Dedicated to the creation and performance of new music
A CONCERT OF NEW MUSIC
S T . M ARK ' S C HURCH IN - THE -B OWERY 131 E AST 10 T H S TREET N EW Y ORK C ITY A PRIL 15, 2012
NEW YORK COMPOSERS CIRCLE APRIL 15, 2012 3:00 PM
Seascape for Piano* . . . . . . . . . . . . . . . . . . . .David Picton Christopher Oldfather, piano
Seasons for Solo Piano* . . . . . . . Dana Dimitri Richardson 1. Summer of Joy and Regret 2. Autumn Light 3. The Winter Landscape of My Desire 4. The Awakening Heart of Spring
Craig Ketter, piano
Dirge without Music** . . . . . . . . . . . . . . . . . . . John Eaton Impulsively ... piu Tranquillo ... piu mosso ... Agitato ... riten. ... piu Tranquillo ... Impulsively, ma libero
Jennifer Roderer, mezzo-soprano Christopher Oldfather, piano
Three Excerpts from "Les sentiments d'amour"* . . . . . . . . . . . . Eugene Marlow 1. Une nouvelle amour (A new love) 2. La femme dans une lumiĂ¨re d'or (The woman in the golden light) 3. La nageuse incessante (The incessant swimmer)
Nataliya Medvedovskaya, piano
Pause = Pause* . . . . . . . . . . . . . . . . . . . . . . . . Scott Miller 1. Prelude and Scrawl 2. Thug Dance 3. Inexactitude
Blair McMillen, piano
Etude Transformations, based on Etudes of Henri Bertini* . . . . . . . . . . . . . . . . Carl Kanter III II VIII XIX XVI
Allegro Andante espressivo Allegro Largo Allegro
Craig Ketter, piano *World Premiere **American and Professional World Premiere
PLEASE JOIN US FOR A RECEPTION AFTER THE CONCERT
The New York Composers Circle gratefully acknowledges support by a grant from the Alice M. Ditson Fund of Columbia University. Staff for this concert: Robert S. Cohen, producer Joseph and Linda Pehrson, reception Eugene Marlow, at the door Eugene W. McBride, page turner Paul Geluso, sound recordist Tamara Cashour, publicity Jacob E. Goodman, programs
SONG TEXTS Dirge without Music . . . . . . . . . . . . . . . . . . . . . . . . . John Eaton Dirge without Music Edna St. Vincent Millay I am not resigned to the shutting away of loving hearts in the hard ground. So it is, and so it will be, for so it has been, time out of mind: Into the darkness they go, the wise and the lovely. Crowned With lilies and with laurel they go, but I am not resigned. Lovers and thinkers, into the earth with you. Be one with the dull, the indiscriminate dust. A fragment of what you felt, of what you knew, A formula, a phrase remains, â€” but the best is lost. The answers quick and keen, the honest look, the laughter, the love, â€” They are gone. They are gone to feed the roses. Elegant and curled Is the blossom. Fragrant is the blossom. I know. But I do not approve. More precious was the light in your eyes than all the roses in the world. Down, down, down into the darkness of the grave Gently they go, the beautiful, the tender, the kind; Quietly they go, the intelligent, the witty, the brave. I know. But I do not approve. And I am not resigned.
