sci newsletter xxxvi:4 - society of · pdf filephillip schroeder henderson state ... the sci...
TRANSCRIPT
The SCI Newsletter XXXVI:4Society of Composers, Inc.
UPCOMING
CONFERENCES
2006 National ConferenceSan Antonio, TX
September 13-17, 2006Co-located Conference with the
College Music Society
2006 National Student ConferenceArizona State University
October 2006Host: Glenn Hackbarth
E-mail: [email protected]
2006 Region IV ConferenceMiddle Tennessee State University
October 26–28, 2006Host: Paul D. Osterfield
E-mail: [email protected]
2006 Region II ConferenceHamilton College, Clinton, NY
November 10–11, 2006Submission Deadline: TBA
Host: Sam PellmanE-mail: [email protected]
2007 Region V ConferenceClarke College, Dubuque, IA
February 22–24, 2007Submission Deadline: TBA
Host: Amy DunkerE-mail: [email protected]
2007 Region VI ConferenceCentral Missouri State University
Spring, 2007Submission Deadline: TBA
Host: Eric HonourE-mail: [email protected]
“Editor” ...continued on page 12
Behind the Scenes:The Sonata for trumpet and strings
(or piano) Premiere Project
Contributed by Robert J. Bradshawand Members of the Consortium
Trumpet soloists throughout the UnitedStates of America began a premiereproject in November, 2003, with perfor-mances in Alabama, Alaska, Arizona,Arkansas, California, Colorado, Connecti-cut, Delaware, Florida, Idaho, Illinois, Iowa,Kansas, Louisiana, Maine, Maryland,Massachusetts, Michigan, Mississippi,Missouri, Montana, Nebraska, Nevada,New Hampshire, New Jersey, Ohio,Oklahoma, Pennsylvania, Rhode Island,South Carolina, South Dakota, Texas,Washington, Wisconsin and Wyoming.Performances also quickly spread aroundthe world to Ireland, England, Scotland,China, Singapore and South America.“What a project!” Edward Reid (AssociateProfessor of Music (trumpet), University ofArizona) “Who would have thought itpossible? Robert’s Herculean effort tocompose this wonderful piece, promote itsperformances worldwide and then toreceive the accolades he has, is amazing.The piece’s vigor reflects the energy withinthis composer. I am thrilled to have beenincluded in the Arizona aspect of thisspectacular undertaking.” Reid’s com-ments are indicative of the enthusiasticatmosphere that surrounded the premiere.Many soloists expressed the sentimentthat they felt the project provided a uniqueopportunity to support new music.
Sonata for trumpet and strings (or piano)was composed by Robert J. Bradshaw inJanuary, 2003. “I continued to edit thework throughout the Spring as well”explained Bradshaw, “most notably byexpanding the fourth movement to pro-videadditional rest for the soloist.” After severalrevisions, the final publication wasreleased during the 2005 InternationalTrumpet Guild Conference, hosted byMahidol University College of Music, heldat the Grand Hotel, Bangkok, Thailand.
New Editor for the SCI Newsletter
Bruce Christian Bennett
It has been my great pleasure and honorto serve the membership of the Society ofComposers, Inc. as the Editor of the SCINewsletter for the past five years. I hopethat during my tenure as editor I have beenable to provide you with a professionalpublication as befitting our organization,and to have not only reported the news ofthe membership, but also to have providedcompelling and thought-provoking articlesand interviews relevant to our profession.However, the time has come for me to stepaside and introduce the new editor of theSCI Newsletter, Sam Hamm.
Sam Hamm
Samuel J. Hamm, Jr. (b. 1968) is acomposer of acoustic, electroacoustic, andmixed-media music within a variety ofgenres including concert music, theatre,and dance, with a focus upon live-performance interaction between musi-cians and technology. Sam completed aPhD in Music Composition in 2005 at theUniversity of Florida, where his dissertationadvisor was James Paul Sain. Sam alsoholds a BM in Composition from theUniversity of Alabama (1991) and a MM inComposition from the University of Florida(1995). In addition, Sam has studiedcomposition with Cort Lippe at the Univer-sity of Buffalo. Currently, Sam holds theposition of Assistant Professor of Music atRocky Mountain College in Billings, MT,where he teaches music theory, musichistory, and counterpoint. He has heldprior teaching positions at the University ofFlorida, The University at Buffalo, and theUniversity of Louisiana at Lafayette.
Page 1July—August 2006, XXXVI:4
“Premiere Project” ...continued on page 4
Page 2 The SCI Newsletter XXXVI:4
Region V
Dan McCarthyThe University of Akron
Frank FeliceButler University
Region VI
Samuel MagrillUniversity of Central Oklahoma
Phillip SchroederHenderson State University
Region VII
Bruce ReiprichNorthern Arizona State University
Glenn HackbarthArizona State University
Region VIII
Charles ArgersingerWashington State University
Patrick WilliamsUniversity of Montana
John BeallStudent Conference hostWest Virginia University
David GomperPresident Emeritus
Greg SteinkePresident Emeritus
Gerald WarfieldGeneral Manager
Executive Committee (2005–2006)
James Paul SainChairUniversity of Florida
Bruce BennettNewsletter EditorReed College
The Society of Composers, Inc.
The Society of Composers, Inc. is aprofessional society dedicated to thepromotion of composition, performance,understanding and dissemination of newand contemporary music. Membersinclude composers and performers bothin and outside of academia interested inaddressing concerns for national andregional support of compositionalactivities. The organizational body of theSociety is comprised of a NationalCouncil, co-chairs who representregional activities, and the ExecutiveCommittee.
National Council (2005–2006)
Thomas WellsPresidentThe Ohio State University
Region I
Scott BrickmanUniversity of Maine at Fort Kent
Beth WiemannUniversity of Maine
Region II
Anneliese WeibelSUNY-Geneseo
Daniel WeymouthSUNY-Stony Brook
Region III
Harvey StokesHampton University
Bruno AmatoPeabody Conservatory of Music at JohnHopkins University
Region IV
Mark EngebrestonUniversity of North Carolinaat Greensboro
Michael TimpsonUniversity of South Florida
John G. BilottaSCION Editor
Bruce J. TaubJournal of Music Scores Editor
Richard BrooksCD Series ProducerNassau Community College
Mike McFerronWeb MasterLewis University
Matthew McCabeWeb Content EditorUniversity of Florida
Thomas WellsAudio Streaming Project ManagerThe Ohio State University
Geoff KiddeSubmissions CoordinatorManhattanville Collegein Purchase, New York
Ronald K. ParksWinthrop UniversityMembership and Media Relations
Terry Winter OwensIndependent ComposerRepresentative
Nikitas J. DemosStudent ChaptersGeorgia State University
Daniel PerttuStudent RepresentativeThe Ohio State University
Kari JuuselaBerklee College of MusicSCI/ASCAP Student Commission &Grants Coordinator
Glenn HackbarthStudent Conference CoordinatorArizona State University
Phillip SchroederProducer, SCI PerformersSeriesHenderson State University
The SCI Newsletter XXXVI:4 Page 3
MEMBERS’ ACTIVITIES
COLUMN
Please email current information on youractivities to:
SCI NewsletterBruce Bennett, Editor
Karim Al-Zand
Karim Al-Zand was awarded first prize inthe The American Composers Forum 2ndannual Art Song competition, cosponsoredby the Schubert Club, for his composition“The Secret of Your Heart”—a cycle oflove songs on texts by RabindranathTagore.
