Dear Fearless Friends,

Welcome to the sixteenth season of fEARnoMUSIC!

Today you will be treated to an hour of fun, down-to-earth, new music: folk songs, dances, and music for stones!

Many thanks to all of the board members, volunteers, and generous souls who do the important “behind-the-scenes” work that makes these concerts happen.

Thank you as well, fearless believers in new music, for the indis-pensable support that allows us to bring this living music to you.

P. O. Box 1262 Portland, OR 97207(503) 227.3127

www.fearnomusic.org

Inés Voglar — Artistic Director

folk songs sunday november 18, 2007the old church • 1422 sw 11th avenue • portland oregon

mathew burtner Mists (1996) for computer noise controller and stone trioInés Voglar • Phillip Patti • Joel Bluestone

harry somers Kuyas (1967) for soprano, flute, and percussionJanice Johnson, soprano • Molly Barth, flute • Phillip Patti + Joel Bluestone, percussion

reza vali Folk Songs Set No. 11b (1995) for string quartet Lamento Folk dance

john adams excerpts from John’s Book of Alleged Dances (1994) for string quartet Judah to Ocean Dog jam Habanera Toot Nipple

Erin Furbee + Inés Voglar, violins • Joël Belgique, viola • Adam Esbensen, cello

luciano berio Folk Songs (1964) for voice and seven instruments Black is the color (USA) I wonder as I wander (USA) Loosin yelav (Armenia) Rossignolet du bois (France) A la femminisca (Sicily) La donna ideale (Italy)

Janice Johnson, soprano • Molly Barth, flute • Todd Kuhns, clarinet • Jennifer Craig, harp Joël Belgique, viola • Adam Esbensen, cello • Joel Bluestone + Phillip Patti, percussion

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Ballo (Italy)Motettu de tristura (Sardinia)Malorous qu’o un fenno (France)Lo fiolaire (France)Azerbaijan love song (Azerbaijan)

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Burtner explores environmental systems (ecoacoustics), technological embodi-ment, and extended polyrhythmic and noise-based musical systems. His instru-mental and computer music is performed widely and he tours regularly with the metasaxophone, an augmented computer instrument of his own creation.

Burtner is currently Assistant Professor of composition and computer music at the University of Virginia, where he is Associate Director of the VCCM Computer Music Center. He studied philosophy, composition, saxophone, and computer music at St. Johns College, Tulane University, Iannis Xenakis’s UPIC Studios, the Peabody Institute of JHU, and Stanford University. At Stanford he studied and worked closely with Max Mathews, Jonathan Harvey, Brian Ferneyhough, and Jon Berger. In 2005 he was an Invited Researcher at IRCAM in Paris, Artist in Residence at the Cite International des Arts, and Composer-in-Residence at Musikene.

Of tonight’s piece, the composer writes:

Mists is for a trio of stone players (high/med/low, locally found stones). The best presentation would use three people spread across the stage as described in the score. I’ve been playing it as one person lately and doing all the parts myself and shaping the expressive form of the piece more than the score suggests. In Ghent, Amsterdam, Paris, New York, Freiburg — everywhere I play it — I collect the stones from that location and this changes the sound of the piece. It always lasts about 4 minutes.

program notesmathew burtner (b. 1971)Mists (1996)

Born in Toronto in 1925, Harry Somers only began to study music in his early teens and, as if to make up for lost time, immediately engaged in inten-sive study. At the age of sixteen he entered the Royal Conservatory of Music in Toronto, receiving scholarships in 1947 and 1949. In the latter year he was awarded a Canadian Amateur Hockey Association scholarship through which he studied composition with Darius Milhaud in Paris (1949–50). Harry Somers was a founding member of the Canadian League of Composers; he received honor-ary doctorates from the University of Ottawa (1975), the University of Toronto

harry somers (1925–99)Kuyas (1967)

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(1976), and York University (1977). From the late 1950s on, he composed al-most exclusively on commissions from a wide variety of North American musi-cal organizations and individuals.

The basic melodic material for Kuyas was taken from a lament sung by Skateen, the Wolfhead chief of a Nass River tribe in British Columbia. The words used in the piece were selected by the composer from a Grammar and Primer of the language of the Cree people, living in the prairies to the east of British Columbia, except for the words in the last section, which were taken from a story told by a man named Coming Day, who lived on the Sweetgrass Reserve, to Leonard Bloomfield.

