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Dedicated to the creation and performance of new music







Slants of Light . . . . . . . . . . . . . . . . . . . . . . . . . Debra Kaye 1. Not knowing when the dawn will come 2. There's a certain Slant of light 3. I heard a Fly buzz – 4. This – is the land the Sunset washes

Patricia Sonego, soprano

Hiromi Abe, piano

Pixeliance* . . . . . . . . . . . . . . . . . . . . . . . . . . . . Peri Mauer Mary Barto, flute Ashley Jackson, harp Mike Truesdell, marimba

La Musique . . . . . . . . . . . . . . . . . . . . . . . . . . . Elliott Carter Tiffany Du Mouchelle, soprano

Swing Sonata: Waltz Rondo . . . . . . . . . . . . . . . Matt Weber Kat Maresco, alto saxophone

Seann Branchfield, piano


Wild Flower** . . . . . . . . . . . . . . . . . . . . . . . .Dinu Ghezzo Esther Lamneck, clarinet

An Ant's World, for marimba 4-hands . . . Robert S. Cohen 1. The Work Never Ends 2. Invasion of the Anteaters 3. Dat Roach is a Heavy Load 4. It's Good to Serve the Queen

Simon Boyar, marimba

Crystal Chu, marimba

Four Songs to Poems of William Blake . . Nailah Nombeko 1. The Lilly 2. The Garden of Love 3. The Divine Image 4. My Pretty Rose Tree

Tiffany Du Mouchelle, soprano

Marcia Eckert, piano

The First Snow . . . . . . . . . . . . . . Nataliya Medvedovskaya Gregory Weissman, oboe Stanichka Dimitrova, violin * World Premiere

Leonard Hindell, bassoon Nataliya Medvedovskaya, piano

** American 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: Patricia Leonard, producer Carl Kanter, assistant producer Patricia Leonard, stage manager Carl Kanter, reception Nina Siniakova, at the door Eugene W. McBride, page turner Paul Geluso, sound recordist Tamara Cashour, publicity Jacob E. Goodman, programs

SONG TEXTS La Musique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Elliott Carter La Musique Charles Baudelaire La musique souvent me prend comme une mer! Vers ma pâle étoile, Sous un plafond de brume ou dans un vaste éther, Je mets à la voile; La poitrine en avant et les poumons gonflés Comme de la toile J'escalade le dos des flots amoncelés Que la nuit me voile; Je sens vibrer en moi toutes les passions D'un vaisseau qui souffre; Le bon vent, la tempête et ses convulsions Sur l'immense gouffre Me bercent. D'autres fois, calme plat, grand miroir De mon désespoir! Music (translated by William Aggeler) Music often transports me like a sea! Toward my pale star, Under a ceiling of fog or a vast ether, I get under sail; My chest thrust out and my lungs filled Like the canvas, I scale the slopes of wave on wave That the night obscures; I feel vibrating within me all the passions Of ships in distress; The good wind and the tempest with its convulsions Over the vast gulf Cradle me. At other times, dead calm, great mirror Of my despair!

Slants of Light – Four Poems of Emily Dickinson . . . . . . . . . . Debra Kaye 1 Not knowing when the dawn will come I open every door. Or has it feathers like a bird, Or billows like a shore? 2 There's a certain Slant of light, Winter Afternoons – That oppresses, like the Heft Of Cathedral Tunes – Heavenly Hurt, it gives us – We can find no scar, But internal difference, Where the Meanings, are – None may teach it – any – 'Tis the Seal Despair – An imperial affliction Sent us of the Air – When it comes, the Landscape listens – Shadows – hold their breath – When it goes, 'tis like the Distance On the look of Death – 3 I heard a Fly buzz – when I died – The Stillness in the Room Was like the Stillness in the Air – Between the Heaves of Storm – The Eyes around – had wrung them dry – And Breaths were gathering firm For that last Onset – when the King Be witnessed – in the Room – I willed my Keepsakes – Signed away What portion of me be Assignable – and then it was There interposed a Fly – With Blue – uncertain stumbling Buzz – Between the light – and me –

And then the windows failed – and then I could not see to see – 4 This – is the land – the Sunset washes – These – are the Banks of the Yellow Sea – Where it rose – or whither it rushes – These – are the Western Mystery! Night after Night Her purple traffic Strews the landing with Opal Bales – Merchantmen – poise upon Horizons – Dip – and vanish like Orioles!

Four Songs to Poems of William Blake . . . . . . . . . . . . . . Nailah Nombeko The Lilly The modest Rose puts forth a thorn, The humble sheep a threat'ning horn: While the Lilly white shall in love delight, Nor a thorn nor a threat stain her beauty bright. The Garden of Love I went to the Garden of Love, And saw what I never had seen: A Chapel was built in the midst, Where I used to play on the green. And the gates of this Chapel were shut, And "Thou shalt not" writ over the door; So I turned to the Garden of Love, That so many sweet flowers bore; And I saw it was filled with graves, And tombstones where flowers should be; And Priests in black gowns were walking their rounds, And binding with briars my joys and desires.

