Dedicated to the creation and performance of new music presents an
E L L IO T T C AR T E R 100TH B I R T H D A Y CONCERT E NGELMAN R ECITA L H ALL B ARUC H C OLLEGE P ERFORMIN G A RTS C ENTE R 55 L EXINGTON A VENU E , AT 25 S TREE T N EW Y ORK C ITY TH
D ECEM BE R 6, 2008
THE NEW YORK COMPOSERS CIRCLE DECEMBER 6, 2008 8:00 PM Playtime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Eugene Marlow 1. The children gather to play 2. ”Hey, that's my toy!” 3. Nap time 4. Waking up 5. ”Let's play king and queen” 6. ”Let's play war” 7. A real fight Svjetlana Kabalin, flute Alexandra Knoll, oboe Amy Zoloto, clarinet Erik Holtje, bassoon Nataliya Medvedovskaya, piano
Woodwind Quintet . . . . . . . . . . . . . . Margaret Fairlie-Kennedy 1. Andante sostenuto 2. Scherzando quasi presto 3. Allegro giusto Svjetlana Kabalin, flute Alexandra Knoll, oboe Amy Zoloto, clarinet Erik Holtje, bassoon Michael Atkinson, horn
Dialogues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cesar Vuksic Svjetlana Kabalin, flute Alexandra Knoll, oboe Amy Zoloto, clarinet Erik Holtje, bassoon Michael Atkinson, horn Cesar Vuksic, piano
Windjammer . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joseph Pehrson Svjetlana Kabalin, flute Alexandra Knoll, oboe Amy Zoloto, clarinet Erik Holtje, bassoon Michael Atkinson, horn
Divertimento for Wind Septet . . . . . . . . . . . . . . . Fedor Kabalin 1. Intrada: Pomposo 2. Lullaby for MarĂa-Victoria: Andante non troppo lento 3. Round: Vivace Svjetlana Kabalin, flute Alexandra Knoll, oboe Amy Zoloto, clarinet Erik Holtje, bassoon Michael Atkinson, horn David Byrd-Marrow, horn Donald Batchelder, trumpet
Little Suite for Woodwind Quintet . . . . . . . . . . . . Donald Hagar 1. Skyscrapers 2. Veni 3. Inner Song 4. Motet 5. Rock of Ages 6. Swing 7. Gotta Go 8. Toy Svjetlana Kabalin, flute Alexandra Knoll, oboe Amy Zoloto, clarinet Erik Holtje, bassoon Michael Atkinson, horn
Woodwind Quintet . . . . . . . . . . . . . . . . . . . . . . . . . Elliott Carter 1. Allegretto 2. Allegro giocoso Svjetlana Kabalin, flute Alexandra Knoll, oboe Amy Zoloto, clarinet Erik Holtje, bassoon Michael Atkinson, horn
PLEASE JOIN US FOR A RECEPTION AFTER THE CONCERT The NYCC thanks the staff and personnel of the Baruch College Performing Arts Center for their assistance with this concert.