The composer was assisted in ascertaining pronunciation and feeling for the language by Mrs. Lou Waller, who herself is a Cree from Alberta and to whom this work is dedicated. Because the language of the Cree has many subtle nuances, the composer has used a phonetic approximation, as taken from the Grammar and Primer, which he felt to be most easily adaptable to persons unfamiliar with the language.

reza vali (b. 1952)Folk Songs Set No. 11b (1995)

Reza Vali was born in Ghazvin, Iran in 1952 and began his studies in music at the Conservatory of Music in Teheran. In 1972 he went to Austria to study composition and music education at the Academy of Music in Vienna. He earned his Ph.D. in music theory and composition from the University of Pitts-burgh in 1985, and is currently a faculty member of the Department of Music at Carnegie Mellon University in Pittsburgh.

As a student at the Teheran conservatory, Vali began to collect Persian folk music, an activity he continues today. He soon began composing music based on the actual melodies he had collected as well as writing music in the style of these songs — “imaginary” folk music, to borrow a phrase from Bártok. In 1978 Vali completed his first set of folk songs for voice and piano. The next three sets, composed in the early 1980s, were also written for voice and piano, but in 1984 Vali began to write folk songs for different combinations of instru-ments.

Folk Songs, Set No. 11b, for string quartet is in two movements, Lament and Folk Dance. Lament begins with a dramatic melody intoned by the cello, an allusion to the Persian dashti mode. In the second movement, Folk Dance, the melody is again outlined by the first four notes of the Persian dashti mode, but here the motion is much more rapid. Characterized by driving rhythms, this movement is based on an authentic folk song from Iran’s north-

eastern province of Khorasan.

Set No. 11 of Folk Songs was originally composed for four cellos as a commission from the ensemble Cello. The first performance of this version for string quartet was given by Cuarteto Latinoamericano at Mellon Institute Audi-torium, Pittsburgh, on February 25, 1995.

john adams (b. 1947)

John Adams writes of John’s Book of Alleged Dances:

The “Book” is a collection of ten dances, six of which are accompa-nied by a recorded percussion track made of prepared piano sounds. The prepared piano was, of course, the invention of John Cage, who first put erasers, nuts, bolts, and other damping objects in the the strings of the grand piano, thereby transforming it into a kind of pygmy gamelan. In the original version of Alleged Dances the prepared piano sounds were organized as loops installed in an on-stage sampler, and one of the quartet players triggered them on cue with a foot pedal. . . . The dances were “alleged” because the steps for them had yet to be invented (although by now a number of choreographers, including Paul Taylor, have created pieces around them). The general tone is dry, droll, sardonic.

Born and raised in New England, Adams learned the clarinet from his father and played in marching bands and community orchestras during his for-mative years. He began composing at the age of ten and heard his first orchestral pieces performed while still a teenager. After earning two degrees from Harvard University, he moved to Northern California in 1971 and has ever since lived in the San Francisco Bay area.

Adams taught for ten years at the San Francisco Conservatory of Music before becoming Composer in Residence with the San Francisco Symphony (1982–85) and the creator of the orchestra’s highly success-ful and controversial “New and Unusual Music” series. Several of Adams’s landmark orchestral works were written for and premiered by the San Fran-cisco Symphony, including Harmonium (1981), Grand Pianola Music (1982), Harmonielehre (1985), and El Dorado (1992).

In 1985 Adams began a collaboration with the poet Alice Goodman and stage director Peter Sellars that resulted in two operas, Nixon in China and The Death of Klinghoffer, worldwide productions of which made them among the most performed operas in recent history. Adams’s latest opera, A Flowering Tree, inspired by Mozart’s The Magic Flute, was premiered in November of 2006 in Vienna.

excerpts from John’s Book of Alleged Dances (1994)

My links with folk music are often of an emotional character. When I work with that music I am always caught by the thrill of discovery . . . I return again and again to folk music because I try to establish contact between that and my own ideas about music. I have a Utopian dream, though I know it cannot be realized: I would like to create a unity between folk music and our music — a real, perceptible, understandable continuity between ancient, popular music-making which is so close to everyday work, and our music.

