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Dedicated to the creation and performance of new music presents


F EBRU AR Y 23, 2008




String Quartet No. 9 *. . . . . . . . . . . . . . . . . . . . . . . . Carl Kanter Andante Allegro vivace Largo Allegro ritmico Sho Omagari, violin Heather Sommerlad, violin Victor Lowrie, viola Jennifer DeVore, cello

Tone-Games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Donald Hagar Natalia Medvedovskaya, piano

Episodes for String Quartet . . . . . . . . . . . . . . . . . Fedor Kabalin Moderato energico – Allegro deciso (doppio movimento) – Comodo – Fantasy-Cadenza – Giocoso ed energico – Vivace – Misurato (tempo d’inizio, ma senza rigore) Sho Omagari, violin Heather Sommerlad, violin Victor Lowrie, viola Jennifer DeVore, cello


Of Jean Renaud: Variations on a French Folksong *. . . Christopher Montgomery Sho Omagari, violin Heather Sommerlad, violin Victor Lowrie, viola Jennifer DeVore, cello

Diabolique *. . . . . . . . . . . . . . . . . . . . . . . . . . . Patricia Leonard Gloria Justen, electric violin

Nataliya Medvedovskaya, piano

String Quartet No. 3 ** . . . . . . . . . . . . . . . . . . . Richard Brooks Sho Omagari, violin Heather Sommerlad, violin Victor Lowrie, viola Jennifer DeVore, cello

* World premiere ** New York premiere

Yamaha is the official piano of the Leonard Nimoy Thalia


COMPOSERS RICHARD BROOKS holds a B.S. degree in Music Education from the Crane School of Music, Potsdam College, an M.A. in Composition from Binghamton University, and a Ph.D. in Composition from New York University. In December, 2004 he retired from Nassau Community College where he taught for 30 years; for the last 22 years he served as department chairperson. From 1977 to 1982 he was Chairman of the Executive Committee of the American Society of University Composers (now the Society of Composers, Inc.). In 1981 he was elected to the Board of Governors of the American Composers Alliance. After serving two terms as Secretary and three terms as VicePresident he was elected President and served from 1993-2002. He continues as Chairman of the Board of Governors. He is an active composer with nearly eighty works to his credit, including two full length operas, Moby Dick and Robert and Hal. His children’s opera, Rapunzel, was most recently produced by the Cincinnati Opera, which gave it 65 performances. Robert and Hal was presented in a workshop performance by the Lark Ascending in 2004. He is the recipient of numerous grants and commissions, including an NEA Fellowship. He was selected as New Music Connoisseur’s New Music Champion for 2006-2007 in recognition of his work with Capstone Records on behalf of new music. He was recently appointed Composer-in-Residence with The Lark Ascending. Richard Brooks writes: “String Quartet No. 3 developed out of some ideas left over from my second quartet. The musical ideas for this one-movement work are derived from one of the all-combinatorial hexachords discovered by Milton Babbitt whose intervals (3-1-3-1-3) produce major and minor triads as well as atonal patterns.” DONALD HAGAR is a composer whose music spans a wide range of genres, from solo works to opera, and 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." In 2004, selections from his opera Inspiration were performed in New York City Opera'sVOX Showcase. Among the organizations that have honored Hagar with awards and grants have been ASCAP (Young Composers Award), Off-Off Broadway Review, American Music Center, Meet the Composer, and the Bossak/Heilbrun Charitable Foundation. Originally from Elmira, N.Y., Donald Hagar received his B.M. cum laude from Ithaca College, where he studied with Karel Husa and, at the Ithaca College London Center in England, with Justin Connolly. At Boston University, where he received his M.M., his principal composition teachers were Theodore Antoniou and Bernard Rands. Currently living in Brooklyn, Don is a Project Arts Instrumental Music Teacher in the New York City Public Schools, teaching elementary-school music and band. His New Blues for elementary band has been played by several bands in the New York City area. Tone-Games is built on a repeated bass line, as in a chaconne or passacaglia, with jazzy syncopations. The harmonies are made up of consonant intervals, mostly fifths, fourths, and thirds.