The Divine Image To Mercy, Pity, Peace, and Love All pray in their distress; And to these virtues of delight Return their thankfulness. For Mercy, Pity, Peace, and Love Is God, our Father dear, And Mercy, Pity, Peace, and Love Is man, His child and care. For Mercy has a human heart, Pity a human face, And Love, the human form divine, And Peace, the human dress. Then every man, of every clime, That prays in his distress, Prays to the human form divine, Love, Mercy, Pity, Peace. And all must love the human form, In heathen, Turk, or Jew; Where Mercy, Love, and Pity dwell There God is dwelling too. My Pretty Rose Tree A flower was offered to me: Such a flower as May never bore. But I said "I've a Pretty Rose-tree", And I passed the sweet flower o'er. Then I went to my Pretty Rose-tree: To tend her by day and by night. But my Rose turn'd away with jealousy: And her thorns were my only delight.

COMPOSERS ELLIOTT CARTER, the dean of American composers and our newest Honorary Member, turned 103 a few months ago. Born in New York City, he began to be seriously interested in music in high school and was encouraged at that time by Charles Ives. He attended Harvard University where he studied with Walter Piston, and later went to Paris where for three years he studied with Nadia Boulanger. He then returned to New York to devote his time to composing and teaching. With the explorations of tempo relationships and texture that characterize his music, Carter is recognized as one of the prime innovators of 20th-century music. The challenges of works such as the Variations for Orchestra, the Symphony of Three Orchestras, and the concertos and string quartets, are richly rewarding. In 1960, Carter was awarded his first Pulitzer Prize for his visionary contributions to the string quartet tradition. Stravinsky considered the orchestral works that soon followed, the Double Concerto for harpsichord, piano, and two chamber orchestras (1961) and the Piano Concerto (1967), to be "masterpieces." Elliott Carter has been the recipient of the highest honors a composer can receive: the Gold Medal for Music awarded by the National Institute of Arts and Letters, the National Medal of Arts, membership in the American Academy of Arts and Letters and the American Academy of Arts and Sciences, and honorary degrees from many universities. Hailed by Aaron Copland as "one of America's most distinguished creative artists in any field," Carter has received two Pulitzer Prizes and commissions from many prestigious organizations. Mr. Carter wrote, in 2007, “La Musique, for solo voice, is a short commemoration of the 150th anniversary of the publication of Baudelaire’s Les Fleurs du Mal in 1857, and is taken from that book of poems. The piece is a small addition to the recital Lucy Shelton was to give of settings of Baudelaire for that occasion and is dedicated to her.” ROBERT S. COHEN has written music for orchestra, chamber ensemble, dance, and theatre, and has been the recipient of numerous awards and commissions, including a New Jersey State Council on the Arts Fellowship, an American Music Center Grant, a Meet the Composer Award, and several grants from the Geraldine R. Dodge Foundation. His String Quartet #2 (A Day in the Life) was the winner of the 2011 International NEString Quartet Competition. He was selected the winner of the 2008 New York Composers Circle Competition. His Alzheimer’s Stories for soloists, chorus, and large ensemble, published by C.F. Peters, was commissioned and premiered by the Susquehanna Chorale in 2009 and recently performed by the San Antonio Symphony MasterSingers. His Of Eternity Considered as a Closed System for soloists, chorus, and orchestra was premiered at Carnegie Hall in 2007 and also performed by the Bulgarian Opera Orchestra and Chorus in 2008. Other recent works include: Dream Journal for brass quintet; Genesis Part I: Creation and Part IV: Noah for soloists, chorus, brass & percussion; The Mysterious Transformation of Johann B. for clarinet and percussion, Homeland Security Suite for percussion (published by HoneyRock Music); Edison Invents for baritone and orchestra; Tiktaalik; and the choral works Sleep, Little Baby, Sleep (published by Hal Leonard), Three Spirituals, Dusk, Night Cadence, Christmas Eve, Sprig of Lilac, Ode to a Toad, Sing with Me, Ho Hosanna, and Peter Quince at the Clavier. In addition, Bob co-authored the book and composed the score for the 2000 Richard Rodgers Award-winning OffBroadway musical Suburb. Bob received his A.B. in music from Brown University, and his M.A. in Composition from Queens College, and was enrolled in the doctoral program at Columbia University. He currently lives in Montclair, New Jersey with his wife Maryann and two cats, Fred and Ginger. His website is