COMPOSERS ELLIOTT CARTER, the dean of American composers and our newest Honorary Member, celebrates his 100th birthday next week. The New York Composers Circle is proud to present this concert in his honor. Born in New York City on December 11, 1908, Elliott Carter 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's Woodwind Quintet, written in 1948, has been called "a light-hearted, almost humorous two movement composition, but one with a significant degree of color, texture, and grandeur." MARGARET FAIRLIE-KENNEDY writes for chamber groups, voice, orchestra, contemporary dance, and mixed media. She was Composer-in-Residence for Dance and Theater Arts at Bennington College and the Cornell University Theater Arts Dept. Awards and grants include the NEA and NEH Endowments, the Georgia Commission on the Arts, Meet the Composer grants, and the Cornell Council for Creative and Performing Arts. She was a winner in the Philadelphia Classical Symphony/Maxfield Parrish and Women Composers' Showcase at New Jersey City University competitions. Commissions include the Walker Art Center, the Cornell Theater Arts Dept., several choreographers, and commissions for other 20th and 21st century works. Performances include the Alabama Symphony, Atlanta String Quartet, and Relache Ensemble; venues the Eastman School of music, Carnegie Weill Recital Hall, the Bowling Green College of Musical Arts Festival '05, and abroad in Paris, Uppsala, and Beijing. She is published in the SCI Journal of Music Scores, by American Composers Alliance, and by EC Schirmer Publishing. CDs are on Capstone, ACA Digital, and Euterpe labels. Fairlie-Kennedy is a member of ACA, SCI, AMC, IAWM, NYCC, and BMI. Some reviewers' comments: "Expressive use of a 12-tone row...eloquence and energy...atmospheric and dreamy" (New York Times); "extended the usual sonorities of the instruments... its emotional focus was strong and the expressive range of the instruments spoke well for the composer's gift" (Philadelphia Inquirer); "Mr. Ueyama's opening dance was set to urgent and atmospheric music by Margaret Fairlie-Kennedy" (New York Times dance review '05). The first two movements of her Woodwind Quintet use a tone row; the third movement is based on the interval of a major second.
DONALD HAGAR is a composer whose 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'sworks 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. In 2004, selections from his opera Inspiration were performed in New York City Opera'sVOX Showcase, conducted by George Manahan. In 2007 Mr. Hagar was commissioned by 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 September, 2007, he co-produced a concert with Geoffrey Burleson and Maria Tegzes of his own music, Vincent Persichetti's, and others', at the Tenri Cultural Institute. 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." Originally from Elmira, New York, 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 in the New York City Public Schools. His New Blues for elementary band has been played by several bands in the New York City area. Little Suite for Woodwind Quintet is a collection of character pieces, some of which were transcribed from songs, piano, and choral pieces. The movements are arranged as a kind of baroque dance suite so that there is a balance of excitement and contemplation throughout the playing of the work. FEDOR KABALIN came to the United States by way of Chile. Croatia-born, he studied music in Europe and in this country (Northwestern University and the Eastman School of Music), has taught in the Midwest, California and the New York metropolitan area, and has conducted in North and South America, Europe and China. Among his compositions is the sound track for a South American feature-length film; his works, heard in Europe and the Western Hemisphere, have been performed, among others, by the New Jersey, Detroit, Louisville and Oklahoma symphony orchestras, and by the Zagreb Philharmonic. The Divertimento for Wind Septet was composed for a Santiago/Chile National Music Conservatory anniversary and premièred on that occasion. The U.S. première was at an ISCM Chicago subscription concert, performed by members of the Chicago Symphony Orchestra, and in New York City by the North/South Consonance, with additional hearings at the Yaddo Music Period in Saratoga Springs and at the University of Kansas Symposium in Lawrence. The second movement, Lullaby, is inscribed to the composer'scousin María-Victoria, an infant at the time of the composition. The work'sthird movement quotes a Chilean nursery tune and also incorporates several ditties improvised by her father to the terms of endearment of his own invention to keep the baby amused. EUGENE MARLOW, Ph.D.