Brian Bondari
On June 4, 2006, Mary Fukushima andMike Kirkendoll premiered Brian Bondari’sKaykhosrow’s Ascension for flute andpiano at the Weill Recital Hall in New YorkCity. The same work was performed againat the Cortona Fesival in Italy on July 17,2006.
Douglas Boyce
On May 21, 2006, Robert Baker, LuraJohnson-Lee and the Contemporary MusicForum premiered two songs by DouglasBoyce from his ongoing project A Book ofSongs. The songs are settings of texts byB.J. Ward and Jorie Graham.
The SCI Newsletter
Editor: Bruce BennettCirculation: 1,400
Annual Subscription Rate: free withmembership (electronic delivery)
Frequency of Publication: bimonthly.
Please send articles, reviews, andmember activities (email preferred) to:
SCI NewsletterBruce Bennett, Editor
Reed CollegePortland, OR 97202(504) 220-1157 cell
For other business:Gerald Warfield,General Manager
Society of Composers, Inc.Old Chelsea Station, Box 450
New York, NY 10113-0450
Copyright © 2006The Society of Composers, Inc.
All rights reserved
SCIONJohn Bilotta, Editor
SCION, SCI’s on-line electronic news,provides information on opportunities for
composers. News items, announce-ments, comments, and other material for
publication may be sent via e-mail to:
Mail, telephone calls, and fax messagesshould be directed to:
John G. Bilotta, SCION Editor1699 Agadir St.
Concord, CA 94518Telephone: 925-685-9259
“Members” ...continued on page 10
Matthew Brazofsky
Matthew Brazofsky presented a concert ofpiano and saxophone works entitled“Scenes, Sounds, and Silences” on May23, 2006 at the Downtown United Presby-terian Church in Rochester, New York.
Richard Brooks
The Kent Philharmonic Orchestra pre-miered Richard Brooks’ Concerto forTrumpet/Flugelhorn and Orchestra by onMay 12 in Grand Rapids, Michigan.
Timothy J. Brown
Timothy J. Brown’s song cycle Songs ofLight, Songs of Shadows has beenreleased on compact disk by CapstoneRecords. The first song cycle uses textsby Mark Doty, and is performed by JustinRyan, baritone; Mary Jo Peña, piano;Michi Wiancko, violin; and Javier Diaz,percussion. The second cycle is scoredfor baritone and piano only, and aresettings of poems by Pablo Neruda inSpanish. The CD was recorded at TheLooking Glass Studios in New York City,and is available atwww.capstonerecords.org.
John Carollo
Four works from John Carollo’s nine-movement Romantica Passione Suite forGuitar and Violin (2004) were premieredand recorded by Duo46(www.duo46.com). Also, his Trio forPiano, Guitar, and Violin (2003) waspremiered by Duo46 and Nathanael May.His first solo flute work, MetamorphosisNo. 13, Let It Not Be In Vain (2006), was
eeetty
Robert J. Bradshaw
About the Composition
Sonata opens with the mournful sound ofmuted trumpet playing the melody frommovement III. As the trumpet sustains asingle note, the accompaniment explodeswith a fast-paced and dance-like rhythmreminiscent of twentieth century sonataswell known to trumpeters. The shiftingmeter provides both a “bouncy” rhythmicfeel and, at times, either holds the beatback or propels it forward. The trumpetintroduces several contrasting thematicmotives that are developed throughout themovement ending with a brief recapitula-tion of the main theme. The coda, with itsfiery ascending unison line, consistsentirely of elements presented earlier inthe movement—including an abrupt endingbased on measure 54.
Keith Thompson (Principal Trumpet, EauClaire Chamber Orchestra) writes ofmovement I, “The melodies are driving andangular, yet familiar at the same time. Thisis not music just for academia. It’s music tobe appreciated and enjoyed. But, this isnot traditional harmony. There isn’t a triadto be found anywhere in the piece, but itstill has a beautiful ring of familiarity to it(discussed below). The strings aren’t justhanging around in the background puttingtogether pretty chords to support thetrumpet. It’s a truly collaborative effortamongst all players.”
Movement II is frequently described aspointalistic. In this movement, Bradshaw
“Premiere Project” ...continued from page 1
Page 4
steps away from standard trumpet writing.Eric Berlin (Artist and Teacher of Trumpet,University of Massachusetts) writes, “Thesecond movement is especially enjoyable.To me, it feels like gazing into a beloved’sface contentedly with the occasional heartflutter that such gazing can produce.”Lacking a traditional melody, smallfragments of sound are traded betweenthe trumpet and accompaniment producinga very open and seductive counterpoint.
Movement III (“not to be performed tooslowly,” remarks Bradshaw) can aptly bedescribed as hymn-like. A single melody ispresented several times: first by thetrumpet; secondly by strings or piano; andfinally with a trumpet countermelody. Afterbriefly returning to the theme near the end,the trumpet rises to a high “C”. Manysoloists have mentioned that after holdingthis long fermata, the last two measuresappropriately sound like “Amen.”
“The third movement is quite simplybeautiful,” states Thompson. “The flowing,jazz inspired melody begins with a softmute, giving it a sweet and serene texture.As the strings take over, the trumpetswitches to harmon for a reflective, distantsound. Open trumpet reprises the melodyas it grows to a large climax and quietrelease… stunning.”
About the Project
Bradshaw, a freelance composer workingfrom picturesque Gloucester, Massachu-setts, developed the idea for the projectwhen a grant opportunity for which he wasapplying collapsed. “I had recently begunteaching trumpet at Gordon College andwas inspired to write for the instrument. Imade plans to focus my efforts on acomposition for trumpet during the winterbreak. I enlisted the help of four friends inwriting a grant to fund the piece. All wasmoving along smoothly until I was notifiedof a requirement, not published in thedocuments I had received, which disquali-fied my project. At this point, and due tothe fact that I had been assured my projectwas ‘perfect’ for funding, I had devoted agreat deal of time composing. Determinednot to let the project collapse too, I decidedthat I would attempt to exceed the scopeof the original grant and have it performedthroughout America.”
Building the C�onsortium
“With his internet mail campaign, RobertBradshaw was able to generate anunprecedented number of performances ofa new work in a very short period of time.”