He writes, “The inspiration for An Ant's World came one day while I was playing tennis and noticed a small ant carrying the much larger carcass of a dead roach across the court. As I stopped serving to allow it to continue on its way unimpeded, I imagined what the life of an ant must be like: its motivations, fears, and joy. An Ant's World is published by HoneyRock Music. The late DINU GHEZZO, to whose memory this concert is dedicated, was an Honorary Member of the New York Composers Circle. He received his education in conducting, music education, and composition at the Romanian Conservatory in Bucharest (1964 and 1966), and subsequently earned a Ph.D. in composition at UCLA in 1973. He enjoyed a thirty-four-year career at NYU as a professor of music and Director of Composition Studies, and earned the title of Professor Emeritus at NYU, where the Music and Performing Arts Department instituted the Dinu Ghezzo Composition Award. He also taught at Lehman College (CUNY). Much involved in national and international music projects, he was founder and president of Musica Nueva Malaga Festival (Spain), of ICIA Inc. (International Composers and Interactive Artists), and of the Summer Italian Arts Institute in Perugia and University of Rome II, Tor Vergata. Among many leading positions, he was president of NABLA Ensemble, in Residence at the University of Rome, founder and director of INMC Inc. (International Music Consortium), director of Assisi International Music Days, among others, and was past director of ANMC Inc., Todi International Music Days, Gubbio Festival, Molfetta Festival, CIPAM Festival in Montevarchi (Italy), Constanta International Music Days, The Week of Romanian American Music in Oradea, Romania, etc. He was the recipient of an honorary doctorate from Ovidius University, Constanta (Romania), and of many awards, prizes, residences, and commissions: Fulbright Senior Scholar (2006), visiting composer at the American Academy in Rome, composer-inresidence at Dresden Festival, and guest composer at the Hochschule der Künste Berlin, at the Royal Conservatory in Brussels, at the Hungarian Arts and Letters Academy in Budapest, at the Jerusalem Music Academy, and at the Music Academy in Krakow; he received the CAPS Award - New York, George Enescu Awards, ASCAP Awards, NYSCA and NEA Grants, worked with leading international ensembles and soloists, and enjoyed residencies as guest composer, conductor, and performer. Dinu Ghezzo was the conductor of the NYU/Washington Square Orchestra, second conductor of the Black Sea Symphony (Constanta Symphony) and guest conductor of the Oradea Symphony, Timisoara Symphony Orchestra, Bucharest Music Academy Orchestra, etc. He was founder and co-director with Leo Kraft of the New York Repertory Ensemble (1976-84) and founder and co-director with Jack Kreiselman of the NYU Contemporary Players, appearing at Lincoln Center, Alice Tully Hall, Carnegie Hall, Weill Hall, at Monday Evening Concerts, University of Illinois, University of Michigan, and with concert tours most notably at the Barbican Center, London, the Paris Conservatory, the Université de Paris-Sorbonne, Oldenburg University (Germany), Royal Conservatory Bruxelles, etc. His music is published by Editions Salabert of Paris, Lantro Music (Belgium), Musica Scritta, the AIM Press (Italy), Tirreno Gruppo Editoriale (Milan, Rome), the Calabrese Brothers, and Subito/Seesaw Music Corporation, New York. He had major performances at Carnegie Hall, Lincoln Center, Carnegie Recital Hall, Zankel Hall at Carnegie, Merkin Hall, Monday Evening Concerts in Los Angeles, and many appearances at international festivals and conferences in Paris, Berlin, Amsterdam, Brussels, Helsinki, Stockholm, Cologne, Rome, Florence, Venice, Budapest, Tokyo, Seoul, etc. His compositions are featured on several Orion Master Recordings albums, on several Capstone Records, on INNova and Ariel Records, as well as on TGE Switzerland, (Tirreno Gruppo Editoriale), WDR Cologne, Helsinki Radio, Raum Klang (Bayerischer Rundfunk),