FEDOR KABALIN came to the United States by way of Chile. Croatian-born, he studied music in Europe and in this country (Northwestern University and 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, were performed, among others, by the New Jersey, Detroit, Louisville, and Oklahoma symphony orchestras, and by the Zagreb Philharmonic. Under the auspices of the New York Composers Circle since its 2003 inception, his works have been performed by members of the Alaria Trio, while his Divertimento for wind septet, heard last season on the North/South Consonance series, was repeated last month in Carnegie’s Weill Recital Hall by the Sylvan Winds. The string quartet Episodes was premiered by the Stirling Quartet, consisting of New Jersey Symphony Orchestra musicians (one of whom—between the Newark Museum premiere in February of the Centennial year 1976 and the New York City repeat under the auspices of the National Association of Composers’ chapter in November 1984— ‘graduated’ to the New York Philharmonic). 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 several string quartets, and piano trios, and numerous smaller pieces. He ia a composer member of the New York Composers Circle. Carl Kanter writes: “Music must always speak for itself regardless of verbal description. This quartet contains enough almost traditional melodic elements to entice the ears to listen to the non-romantic harmony.” A native of Boston, PATRICIA LEONARD’s early musical training began with piano studies, followed by composition studies at The New England Conservatory. She received a B.M. in Composition from The Boston Conservatory. In 1998, she came to New York to study composition with Pulitzer Prize-winning composer David Del Tredici. Awards include the Mark Brunswick Prize for Composition and the 1998 CUNY Award for excellence by a woman composer. Since then, she has been involved with chamber music groups, including members of Alaria and Da Capo Chamber Players, and has had performances in New York at The Stella Adler Theatre, Merkin Hall, CAMI Hall, and Carnegie Hall. Ms. Leonard'scompositions have been reviewed as “arresting and evocative with innovative harmonies” by New York Concert Review, and New Music Connoisseur reviewed her musical style as “revealing musical sophistication and a high level of craftsmanship.” Often influenced by art and literature, Ms. Leonard enjoys composing programmatic works, exploring the psychological nature of her subjects. Her recent performance of Universal Mother had its European premiere in Umbria, Italy as part of the Musica Senza Frontieri festival in November 2007. Upcoming performances include a performance in Padova, Italy in April 2008 with the acclaimed INTERENSEMBLE chamber group. Ms. Leonard is a founding member of the New York Composers Circle and shared the group’s inaugural concert in May 2003 with guest composer David Del Tredici. She is also a Board member of The League of

Composers/I.S.C.M and of The New York Women Composers. Diabolique is a piece for electric violin and piano in rondo form, influenced by the fable of Diabolus, whose wrath leads to great destruction. A powerful demon, Diabolus has been exiled from the town of Mansoul. Through his clever devices, however, he tricks the town of Mansoul into opening its gates to him. Diabolus, having obtained entrance into the town again, makes his conquest, becomes Mansoul’s ruler, and assaults all that is good. He possesses a beautiful woman and leads her back to hell with him where he reclaims his throne. CHRISTOPHER MONTGOMERY's many settings of texts include the Orphic Hymns and poetry by Ovid, John Clare, William Blake, William Carlos Williams, Wallace Stevens, Keith Waldrop, and numerous other 20th century poets. Recent works include Callisto, an opera-oratorio with Latin text from Ovid's Metamorphoses; Mindworlds, three songs on poems of Wallace Stevens; and Two Cities, for chamber orchestra, musical portraits of New York and New Orleans. His composition teachers were Stefan Wolpe in New York City and Roger Sessions at Princeton University, where he received an M.F.A. He has lived for many years in Middletown, Conn., where he served as music cataloguer and music librarian at Wesleyan University. He retired from Wesleyan in 1996 and now devotes himself full-time to composition.