— Luciano Berio

In this suite, those who know Luciano Berio as an avant-garde com-poser ranking with Pierre Boulez, Luigi Nono, and Karlheinz Stockhausen will discover him in an unaccustomedly light mood. Berio made these arrangements as “a tribute to the extraordinary artistry” of the American singer Cathy Ber-berian, a specialist in Berio’s music whose musicality, intelligence, and perhaps unique virtuosity and range of tone color have made her world famous as an interpreter of the most difficult works of the avant-garde.

One cannot really classify either the first song, “Black Is the Color of My True Love’s Hair,” or the second, “I Wonder As I Wander,” as a genuine folk

song. In fact, John Jacob Niles, the Ken-tucky-born singer and scholar, whose edu-cation included classes with Vincent d’Indy at the Schola Cantorum in Paris, composed them in Elizabethan modes and made them famous by singing and recording them. Be-rio’s suite opens with a viola, free of bar lines and rhythmically independent of the voice, evoking a country fiddler. Harmonics from the viola, cello, and harp contribute toward the “hurdy-gurdy sound” Berio wanted to accompany the second song.

Armenia, the country of Miss Ber-berian’s forebears, provided the third song, “Loosin yelav,” which describes the rising of the moon. In the old French song “Rossig-nolet du bois,” introduced by antique finger cymbals, the nightingale advises an inquir-ing lover to sing his serenades two hours af-ter midnight, and identifies the “apples” in

luciano berio (1925–2003)Folk Songs (1964)

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his garden as the moon and the sun. A sustained chord colored by the striking of automobile spring coils bridges this song to the next one, the old Sicilian song “A la femminisca,” sung by fishermen’s wives as they wait at the docks.

Like the first two songs, the sixth, “La Donna ideale,” and the seventh, “Ballo,” come not from anonymous folk bards but in this case from Berio him-self, who wrote them in 1949 at the age of 24 for a Fulbright Fellowship voice student in Italy named . . . Cathy Berberian. The old Genoese-dialect folk poem “La Donna ideale” (The Ideal Woman) says that if you find a woman at once well-born, well-mannered, well-formed, and with a good dowry, for God’s sake don’t let her get away. “Ballo” (Dance), another old Italian poem, says that the wisest of men lose their heads over love, but love resists the sun and ice and all else. “Motettu di tristura” comes from Sardinia and apostrophizes the nightin-gale: “How you resemble me as I weep for my lover . . . When they bury me, sing me this song.”

The next two songs come from perhaps the most famous of all folk-music arrangements, Joseph Canteloube’s Chants d’Auvergne, in Auvergnat dia-lect. “Malurous qu’o uno fenno” poses the eternal marital paradox: he with no spouse seeks one, and he with one wishes he had none. A cello echoing the impro-visation at the opening of the suite intro-duces “Lo Fialaire,” in which a girl at her spinning wheel sings of exchanging kisses with a shepherd.

Miss Berberian discovered the last song, here called simply “Azerbaijani Love Song,” on a 78-rpm 10-inch disc from the Soviet Asian republic of Azerbaijan, sung in that nation’s language (except for one verse in Russian, which a Russian-speaking friend told her compared love to a stove). Miss Berberian sung, purely by rote, the sounds she transcribed as best she could from that scratchy old record. She knew not one word of Azerbaijani.

4 Rossignolet du bois (French) Little Nightingale of the Woods

Rossignolet du bois Little nightingale of the woods, rossignolet sauvage little wild nightingale, apprends-moi ton langage, teach me your secret language apprends-moi-z à parler, teach me how to speak like you, apprends-moi la manière show me the way comment il faut aimer. to love aright.

Comment il faut aimer The way to love aright je m’en vais vous le dire, I can tell you straight away, faut chanter des aubades you must sing serenades deux heures après minuit, two hours after midnight, faut lui chanter: “La belle you must sing to her, “My pretty one, c’est pour vous réjouir.” This is for your delight.”

On m’avait dit, la belle They told me, my pretty one, que vous avez des pommes, that you have some apples, des pommes de renettes some rennet apples, qui sont dans vot’ jardin. growing in your garden. Permettez-moi, la belle, Allow me, my pretty one, que j’y mette la main. to touch them.

Non, je ne permettrai pas No, I shall not allow you que vous touchiez mes pommes, to touch my apples. prenez d’abord la lune First, hold the moon et le soleil en main and the sun in your hands, puis vous aurez les pommes then you may have the apples qui sont dans mon jardin. that grow in my garden.