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 the early 1960s he did perhaps the first live performances on modern sound synthesizers. They were put together for him by Paolo Ketoff (the Syn-Ket) and Robert Moog. Later, he performed on the new Eaton-Moog Multiple-Touch-Sensitive Keyboard, called “the most sensitive instrument to human nuance ever developed except for the human voice.” A number of these early pieces were recently re-issued on a record called First Performances by the Electronic Music Foundation. He has written some twenty operas including The Cry of Clytaemnestra, which has received great public and critical acclaim at its nearly twenty performances. The Tempest was called a "formidable 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. His TV opera Myshkin has been seen by an estimated 15,000,000 people. In 1993 he formed the Pocket Opera Players, which has presented a dozen pieces by him in this new form, most recently The Curious Case of Benjamin Button. Martin Bernheimer raved in Opera News, “Everyone managed to focus the fuzzy line that connects whimsy to pathos.” And Anthony Tommasini in The New York Times said “… opera is a form of drama, and The Curious Case of Benjamin Button kept me involved right through.” Eaton has been the recipient of many awards, most notably the “genius” award from the MacArthur Foundation, three Prix de Rome, and two Guggenheim grants. He writes, “Dirge Without Music is a setting of a poem by Edna St. Vincent Millay that I composed for the Memorial Service of my 50th class (1957) reunion at Princeton. It is one of the most courageous confrontations in poetry of the inevitability of death that I know, predating Dylan Thomas's Do not go gentle into that good night... by many years.” CARL KANTER majored in music at Harvard College, graduating in 1953. Thereafter, he attended Harvard Law School and practiced law for about 40 years. After retiring, he has returned to composition and has written in a variety of genres, including string quartets, a piano and a violin concerto, and numerous smaller works. The etudes being performed are transformations of etudes by the 19th century composer Henri Bertini in an attempt to make them into interesting music rather than mere exercise instructions. EUGENE MARLOW, Ph.D., is a composer/arranger, producer, presenter, performer, author/journalist, and educator. He has written over 200 classical and jazz compositions for solo instruments, chamber groups, and jazz big band. His indie label, MEII Enterprises, has released eight CDs of his original compositions and arrangements. Marlow is founder/leader/pianist of The Heritage Ensemble, a quintet that performs Marlow’s original compositions and arrangements of Hebraic melodies in various jazz, Afro-Cuban, Brazilian, and neo-classical styles. The group’s latest album, A Fresh Take (MEII Enterprises 2011), was described by The New York City Jazz Record as “A cross-cultural collaboration that spins and grooves.” Marlow received a 2010 “Meet the Composer” grant for his work with The Heritage Ensemble. Marlow is senior co-chair of the Milt Hinton Jazz Perspectives concert series (now in its 20th season) at Baruch College (The City University of New York), where he teaches courses in media and culture. Author of eight books and over 130 articles, he is currently drafting a book on jazz in China. He was a recipient of the 2010 James W. Carey award for journalism excellence from the Media Ecology Association. Dr. Marlow serves as Membership Coordinator for the New York Composers Circle and is a member of the NYCC’s Steering Committee. The three pieces on this concert are from Marlow's growing collection of short works in the French chanson tradition from his Les sentiments d'amour collection.
Composer SCOTT MILLER studied composition with Milton Babbitt and Paul Lansky, as well as clarinet with David Krakauer. A graduate of Oberlin Conservatory, Miller also earned an M.F.A. in composition from Princeton University and an M.A. in music education from Teachers College, Columbia University. A recipient of numerous awards and grants including ASCAP, NJSCA, and Meet the Composer, in 2010 he was the winner of the New York Composers Circle Competition. Miller has written for various classical ensembles and has long explored diverse genres. He has composed musique concrète, live electronic works, jazz, structured improvisation, and works in collaboration with poets, dramatists, and visual artists. Most recently, he finished Phrenology: The Proper Study of Man for violin, tenor saxophone, trombone, and percussion. Recent recordings include: Polychrome Stride (2011) for flute, clarinet, violin, cello, and piano; Pause = Pause (2009) for piano, performed by Eric Huebner, and Clarinet Primer (2008) for solo clarinet, performed by Meighan Stoops. Miller's works have been performed at Symphony Space, The Knitting Factory, Roulette, P.S. 122, CBGB’s Gallery, La Mama Galleria, Brooklyn Arts Exchange, Greenwich House, New York University, Wesleyan University, St. Peter’s Church, and Lincoln Center