Mark V. Flegg21st Century Trumpet Solos: How Thr
Composers Introduced New TrumpWorks to the Trumpet Communi
The SCI Newsletter XXXVI:4
As is usually the case, moving from idea topractical application proved to be a verylarge step. When asked how he built theconsortium, Bradshaw’s response isalways immediate: “Email!” He utilized theInternet to research and contact trumpetsoloists. Bradshaw admits that he wassurprised by the response to his emails,“Many musicians immediately respondedto my inquiries and the project began togrow quickly.” In an interview for anOctober 2003 press release Dr. GilbertCline (Professor of Music, Humboldt StateUniversity) stated: “This piece is really funto play. It is fresh, contemporary, vivaciousand full of life. It’s also very modern andfull of rhythmic complexity, but it’s easy tolisten to.” Cline decided to perform thepiece without first hearing it and chose toparticipate in the project because it was sounique. “You have to take a chance withnew music.”
Lynne Garrett and Gilbert Cline
Soon it became apparent that even thoughthe experience emailing musicians waspositive and successful, Bradshaw wouldnot be able to complete the project’s goalssimply through email. A trip to the 2003ITG Conference, held at Texas ChristianUniversity, would fill that void and expandthe project exponentially. About a weekbefore the Conference, several trumpetersstrongly suggested to Bradshaw that heshould attend. Heeding their advice andjust days later, Bradshaw found himself ona plane to Texas with no idea what toexpect. “At first, I was unsure how toproceed so I did what everyone else wasdoing, I went to the events. Having playedthe trumpet since fourth grade, I enjoyedevery moment.” Bradshaw then began tointroduce himself to people he hadcontacted.
The SCI Newsletter XXXVI:4
First, he checked the program to see if herecognized any names, and attendedspecific events in the hopes of meetingthem in person. “In fact,” remarkedBradshaw, “this is how I met James Ackley(Assistant Professor of Music, Trumpet,University of Connecticut). James waschair of the Mock Orchestral Competition.Immediately following the competition Iwent backstage and introduced myself. AsI was leaving, James called after me andsaid he’d play the piece.” Ackley per-formed the Connecticut premiere ofSonata, South American premiere with theOrquesta de Cuerdas Facultad de Músicade la Corpas in Colombia, and at the 2004International Trumpet Guild Conference atthe Lamont School of Music, University ofDenver, Colorado. In addition to perform-ing the composition, he has also recordedthe Bb version with piano for his upcomingCD.
Between events, Bradshaw even resortedto standing on staircases and watchingpeople’s name cards as they passed. “Ijust stepped right up to everyone andintroduced myself. They must havethought I was crazy! I have to admit it wasextremely difficult. I am usually a very quietperson—sitting at my computer forcountless hours every day. Corneringpeople all day long was grueling, but Ididn’t let that stop me! I continued meetingpeople all week. It was in this way that Imet Eric Berlin.” When approached, Berlinremembered being contacted about theproject and agreed to review Sonata. Heparticipated in the Premiere Project byperforming the work in recital with NadineShank in Bezanson Recital Hall at theUniversity of Massachusetts, AmherstCampus.
It should be noted, that the 2003 ITGConference was also the catalyst for fouradditional works for trumpet:
1) Out of the Quiet for trumpet in Bb (andflugelhorn) and percussion. Purely bychance, Ivano Ascari (Professor ofTrumpet, Riva del Garda State Conserva-tory of Music, Italy) and Bradshaw met onthe sidewalk outside of the 2003 ITG
Conference. Bradshaw had attendedAscari’s recital earlier in the day and wasdelighted to have the opportunity to speakwith him. Not long into the conversation,Ascari asked Bradshaw if he would beinterested in composing a piece for hisupcoming CD (Ascari’s fifth CD of newmusic for trumpet). He had two requests;that the composition be written for trumpetand percussion, and that the work beinspired by “interesting” program notes.Both ideas sounded great to Bradshaw.Bradshaw’s wife, Lori, is a South Carolinanative, so he decided to research thestate’s history for a programmatic elementfor the work. Government documentsconcerning the Battle of Camden onAugust 16, 1780 (during the AmericanRevolutionary War) caught his attentionand inspired Out of the Quiet. Ascarirecorded and released the work on his CDtitled, Nuove Musiche per Tromba 5.
Ivano Ascari
2) Ozymandias for trumpet and orchestraor organ. Dr. Jean-ChristopheDobrzelewski and Bradshaw met whileperusing the sheet music bins at the 2003ITG Conference. With music in hand,Dobrzelewski and Bradshaw discussedcollaborating on a new composition fortrumpet and organ. They researchedpoetry for a programmatic basis for thecomposition and selected Percy ByssheShelley’s masterpiece, “Ozymandias”.Ozymandias, was recorded and releasedon Dobrzelewski’s latest CD, TriptyqueRenewal.
3)� Statements, Commanding; statementsmade by the Presidents immortalized inthe sculpture of Mount Rushmore fortrumpet or violin, violoncello and piano.Written for the Orenunn Trio and theContemporary Music Festival at WichitaState University.
Page 5
“I have had the privilege of working withRobert on two projects so far, and hope tohave many more opportunities in thefuture. I believe that Robert is one of a rarebreed of living composers who is able toblend innovation with audience appeal. Iwas a part of the Sonata Premiere Projectas well as giving the world premiereperformance of Statements, Commandingat Black Hills State University near MountRushmore. In both cases, the composi-tions provided an exciting experience forboth the performers and audiences. Mytrio, Orenunn Trio, has performed Robert’sworks in the United States, South Korea,and Thailand, and I think that both Sonataand Statements, Commanding are worksthat carry the traditions set forth by AaronCopland by incorporating elements ofAmerican music in a unique and forwardlooking style that is his own.
Orenunn Trio
Statements, Commanding is a wonderfulcomposition that challenges the perform-ers technically and musically. Robertskillfully weaves the trumpet, cello, andpiano in and out of textures to create apiece that sets new standards for livingcomposers to think outside the box in away that appeals not only to the musician,but also to the audience. This piece is atrue chamber ensemble work, in that nosingle instrument carries the entire com-position. Each person must be up to thetask, as the work is only truly heard whenall three members are in sync and workingas one instrument. The Orenunn Trioperformed this work at the 2005 Interna-tional Trumpet Guild Conference inBangkok, Thailand as the culmination oftheir overseas tour, and the audienceresponded with overwhelming applause atthis great triumph in chamber music. Both
Page 6
Sonata and Statements, Commanding areworthy of many, many more performances,and I would not be surprised to see thembecome staples in chamber musicliterature.”—Mark Boren
4) Arboretum: for the conservation of ourworld for trumpet (in C, flugelhorn ortrumpet in Bb and piccolo in A) or trom-bone is available for performance with:chamber orchestra; piano quintet; orwoodwind quintet and piano. Bradshawcom-posed this four movement work forRichard Stoelzel. Arboretum has beenprogrammed on the New Music Concert 2:Trumpet in Chamber, 2006 ITG Confer-ence, Rowan University—Richard Stoelzel,trumpet and the Rowan Faculty WoodwindQuintet.