—composer/arranger, producer, presenter, author, journalist, and educator—has composed close to 200 jazz and classical pieces for solo instruments, chamber ensembles, and jazz big band. Marlow has produced four critically-acclaimed CDs of original compositions/arrangements (two jazz, one classical, one Latin) on the MEII Enterprises label that collectively have been distributed to radio stations in over 22 countries, including the United States. His latest album, Wonderful Discovery, was deemed “. . .one of the best Latin-jazz albums of 2007.” Marlow'scomposition El Ache de Sanabria was recorded by Bobby Sanabria'sbig band on his Grammy-nominated album Big Band Urban Folktales (JazzHeads 2007). Dr. Marlow is
senior co-chair of the Milt Hinton Jazz Perspectives concert series at Baruch College (The City University of New York) where he teaches undergraduate and graduate courses in media and culture. He is Director/Media Relations of the New York Composers Circle and was recently appointed treasurer of the Jazz Journalists Association. He is a voting member of the National Academy of Recording Arts and Sciences. Dr. Marlow is a regular contributing editor to www.jazz.com and is drafting a book on jazz in China. Marlow studied composition with George Tsontakis this past summer at the Aspen Music School (Aspen, Colorado). Playtime is conceived as a compressed tale of five British children (aged six or seven) who come together one Sunday afternoon around the turn of the 20th century to play. The group comprises three boys and two girls. Each child is represented by one of the instruments in the woodwind quartet/piano quintet. JOSEPH PEHRSON, composer, (b. Detroit, 1950) has written works for a wide variety of media including orchestra and chamber works. They have been performed at numerous venues including Merkin Hall, Weill Recital Hall, and Symphony Space in New York, and throughout the United States, Eastern Europe, and Russia. Since 1983, Pehrson has been co-director of the Composers Concordance in New York. He studied at the Eastman School of Music and the University of Michigan (Doctor of Musical Arts 1981). Pehrson'steachers included composers Leslie Bassett, Joseph Schwantner, and, informally, Otto Luening and Elie Siegmeister in New York. As of 2008, he has written more than 14 hours of music. Pehrson visited St. Petersburg and Moscow, Russia, in March, 2008 for a series of concerts. In St. Petersburg, he participated in the festival From the Avant Garde to the Present Day, with a new piece, Quixoddities, based upon Cervantes' Don Quixote, for piccolo and bassoon, performed by Mikhail Pobedinsky with bassoonist Maxim Karpinsky at the House of Composers in St. Petersburg (March 19, 2008). Linda Past-Pehrson also danced to three electronic pieces in alternate tunings as part of this festival at the Smolny Institute. In Moscow, he had five pieces presented at the Jurgenson Salon on March 22, 2008; the day before, March 21, 2008, Linda Past-Pehrson danced to six electronic pieces in alternate tunings at the Fireplace Hall of the Central Building for Workers of Art (TsDRI). Pehrson has works recorded on Capstone and New Ariel CDs and many pieces are published by Seesaw Music Corp., now a division of Subito Music. Pehrson writes: “Windjammer, for woodwind quintet, was finished in August, 2006. At a couple of spots, one will hear a homophonic fabric, practically akin to a Shaker song. Although some might find that surprising coming from a composer so interested in microtonality and electronics, I think it shows that I have, indeed, a certain primordial affinity with the so-called 'American school' of writing somewhere in my roots that is rather hard to, er, 'shake…' “ CESAR VUKSIC, composer, pianist, and painter, has appeared throughout the USA, 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 USA 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, DC), etc. He has been a recipient of several grants from Meet the Composer and the Queens Council on the Arts. Recently, Queens Public Television gave him a grant to videotape and broadcast his Queens Rhapsody for narrator, clarinet, violin, trombone, percussion, and piano. Barry L. Cohen wrote in The New Music Connoisseur: “...It was Mr. Vuksic's playing that, to us, made for as fine an event as anyone will ever come across.” Dialogues is programmatic music. The musical structure and the way the instruments relate to each other are determined by an emotional narrative.