5 A la femminisca (Sicilian) May the Lord Send Fine Weather . . .

E Signuruzzu miù faciti bon tempu May the Lord send fine weather, ha iu l’amanti miu’mmezzu lu mari for my sweetheart is at sea; l’arvuli d’oru e li ntinni d’argentu his mast is of gold, his sails of silver, la Marunnuzza mi l’av’aiutari, May Our Lady give me her help, chi pozzanu arrivòri ’nsarvamentu. so that they get back safely. E comu arriva ’na littra And if a letter arrives, ma fari ci ha mittiri du duci paroli may there be two sweet words written, comu ti l’ha passatu mari, mari. telling me how it goes with you at sea.

6 La donna ideale (Italian) The Ideal Woman

L’omo chi mojer vor piar, When a man has a mind to take a wife, de quatro cosse de’e spiar there are four things he should check: La primiera è com’el è naa, the first is her family, l’altra è se l’è ben accostumaa, the second her manners, l’altra è como el è forma, the third is her figure, la quarta è de quanto el è dotaa. the fourth her dowry. Se queste cosse ghe comprendi, If she passes muster on these, a lo nome die Dio la prendi. then, in God’s name, let him marry her!

luciano berio Folk Songs texts and translations

1 Black Is the Color (American)

Black is the color of my true love’s hair,his lips are something rosy fair,the sweetest smile and the kindest hands;I love the grass whereon he stands.

I love my love and well he knows,I love the grass whereon he goes;if he no more on earth will be,’twill surely be the end of me.

2 I Wonder as I Wander (American)

I wonder as I wander out under the skyhow Jesus our Savior did come for to diefor poor ordn’ry people like you and like I,I wonder as I wander out under the sky.

When Mary birthed Jesus ’twas in a cow stallwith wise men and farmers and shepherds and all,but high from the Heavens a star’s light did fall,the promise of ages it then did recall.

If Jesus had wanted of any wee thing,a star in the sky or a bird on the wing,or all of God’s angels in Heav’n for to sing,He surely could have had it ’cause he was the king.

3 Loosin yelav (Armenian) The Moon Has Risen

Loosin yelav ensareetz The moon has risen over the hill, saree partzòr gadareetz over the top of the hill, shegleeg megleeg yeresov its red rosy face Pòrvetz dedneen loosni dzov. casting radiant light on the ground.

Jan a loosin O dear moon jan ko loosin with your dear light ja ko gòlor sheg yereseen. and your dear, round, rosy face!

Xavarn arten tchòkatzav Before, the darkness lay oo el kedneen tchòkatzav spread upon the earth; loosni loosov halatzvadz moonlight has now chased it moot amberi metch mònadz. into the dark clouds.

11 Azerbaijani Love Song

Apart from a passage in Russian, which likens love to a stove, the words of this song are in Azerbaijani. They were taken down phonetically, syllable by syllable, from a scratched 78rpm record by Cathy Berberian, Berio’s former wife, who did not know the language. The text has defied translation.

7 Ballo (Italian) Dance

La la la la la la . . . La la la la la la . . . Amor fa disviare li più saggi, Love makes even the wisest mad, E chi più l’ama meno ha in sé misura. And he who loves most has least judgment. Più folle è quello che più s’innamura. The greater lover is the greater fool.

La la la la la la . . . La la la la la la . . . Amor non cura di fare suoi dannaggi. Love is careless of the harm he does. Co li suoi raggi mette tal calura His darts cause such a fever Che non può raffreddare per freddura. that not even coldness can cool it.

8 Mottetu de tristura (Sardinian) Song of Sadness

Tristu passirillanti Sorrowful nightingale, comenti massimbilas. how like me you are! Tristu passirillanti Sorrowful nightingale, e puita mi consillas console me if you can a prangi po s’amanti. as I weep for my lover.

Tristu passirillanti Sorrowful nightingale, Cand’ happess interrada when I am buried, tristu passirillanti sorrowful nightingale, faimi custa cantada sing this song cand’ happess interrada. when I am buried.

Malurous qu’o uno fenno, Wretched is he who has a wife, maluros qué n’o cat! wretched is he who has not! Qué n’o cat n’en bou uno, He who has not, desires one, qué n’o uno n’en bou pas! he who has one, doesn’t! Tradèra ladèrida rèro, etc. Tralala, tralala, etc.