Richard Stoelzel
After the conference, Bradshaw workedeven harder to build the consortium,putting all other work on hold for months.He emailed soloists, mailed copies of thecomposition and called every trumpeter hecould find. Once the summer rolledaround, it became more difficult to contactpeople by email, so he began to focus onthe actual event. Having spent his savingson travel, printing piano scores andtrumpet parts, he no longer had anyfunding to market the event. “It was time tocome up with another creative way tocontact people and get the word out.”
“At this point, things started to move veryquickly so I am not sure exactly what ordereach of the next events happened.Probably all at the same time (at least itfelt that way!).” remarked Bradshaw. Hisfirst thought was to release a recording. “Iknew that it was a long shot (to get arecording so quickly) but I figured I would
try anyway. Very generously, Eric Berlinand Nadine Shank agreed to learn andrecord the work in August (2003).” Theygranted permission to post the recordingon Bradshaw’s website. “It was a hugeboost to the project!” Bradshaw recalled.
Eric Berlin
“It was a thrill to be able to record Robert’ssonata. When I had a chance to look at itcarefully for the first time, I thought: ‘Wow,this seems like a piece that I can sink myteeth into.’ Rhythmically interesting andvaried melodic content made it interestingto me. I called Robert and told him thatalthough I didn’t think I could get aperformance in on the premier date, Iwould be happy to record it. Nadine and Ihad a wonderful time preparing andrecording the work. I think that this sonatawill become a staple of the trumpet recitalrepertoire and I wish Robert continuedsuccess with his work,” Eric Berlin.
Michael Anderson
In the continuing attempt to contactmusicians without spending money onpostage and phone calls, Bradshawcontacted Michael Anderson, founder andmoderator of the Trumpet Players Interna-tional Network (TPIN). “I was not sure ifthe members would be interested in thistype of project.” Bradshaw said, “butMichael thought it would be a good idea forme to try. I wrote a rather lengthy post
The SCI Newsletter XXXVI:4
Visit our Web pageDr. Mike McFerron, assistant professor atthe Lewis University, is our webmaster.
The URL is:http://www.societyofcomposers.org
Please visit the Web site and sendcomments and suggestes to
(excerpt included below) and received awarm welcome.”
Dr. Peter J. Wood (Assistant Professor ofTrumpet, University of South Alabama)writes of the TPIN post: “When I readRobert’s post to the Trumpet PlayersInternational Network in the summer of2003 announcing this Premiere Project, Ithought, ‘What an innovative, creativeidea!’ I enjoy performing new music andbelieve strongly in supporting composerswilling to write for the trumpet—especiallythose who are ingenious enough to go tothese lengths to get their music performed.I was planning a recital for the fall semes-ter and figured it would be worthwhile atleast to check out Robert’s piece. When Ireceived the music, I began practicing itand quickly found it to be a very wellwritten sonata and an enjoyable composi-tion to play. The rhythmic interplaybetween the trumpet and piano in thesecond movement was especially appeal-ing to me. I found the entire piece to bevery well balanced: technically andmusically challenging, but not so much soas to become frustrating. The final resultwas a very satisfying musical experience:definitely well worth the time and effortspent preparing it. I hope that many morepeople become acquainted with RobertBradshaw’s music and that he continues towrite for the instrument.”
Bradshaw continued to post updates onTPIN and soon received a reply from KeithThompson. After making contact, Thomp-son sent him a letter that was quite asurprise. Thompson suggested thatBradshaw contact Ivar Lunde, conductor ofthe Eau Claire Chamber Orchestra(ECCO), and see if he would program thecomposition. Only one week prior topublication of their upcoming season’sprograms, Bradshaw found himselfscrambling once again—this time to get ascore to the orchestra for review. ECCOagreed to give the world premiere of thework at the Mabel Tainter MemorialTheater, located in Menomonie, Wiscon-sin. Bradshaw, and his wife Lori, were alsoinvited to attend the performance.
The SCI Newsletter XXXVI:4
Keith Thompson writes, “I have a nastyhabit of getting myself involved in thingsthat are just too much. Maybe they take anunexpectedly large amount of my time (ormoney, or both) or maybe they simplypush me farther than I’m prepared to go.But, then on occasion I get myself involvedin something that’s such a perfect fit andso satisfying that all my crazy involve-ments are worth it because without thatpushing I would have missed somethingthat turned out wonderful and meaningful.This latter case is exactly what happenedwith the world premiere of Robert J.Bradshaw’s Sonata for Trumpet andStrings (or piano).
Bradshaw and Thompson after the worldpremiere in Wisconsin
Robert posted a note on TPIN, describingthe project and offering music to anyonewho wanted to consider being a part of hisproject. I got the message, and I ignored it.More time passed and he decided to give itanother go on TPIN. This time I read it andthought, ‘What the heck—nothing to lose.’ Icontacted Robert and said I’d like to getthe music and give it a go. He respondedquickly and generously sent me music inshort order.
I buy lots of music and to be honest, I’mrather finicky when it comes to musicselection, so not a large percentage of thatmusic makes it beyond a first reading.Either a piece will speak to me or it won’t. Ireceived Sonata one afternoon and I readit over with my eyes. It grabbed myattention right away. This was not asmattering of notes with no direction or
purpose as I have seen just too manytimes. There were distinctive, creativemelody lines that were built and expanded.It grew when it needed to grow andreceded when it needed space. This onewas speaking to me.
That night I played it through on thetrumpet. I later gave it one read throughbefore bedtime. It would work. I sentRobert a note. ‘I’ll do it on my next recital’,which coincidentally was planned for aboutthe same time as his project timeframe fora premiere in each state. As the firstperformance in Wisconsin, it wouldbecome the Wisconsin premiere. This wasexciting. I had been involved in musicpremieres before, but never something inwhich I was the soloist��—and I hadcertainly never been involved in a projectlike this.
For the last several years I have playedtrumpet in the Eau Claire ChamberOrchestra, an excellent group that hasprovided some of my most memorablemusical moments. Hmmm... Robert saidthat this sonata was originally for trumpetand strings and as luck would have it, therepertoire for the orchestra’s concert(within the premiere time-frame) was stillnot solidly planned in the upcomingconcert season. I quickly sprang intoaction.
I asked about the availability of the stringedition and whether he had thought ofhaving one of the premieres with strings.Robert responded with rousing interest,saying that he never would’ve expectedsuch an opportunity and was thrilled by the
Page 7
prospect. I asked him to send the score tothe chamber orchestra’s musical director,Ivar Lunde. The music was received, themusical director liked what he saw, andalmost as if by magic Sonata was sched-uled right where we wanted it to be�—allwithin a few short days. Quick actionlanded me another solo opportunity with afine orchestra and the world premiere forthe original string version of Sonata.