PERFORMERS Cellist JENNIFER DEVORE received her B.A. in Art History from Harvard University before earning her Masters degree from the New England Conservatory, where her teachers were Colin Carr and Laurence Lesser. An active chamber musician and soloist, she has appeared at Lincoln Center, Merkin Hall, Zankel Hall, and Weill Hall, the Kennedy Center in Washington, and London’s Barbican Center, and at the Musicorda, Yellow Barn, and Spoleto festivals. Groups she has played with include the Brooklyn Philharmonic Orchestra, the Jose Limon Dance Company, Metamorphosen Chamber Orchestra, and the SEM Ensemble. As a member of the Lumina String Quartet, Ms. DeVore has toured Russia and the Ukraine. Travel with other chamber groups has included concerts throughout Southeast Asia, Europe, Israel, and Costa Rica. A champion of contemporary music, Ms. DeVore has worked closely with composers John Cage, Ornette Coleman, and John Zorn, has premiered many solo and chamber works, played in the Bang-On-A-Can Marathon and on WNYC’s “New Sounds,” and recorded pieces by Cage and Xenakis, as well as pieces by many American composers. Her diverse interests have led to recordings and performances with artists such as Il Divo, DJ Spooky, Josh Groban, Laura Brannigan, the Trans-Siberian Orchestra, and many independent bands in New York. Television appearances include spots on Good Morning America and Live with Regis and Kelly. GLORIA JUSTEN, violinist and composer, is both a passionate performer of the classics and an innovative artist trying new approaches to music. Ms. Justen grew up in

Houston, Texas, and from 1984-1990 she attended the Curtis Institute of Music in Philadelphia. Her principal violin teachers were Fredell Lack and Szymon Goldberg. Ms. Justen has played with the Chamber Orchestra of Philadelphia since 1985, and she now serves as Concertmaster. She performs and tours internationally with the Philadelphia Orchestra as a substitute violinist. A frequent performer with contemporary music groups in Philadelphia such as Network for New Music, Orchestra 2001, and the Relache Ensemble, she has premiered and recorded many works by living composers. Ms. Justen has enjoyed collaborations with musicians from diverse backgrounds, modern dancers, and visual artists, and she has been a frequent performer at the Philadelphia Fringe Festival. Improvisation in various genres spurred her to create her own compositions. Some of these are written in the traditional manner, and others are sound collages created on computer incorporating electronics, field recordings, and surround sound concepts. Ms. Justen is currently dividing her time between the East Coast and San Francisco. VICTOR LOWRIE grew up on the Central Coast of California. He received his bachelor’s degree in viola performance from San Francisco State University, studying with Paul Yarbrough of the Alexander String Quartet. A passionate advocate of contemporary music, Victor has premiered over a dozen works in the San Francisco Bay Area with his group, the Presidio Ensemble, of which he is a founding member. Victor is also an accomplished arranger and composer. Since moving to New York City in September he has performed with Ensemble 212 and premiered a viola quartet by composer Eric Wubbels at Rose Studio, Lincoln Center. This fall Victor began graduate studies in the Contemporary Performance Program at the Manhattan School of Music. NATALIYA MEDVEDOVSKAYA, a composer and pianist, was born in 1974 in Saint Petersburg. 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. First place winner of the 2007 LISMA International Music Competition, violinist SHO OMAGARI was born in Hamburg, Germany. He has appeared as a soloist with the Mannes College of Music Preparatory Division Philharmonic, the Island Senior Symphony Orchestra, and the North Shore Symphony Orchestra for its 45th anniversary. During 2004, he participated in the 4th International Summer Music Academy in Leipzig, Germany which was hosted by the Juilliard School and Mendelssohn Hochschule fßr Musik und Theater. There, he performed at the St. Thomas Church where Bach worked in his time at Leipzig. He also attended the Meadowmount School