Urouzo lo fenno Happy the woman qu’o l’omé qué li cau! who has the man she wants! Urouz inquéro maito Happier still is she o quélo qué n’o cat! who has no man at all! Tradèra ladèrida rèro, etc. Tralala, tralala, etc.

da maesden bil de maenaes di dilamnanai ai naninai

go shadaemae hey ma naemaes yar go shadaemae hey ma naemaessen ordan chaexman boordantcholoxae mae dish ma naemaes yar tcholoxae mae dish ma naemaeskaezbe li nintché dirai nintché lebleri gontchae derai gontchaekaezbe linini je deri nintché lebleri gontcha de le gontcha

na plitye korshis sva doi ax kroo gomshoo nyaka mae shiax pastoi xanaem pastoi jar doo shi ma nie patooshi

go shadaemae hey ma naemaes yar go shadaemae hey ma naemaessen ordan chaexman boordantcholoxae mae dish ma naemaes yar tcholoxae mae dish ma naemaeskaezbe li nintché dirai nintché lebleri gontchae derai gontchae

nie didj dom ik diridit boost ni dietz stayoo zaxaditootch to boodit ai palam syora die limtchésti snova papalam

La fiolaire (Auvergnat) The Spinner

Ton qu’èrè pitchounèlo When I was a little girl gordavè loui moutons, I tended the sheep, lirou lirou lirou . . . Lirou lirou lirou . . . lirou la diri tou tou la lara. Lirou la diri tou tou la lara.

Obio ’no counoulhèto I had a little staff A n’ai près un postrou. and I called a shepherd to me. lirou lirou lirou . . . Lirou lirou lirou . . . lirou la diri tou tou la lara. Lirou la diri tou tou la lara.

Per fa lo biroudèto For looking after my sheep mè domond’ un poutou. he asked me for a kiss. lirou lirou lirou . . . Lirou lirou lirou . . . lirou la diri tou tou la lara. Lirou la diri tou tou la lara.

E ièu soui pas ingrato: And I, not one to be mean, en lièt d’un nin fau dous! gave him two instead of one. lirou lirou lirou . . . Lirou lirou lirou . . . lirou la diri tou tou la lara. Lirou la diri tou tou la lara.

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9 Malurous qu’o uno fenno (Auvergnat) Wretched Is He

luciano berio continued

Kuyas Long Ago

harry somers

Sâkâstāo Itissunrise.

Numoowunaw. Itisfairwind.Kēsamuneto, Greatspirit,Numoowunootāo. Hewalkswithfairwind.Kēsamuneto, Greatspirit,Numoowunasāo. Hesailswithfairwind.

“Kēsamuneto, “Greatspirit,kakesika’k nowthatitisdayne-yukanotāutāyan Iwhoamhungrynekumachen. willhunt.

Kakesika’k NowthatitisdayNe-yukanotāutāyan Iwhoamhungrynekumachen– willhunt– muskwâ. bear.Kakesika’k Nowthatitisdayne-yukanotāutāyan– Iwhoamhungry– âmisk beaverKakesika’k– Nowthatitisday– mooswâ mooseNe-yu– I– wâpoos rabbitKa– Who– uppischemoos-soos jumpingdeernotāyutāyan– amhungry– âhtik. caribou.Ka,kakesika’k Nowthatitisdayne-yukanotāutāyan Iwhoamhungrynekumachen– willhunt– wâwâskāseo.” elk.”

Kēsamuneto Greatspirit Pu’kisimoo Sunset Mēkisāo Aneagle.

Kuyas, Longago, kuyas. longago.Āwukoākeokimawit Thatonewasachief kuyas longagokisāyinewu. amongoldmen.Āwukokuyasachimoowin. Thisisanoldstory.Āwuko Thisotuuskek inthislandkapā’tuman iswhatIheardomuachimoowin. thisstory.Kuyas, Longago, kuyas longagoĀwukoākeokimawit Thatonewasachief kuyas. longago.

Todd Kuhns, Portland native, joined the Oregon Symphony Orchestra as Bass/Eb Clari-netist in 1989. He is also a member of the Third Angle New Music Ensemble, with whom

he recorded Stravinsky’s L’Histoire du Soldat and the chamber ver-sions of Copland’s Appalachian Spring and The Tender Land. Kuhns has performed with the Portland Opera, Ballet West, Oregon Ballet Theater, and West Coast Chamber Orchestras; he also played two seasons with Chamber Music Northwest. He has performed for dozens of musical productions and played in such eclectic groups as the Hester Street Klezmer Band and, more recently, Tango Pacifica. For many years Kuhns spent his summers participating in Oregon

music festivals including the Peter Britt, Oregon Coast, and Cascade Festivals. He still per-forms every summer with the Oregon Bach Festival, and played on that orchestra’s 2001 Grammy-winning recording of Penderecki’s Credo.

todd kuhns

jennifer craig

Jennifer Craig became principal harpist of the Oregon Symphony at age nineteen.