Library. Beginning in 1988, Miller founded and directed the Inner Ear Music Series at the Brecht Forum and at Greenwich House, producing over 70 concerts by many prominent experimental composers and improvisers. He writes, “I've always been intrigued by punctuation in music and in everyday events: I like stanzas, double bars, and pauses between innings. Ultimately, the pauses in this piece are none of these, but just pauses, hence the title.” DAVID PICTON graduated from Mannes College of Music in 1980 with a BM in composition. He studied with Peter Stearns and David Loeb. He has had numerous performances of his original works, including a recent NYCC performance of his woodwind quintet, Music For The Birds. Smaller works of his have recently been performed in Greenwich Village, and at the American Music Festival in Sag Harbor, Long Island, by oboist Keve Wilson and her Cabaret Oboe Trio. In 2010 Mr. Picton recorded his string orchestra work, American Fatherland, and in 2004, through a commission by Central Park Brass, he recorded his brass quintet, Pilgrimage To The Sun. In the mid-1980s, Mr. Picton was commissioned by the Girl Scouts of America to write and record music for promotional videos. He has written numerous chamber works, orchestral works, various kinds of vocal works (including choral), piano works, and other solo instrumental works. He has written in many genres, but leans most strongly towards classical and jazz. Since the 1970s he has been performing regularly as a jazz drummer and pianist in New York City and the area, and has been teaching music since the 1980s. Mr. Picton has two jazz CDs out, both of which can be found on cdbaby.com. His music has had radio airplay on WBAI in New York City, WPKN in Bridgeport, Connecticut, and Estonia National Radio in Estonia. Seascape for Piano, originally conceived at the ocean, begins with a free-floating rubato introduction, suggesting the incoming and outflowing movement of the tides. The piece then leads into a fugue, immediately picking up in tempo and becoming more forwardly driven, rising to powerful surges that suggest the open surf, after which it winds down again, developing further the same free-floating material that the piece had opened with. DANA DIMITRI RICHARDSON was born in Long Beach California in 1953. His music has been broadcast over more than 70 radio stations in the United States and Greece including WNYC and ERT, Athens, where he spent three years teaching music theory. During that period he became a member of the Greek Composer’s Union. His record released on the Dionysian label in 1987 features The American Chamber Ensemble. During the period 1990-1991 he wrote and produced a monthly series of two-hour programs on WBAI-FM that explored the relation between music and society. After earning a Ph.D. in Theory and Composition from New York University in 2001, he taught at Fredonia College and New York University. Since then he has taught music theory and history at Cooper Union, Nassau Community College, and Kingsborough Community College in Brooklyn. During 2004-2006 he worked as a securities analyst on Wall Street and now runs his own investment advisory service, Well-Tempered
Capital Management, LLC, while maintaining his compositional activity throughout. In 2009 his article Syntonality: A New System of Harmony was published in the first issue of the SCI online theory journal. In 2008, his Ballade for piano solo was awarded first prize in the New York Composers Circle Competition. In 2011, (among other compositions) he completed Pietà for flute and string quartet, for which a performance is planned in Assisi, Italy during the summer of 2012. He is also a published poet whose Aphrodite and Other Poems is available on Amazon.com. For more information on Dana Richardson, please contact the composer at email@example.com. Seasons is a series of four movements that each evoke a mood related to one of the four seasons. The first and last movements (summer and spring), in keeping with their joyous character, are dances: a waltz and a bossa nova.
PERFORMERS American pianist CRAIG KETTER is rapidly distinguishing himself as a leading pianist of his generation, performing as soloist and chamber musician throughout the world. Critically acclaimed for “transporting the listeners to extraordinary heights” and “into a world beyond time and space,” Mr. Ketter is known for playing with powerhouse sonority combined with long-lined, dulcet lyricism. He has performed as soloist with the Grant Park Symphony Orchestra, the North Carolina Symphony, the Sacramento Philharmonic, the Oakland East Bay Symphony, the South Orange Symphony, the Raleigh Symphony, the Durham Symphony, the Rocky Ridge Music Festival Orchestra, and the American Festival for the Arts Orchestra. His solo concerts have taken him to Mexico, Argentina, France, Germany, and Japan and across the United States and Canada. Mr. Ketter regularly joins forces with international singers and chamber groups. Venues include NPR’s Performance Today series, CBS Sunday Morning, Sirius Satellite Radio, Carnegie