of Music and the C.W. Post Music Festival at which he served as both concertmaster and conductor of the chamber orchestra. His awards include the Paul Rudoff Award, North Shore Art Council Award, North Shore Symphony Orchestra Artist Prize, Oyster Bay Art Council Award, Metropolitan Youth Orchestra Scholarship, and LIC Scholarship. He is currently an undergraduate student at the Mannes College of Music where he studies with Sally Thomas. He has participated in master classes with the Leipzig Quartet, James Ehnes, Hyo Kang, Ani Kavafian, Grigory Kalinovsky, and Erica Kiesewetter. He has been invited to perform again as a soloist with the North Shore Symphony Orchestra this coming May. Violinist HEATHER SOMMERLAD was born and raised in El Paso, Texas, where music became the foundation for her continuing studies at Bennington College. At 16, she began playing with the El Paso Symphony under the direction of Gurer Aykal, an opportunity that prompted the beginning of her professional career. During her time at Bennington, Heather worked closely with emerging composers, performing a countless number of new works. As first violinist of the Bennington College String Quartet, she traveled with the group to perform and teach in Kingston, Jamaica and in the Czech Republic. They can be found on the credits for Chk Chk Chk albums Myth Takes and Take Ecstasy With Me. Today, Heather continues to promote new music as a regular performer for Brooklyn Emerging Artists, a new music concert series that she cofounded with composers Beth Price and Marie Valigorsky. The series gives young, budding composers and performers an opportunity to be heard, and generates an interest in new music among a younger crowd.

Staff for this concert: Patricia Leonard, producer Noah Haverkamp, co-producer Patricia Leonard and Noah Haverkamp, stage managers Steve Teti, sound recordist Eugene Marlow, publicity Jacob E. Goodman, programs

The NEW YORK COMPOSERS CIRCLE is an artistic and educational organization of composers and performers, dedicated to new music, whose mission is to provide a platform and forum for composers of concert music of all genres, for the development and performance of their works, for the continued growth of the art, and for the development and education of new audiences for new music. As such, the NYCC offers its members various opportunities for testing works in progress, performing completed works in concert, and fostering collaboration and development, both artistic and professional. The NYCC taps the rich creative potential of New York City in an original way: it is unique among composers'organizations in providing a regular monthly forum for those who create new music to maintain an ongoing interaction with their peers. All who are enthusiastic about new music are welcome— composers, performers, dancers, poets, and listeners. This frequently available and rich creative exchange, and the opportunities it brings for networking and collaboration, makes participation in the Circle a unique experience. In addition, it offers the inspiration and camaraderie borne of our common curiosity about music and our common commitment to bringing new music into the world. 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 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. The NYCC continues to evolve by tapping the rich vein of talent and resources among its members. Under the leadership of Debra Kaye, and more recently of John de Clef Piùeiro, the NYCC' s membership 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' s finest professional and student musicians. Such events, along with the 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; during the present season we will be collaborating with New York University in our first concert at NYU' s Frederick Loewe Theatre. Last summer the NYCC held its first annual composers'competition, open only to nonmembers. The winning work, Dana Dimitri Richardson' s Ballade, for piano, will be premiered at our May 20 t h NYU concert.

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 Anne Farber Allen C. Fischer & Renate Belville Amy Roberts Frawley Victor Frost Peter & Nancy Geller Lucy Gertner Dinu Ghezzo Essie Glusman Linda Hong David Katz David Kaufman Barbara Kaye

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

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

The New York Composers Circle Board of Directors 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 John Eaton

Dinu Ghezzo

Ezra Laderman

Tania León

Paul Moravec

Composer Members Roger Blanc Alla Borzova Richard Brooks Magda Capurso Tamara Cashour John de Clef Piñeiro Lois Dilivio Peter Dizozza Margaret Fairlie-Kennedy

Victor Frost Jacob E. Goodman Donald Hagar Martin Halpern Noah Haverkamp Gary Hentzi 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

Chris Montgomery Gayther Myers Miki Nakanishi Joseph Pehrson Frank Retzel Richard Russell Inessa Segal Cesar Vuksic

Performer Members Haim Avitsur, trombone Mary Barto, flute Sofia Dimitrova, soprano Stanichka Dimitrova, violin Tiffany DuMouchelle, soprano Oren Fader, guitar

Sibylle Johner, cello Javier Oviedo, saxophone 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

The next New York Composers Circle concert will take place at 8 PM on May 20, 2008, at the Frederick Loewe Theatre of New York University. For more information please check the NYCC website.

2008 Feb 23 at Symphony Space Thalia  
2008 Feb 23 at Symphony Space Thalia  

Carl Kanter, Donald Hagar,Fedor Kabalin, Christopher Montgomery, Patricia Leonard, Richard Brooks