She has appeared with the orchestra as soloist on several occasions, most re-cently performing the Glière Harp Concerto. Since 1991 she has also performed as Prin-

cipal Harpist and soloist with the Oregon Bach Festival. Jennifer has appeared as so-loist with the Peter Britt and Sun River Festival Orchestras, the Mt. Angel Bach Festival, the Oregon Mozart Players, and the Cascade Festival of Music. She has also performed as Principal Harpist with the International Music Festival and Chamber Music Northwest.

Janice Johnson, a native of Maine, received her musical training at the Eastman School of Music, the Chautauqua Music Festival, and the Aspen Music Festival. She teaches at Marylhurst University and her private studio. Ms. Johnson enjoys singing contemporary music, and has appeared as a featured soloist at the Ernest Bloch Festival, where she performed works by Bernard Rands (most notably his Memo 7, under his tutelage). Working with John Peel, Ms. Johnson

premiered his Como un Arco de Viola with the Cuarteto Latinoamericano, and his opera, Voces Vergiliana, as Dido. Ms. Johnson has been a featured soloist with the Third Angle New Music Ensemble, and has appeared with the Oregon Symphony, and at the Astoria, Cascade, and Sunriver Festivals. In recitals, she has performed at Willamette University, Portland State University, OHSU, and Linfield College, in varying programs.

guest artists

janice johnson

molly alicia barth

Molly Alicia Barth is an active solo, chamber, and orchestral mu-sician, specializing in the music of today. Molly is adjunct flute professor at Willamette University in Salem, and principal flutist of the Salem Chamber Orchestra. As a founding member of the new music sextet eighth blackbird, Molly held residencies at the Uni-versity of Chicago and at the University of Richmond. With eighth blackbird, Molly toured extensively throughout the United States

and abroad, recorded four compact discs with Cedille Records, and was granted numerous awards, including the 2000 Naumburg Chamber Music Award and first prize at the 1998 Concert Artists Guild International Competition. Composers commissioned for Molly include Frederic Rzewski, Kotoka Suzuki, Cliff Colnot, Thomas Albert, and Ryan Ingeb-ritsen. She holds degrees from the Oberlin College-Conservatory of Music, Northwestern University, and the Cincinnati College-Conservatory of Music.

Phillip Patti divides his time between percussion and viticulture, and finds Portland and the Willamette Valley to be fruitful for both. As a percussionist, he enjoys playing new and recent works, al-though old music by dead guys holds an allure. He is a regular substitute with the Oregon Symphony, and has played with Third Angle New Music Ensemble and the Salem Chamber Orchestra. His studies and performances have brought him to Ithaca, NY; Mi-

lan, Italy; Cincinnati, OH; Chicago, IL; and, recently, Oregon.

phillip patti

Inés Voglar, in her third year as fEARnoMUSIC’s Artistic Director, has been a member of the Oregon Symphony since 2004. A former member of the Pittsburgh New Music Ensemble, Inés is now the violinist of the Free Marz String Trio.

fEARnoMUSIC

inés voglar

joël belgique

Erin Furbee has been the Oregon Symphony’s Assistant Concert-master since 2001. Prior to her arrival in Portland, she was a mem-ber of the Colorado Symphony for eight years, and also played with the Milwaukee Symphony for a season. Her passion for tango music has led her to be part of two tango groups: Tango Pacifico and Conjunto Berretín.

erin furbee

Joël Belgique is the principal violist of the Oregon Symphony and a six-year veteran of fEARnoMUSIC. He is also a member of the Oregon Symphony String Quartet and the Free Marz String Trio. Joël is currently finishing his first recital CD, which will include sonatas by Jacob Avshalomov, Rebecca Clarke, and Marion Bauer, with pianist Cary Lewis, as well as the premiere recording of Tomas Svoboda’s Sonata.