PERFORMERS Hailed by the New York Times for "…its venturesome programming and stylishness of performance," the SYLVAN WINDS has appeared under the auspices of Carnegie Hall, Lincoln Center’s Mostly Mozart Festival and the Caramoor Music Festival. The ensemble has presented imaginative programs of chamber works for winds in such places as Town Hall, Merkin Concert Hall, the Cape Cod and White Mountains Festivals, Rutgers University’s Summerfest, Amherst College, the Chicago Chamber Music Society, and the Sejong Cultural Center in Seoul, Korea and has recorded for the Koch Classics and CRI/New World labels. The Sylvan Winds celebrated its 30th Anniversary during the 2007-08 season. Born to parents from the former Yugoslavia, SVJETLANA KABALIN, flutist, was presented in her New York recital debut at Weill Recital Hall as a winner of the Artists International Competition. One of five Americans invited to participate in the first International Flute Competition in Kobe, Japan, Ms. Kabalin appeared as a soloist with Alexander Schneider’s New York String Orchestra in Carnegie Hall and Washington’s Kennedy Center. A charter member of the Sylvan Winds, she has served as principal flute with the New Philharmonic of New Jersey, the New Jersey Ballet Orchestra, and the Stamford and Queens Symphony Orchestras, and has played for the PBS-TV Great Performances production of Kern’s Show Boat. Ms. Kabalin has also performed with the Orpheus Chamber Orchestra, New York City Opera, the New Jersey and Westfield Symphony Orchestras, and the Westchester Philharmonic Orchestra. A member of the Hofstra University faculty, Ms. Kabalin also teaches in the Juilliard Music Advancement Program, and has taught at the Simon’s Rock campus of Bard College and at Rutgers University. She has recorded for the Desto, Vanguard, Koch, and CRI labels. ALEXANDRA KNOLL, oboist, was born in Zimbabwe and emigrated to South Africa at the age of ten. After graduating from high school, she worked professionally for two years in the Natal Philharmonic Orchestra in South Africa. She is an alumna of the Curtis Institute of Music and The Juilliard School. Ms. Knoll is the Principal Oboe of the Springfield Symphony Orchestra and a member of the Northeastern Pennsylvania Philharmonic. She has played several seasons with the opera companies in Santa Fe and Sarasota. In New York she enjoys a busy freelance career and performs with, among others, the American Symphony Orchestra, the New York City Opera Orchestra, the Brooklyn Philharmonic, the New Jersey Symphony Orchestra, and the Opera Orchestra of New York. She has appeared on “Good Morning America” with cellist Yo-Yo Ma and enjoys playing in chamber groups such as ADCO, BargeMusic, Zéphyros Winds, and the Berkshire Bach Society. She is currently the oboist of the Broadway show Mary Poppins. A native of Chicago, AMY ZOLOTO is an active freelance clarinetist in New York City. Prior to coming to New York, she played in the Jacksonville Symphony Orchestra for five years and with the South Bend Symphony Orchestra for two years. While earning a degree from DePaul University, she was a member of the Chicago Civic Orchestra and played with the Chicago Symphony Orchestra where she had a chance to perform and play chamber music with such conductors as Pierre Boulez, Georg Solti, and Daniel Barenboim. Ms. Zoloto has performed much new music, including a premiere performance and recording of Night Bloom, a clarinet quintet by composer Stella Sung. She has also served as an adjunct faculty member at the University of Florida in Gainesville and has spent past summers performing with the Colorado Music Festival in Boulder, Colorado, the Pacific Music Festival in Sapporo, Japan, and the Bard Music Festival. She has played with the Metropolitan Opera Orchestra, the New York
Philharmonic, the New York City Opera Orchestra, the St. Lukeâ€™s Chamber Players, and, most recently, with the Philadelphia Orchestra in Vail, Colorado. ERIK HOLTJE began studying the bassoon at the Interlochen Arts Academy in northern Michigan and graduated after four years. He continued at Northwestern University and finished at Juilliard where he received both his BM and MM degrees in performance. Erik has participated in the Texas Music Festival, Aspen Music Festival, Pacific Music Festival (Japan), Vermont Mozart Festival, and Crested Butte Festival (Colorado). He has been principal bassoon of the Veracruz Philharmonic (Mexico) and is currently a freelance musician in New York, having played with the Sylvan Winds, New York Chamber Soloists, Metro Chamber Orchestra, Long Island Philharmonic, Brooklyn Philharmonic, and New York Philharmonic, and in Broadway shows. Hornist MIKE ATKINSON is currently active in New York as a performer, arranger, and instructor. As a performer: The Knights Chamber Orchestra, Gotham Orchestra, Manhattan Sinfonietta, Fireworks Ensemble, Sylvan Winds, Wind Soloists of New York, Chamber Music Society of Lincoln Center, Speculum Musicae, Burning River Brass, Shanghai Broadcasting Orchestra, Tokyo Symphony Orchestra, Orpheus, Orchestra of St. Luke's,Pittsburgh Symphony, numerous Broadway musicals, Clogs, My Brightest Diamond, St. Vincent, Sufjan Stevens. In 2007, Mike conducted the world premiere of Sufjan'sBQE for orchestra, band, and film at the Brooklyn Academy of Music. Mike'sarrangements have been performed in settings varying from chamber music festivals to Fashion Week NYC at Bryant Park. Last spring, the Brooklyn-based string quartet OSSO premiered a set of Mike'sarrangements adapted from Sufjan'sEnjoy Your Rabbit album at Cincinnati'sMusic Now! festival. Since then, OSSO has played these works extensively in New York City and, in February 2008, was featured on WNYC's Spinning on Air.