and Grenadilla label. Biographical entries in Baker Music Dictionary, Geschichte und Gegenwart, Who’s Who in Music, J. Machlis Contemporary Composers, etc. Dinu Ghezzo passed away in December. Shortly before his death, he wrote the following short program note about the work that Esther Lamneck is performing today, and which she had the opportunity of rehearsing under his direction: “Wild Flower, for solo clarinet, is a gift for my daughter’s last birthday, this past August, and is receiving its first American performance. It is also dedicated to those people of free spirit.” Composer DEBRA KAYE has received a steady stream of commissions since 2003. With roots in the classical tradition, her music is also influenced by jazz and world music, and by Dalcroze Eurhythmics with its understanding of momentum. Whether writing in a serious or lighter/funny style, her aim is to communicate viscerally, often along a wide range of emotion. An ASCAP Plus winner several years running, she has received support for her music from such sources as Meet the Composer, Mannes College of Music, the Edward T. Cone Foundation, Fort Wayne Children’s Choir, and New School University. Artist residencies at the Millay Colony and Wurlitzer Foundation have influenced several of her recent works. Debra’s music has been heard in note-able venues in New York City and beyond including Steinway Hall and Carnegie’s Weill Recital Hall, Mannes College of Music, streaming live and on the radio on Chicago’s WFMT, and other regional stations. Debra is a long-standing faculty member of the Mannes College Preparatory Division. About Slants of Light, she writes: “Light was one of Emily Dickinson’s recurring themes. Through exploring her poems on the subject, we discover the range of her experience, and I think of our own as well. A homebody, she traveled little, and was not what we would call worldly. Yet her poems depict an internal world that is at once private and universal. Concrete and subtle, her imagery evokes many layers of meaning, and invites a marriage with music.” 2011 was an amazing year for composer PERI MAUER. Premiere performances of her work this past year include her trio Afterwords, for clarinet, cello, and piano, by Cross Island on Jan. 23rd, performed again March 20th and March 27th, Blogarhythm: Scenes 1 and 2 for 24-piece chamber ensemble (which she also conducted) on April 1st in Music With a View 2011 Festival at the Flea Theater, Rhapsodance, for clarinet and piano, on the April 5th New York Composers Circle Concert of New Music at Saint Peter's Church, Blogarhythm on the Rocks, for chamber ensemble, as part of Make Music New York 2011 in Central Park on June 21st, and Morning in a Minute, in the Vox Novus Concert Series at Jan Hus Church on October 30th. She was most honored to have four performances of Rhapsodance at Bargemusic's Here and Now Labor Day Festival, September 1-4, 2011. In The New York Times review of the concert published September 4, 2011, Steve Smith writes " Peri Mauer's Rhapsodance, vibrantly interpreted by Moran Katz, a clarinetist, and Alexandra Joan, a pianist, set a tart chromatic melody dancing to frisky rhythms akin to Poulenc." In 2011 her music was heard on the radio for the first time as well. Morning, Night & Noon was included in Princeton's WPRB live radio broadcast "We Remember September 11." and Afterwords was heard on WPRB's "Classical Discoveries" October 5th program. January 29th brings the world premiere of her piece for three cellos in Composers Concordance Festival 2012, and she is very pleased to present the world premiere of Pixeliance to you this evening! Pixeliance, a one-movement work composed in 2010 for flute, harp, and marimba, follows the trajectory of her recently premiered NYCC performance of Rhapsodance. It is a bright, colorful piece, vibrant in spirit, moving forward with optimism and joy.

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, Russsia); second prize in the composition category at the International Competition "Golden Channukia" (Berlin, 2005); and then, more recently in the U.S.A., 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 "Wall to Wall behind the Wall" International Festival at Symphony Space (New York, 2010), at 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 U.S. 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. She writes: “ Performed at the An Die Musik series (Maryland, 2009) and at the “Wall to Wall behind the Wall” International Festival (New York, 2010), First Snow was written as a nostalgic response to a beautiful snowfall I observed from my New York window a few years ago when there had not been any snow for a long time, and I remembered seeing snow every winter while living in Russia. The conception of the piece goes beyond “first snow” itself, though, and symbolizes the beginning of tough times in any human being's life, embracing a wide range of emotions from peacefulness to tension to real drama – with the snowstorm at the end of the piece. NAILAH NOMBEKO, a native of Harlem, New York, comes from a musical family. She began playing by ear when she was three years old and enrolled in the Preparatory Division of the Manhattan School of Music at age six. She demonstrated talent for composing at an early age. At the age of five Ms. Nombeko composed a piece which she later used to audition for the Preparatory Division of the Manhattan School of Music, which she attended until age 18. While a student at MSM her compositions were performed every year. She went on to attend LaGuardia High School (Music and Art) and Mannes College of Music, where she received her Bachelor’s and Master’s degrees as a student of piano performance. She had master classes with Igor Kipnis and Nelly Ben-Or. During her time at Mannes she studied theory and analysis with Carl Schachter and Robert Cuckson. Ms. Nombeko composes works for a variety of ensembles and choirs, including the Ascension Church choir with soloist Laura Green and the Orfeo Duo (violin/piano). Her works have been performed at Columbia University, Trinity Church, and St. Mary’s, as well as at other venues in New York City. During the spring of 2011 she composed new works for a chamber music workshop led by the Orfeo Duo. In the fall of 2011 soprano soloist Shannon Roberts of the Chelsea Opera performed selections from a song cycle written by Ms. Nombeko. Currently she is working on a joint song cycle to the poetry of Marsha Dale Abrams, which is set to premiere in 2012. The Blake poems are from his Songs of Innocence and of Experience. MATT WEBER, born in 1981 in Fort Wayne, Indiana, started composing in the year 2000 while a student at Simon's Rock College of Bard with Professor Laurence Wallach. After transferring to Brown University, he became involved in the student-run Original Music Group there. He wrote many pieces for OMG's concerts and eventually became