Hall, Avery Fisher Hall, the Teatro Colón in Buenos Aires, La Huaca, Atlapa in Panama City, the Savannah Music Festival, Bay Chamber Concerts in Rockport, Maine, “Music in the Mountains” in Colorado, and The Marilyn Horne Foundation. Musicians he has collaborated with include flutist Eugenia Zukerman, clarinetists Stephen Williamson, Ricardo Morales, and Jon Manasse, cellists Robert deMaine and Eric Bartlett, violinists Kelly Hall-Tompkins and Roy Malan, and singers Deborah Voigt, Margaret Jane Wray, Cynthia Lawrence, Samuel Ramey, Paul Plishka, Ben Heppner, Cliff Forbis, and Robert White. Hailed by the New York Times as “riveting,” “brilliant” and as “new music’s torchbearer,” BLAIR McMILLEN has established himself as one of the most versatile and sought-after pianists today. He has performed in venues both traditional and avant-garde; from Carnegie Hall, the Moscow Conservatory, the Metropolitan Museum, Avery Fisher Hall, Caramoor, Miller Theatre, and the Library of Congress, to (le) Poisson Rouge, Galapagos, the Knitting Factory, and The Stone. Highlights from recent seasons include the Walter Piston Concertino at Carnegie Hall with the American Symphony Orchestra, over a dozen performances of John Cage’s piano magnum-opus Sonatas and Interludes, and numerous appearances with the St. Paul Chamber Orchestra. An avid chamber player, Mr. McMillen is pianist for the Naumburg Award-winning Da Capo Chamber Players, among other groups. He is the co-founder and director of the Rite of Summer Music Festival on Governor’s Island, an “alt-classical” outdoor series, which had its critically-acclaimed inaugural season in Summer 2011. Blair McMillen holds degrees from Oberlin College, the Juilliard School, and Manhattan School of Music. He lives in New York City and serves on the music faculty at Bard College and Conservatory. NATALIYA MEDVEDOVSKAYA is an award-winning composer, concert pianist, and songwriter. Her compositions are hailed as “significant, amazing, dramatic" (Los Angeles Times). A graduate of the St. Petersburg Conservatory, Russia, with a double major in
composition and piano performance, she moved to New York City in 2003. She won First Prize at the 1995 International Composers’ Competition of the Gartow Foundation (Saint Petersburg, Russia); second prize in the composition category at the International Competition "Golden Channukia" (Berlin, 2005); and then, more recently in the United States, an honorable mention in the 14th Billboard Song Contest and an ASCAP Plus Award, among others. Her commissioned compositions were broadcast by WQXR and performed at different festivals including the "Wall to Wall behind the Wall" International Festival at Symphony Space (New York, 2010), the Chamber Music America Conference (New York, 2007), Albuquerque Music Festival (2007), International Clarinet Convention (Georgia, 2006), Mohawk Trial Concerts (2006), Summer Mountain Festival (2005), and Edinburgh Festival of Art, Music, and Animation (Scotland, 1997). Her String Quartet No. 1 has been performed by the famous Saint Petersburg String Quartet since the early nineties in a number of American cities and venues including Merkin Hall and Yale University, receiving glowing reviews in the Los Angeles Times, the Washington Post St. Paul edition, the Kalamazoo Gazette, and the Charleston Daily Mail. She recently premiered a concert piano transcription of the first scene of her Adventures of Nils ballet at Bargemusic. Since August, 2011, she has been playing solo and violin/piano concerts at Bargemusic, and one of her solo concerts there was favorably reviewed at http://www.nyconcertreview.com. One of New York’s most gifted, trusted, respected, often-requested, and well-liked pianists, CHRISTOPHER OLDFATHER has devoted himself to the performance of twentieth-century music for more than thirty years. He has participated in innumerable world-premiere performances, in every possible combination of instruments, in cities all over America. He has been a member of Boston’s Collage New Music since 1979 and of New York City’s Parnassus since 1997, appears regularly in Chicago, and as a collaborator has joined singers and instrumentalists of all kinds in recitals throughout the United States. In 1986 he presented his recital debut in Carnegie Recital Hall, which was then immediately closed for renovations. Since then he has pursued a career as a free-lance musician. This work has taken him as far afield as Moscow and Tokyo, and he has worked on every sort of keyboard ever made, including, of all things, the Chromelodeon. He is widely known for his expertise on the harpsichord, and is one of the leading interpreters of twentieth-century works for that instrument. As soloist he has appeared with the MET Chamber Players, the San Francisco Symphony, and Ensemble Modern in Frankfurt, Germany. His recording of Elliott Carter's violin-piano Duo with Robert Mann was nominated for two Grammy Awards in 1990. Recently he has collaborated with the conductor Robert Craft, and can be heard on several of his recordings. Mezzo-soprano JENNIFER RODERER is thrilled