Preparation of the music for the premierewas no problem. There is music you sweatover and music you don’t even bother withbecause it’s an easy sight read. This wassomewhere in the middle. The piecedoesn’t hold any serious technical chal-lenges, but does have its moments whenthe fingers need to be twisted back intotheir normal position for another attemptthrough this section or that. I decided thatdespite being written for C trumpet, I feltmuch more comfortable on E-flat trumpet.My E-flat trumpet is a 4-valve model bySchilke with a large bell that has a soundmuch more like a large trumpet than atypical E-flat trumpet. Plus, I also used anunusual mouthpiece on it—a deep,German cornet mouth-piece with a cornetto trumpet adapter that also gives theinstrument a sound more like a largertrumpet. For me the piece just seemed toclick on the E-flat trumpet, with theexception of a couple spots where thepreviously comfortable C trumpet finger-ings became twisted, torturous fingeringcombinations on the E-flat. Still, it wasclearly my preferred instrument—possiblybecause I had just recently performed arecital in which I used the instrument forEric Ewazen’s Trio for trumpet, violin andpiano, making it familiar in my hands. Ireported this to Robert. He seemed to findmy choice unusual, but also immediatelyvolunteered to send a part in E-flat so thatI didn’t even have to transpose as Iplayed—good man.
The piece also involved another equipmentdecision. Several, in fact. Sonata requiresstraight, harmon and cup mutes. I wonderwhat it is about mutes? No matter howmany you own, the perfect mute for each
Page 8
piece is always one you don’t yet have!After trying several mutes, I found myselfwith two new, different harmon-stylemutes, a new straight mute, and a muteholder that I could clip to my music standso that I could make the fast mutechanges necessary without trying to get toand from the floor in time. Robert’s use ofmutes is not gratuitous. I completely agreewith each mute usage, despite the factthat I also swore about a couple of themute exchanges. E-flat trumpets are notdesigned for fast mute changes. With thebig bell of my E-flat, standard mutes fitwith no problem, but changing the tuningto accommodate a mute change meantloosening two thumb-screws, pulling orpushing a slide, then tightening the screwsagain. I’m not quite sure, but I think I spentmore time practicing mute changes thanpracticing the music. At least it seemedlike that anyway.
On to the performance itself. All concertsare exciting. They’re always a thrill for me,even if all I’m doing is playing the simple,repetitive trumpet parts in a MozartSymphony. Even so, concerts with solosare far more exciting. Double that with aworld premiere. Triple that when thecomposer is going to be in the audience.Robert arrived the night before theconcert. His flight came in a little too lateto attend our rehearsal, but I had recordedit with my MD recorder. I met Robert andhis wife, Lori, for dinner and I brought therecorder along for him to hear. I could tellhe was really chomping at the bit to hearthe recording, so Lori and I chatted andate while he sat still with his eyes affixedforward, intently listening (and to mypleasure, smiling as well). He waspleased. The orchestra only had threeshort rehearsals—a lot to accomplish on amoderately difficult piece, but had pulledthrough with colors. The concert was thefollowing afternoon. It was everything Iwanted it to be. I was pleased with myplaying, with that of the strings, and withthe look on Robert’s face throughout andafterward. The audience’s responsecapped it off with rousing applause from afull house and many compliments after the
concert—including from the tougher criticsI knew in the audience.
Sonata is not programmatic, but is still veryemotional to me. One cannot help but bemoved by this music—either as performeror listener. If all music affected me asmuch as this piece, I’d be an emotionalwreck all the time! My only disappointmentis that most people will only becomefamiliar with it as a piece for trumpet andpiano. It’s very good in that format, but itquite simply doesn’t compare to the editionfor trumpet and strings.
I thank Robert and the Eau Claire Cham-ber Orchestra for this wonderful opportu-nity.”
Sonata received its second (III/IV)orchestral performance, also during thepremiere concert season, by the HillyerFestival Orchestra (HFO) on August 25,2004. Eric Berlin was the featured soloist.The concert took place at Boston’s famousHatch Memorial Shell, on the Charles RiverEsplanade, as part of the WCRB ClassicalConcert Series. “It was quite an honor tohave Sonata performed at such an historicvenue. Eric played beautifully, as did theHFO,” recounted Bradshaw.
On a related note, Dr. Paul Neebe recentlyrecorded Sonata with the Slovak RadioSymphony Orchestra for his CD titledAmerican Trumpet Concertos. Therecording will be released on AlbanyRecords in 2006. When asked about hisexperience recording the work, Neebestated: “Sonata showcases the manytimbres, styles and dynamic range of thetrumpet in a challenging and rewardingmusical experience. The more I performand hear the piece, the more I think that itis truly a wonderful trumpet sonata by avery gifted American composer.”
International Trumpet Guild (ITG)
The next important step came with theassistance of Neville Young and ITG’s“News From the Trumpet World.” Youngposted two stories about the project to the
The SCI Newsletter XXXVI:4
ITG website and later wrote a story aboutMichael Anderson’s fascinating liveperformance over the Internet. “I am veryhonored that Neville found the storynewsworthy.” Bradshaw explained, “Dr.Albert Lilly’s posts about performances inthe ITG Calendar and Al Hood’s program-ming Sonata on the “New Works forTrumpet” recital at the 2004 ITG Confer-ence held at the Lamont School of Music,University of Denver, Colorado, helpedmake many more people aware of theproject. I would like to thank ITG forhelping me to address the trumpet world.”
Dr. David Reynolds (Head and Professor,Department of Music, South Dakota StateUniversity) recalls, “It was very interestingto hear portions of the sonata performedby James Ackley at the 2004 ITG Confer-ence. Seated next to me was another whohad been involved in the Premiere Project,and we began to speak about the differ-ences between our performances and theone we had just heard. We celebrated thefact that, as in a Bartok String Quartet, thiswork opens the door to individuality. Myplan is to program it again next year for anew audience, simply because I know I willfind something new when I delve into it.”
Ackley and Bradshaw at the 2004 ITGConference
Barbara Prugh had an opportunity toperform Sonata in late October, a few daysbefore the official Premiere Project began.“Performing this music was both challeng-ing and fun!” writes Prugh. “The challeng-ing part was working out the ensembleaspects with the pianist. The fun part wasin the rhythmic drive and juxtaposition of
The SCI Newsletter XXXVI:4
motifs. Robert’s use of syncopation in thethematic material gives movement I ajazzy feel. Movement II requires some realsensitivity on the trumpeter’spart in balancing the little rhythmicfragments of trumpet tone with the pianopart. It is a rather “cool” movement. Hemakes nice use of mute colors in move-ment III, and gives the trumpeter “some-thing to tongue about” (both single anddouble) in movement IV! All in all, it isa well-constructed sonata that is quiteenjoyable to play, and I look forward tofuture opportunities to perform it.”
Then, the Premieres Began!
Day after day in November of 2003,musicians across America performedSonata. With each performance camemore inquiries about the piece and thescheduling of additional performancesthroughout the rest of the 2003–2004season. Bradshaw recalls, “I was over-whelmed by the response to the piece.Many soloists, pianists and audiencemembers contacted me to talk about theperformances. It is an experience that I willnever forget.”