president of that organization during the 2003-2004 academic year. Despite majoring in two fields unrelated to music, Matt took many music classes, including courses in counterpoint, orchestration, and modern music history, with composition professor Gerald Shapiro. When Matt graduated, he became the only non-music major ever to earn the Brown Music Department’s Ron Nelson Award for Excellence in Composition. Later, during the 2006-7 academic year, he studied composition with David Del Tredici at City College of New York. Matt then enrolled in a master's program in composition at Hunter College, which he completed in the spring of 2010. His composition teachers there were Shafer Mahoney (classical) and Ryan Keberle (jazz). He currently studies privately with Philip Rothman, while maintaining an active presence in the New York Composers Circle. He also writes for the new-music blog I Care If You Listen, and was recently commissioned by the Nicu's Spoon Theatre to write music for the January 2012 performance of the play Snow White and Rose Red. About his Waltz Rondo, Matt writes: “This piece is the second movement of my master's thesis, Swing Sonata, an attempt to fuse classical sonata form with the harmonic language of jazz. This is the slowest movement, and travels from Eb Major to the farthest possible key, A major, before returning for a final statement of the main theme.

PERFORMERS HIROMI ABE is a pianist/keyboardist, a composer, a recording producer, and an engineer, whose works have been performed in various types of productions throughout the United States and Japan. She began her music career in Japan as a versatile pianist and has performed in diverse venues. A few years ago, she was invited as a guest soloist to perform Gershwin’s Rhapsody in Blue with a symphonic ensemble in Japan and also has been scheduled to perform Ravel’s Piano Concerto in G Major in São Paulo, Brazil in this year. After receiving her M.A. in the United States, she not only continues performing in public but also started working at recording studios where she acquired her strong and versatile technical music background, excelling in all styles of music. Her works have been released through major and minor labels and she has also collaborated with other artists and DJs of the many genres characterizing the city of New York. Ms. Abe currently works as a digital media analyst at Sony, GDB. Her formal musical training started at age four in Japan where she attended the Yamaha School of Music, taking both composition and piano lessons. She holds two B.A.s, one in Piano Performance from the Kunitachi College of Music in Tokyo, the other in Jazz Composition from the Philadelphia College of Performing Arts. At the Philadelphia College of Performing Arts, she received the Jacobs Music Company Steinway Award in piano performance. She earned her M.A. in Music Composition from Queens College, where she was the recipient of the Aaron Copland School of Music Graduation Masters Award. A former member of the Metropolitan Opera Orchestra, flutist MARY BARTO has performed in New York with the New York Philharmonic, New York City Opera, New York City Ballet, and American Ballet Theatre. Her major teachers include Julius Baker, John C. Krell, Herbert Levy, and Sandra Miller. She has toured Western Europe with harpsichordist Eve Kugler and across the United States as soloist for the legendary Skitch Henderson, founder of the New York Pops. She is a member of the New York Five, exclusively performing music composed by their pianist, George Quincy. The 2012 release of their Journey of the Red Feather is available on CDBaby. Mary Barto is Instructor of Flute at Teachers College-Columbia University, Associate Professor at Mannes College – the New School for Music, and Adjunct Professor at Fordham University and at Hunter College. She is the Director of the Mannes College Extension Division Flute Ensemble. She has given many solo concerts and master