to be singing John Eaton's Dirge without Music and has also performed in Mr. Eaton's operas The Curious Case of Benjamin Button, Pumped Fiction, Youth, and Il Divino Narciso, as well as the song cycles Lettere, A Packet for Emile and Bill, and Suor Juana Songs. From 1999 to 2011 she performed regularly with the New York City Opera in a wide variety of mainstage roles, such as the Witch in Hansel and Gretel, Junon in Plateé, and Jade Boucher in Dead Man Walking, as well as in their annual VOX series presenting contemporary American opera. Career highlights include appearances at Teatro Colón (Fricka in Die Walküre), Opera Company of Philadelphia (Witch in Hansel and Gretel), and Lyric Opera of Chicago (Waltraute in Die Walküre). Equally at home on the concert stage, she has performed with the Los Angeles Philharmonic, the New Jersey Symphony, American Symphony Orchestra, Los Angeles Master Chorale, and the Pacific Symphony. Other frequently reprised roles include Amneris in Aida, Quickly in Falstaff, Mrs. Grose in The Turn of the Screw, and the mezzo-soprano soloist in Verdi's Requiem. This season marked her role debut as Azucena in Il Trovatore with Opera Roanoke. Jennifer attended the University of Southern California and has received grants from the William Matheus Sullivan Foundation and the Wagner Societies of Washington, D.C., New York City, and Los Angeles.
The NEW YORK COMPOSERS CIRCLE, which celebrates in tenth anniversary this season, is an artistic and educational organization of composers and performers, dedicated to new music, whose mission is to promote public awareness and appreciation of contemporary music through concerts, salons, and other events in the New York metropolitan area. For its members, the NYCC offers a variety of opportunities for testing works in progress at monthly salons open to the public, performing completed works in concert, and fostering collaboration and development, both artistic and professional. For nonmembers, the NYCC offers the opportunity of a public performance to winners of its annual composers’ competition. For the sophisticated concertgoing public, the NYCC offers four concerts a year of members’ works, curated by a jury of members headed by prizewinning composer John Eaton. And for members of the public who have not yet been exposed to much contemporary music, the NYCC sponsors an outreach program, in which we send performers to various institutions — including high schools and senior centers — at no charge to the institution, to perform works of the 20th and 21st centuries. 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 regularly 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 well-attended concert was favorably reviewed in the New Music Connoisseur. Under the continued leadership of Debra Kaye, more recently of John de Clef Piñeiro, and currently of Richard Brooks, 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 2011-12 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 (now open to the public) and collaborations with other groups and institutions, support the creation and presentation 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, and in March 2010 we collaborated with the Italian “No Borders” Quartet in presenting a program of works by American and Italian composers that was performed both in this country and in Italy. In the summer of 2007 the NYCC held the first of its annual composers' competitions, open only to nonmembers. The winning work in the 2011 competition, our fifth, Max Giteck Duykers's Glass Blue Cleft, for string quartet,
will receive its premiere performance at our final concert of the season, on June 2, 2012 at the Symphony Space Thalia. Three seasons ago the NYCC launched a new outreach initiativeâ€”the New York Composers Circle Community Encores program. We send professional performers to institutions throughout New York City, such as schools and senior centers, at no cost to the institution, with the aim of acquainting previously untapped audiences with concert music of the 20th and 21st centuries; each concert is emceed by a member of the NYCC, who introduces the performers and the music they play. The first concert in this series, featuring pianist/composer Nataliya Medvedovskaya, took place to great audience acclaim on February 24, 2009, at the Hebrew Home in Riverdale. To date, we have presented twelve of these free outreach concerts, at public high schools (Bronx Science, Stuyvesant, and Hunter College) and at additional senior centers (Lenox Hill Neighborhood House at Saint Peter's Church and JASA). Our most recent Community Encores concert, at Stuyvesant, featuring soprano Sofia Dimitrova and pianist Catherine Miller, garnered a rapt audience of 350 students, whose probing questions were fielded by the performers and by composer Richard Russell, who acted as emcee. These outreach concerts are presented under the sponsorship of NYCC contributors, and the list of schools and senior centers is expanding. See the next page for how you can help support this project, which is bringing new music to new audiences.