Although Bradshaw is quick to state “all ofthe performances were equally important.”there were certain premieres that thereader might find especially interesting. Aspreviously mentioned, the complete workfor trumpet and strings was performed inWisconsin by the Eau Claire ChamberOrchestra and Keith Thompson. Therewas one additional performance of Sonatawith strings by Dennis B. Keck, trumpet,and the Boise Contemporary ChamberPlayers in Idaho.
Shaun Hooke in the Ireland premiere
Two performances of Sonata wereaccompanied by computer: James R. West(Associate Professor School of MusicLouisiana State University) and MichaelAnderson (Assistant Professor of Trumpet,Wanda L. Bass School of Music, Okla-homa City University) at Dana College,Nebraska. “In an interesting twist to thealready novel story of Robert Bradshaw’s50 States Premiere Project,” NevilleYoung, ITG News Editor, “it was todayannounced that one of the state pre-mieres—that in Nebraska—will be avail-able worldwide through a live webcast.”After the performance Bradshaw recallsreceiving emails from around the worldsaying they had listened to the perfor-mance. “Hi Robert, Just to say I enjoyedthe web cast from Nebraska. It still amazesme that I can sit in bed with my cocoalistening to someone broadcasting over thenet!” wrote Dr. Shaun D. Hooke (PrincipalTrumpet, RTE Concert Orchestra RoyalIrish Academy of Music). Hooke partici-pated in the premiere and performed thework in Dublin, Ireland.
Mark O’Keeffe premiering Sonata inScotland
Other international premieres includedJames Ackley’s performances in SouthAmerica; Murray Greig in Manchester,England; Mark O’Keeffe (Principal Trum-pet, BBC Scottish Symphony Orchestra) inGlasgow, Scotland; Laurence Gargan(Principal Trumpet, Singapore SymphonyOrchestra) in Singapore; and RichardStoelzel (Associate Professor, GrandValley State University) at the CentralConservatory of Music, China. Whenasked about his experience, Stoelzelreplied: “It was a pleasure to performSonata in China during my recent tour of
Page 9
also premiered by Lisa Cella. Mr. Carollo’sfirst CD has been issued by MusicaBaudino, with details on how to purchase alimited First Edition posted on his website(www.john-carollo.com).
Ken Davies
Composer and trombonist Ken Davies hasbeen awarded the prestigious Performing
Arts Fellowship Grant for 2006–2007 incomposition by the Mississippi ArtsCommission. Having recently rebuilt hisGautier studio from the effects of Hurri-cane Katrina, Ken plans to use the$4,000.00 grant to compose new elec-tronic and instrumental art music forindividual instruments and small en-sembles. The nationally known composerhas had several contemporary workspremiered recently. His website(www.kendavies.net) draws an average of600 visitors daily. It showcases much ofhis music with sound clips and promotinghis music and books across the country.The grant, a portion of the $1 million ingrants the Commission will award in 2006-2007, is made possible by continuedfunding from the Mississippi State legisla-ture and the National Endowment for theArts.
In his congratulatory letter to Mr. Davies,Malcolm White, Executive Director of theMAC, Mr. White applauded “the manyfriends in the legislature who share ourbelief that the arts can strengthen andenhance the quality of life in everycommunity in Mississippi.” Said Mr. White:“The individual artists across the stateexemplify the value of the arts-at-work inMississippi. By participating in the creativeprocess, sharing their art... artists help toensure the cultural, social, and economicsuccess of their community. The Missis-sippi Arts Commission is proud to supporttheir efforts.”
Ken’s “Dark River” for English horn andDigital Media received its premier perfor-mance at the Southeastern Composers'League Conference in March at ConverseCollege in Spartanburg, SC, with Dr. KellyVaneman playing English horn.
Keith Dippre
Keith Dippre’s California Low Brow forpiano was premiered by pianist JaneGardiner at the NOW Music Festival (partof the 2006 Goat Hall Productions FreshVoices Festival in San Francisco) on May28, 2006.
“Members” ...continued from page 3
the Far East. It is one thing to performsuch a fine new addition to the trumpetrepertoire but even more breathtaking wasthe standing ovation and wonderfulresponse from the audience. Sonata wasthe highlight of the evening’s recital.Thanks Robert for adding such a wonder-ful piece to our repertoire! I look forward tomany more performances of your brilliantworks.”
Is the Premiere Project Over?
That is a challenging question to answer.When did the project end and when didrepertoire performances begin? It might bemost accurate to say that they haveoverlapped. Many soloists who partici-pated in the project have continued toperform Sonata. Several have taken thecomposition on tour, while others havetaught the work to their students. Dr. KevinEisensmith (Professor of Trumpet atIndiana University of Pennsylvania) whoworked on Sonata with his student,Brockton Shaffer, said of the composition:“Sonata proves entertaining for both theperformer and the audience. The addedflexibility to play it either on E-flat, B-flat orC trumpet (same part) will make it a valuedaddition to all libraries. I look forward tomore works by Robert!”
In an email, Shaffer (who correspondedwith Bradshaw while preparing the work)wrote: “My audience seemed to reallyenjoy your piece! Had a lot of questionsabout it afterwards and everyone thought itwas very enjoyable to listen to. I would liketo thank you for giving me insights about it.I enjoyed learning Sonata and sharing itwith my colleagues.” Bradshaw continuallyreceives similar emails from professionalsand students who are programming thecomposition in concerts, recitals, or juries.
On the other hand, the work is stillreceiving premieres. There are a limitednumber of states that have yet to haveperformances of the work and manysoloists continue to contact Bradshaw withword of first performances in Europe andAsia. When asked about this, Bradshawreplied “There haven’t been any perfor-
Page 10
mances in Africa or Australia yet—but I’mworking on it!”
Dr. Peter Wood’s review of Sonata in theJanuary 2005 ITG Journal (p. 64), de-scribes the work as “soaring” with “mysteri-ous character with great personality” andthat “Throughout the entire piece, thewriting for both the trumpet and piano isstylistically appropriate at all times.” Itlooks as though Sonata will continue tofind its way onto music stands for years tocome.
Sonata for trumpet and strings (or piano) ispublished by Beauport Press MusicPublications, and is available online and inmusic stores.
Please visit www.robertjbradshaw.com (tocontact Robert J. Bradshaw) orwww.beauportpress.com for more informa-tion on availability and to listen to EricBerlin and Nadine Shank’s recording (Ctrumpet and piano).
The SCI Newsletter XXXVI:4
The SCI Newsletter XXXVI:4 Page 11
rated with photographer/video artist CarrieMae Weems, providing the music for thevideo Italian Dreams which premiered inMay, also at the AAR. While on leave ofabsence from BSC during the 2005-06academic year, she completed thefollowing commissioned works: saxophoneand piano for Carey Valente (Lost inTranslation); violin and cello (Monumenti);violin and piano (centro); baritone andpiano for Daniel Seigel; Tapping theFurnace for percussion solo for interna-tional artist Evelyn Glennie, in consortiumwith Scott Deal (Fairbanks, Alaska) andStuart Gerber (Atlanta). Dr. Hindmanreturns to the BSC Faculty in the fall of2006, after spending the year in Rome,Italy at the AAR.