classes as well as performed on WQXR’s “Artists in Concert.” Numerous film score recordings include works by Academy Award-winning composer John Barry. Concerts and recordings for the Federal Music Society were performed on period instruments and recorded by New World Records. Her e-mail address is SIMON BOYAR is perhaps the most electrifying and innovative percussionist on the music scene today. As a classical soloist Simon has appeared with dozens of orchestras around the world. He has premiered marimba and percussion works by composers such as Elliot Carter, Daniel Levitan, Andrew Thomas, Javier Diaz, Mike Garson, and Harold Farberman. Simon has also worked as producer and arranger on many projects including most recently with Emmy award-winning composer/producer Peter Fish. As an educator he has served as Chair of The Juilliard Pre-College Percussion Department and is currently on the faculty of the Steinhardt School of Music at NYU, where he directs The NYU Marimba Ensemble. Boyar is a Yamaha Artist and a member of the Vic Firth Education Team. He has been featured on NPR’s “All Things Considered” and PBS NJN’s “State of The Arts” for breaking new ground in percussive music making. SEANN BRANCHFIELD is a composer and pianist. Originally from Newport, Oregon, he received an M.M. in Composition from New York University in 2010 and an M.A. in Music from City College of New York in 2008. Branchield has experience as a recording artist, having founded the classical-crossover Branchfield/Schroeder Duo and symphonic rock ensemble Symfinity, both of which are releasing debut albums in 2012. Both ensembles regularly perform his compositions both locally and nationally. He also has written orchestration for various New York bands and artists, including Symfinity, Decembers Fall and Mike Higbee. As a multi-instrumentalist, he currently performs with piano, guitar, bass guitar, and voice. WING-IN CRYSTAL CHU is currently pursuing her Master's degree in Percussion Performance at New York University with a Steinhardt Music Talent Scholarship, studying with Simon Boyar and Jonathan Haas. In 2011 she received her Bachelor's degree in Percussion Performance from the Yong Siew Toh Conservatory of Music of the National University of Singapore with full scholarship as a student of Jonathan Fox. In 2009 she was selected to participate in an exchange program to study at the Peabody Institute of Johns Hopkins University with Robert van Sice and David Skidmore. In 2006 Crystal was selected to be one of the percussionists of the World Youth Wind Orchestra Project held by Mid-Europe in Schladming, Austria. In 2005 she was chosen to be a percussionist in the International Youth Wind Orchestra at the 12th WASBE in Singapore. A winner of the 2010 Concerto Competition at Stony Brook University, violinist STANICHKA DIMITROVA has also been 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 of the National Competition for Austrian and German Music in Burgas, Bulgaria. Stanichka Dimitrova is a graduate of the Juilliard School, where she studied with Sally Thomas. She is currently pursuing her D.M.A. degree at Stony Brook University, studying with Philip Setzer, Pamela Frank, Soovin Kim, and Philippe Graffin. An avid performer of contemporary music, Stanichka is currently involved in various new music groups such as the New York Composers Circle and Blind Ear Music, where she gets to work with new and upcoming composers from the New York City area. In 2007 she gave the premiere of Richard Russell’s Violin Sonata, which was written for and dedicated to her. Soprano TIFFANY DU MOUCHELLE is well known for her musical versatility, electric stage presence, and exceptional dramatic sensibilities. She is most recognized for her

fearlessness in exploring new and challenging repertoire, featuring over 20 different languages (including Arabic, Japanese, Miani, Russian, and Swedish) and exploring the genres of classical, world, contemporary, cabaret, and theatrical works. Ms. Du Mouchelle is a founding member of the percussion/voice duo Aurora Borealis with percussionist Stephen Solook; together they actively commission and perform new compositions for this unusual ensemble. With the cultural diplomacy group Cultures in Harmony, she has helped lead musical outreach programs in Papua New Guinea and Egypt. In a current collaboration with the Pacific Blue Foundation, Ms. Du Mouchelle and Stephen Solook are researching, documenting, and developing ways to conserve indigenous music of the Fiji Islands. Recent and upcoming performances include: Steve Reich's Music for 18 Musicians with Bang on a Can All Stars at Los Angeles' Disney Hall; Kurtag's The Kafka Fragments with violinist David McCarroll at the Yellow Barn Music Festival; the role of Clytemnestra in Roger Reynolds' opera Justice; the role of der Trommler in Viktor Ullmann's The Kaiser of Atlantis; Trois Poèmes de Stéphane Mallarmé by Ravel with Ensemble Palimpsest, under the baton of Maestro Steven Schick; Pierrot Lunaire with the Kalisti Ensemble. Ms. Du Mouchelle is an alumna of the Mannes College of Music (B.M., M.M.) and is currently pursuing her D.M.A. in contemporary music performance with the University of California San Diego. MARCIA ECKERT is active as a piano soloist and a 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 Uni ted States presenting lecturerecitals on piano music by women composers and on the music of Charles Ives. As a member of the Ehrlich/Eckert Duo, she made a special project of presenting music for violin and piano by women composers. Their recording of the music of Germaine Tailleferre is on Cambria Records. Ms. Eckert has also recorded for the Leonarda label. As a chamber pianist, she has performed with the Dulcinea Piano Trio, Blue Door, Polyhymnia, Sarasa, and Eckert/Gilwood Piano Duo, and is a member the The Beehive, which performs works by Debra Kaye. Ms. Eckert is a recipient of the President’s Award for Excellence in Teaching at Hunter College, CUNY. She has been teaching piano and chamber music in the Preparatory Division of Mannes College The New School for Music since 1983 and is the founder/director of Pianophoria!, and Teen Pianophoria!, summer piano intensives in New York City. Ms. Eckert holds degrees in Piano Performance from Indiana University School of Music and State University of New York at Stony Brook. She has been a fellow at Berkshire Music Center at Tanglewood and at the Yale Summer Chamber Music Festival in Norfolk, Connecticut. Teachers have included Jorge Bolet, Gilbert Kalish, Claude Frank, William Masselos, Seymour Bernstein, Luis Batlle, and Lucy Greene. LEONARD HINDELL began his bassoon studies while at the High School of Music and Art. After graduating M&A, he attended the Manhattan School of Music where he won the Harold Bauer Award. Upon graduation he joined the Metropolitan Opera Orchestra and in 1972 became a member of the New York Philharmonic. He retired from the Philharmonic in 2005. Mr. Hindell has given recitals at Carnegie Recital Hall and Merkin Concert Hall where he premiered numerous pieces written for him. He served on the committee that helped establish the Philharmonic Ensembles, a series of chamber music programs featuring members of the New York Philharmonic in its concerts at Merkin Hall. Mr. Hindell is on the faculties of The Mannes School of Music and The Steinhardt School of Music at NYU. ASHLEY JENNIFER JACKSON, harpist, age 25, is a resident of New York City. She is currently a candidate for the Doctor of Musical Arts degree at the Juilliard School, studying with Nancy Allen. She holds a Bachelor of Arts degree from Yale College and a Master of Music degree in harp performance from the Yale School of Music. During her five years at Yale, Ashley studied with June Han. As the winner of the William Waite Concerto competition, she performed the Ginastera Harp Concerto with the Yale Symphony Orchestra. She was also the winner of the 2005 Berkeley Orchestra concerto competition and of the Yale Friends of

