeit) with Pro Arte Chorale, J.S. Bach's Cantata 61 (Nun komm, der Heiden Heiland) with Westchester Choral Society, and Chris Park's opera Phaedra and Hippolytus, as well as the premieres of David Loeb's song cycle I will make a Palace, Robert Cuckson's opera, A Night of Pity and works by Kevin Boursiquot, Matthew Z. Johnson, Martin Halpern, and Marc Snegg. The Spoon River Duo, formed by Daniel and guitarist/composer Paul Smith, presents works exclusive to the voice and guitar medium or that share a special place in the history of the ensemble. In addition to Daniel's performing activities, he teaches English and German diction at Mannes Extension Division. His translations and phonetic transcriptions of J.S. Bach's Matthäus Passion, Haydn's Die Schöpfung, and Mendelssohn's Paulus are used by such organizations as the Berkshire Choral Festival and Oratorio Society of New York. Daniel received his Bachelor's Degree in Vocal Performance from Mannes College of Music where he studied with Antonia Lavanne. He is currently a student of Dr. Robert White.


JAY RATTMAN, 22, a member of the Manhattan Saxophone Quartet, grew up in Stroudsburg, Pennsylvania within a thriving jazz scene. At an early age he was mentored by saxophone greats Phil Woods and David Liebman. He received a bachelor's degree in three years from Manhattan School of Music, where he studied with Dick Oatts, Steve Slagle, Steve Wilson, Joe Temperley, and David Krakauer. He has returned to pursue a master's degree. At the school, he has performed in every ensemble in the jazz department in addition to playing baritone saxophone in the classical saxophone quartet, clarinet in a woodwind sextet, and woodwinds in the musical theater revue. He has performed in venues as varied as Jazz @ Lincoln Center, Carnegie Hall, and the Metropolitan Museum of Art, and in numerous other jazz venues in Pennsylvania including the world-famous Deer Head Inn and Celebration of the Arts jazz festival, in addition to appearing with Nellie McKay's Aristocrats on the National Public Radio show The Sound of Young America taped live at WNYC. He gigs often with Bob Dorough, the originator of School House Rock, in addition to having performed with musicians as extremely varied as David Liebman and Guy Lombardo's Royal Canadians. He can be heard playing bass clarinet on vibraphonist Stefon Harris's CD Urbanus. Rattman is a member of Phil Woods's Festival Orchestra, whose 1998 grammy-nominated CD Celebration originally inspired him to learn the saxophone. He received a Merit Award in 2006 from the NFAA ARTS awards for jazz saxophone, and was a winner in 2006 of an ASCAP Young Jazz Composer Award. JORDAN P. SMITH, a member of the Manhattan Saxophone Quartet, is a New York-based saxophonist and conductor. He is currently a master of music student on scholarship at Manhattan School of Music, where he studies with Dr. Paul Cohen. His previous teachers have included Dr. John Sampen and Kathleen Mitchell. In the summer of 2007 Jordan traveled to Corfu, Greece, where he gave several performances of solo and chamber works. As an active soloist, he was winner of the 2006-2007 TCNJ Concerto Competition and later performed Tomasi's Ballade for Saxophone and Orchestra with the TCNJ Orchestra. Recently he has performed at the Metropolitan Museum of Art, at the 2009 North American Saxophone Alliance Region 8 conference at West Virginia University, with the Brooklyn College Orchestra, and with the French Woods Orchestra. As an orchestral player he has performed works by Bernstein, Prokofiev, Gershwin, among others. As an ensemble player in New York, he has premiered works by composers such as Hayes Biggs, Remy Le Boeuf, and Matthew Hough. Recent solo premieres include new works by Steve Cohen and James Adler, written for Mr. Smith. As a conductor, he conducted Aaron Copland's Quiet City at Manhattan School of Music in December of 2009. Mr. Smith has appeared as guest saxophonist with the Ridgewood Concert Band and is currently on faculty at the French Woods Festival for the Performing Arts where he teaches theory, conducts the saxophone ensemble, and is the private saxophone instructor.

Staff for this concert: Jacob E. Goodman, producer Richard McCandless, stage manager Roger Blanc and Robert S. Cohen, stagehands Eugene Marlow and Dana Richardson, at the door Robert E. Anderson, sound recordist Gayther Myers and Miki Nakanishi, 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. 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 one another. 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 Prize-winning composer David Del Tredici along with eleven of the NYCC's original members. This wellattended concert was favorably reviewed in the New Music Connoisseur. 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 2009-10 season. The group continues to expand its programs. Informal readings of new pieces allow 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 2004-05 season, award-winning 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; 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 2009 competition, our third, Elizabeth Lim's Wafting, for string quartet, will receive its premiere performance at our May 25th concert. Last season 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. 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. A new outreach program, featuring soprano Sofia Dimitrova and pianist Catherine Miller, was presented on January 6, 2010 to 200 students at the Bronx High School of Science; additional outreach programs are planned for later in the season, including one at the Lenox Hill Neighborhood House Senior Center at Saint Peter's Church. We are happy to announce a new partnership with the No Borders Quartet, an Italian group, which performed a concert of our members' works in Italy this past November; the same program will be repeated in New York in March. Details can be found on our website.


Friends of the New York Composers Circle Judith Anderson Naoko Aoki Oliver Baer Roger Bermas Gary Bloom Nancy R. Bogen-Greissle HervĂŠ BrĂśnnimann 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 Fairlie-Kennedy 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 Mr. & Mrs. Douglas Townsend Raymond Townsend Gary & Katrine Watkins 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 tax-deductible under Section 501(c)(3) of the Internal Revenue Code. Your donations may be sent to the address on the last page 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 Richard Russell, Webmaster Honorary Members Elliott Carter Ezra Laderman

John Eaton Tania León

Dinu Ghezzo Paul Moravec

Composer Members Roger Blanc Richard Brooks Tamara Cashour Robert S. Cohen John de Clef Piñeiro Peter Dizozza Margaret Fairlie-Kennedy Brian Fennelly Victor Frost

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

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

Miki Nakanishi Joseph Pehrson David Picton Frank Retzel Dana Richardson Richard Russell Inessa Segal Cesar Vuksic

Performer Members Demetra Adams, soprano Christina Ascher, contralto 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 Ricardo Rivera, baritone Stephen Solook, percussion Patricia Sonego, soprano Anna Tonna, mezzo-soprano Arlene Travis, soprano

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

Our next concert, celebrating John Eaton's 75th birthday and our first collaboration with the No Borders Quartet, will take place at 7:30 PM on March 30, 2010 at the Leonard Nimoy Thalia, Symphony Space, Broadway and 95th St. For more information please check the NYCC website.


NYCC Program 23 Feb 2010