DONALD BATCHELDER is Principal Trumpet of the New York City Opera Orchestra, where he has played full-time since 2000. Recognized as an outstanding free-lance trumpeter in the New York area since 1983, he performs frequently with the Metropolitan Opera, the Brooklyn Philharmonic, and the American Symphony, as well as on Broadway. In addition to his work with the New York City Opera, Mr. Batchelder holds the principal trumpet chairs in the Westfield (New Jersey) Symphony and the Stamford (Connecticut) Symphony. Mr. Batchelder earned both a Bachelor'sand a Master'sdegree from the Juilliard School, where he studied with William Vacchiano and Mel Broiles. Other influential teachers include Vince Penzarella, Arnold Jacobs, and Philip Smith. Among Mr. Batchelder'srecent solo appearances: When Speaks the SignalTrumpet Tone, by David Gillingham, with the Ridgewood Concert Band; the Shostakovich Concerto for Piano and Trumpet with both the Stamford Symphony and the New York Virtuosi; the world premiere of Trent Johnson'sConcertino for Trumpet and Organ; David Sampson's Triptych with the Westfield Symphony; and Herbert L. Clarke'sSouthern Cross with the Goldman Band. Mr. Batchelder joined the music faculty of Montclair State University in September, 2000. Hornist DAVID BYRD-MARROW was born in Atlanta, Georgia. He received his Bachelor's degree from The Juilliard School and went on to receive his Master'sdegree from the State University of New York at Stony Brook. He was then selected for a fellowship in the JuilliardCarnegie Hall "Academy"-Ensemble ACJW. David is a member of The International Contemporary Ensemble and has performed with Carnegie Hall'sZankel Band, the Orchestra of St. Luke's,the Long Island, Brooklyn, and Westchester Philharmonics, and the Tokyo Symphony. He can also be seen playing at various musicals on Broadway. David will debut as Principal Horn of the Atlanta Opera in February of the present season.
NATALIYA MEDVEDOVSKAYA, a composer and pianist, was born in 1974 in Saint Petersburg, Russia. She graduated with a double major from the Saint Petersburg Conservatory, where her composition teacher was Sergei Slonimsky and her piano teacher was Tatyana Kravchenko. She received both of her diplomas at the International Piano Competition "Young Virtuosi" (1989, Czech Republic), one of them awarded for "culture of performance, musicality, and deep understanding of music." Since 2003 Nataliya has been living in New York. She performed as an ensemblist at Weill Recital Hall during the summer of 2005, and also gave a solo recital dedicated to the 250th anniversary of Mozart'sbirth at the New York Public Library in the Bronx during July, 2006. She and the singer Svetlana Furdui recorded a CD of Rachmaninoff songs that came out last fall. She has also recorded her piano solo CD of the Mozart program as well as a CD of her own compositions. Last year her Quartet #2 was premiered at the Chamber Music America conference, and subsequently performed at the Albuquerque June Music Festival by the St. Petersburg Quartet. Her Flute Sonata was performed at Levinson Hall of Brooklyn College on February 23rd. Nataliya has been teaching at the Brooklyn Music School since November, 2007. A student of hers won an honorable mention at the Wagner College Young Musicians Competition.