Music Recital competition. For the school year 2004-2005, the Afro-American Cultural Center presented her with an award for outstanding musical achievements. Upon graduation from Yale in 2008, she was the recipient of the Bach Society Prize from the Yale Department of Music and of an award for excellence in artistry from the Afro-American Cultural Center at Yale University. Ashley has performed with the New York Philharmonic under the direction of Kurt Masur at Avery Fisher Hall, as well as at Paul Hall and Morse Hall at the Juilliard School, Alice Tully Hall, Carnegie Hall, Symphony Space, Sprague Memorial Hall and Woolsey Hall at Yale University, Prudential Hall at the New Jersey Performing Arts Center in Newark, and the Millennium Stage at the Kennedy Center of Washington, D.C. She participated in the Aspen Music Summer Festival in 2004 and 2009 where she studied with Nancy Allen and Deborah Hoffman, and at the Brevard Music Festival with Katie Buckley. Most recently, she spent the past two summers at the Castleton Music Festival under the direction of Lorin Maazel. Ashley remains passionate and committed to music education. She is a teaching assistant in the Music History Department at the Juilliard School, focusing on developing the music history curriculum for undergraduate students. She is also on the faculty at the Turtle Bay Music School. The New York Times calls clarinetist ESTHER LAMNECK “an astonishing virtuoso.” Winner of the prestigious Pro Musicis Award, she has appeared as a soloist with major orchestras, with conductors such as Pierre Boulez, and with renowned chamber music and improvised music artists throughout the world. A versatile performer and an advocate of contemporary music, she is known for her work with electronic media including interactive arts, movement, dance, and improvisation. Ms. Lamneck makes frequent solo appearances at music festivals worldwide and maintains an active solo career performing and presenting master classes in universities and conservatories throughout the United States and Europe. An artist who is sought after by the leading composers of our time, she has found that her collaborations have led to hundreds of new compositions in many genres including solo works for the clarinet and the tárogató. Awarded the Naumburg Scholarship, Ms. Lamneck received her B.M., M.M., and doctoral degrees from the Juilliard School of Music, where she was a clarinet student of Stanley Drucker. She currently serves as Program Director of Woodwind Studies and the Clarinet Studio at New York University. She is artistic director of the NYU New Music and Dance Ensemble, an improvising flexible group that works in electronic settings using both fixed media and real time sound and video processing. An internationally renowned recording artist, she has recorded for Amirani Records, Capstone, Centaur, CRI, EMF, Music and Arts, Opus One, SEAMUS, Romeo/Qualiton, New World Records, and Innova. Ms. Lamneck worked with Dinu Ghezzo for more than twenty years and their fruitful collaboration brought forth new compositions, numerous performances, and rave reviews for their CDs. While attending NYU, KAT MARESCO studied saxophone under the tutelage of both Tim Ruedeman and Paul Cohen as well as bass guitar with Martin Wind. Other notable and influential coaches include Matt Sullivan, Pat Cerello, Chris Wilhjelm, and Esther Lamneck. Ms. Maresco performed in numerous ensembles including the NYU Wind Ensemble, NYU Symphony Orchestra, NYU Jazz Quintet, and many more. After being named the Music and Performing Arts Professions Student of the Year in 2007, Ms. Maresco received her B.M. in performance, cum laude, and took a position in the administration at Carnegie Hall. Other ensembles Ms. Maresco has appeared with include the Columbia University Wind Ensemble, Manhattan Wind Ensemble, and Columbia Summer Winds, leading to appearances all over the city including the Upper West Side’s Symphony Space. She is an active member of the New York Alumnae Chapter of Sigma Alpha Iota and performed at the SAI National Convention in 2008. Ms. Maresco made her off-Broadway debut with Brunch: the Musical and continues to enjoy musical theater as well as classical work. In her spare time she enjoys rollerblading and rock climbing.