Friends of the New York Composers Circle Judith Anderson Naoko Aoki Oliver Baer William and Marilyn Baker Roger Bermas Gary Bloom Nancy R. Bogen-Greissle HervĂŠ BrĂśnnimann Barry Cohen Gloria Colicchio Mary Cronson David Del Tredici and Ray Warman Gary DeWaal and Myrna Chao Robert and Karen Dewar Mr. and Mrs. John Eaton Jeanne Ellis Michael and Marjorie Engber Harriet Englander Margaret Fairlie-Kennedy Anne Farber Allen C. Fischer and Renate Belville Amy Roberts Frawley Victor Frost Peter and Nancy Geller Lucy Gertner Dinu Ghezzo Essie Glusman Perry Gould Linda Hong Carl Kanter David Katz David Kaufman Barbara Kaye
Richard Kaye Daniel Klein Alvin and Susan Knott Susan Korn Leo Kraft Herbert and Claire Kranzer Gabriel and Carol Laderman Michael Laderman Raphael Laderman Dorothy Lander Arnold and Michelle Lebow Mr. and Mrs. Robert Leibholz Stephen and Ann Leibholz Erwin Lutwak Joseph and Nina Malkevitch David Martin Martin Mayer William Mayer Christopher Montgomery William and Beryl Moser Bill Nerenberg Murray S. Peyton Richard Pollack and Lori Smith Bruce S. Pyenson Marjorie Senechal Abby Jacobs Stuthers Alice and Al Teirstein Mr. and Mrs. Douglas Townsend Raymond Townsend Gary and Katrine Watkins Sally Woodring Thomas Zaslavsky and Seyna Bruskin Martin Zuckerman and Susan Green
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, or you may click on the "Donate Now" button on our website, www.NYComposersCircle.org. If you would like to help us in our efforts to build new audiences for new music, please become a Friend of the New York Composers Circle and send us your contribution.
New York Composers Circle Board of Directors John de Clef Pi帽eiro John Eaton Jacob E. Goodman David Katz Stephen Leibholz, Chair Administration Richard Brooks, Executive Director Donald Hagar, Associate Executive Director David Katz, Treasurer David Picton, Secretary Eugene Marlow, Membership Coordinator Jacob E. Goodman, Outreach Coordinator Tamara Cashour, Publicity Coordinator Richard Russell, Webmaster Elliott Carter
Honorary Members Ezra Laderman Tania Le贸n
Composer Members Roger Blanc Richard Brooks Madelyn Byrne Tamara Cashour Robert S. Cohen Brian Fennelly Jacob E. Goodman Jennifer Griffith Donald Hagar Martin Halpern
Hubert Howe Memrie Innerarity Carl Kanter Jonathan Katz Debra Kaye Leo Kraft Stephen Leibholz Patricia Leonard Eugene Marlow Peri Mauer
Eugene W. McBride Richard McCandless Nataliya Medvedovska Yekaterina Merkulyeva Scott Miller Gayther Myers Miki Nakanishi Nailah Nombeko Joseph Pehrson
David Picton Kala Pierson Frank Retzel Dana Richardson Richard Russell Inessa Segal Nina Siniakova Cesar Vuksic Matt Weber
Performer Members Demetra Adams, soprano Christina Ascher, contralto Haim Avitsur, trombone Mary Barto, flute Virgil Blackwell, bass clarinet Allen Blustine, clarinet Sofia Dimitrova, soprano Stanichka Dimitrova, violin Tiffany Du Mouchelle, soprano Marcia Eckert, piano
Oren Fader, guitar Leonard Hindell, bassoon Jill Jaffe, viola Sibylle Johner, cello Craig Ketter, piano Michael Laderman, flute Maxine Neuman, cello Margaret O'Connell, mezzo Javier Oviedo, saxophone
Noah Palmer, piano Lisa Pike, horn Anthony Pulgram, tenor Ricardo Rivera, baritone Stephen Solook, percussion Patricia Sonego, soprano Jacqueline Thompson, soprano Anna Tonna, mezzo-soprano Arlene Travis, soprano
Contact New York Composers Circle 252 DeKalb Avenue Brooklyn, New York 11205 www.NYComposersCircle.org
Our next and final concert of the season will take place at 7:30 PM on Saturday, June 2, 2012, at the Leonard Nimoy Thalia, Symphony Space, Broadway and 95th St. in Manhattan. For more information, please check the NYCC website.