Jeffrey Hoover
Several interdisciplinary works by com-poser Jeffrey Hoover—compositions andoriginal paintings—were performed anddisplayed at Illinois Central College, EastPeoria, Illinois on April 21, 2006. Music forpiano performed by Irina Feoktistovaincluded Final Light, MindScape, Etude-Millenium. Into the Night, Spirit of Light,and Epiphany Vigil at Gethsemane Abbeywere performed by Jeffrey Hoover,soprano saxophone, and Irina Feoksitova,piano. Blue Wizard for guitar was per-formed by Michael Hull. During theconcert, images of the paintings wereprojected while the musicians performed.
Irina Feoktistova
Hoover’s Dancing in the Park for largemixed chamber ensemble was premieredApril 23, 2006 at the Green Mill in Chicagoby Accessible Contemporary Music,directed by Seth Boustead. The composi-tion was created in collaboration with theACM ensemble members. Hoover com-
posed and sent the music by installmentsvia the Internet and the ensemble recordedthe music. The composition evolved inresponse to the recordings and commentsfrom the musicians. More information onthe project is available atwww.acmusic.org/composeralive.html.
Duo Ahlert & Schwab (Daniel Ahlert andBirgit Schwab) performed Hoover’sAmerican Tango for mandolin and guitaron June 11, 2006 at the Evangelisch-reformierte Kirche Konzerte, in Borkum,and on June 16, 2006 at the St. GeorgenKapelle in Bernnau bei Berlin, Germany.Hoover has completed a new work for solomandolin, for Daniel Ahlert, called InnerRhythm.
Vera Ivanova
On May 20, 2006, Vera Ivanova’s work forsolo voice Un~Now was performed by amezzo-soprano Melissa Attebury at St.Bartholomew’s Church in New York City.On June 15, 2006, Ivanova’s largeensemble composition Night Music wasperformed by North/South Consonanceensemble at Christ and St. Stephen’sChurch in New York City.
Kendall Kennison
Kendall Kinnison’s opera The WindowSeat, with libretto by Jim Sheehan, wasperformed on May 16 and May 18, 2006,at Goucher College by the Goucher OperaWorkshop. A short opera, written forstudent performers, The Window Seat is
Dorothy Hindman
Dorothy Hindman, Assistant Professor ofMusic at Birmingham Southern College,received a number of performances of hermusic during the spring of 2006, includinga performance of her work Drift by theIALSAX saxophone quartet at theConservatorio di Santa Cecilia in Rome,Italy, the premiere of her work centro byKaren Bentley Pollick, violin and IvanSokolov, piano in Seattle, Washington, thepremiere of her work Monumenti by KarenBentley Pollick and Craig Hultgren, cello,and a performance of her work Ticking bythe Freon Ensemble in Rome, Italy. Herwork Seconds for soundfile, realized at theVisby International Centre for Composersin Sweden, toured the US as part of the60x60 Midwest Minutes project, and wasfeatured in the VOICES ON THE EDGE:International Women’s ElectroacousticListening Room Project at Cal StateFullerton in March. Her Psalm 121 wasfeatured by the Birmingham-SouthernCollege Concert Choir as part of theirSpring Tour 2006. In April 2006, her workNeedlepoint was performed by guitaristPaul Bowman at the American Academy inRome (AAR), and at the end of May, fourof her works will be performed at the AARin a Salone concert. She recently collabo-
Page 12
an opera in one act with music by KendallKennison and the libretto by Jim Sheehan.
Dan Kessner
In honor of his retirement from CaliforniaState University Northridge (after 36 years)and his 60th birthday, the CSUN Sym-phony Orchestra performed his composi-tion River of Time (2001) on May 12, 2006.
Alex Kotch
Alex Kotch’s composition tracks forchamber orchestra and tape was pre-miered on May 10, 2006, at BrownUniversity. In addition, Kotch delivered apost-concert lecture on his research andexperience of musical time.
Angel Lam
Angel Lam’s work Symphonic Journal:Ambush from Ten Directions for orchestrawith narration, was premiered by theChicago-area Symphony of Oak Park andRiver Forest on May 21, 2006.
Pamela J. Marshall
Pamela J. Marshall’s Black Bear Dancewas premiered on May 19, 2006, by Espritde Cor at the First Parish Unitarian Churchin Lexington, MA. Black Bear Dance is oneof the 2006 projects of the SpindriftCommissioning Guild (www.spindrift.com/projects/guild.html).
Carl Schroeder
Coinciding with the release of his CD “88Keys: Piano Music by Carl Schroeder,” aperformance of his piano music took placeon June 25, 2006, at Christ the KingChurch in Minneapolis, MN. The composerperformed a selection of works from theCD, including “Mississippi River,” “Birming-ham” (composed in honor of Martin LutherKing, Jr.), and “88 Keys” (an experimentalwork that uses each of the piano’s 88 keysonce). Audio samples and more informa-tion on the CD are available at thecomposer’s website(www.CarlSchroederMusic.com).
Kevin Walczyk
On June 8, 2006, the choirs of WesternOregon University performed the music ofcomposers from the Willamette Valley,including Canticle by SCI member KevinWalczyk.
Stefan Weisman
Stefan Weisman’s opera DARKLING wasperformed at the German Consulate inNew York City on June 6, 2006, as part ofthe Jewish Documentary Film, Theater,and Speaker Series Presented by Friendsof Freie Universität Berlin and AmericanOpera Projects. The performance wasfollowed by a panel discussion with itscreators.
Mark Winges
The Volti Chamber Choir collaborated withthe San Francisco Chamber Orchestra inthe premiere Mark Winges’ Open the Bookof What Happened on several concerts inMay 2006.
Donald Yu
Donald Yu’s composition Recalling fromDreams for Trumpet and Piano waspremiered on June 21, 2006, in New YorkCity at Rochester Christian ReformedChurch by Carson Cooman (piano), andColby Cooman (trumpet).
“Editor” ...continued from page 1
Professional affiliations include theAmerican Society of Composers, Authors,and Publishers (ASCAP), Society forElectro-Acoustic Music in the UnitedStates (SEAMUS), and Society of Com-posers, Incorporated (SCI), and theCollege Music Society (CMS).
As of the next issue of the SCI Newsletter,Sam will be taking the helm, but I will stayon for the time-being (as first mate, if youwill) to assit Sam and effect a smoothtransition.