Adam Esbensen, a native of Corvallis, joined the Oregon Sympho-ny in 2003, following two years with the Louisville Orchestra. He is also a member of the Free Marz String Trio and an active partici-pant in the Oregon chamber music scene. This is Adam’s third year as a member of fEARnoMUSIC.

adam esbensen

joel bluestone

Mika Sunago, a native of São Paulo, has a special interest in in-troducing Latin American classical music to US audiences. She has been involved with several groups in town, including Tango Pacifico. Mika has released two CDs: Between the Tropics (Latin American solo piano music) and Café 1930 (Piazzolla tangos).

mika sunago

Joel Bluestone, D.M.A., is entering his sixteenth year as co-founder and percussionist with fEARnoMUSIC. His latest project isThe_Waters_Bluestone_Duel for percussion and live electronics, which has taken him all over the world. He has been the head of the Percussion department at Portland State University since 1989.

Jeffrey Payne (pianist and Young Composers Project Director), founded the fEARnoMUSIC ensemble with percussionist Joel Blue-stone in 1992. As a member of the ensemble he has appeared in New York City, California, and Colorado, as well as throughout the Pacific Northwest. During his tenure as Artistic Director for the group he was responsible for the presentation of twenty World Premiere or American Premiere performances of works by Pacific Northwest composers. In 1997 he founded the Young Composers Project, as part of the mission of fEARnoMUSIC, and continues as its Director, overseeing the development of aspiring young creative minds around the region.

jeffrey payne

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about FNM + Young Composers ProjectfEARnoMUSIC has been consistently praised for its unusual and innova-

tive programs, offering performances of the highest artistic quality that are pas-sionate and humorous. Now in its sixteenth season, the ensemble is committed to promoting the chamber music of our time, from the masters of the twentieth century to the young composers working right here in our city.

fEARnoMUSIC members have been featured artists on Seattle’s KING Radio and Portland’s KBPS All-Classical Radio. As recipients of a Continental Harmony grant in 2003–04 (sponsored by the American Composers Forum and the National Endowment for the Arts), fEARnoMUSIC premiered David Dzubay’s Northwest Passages in collaboration with the Lewis and Clark Bicen-tennial, a work chosen to represent Oregon in the celebration. fEARnoMUSIC has also received grants from the Copland Fund for Performing Ensembles, the Regional Arts and Culture Council, the Templeton Foundation, and the Jack-Straw Foundation. The ensemble is proud to have performed in Merkin Hall in New York in September 2001, at the invitation of acclaimed young composer (and Portland native) Kenji Bunch. In the Spring of 2008, fEARnoMUSIC will be Artists in Residence at Brigham Young University, invited by composer Steve Ricks.

The Young Composers Project offers the only program of its kind in the country. Currently sponsored by the Templeton Foundation, this innova-tive program gathers young composers (grades 6–12) from around Oregon for workshops over a nine-month period. During the workshops, the students de-velop their compositional ideas, experiment with orchestration, and have their works professionally performed and recorded. More than a hundred students have taken advantage of this exceptional opportunity, and they have won more than two dozen state, regional, and national awards for their compositions.

KBPS Classical Radio has annually broadcast interviews with students along with performances of their pieces, and segments of the workshop have been featured on Oregon Public Broadcasting’s ArtBeat. Students have also participated in master classes with Pulitzer Prize winning composer William Bolcom, and Indiana University faculty member David Dzubay.

fEARnoMUSIC can be heard on The Bridge, Vol. I (released by the Re-gional Arts and Culture Council), and on the recently released Electric Fences performing music of Shaun Naidoo and Jackie T. Gabel’s Spring Quartet.

David Abel – editing Charles Noble – photos / season brochure design Larry Westdahl – website update Helsinqi / Leo + Anna Daedalus – program design + production Anne Hendren – director’s assistant Mary Wright / Jeff Payne – grant writing

Our VOlunteers

Our spOnsOrs

season sponsor – Helsinqi

concert sponsor – David Kerr Violins

Young Composers Project sponsors – The Templeton Foundation – Dorothea M. Lensch Fund & Mr. Robert Beeman Smith, attorney-at-law

special thanks

FoR THeiR geNeRouS FiNANCiAL ASSiSTANCe:

Kathleen & David Kennedy, Mary Roseann Schaefer, H & M Fund, Murdock Charitable Trust, Christopher Gillem, Deborah Horrell, Terry Bryll, Andrés Cárdenes (in honor of Inés Voglar), John & Anne Hendren Coulter, Nancy Walpole, Robert Sher-wood, Keith Clark, Robert Priest, Claire Sykes, Mary A. Tooze, Patricia Hendrix, Gregory Vajda, Tim Wescott, Jeff Winslow, Da-vid and Diane Perkinson, J. T. Gabel & Agniezska Laska, Erin Furbee, Jamail McKinney, Joel Bluestone, Joël Belgique, Adam Esbensen, Jeff Payne, Inés Voglar, Linda Hathaway Bunza, Paul Schuback, Arlene Schwartz, Manya Shapiro, Linda Craig, Janet Dietz, Robert Holmes, Thomas Levings, Pauline Eidemiller, B. J. Seymour, David & Eileen Threefoot, Sandra (Sahni) Samuelson, Anita Bigelow, Sue & George Nelson, Geneva Wright, R. A. & Tara, Monette Kaplan, Susan Mandiberg & Richard Harris, Carl Abbott, Ellen Pullen, Robert L. Autrey, Richard Bills, Sydney & Susan Bluestone, M. Edward Borasky, Nina Bruce, Jim Bruce, Al Criado, Janet Butler, Ross E. Butler, Rose Bond (in memory of Laure Lourie), Jack & Marjorie Butler, Stanley & Celia Butler, Jon & JoAnn Crabtree, Jessica Crocker, Robert T. Currey-Wilson, Justin Dune, Matt and Therese Doran, Skip Elliot Bowman, Harold T. Fogelquist, Desiree French, Ana Gadsby, Jay Gregory, Wesley Harper, Peter Goldblatt, Ketzel Levine, Mrs. Stuart W. Gates, Joan I. Hoffman, Normandie R. Holmes, Linda A. Kaeser, B. Ruper Koblegarde, Keith Hardin, Joyce MacKenzie, Sarah Mahler, Stefan Minde, Marty and Duane Peterson, Leila Piazza, Lori Presthus, Diego Salvador, Marc San Soucie, Sue-Del McCulloch, Darryl Robbins & Jani Semke, Robert & Marilyn Shotola, Scott Teitsworth & Deborah Buchanan, Cristian Vallejos, John Vergin, Joan Wall, Alonso Zarzar, Norton Johnson, Randy Zasloff, Lawrence Smith, Laura Graser, David & Patricia Rivinus, John Montague & Linda Hutchins, Robert & Evelyn Fortier, Esther Tuon Riley, Elizabeth B. Dyson, Yvonne Sherlock, Carole Lindell-Ross Martin Muller, J.F. Schilke, Persis, Ann Blachly, Gerald & Loraine Griffy, Theodore & Molly Raphael, George & Molly Gearn, and Frederick Cohen, Laraine G. Griffy, Stefan Minde, Michael A. Horsfall, Steven & Bonnie Esbensen, and anonymous donors.

special thanks

FoR THeiR TiMe AND geNeRoSiTY:

Our board of directors: David & Kathleen Kennedy, Anne Hendren, Sharon Francis, Jeff Payne; and Friends: Peggy Attia, Bob Priest, Claire Sykes, Bon-nie and Steve Esbensen, Mary Wright, Michelle’s Pianos, David Abel, Charles Noble, Lawrence West-dahl, Thomas Levings, Cheryl & Karen at Printing Solutions, David Weaver, Michael Stirling, David Kerr, Olivia DeJongh, Shari Eisland, Chris Thurman, Jinnina Chiles, All Classical 89.9 KBPS, Edmund Stone, John Pittman, Robert McBride, Mason Deal, Kristin Harris, Jackie T. Gabel, Agnieszka Laska, Bob McClung, Sarah Roth, Shin-young Kwon, Julie Coleman, Karstan Lovorn, JoAnn Crabtree, Riley Crabtree, Josh Norville, Mary Norville, Christopher Dyson, Elizabeth Dyson, Annette Caughman, John Caughman, Cole Perkinson, Julie Wickman, Ryan Wickman, Ferguse Firth, Toni Thomas, David Weav-er, The Community Music Center, Michael Walsh, Cary Lewis, Brett Campbell, David Stabler at the Oregonian, John Chandler at Portland Monthly, Su-zanne Hamlin at PDX Magazine, Brian Cuteau & Nancy Tanner at SE Examiner, Jim Radosta at Just Out, Theodore and Molly Raphael, Trish and Barry at The Old Church, and many more.