PATRICIA SONEGO, soprano (, made her operatic debut in New York City in the world premiere and recording of American composer Jack Beeson's Sorry, Wrong Number with the Center for Contemporary Opera under the baton of Richard Marshall (Albany Records, 2008). A champion of contemporary, avant garde, improvisational, and electroacoustic music, Ms. Sonego is in demand to premiere new works, many of which have been composed for her. Most recently she premiered Aftermath, an 18-minute electroacoustic work for computer and soprano composed for her by John Melby, which she sang on the 2011 ACA Festival of American Music at Symphony Space. On the same program, Patricia also performed Hymn to Intellectual Beauty, which was composed by NYCC President Richard Brooks for soprano and piano. Patricia will be one of many featured performers on the soon-tobe-released compilation CD featuring new compositions by the students of the late Milton Babbitt. On the CD Patricia premieres To Milton, a song for computer and soprano composed by former Babbitt serial and electronic music composition student John Melby. Percussionist MIKE TRUESDELL's endeavors as a solo and chamber musician have taken him throughout the United States, Europe, and Japan. Recently he was featured as a soloist in Elliott Carter’s 103rd birthday concert, which received gleaming reviews from The New York Times and National Public Radio, among others. In 2011 he was awarded 2nd prize at the TROMP International Percussion Competition in Eindhoven, Netherlands, which led to performances across the Netherlands, including at the famed Concertgebouw in Amsterdam, and to a performance with composer Nico Muhly. Active in non-western styles of music, Mike co-founded Spectrum Trio, which is dedicated to creating new works for percussion trio by fusing music of the African diaspora with pop and concert music. Their debut album, released in 2009 to critical acclaim, led to tours at universities across the United States as well as to a featured performance at the Percussive Arts Society’s International Convention. In addition to performing, Truesdell’s heart lies in teaching. In 2009, he created the Wildcat Percussion Camp for 7th-12th grade students, and is co-creator, Assistant Director, and faculty member at the nief-norf Summer Festival in Greenville, South Carolina – both of which continue today. He is currently a fellow in the Music Advancement Program, which offers music instruction to under-represented students aged 8-14 in the New York area. Though a native of Wisconsin, Mike currently resides in New York City, where he received his Master of Music degree from The Juilliard School and is currently enrolled in the selective Doctoral of Musical Arts program at Juilliard. For more information, please visit Oboist GREGORY WEISSMAN has achieved much in music, considering his formative years spent in rural Northern New York. Before entering academia, he was selected by state and regional committees to perform in distinct honorary orchestral and wind ensembles in Rochester, New York and Providence, Rhode Island, as well as attending the New York State Summer School for the Arts School of Orchestral Studies for two consecutive summers in Saratoga Springs, New York, under the tutelage of musicians from the Philadelphia Orchestra. He obtained his Bachelor of Music degree in Oboe Performance and a second in Music Education from the Crane School of Music at SUNY Potsdam, after which he completed his Master of Music degree in Oboe Performance at Mannes College The New School for Music. As a personal project, he studied baroque oboe privately and attended the Tafelmusik and Oberlin Baroque Performance Institutes. He has performed with the Orchestra of Northern New York, Northern Symphonic Winds, One World Symphony, The New York Chamber Virtuosi, and The Chelsea Symphony, with whom he soloed in a performance of Mozart’s Concerto in C Major for Oboe and Orchestra (K. 314) in their 2010-2011 season. He has also made solo appearances at The Whitney Museum and The Choral Society of the Hamptons, and was a resident young artist at the inaugural Lake Tahoe Music Festival Orchestra Academy. Gregory’s teachers include Geoffrey Burgess, Anna Hendrickson, and Sherry Sylar.

The NEW YORK COMPOSERS CIRCLE 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 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 initiative—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 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 being 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 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 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 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 and Seyna Zaslavsky 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, 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 Dinu Ghezzo 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

John Eaton

Honorary Members Ezra Laderman Tania Le贸n

Paul Moravec

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 Noah Palmer, piano

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

Our next concert will take place at 3 PM on Sunday, April 15, 2012, at St. Mark's Church in-the-Bowery, 131 East 10th St. (near 2nd Ave.). For more information, please check the NYCC website.

2012 February 5 NYCC concert - In Memoriam, Dinu Ghezzo  
2012 February 5 NYCC concert - In Memoriam, Dinu Ghezzo  

The program of the New York Composers Circle concert of February 5, 2012, held as a memorial to Dinu Ghezzo.