Sincerely, and in gratitude for the opportu-nity provided me,
Bruce Christian Bennett
The SCI Newsletter XXXVI:4
The SCI Newsletter XXXVI:4
2006 SCI/ASCAPStudent Composition
Commission Regional Results
Kari JuuselaSCI/ASCAP Student Composition Com-mission and Grants Coordinator
The regional adjudication of scores for the2006 SCI/ASCAP Student CompositionCommission has been completed. I wouldlike to congratulate the regional winnerswhose scores will move on to the nationaladjudication level. This year, there were222 scores submitted from the nineregions, and according to our judges, thequality of the submissions was extremelyhigh. Since these are student composerawards, I have also listed the compositionteacher(s) of the regional winners so theirfine work will be recognized. Lastly, butperhaps most importantly, I would like togive a huge thanks to the eighteenregional adjudicators who volunteered theirtime and expertise to judge this year'sscores. Adjudicators did not review scoresfrom their own region.
Regional Adjudicators: Elizabeth Vercoe,Ken Ueno, Terry Winter Owens, CortLippe, Judith Shatin, Bruce Mahin,Chihchun Lee, Ronald Parks, MarilynShrude, Mark Sullivan, James Chaudoir,George Arasimovicz, Kurt Stallman, DanielAdams, Donald Womack, Liviu Marinescu,Brian Belet, and Robert Hutchinson.
Regional Winners:
Region I1. Maxell Dulaney, Huayruro (DavidRakowski, Composition Teacher)2. Jonathan Blumhofer, String Quartet no.1 (Jan Swafford, Composition Teacher)3. Jeremy Sagala, spaces between time(Martin Boykan, Composition Teacher)
Region II1. Andrian Pertout, La flor en la colina(Brenton Broadstock, CompositionTeacher)Co2. Ryan Carter, Gravity Modulations(Daniel Weymouth, Composition Teacher)Co2. Kar Young, How Perfumes areTransmitted by Feathery Telegraph (Paul
Lansky, Steve Mackey, and Barbara White,Composition Teachers)
Region III.1. Juan Gendelman, Patagonia Norte(Lawerence Moss, Composition Teacher)2. Andrew McPherson, Pillars (Jay Reise,Composition Teacher)3. Peter Swendsen, Shaking Leaves(Judith Shatin, Composition Teacher)
Region IV:1. Chia-yu Hsu, Zhi (Stephen Jaffe andScott Lindroth, Composition Teachers)2. Ya-Ting Lee, Ritual (Ladislav Kubik,Composition Teacher)3. Carlo Frizzo, Jazz Tango (DinosConstantinides, Composition Teacher)
Region V (East):1. Ming-Hsiu Yen, Sorrowful Beauty(Tania Leon and Michael Colgrass,Composition Teachers)Co2. Glenn Crytzer, In Stride (MargaretBrouwer, Composition Teacher)Co2. Christopher Dietz, Caldera (MichaelDaugherty, Composition Teacher)
Region V (West):1. Eun Young Lee, Nok-du-kkot (BernardRands, Composition Teacher)2. Erin Gee, Mouthpiece VII (Beat Furrer,Composition Teacher)3. Fusun Koksal, Quartet for Oboe, Violin,Viola and Cello (Marta Ptaszynska,Composition Teacher)
Region VI:Co1. Pui-shan Cheung, The Dragon (ChenYi and James Mobberly, CompositionTeachers)Co1. Hu Xiao-ou, Mo Xie (Chen Yi andJames Mobberly, Composition Teachers)3. Takuma Itoh, Night Signals (Shih-huiChen, Composition Teacher)
Region VII:1. Hermes Camacho, Cold Winter (DanielKellogg and Richard Toensing,Composition Teachers)2. Tasos Stylianou, STOES (MorrisRosenzweig, Composition Teacher)3. Jeffrey Holmes, Rays of Twilight(Donald Crockett, Composition Teacher)
Region VIII:1. Carolyn O’Brian, Conveyance (PabloOrtiz and Yu-hui Chang, Composition
Teachers)2. Nathan Davis, Into the Wind (RossBauer, Composition Teacher)3. Aaron Einbond, Leaping Lizards (JorgeLiderman, Composition Teacher)
Mélange, New Music for Piano
The Society of Composers, Inc. Perform-ers Recording Series #1, Mélange: NewMusic for Piano, featuring pianist Jeri-MaeG. Astolfi, has as its official release date:July 18, 2006. The Capstone Records discis available through the Capstone and SCIwebsites, as well as on Amazon,ArkivMusic, Tower Records, et al. Themusic, performance, and recording arewonderful and an important first release inthe series. Please support this exciting andsignificant SCI project.
The disc includes:
Chant d’augmentation by Andrián PertourParallax by John BlairIllusions by Edward KnightLotus Pond, From Three Chinese Paint-ings by Pui-shan CheungSuite for Piano by Paul DickinsonPrelude and Caprice by John C. RossBetween Stillness and Motion by DanielAdams…into all crevices of my world by CraigWestonFakebook I by Arthur GottschalkWrap It Up by Phillip Schroeder
Watch for future Calls for Scores for futureSCI Performers Recording Series project!
Page 13
Alert!If you teach in a department or schoolof music, please ensure that concert
programs presented by your universityare being collected and sent to bothASCAP and BMI on a regular basis.Each agency, which relies on these
programs, extracts performanceinformation and determines the amount
of royalty credited to each composerbased on a sample rate.
Page 14 The SCI Newsletter XXXVI:4
PUBLICATIONS include the SCI Newsletter, CDSeries, Journal of Music Scores, and SCION (theSCI Online Newsletter).
ANNOUNCEMENTS of contests, calls for scoresand other solicitations appear in the SCI Newsletterand SCION as a service to SCI members. Whileevery effort is made to assure the accuracy ofthese announcements, SCI cannot acceptresponsibility for errors, misrepresentations, ormisinterpretations.
MEMBERSHIP INFORMATION
FULL MEMBERSHIP ($50/YR): Eligible to submit scores to the National Conferences,regional conferences, SCI Record Series, SCI Journal of Music Scores and will receive theSCI Newsletter in electronic form. Optional subscription to the SCI listserv. Eligible to voteon Society matters and in elections for the National Council.
JOINT MEMBERSHIP ($65/YR): Same benefits as for full members.
SENIOR MEMBERSHIP ($25/YR): Open to those 65 years of age or older, or retired. Samebenefits as full members.
ASSOCIATE MEMBERSHIP ($25/YR): Open to performers and other interested profes-sionals. Receives the Newsletter (electronic) and can participate in the national andregional conferences.
STUDENT MEMBERSHIP ($25/YR): Eligible to submit to regional conferences and receivethe Newsletter (electronic). Optional subscription to SCI listserv.
STUDENT CHAPTER MEMBERSHIP ($15/YR): Same benefits as student members, butopen only on campuses having Student Chapters.
INSTITUTIONAL MEMBERSHIP ($25/YR): Organizations receive hard copy of the SCINewsletter and other mailings.
LIFETIME MEMBERSHIP ($950 OR $110/YR FOR 10 YEARS): Benefits the same as fullmembers, for life.
The SCI NewsletterThe Society of Composers, Inc.Old Chelsea Station, Box 450New York, NY 10113-0450