Staff for this concert: Eugene Marlow, producer Paul Geluso, sound recordist Gene McBride, Noah Haverkamp, and Miki Nakanishi, reception 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. 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 welcomeâ€”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 a unique experience. Inspired by a workshop at the American Music Center, composer Jacob E. Goodman founded the New York Composers Circle in the spring of 2002 as an association of composers meeting monthly to play their music for each other. It soon became apparent that we had the artistry and commitment to present our music before an audience. In May 2003, the NYCC produced its first public concert at Saint Peterâ€™s Church, featuring Pulitzer Prize-winning composer David Del Tredici, along with eleven of the NYCC'soriginal members. This well-attended concert was favorably reviewed in the New Music Connoisseur. The NYCC continues to evolve by tapping the rich vein of talent and resources among its members. Under the continued leadership of Debra Kaye, and more recently of John de Clef PiĂąeiro, the NYCC'smembership has more than tripled 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 2007-08 season. The group continues to expand its programs. Informal readings of new pieces allow member composers to "test fly" their works with some of New York'sfinest professional and 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 the final spring concert. In addition to its own two concerts, in March, 2006 the NYCC presented its first joint concert effort with the performing ensemble Modern Works, presenting a piece by John Eaton; the recent May concert, at NYU'sFrederick Loewe Theatre, was a first-time collaboration with New York University. In the summer of 2007 the NYCC held its first annual composers'competition, open only to nonmembers. The winning work in this season'scompetition, Brian Fennelly'sSigol' ' for Two, will be performed at our fourth and final concert of the season, on May 26, 2009.
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 Raymond Townsend Sally Woodring Martin Zuckerman
The NYCC gratefully welcomes donations large and small, which help make our concerts possible. Contributions to the New York Composers Circle are tax-deductible under Section 501(c)(3) of the Internal Revenue Code. Your donations may be sent to the address on the back of this program.
The New York Composers Circle Board of Directors Stephen Leibholz, Chair Jacob E. Goodman David Katz Robert Leibholz Administration John de Clef Piñeiro, Executive Director Richard Russell, Managing Director Eugene Marlow, Director of Media Relations Honorary Members Elliott Carter Ezra Laderman
John Eaton Tania León
Dinu Ghezzo Paul Moravec
Composer Members Roger Blanc Richard Brooks Tamara Cashour John de Clef Piñeiro Peter Dizozza Margaret Fairlie-Kennedy Victor Frost Jacob E. Goodman Donald Hagar
Martin Halpern Noah Haverkamp Hubert Howe Fedor Kabalin Carl Kanter Debra Kaye Stephen Leibholz Patricia Leonard Eugene Marlow
Eugene W. McBride Richard McCandless Kevin McCarter Nataliya Medvedovskaya Yekaterina Merkulyeva Christopher Montgomery Gayther Myers Miki Nakanishi Joseph Pehrson
Frank Retzel Dana Richardson Richard Russell Inessa Segal William Vollinger Cesar Vuksic
Performer Members Demetra Adams, soprano Haim Avitsur, trombone Mary Barto, flute Adam Berkowitz, clarinet Virgil Blackwell, bass clarinet Allen Blustine, clarinet Sofia Dimitrova, soprano Stanichka Dimitrova, violin
Tiffany DuMouchelle, soprano Marcia Eckert, piano Oren Fader, guitar Leonard Hindell, bassoon Jill Jaffe, viola Sibylle Johner, cello Michael Laderman, flute Maxine Neuman, cello
Margaret O'Connell,mezzo Javier Oviedo, saxophone Lisa Pike, french horn Anthony Pulgram, tenor Stephen Solook, percussion Patricia Sonego, soprano Anna Tonna, mezzo-soprano
Contact New York Composers Circle 110 West 90th St., Unit 5-J New York, NY 10024 www.nycomposerscircle.org
The next concert of the New York Composers Circle will take place at 7:30 PM on February 14, 2009, at the Leonard Nimoy Thalia at Symphony Space. For more information please check the NYCC website.
Published on Feb 17, 2009