SOCIETY OF COMPOSERS,

INCORPORATED

TWENTY-SIXTH

ANNUAL CONFERENCE

MARCH 11-14, 1992

THE UNIVERSITY OF ALABAMA

SCHOOL OF MUSIC

TUSCALOOSA, ALABAMA

'

I ___ _ _______,j

In Memory Of The University of Alabama School of Music respectfully dedicates their sponsorship of The Twenty-sixth Annual Conference of The Society of Composers, Inc. to the memory of David Cohen (1927-1991).

David Cohen was born in Pulaski, Tennessee on October 14, 1927. He showed an early interest in music and pursued that interest, first at George Peabody College, then with Vincent Persichetti at the Philadelphia Conservatory and the Juilliard School. He spent 1953 and 1954 at the Paris Conservatory on a Fulbright grant, where he studied with Milhaud and Mme. Ple-Caussade. He completed his formal edllcation at the University of Southern California where he studied with Ingolf Dahl and earned his D.M.A. degree.

DAVID COHEN llJ27-llJlJI

Dr. Cohen taught theory and composition at the University of Alabama from 1955-1967. In addition to teaching and composing, he contributed to the organization of orchestral and chamber music conferences for the Southeastern composer's League and, to the delight of faculty and students, helped organize and produce satirical Christmas convocations and Faculty Frolics. He hosted "Capstone concerts," an early multi-media public television show on the arts and started an electronic studio. In 1967, Cohen joined the faculty of Arizona State University, where he taught for twenty years. He developed an electronic studio there and did extensive work with computers in music.

His compositions include music for orchestra, band, chamber groups, voice and chorus, and computer and synthesizer. He wrote several scores for theatre; a children's opera, "Beauty is Fled;" and "Aucassin and Nicolette," a "chant-fable." Other notable compositional efforts produced music for Ionescu's "Rhinoceros" and a theatre piece for "reciter, percussion, clarinet, and illuminated glass object [a dodecahedron]," commissioned for Phil Rehfeldt and Barney Childs. His flute quartet, which will be performed at this conference, won the Los Angeles Flute Club Publication Award in 1964.

David Cohen was a founding member of The American Society of University Composers (now Society for Composers, Inc.) and attended every annual conference except the 1988 conference, when he was in Paris. He served as regional chairman and as a member of the national council.

THE SOCIETY OF COMPOSERS, INC. P.O. BOX 296 OLD CHELSEA ST A TION NEW YORK, NY 10113-0296 718/899-2605

EXECUTIVE COMMITTEE Reynold Weidenaar, Chairman

New York University

Ting Ho, Editor of Newsletter Montclair State College

Bruce J. Taub, Co-Editor of Journal C. F. Peten Corporation

Scott Eyerly Co-Editor of the Journal, New York

Richard Brooks, Producer of CD Series Nassau Community College

Joelle Wallach Submissions Coordinator

Philip Rohfeldt, Assoc. Representative University of Redlands

Dennis Kam Co-Chair, Student Chapters

University of Miami

Deborah Kavasch Co-Chair, Student Chapten

California State University - Stanislaws

David Vayo, Membership Chair Illinois Wesleyan Univenity

Fred Glesser, Editor Monograph Series Miami, Horida

Gerald Warfield, General Manager

Martin Gonzalez Executive Secretary

NATIONAL COUNCIL Greg Steinke, Chairman

Ball State University Elliot Schwarts, Past Chairman

Bowdoin College Robert T. Adams (1)

S. E. Massachusetts University

Max Lifchitz (2) SUNY/Albany

Margaret Brouwer (3) Washington and Lee University

Dennis Kam (4) University of Miami

Frank Stemper (5) S. Illinois University, Carbondale

Charles Hoag (6) University of Kansas, Lawrence

Deborah Kavasch (7) California State University, Stanislaus

Charles Argersinger (8) Washington State University

William Matthews (1) Bates College

Samuel Pellman (2) Hamilton College

Bruce Mahin (3) Radford University,

Charles Mason (4) Birmingham Southern College

Michael Schelle (5) Butler University

Reed K. Holms (6) University of Texas, San Antonio

Michael Iatauro (7) New Mexico Institute of Mining and Technology

Frank LaRocca (8) California State University, Hayward

Kate Waring (9) Europe

THE SOCIETY OF COMPOSERS, INC. TWENTY-SIXTH ANNUAL CONFERENCE

The University of Alabama Tuscaloosa, Alabama

CONFERENCE CHAIRPERSON Marvin Johnson

COORDINATION Frederic Goossen• Gerald Welker• Bruce Murray

Scott Bridges • John Martin • Charles Brewer MUSIC SELECTION

Frederic Goossen • Charles Brewer• Charles Mason • Marvin Johnson • Paul Polivnik PAPER SELECTION

Charles Brewer • Marvin Johnson ELECTRONIC TECHNICAL STAFF

David Durant, coordinator Shawn Donahoo, MIDI consultant Donald Given, technical advisor

TRANSPORTATION STAFF Craig Ralston, coordinator

Les Hutson •Richard Byrd • Brad Edmonds Greg Wilbur• John Luker• Shawn Donahoo

REGISTRATION DESK Matt Whitfield • Mary Phillips • Kay Barren • Hazel Bruchey

PROGRAM EDITOR Charles Brewer

PROGRAM DEVELOPMENT Jeffrey Evers • Hazel Bruchey

CONCERT MANAGEMENT Billy Crabtree •Jeffrey Evers • Karen Friedman • Bren Geiger• Soon Ping Tang • Ann Zamboni

THE UNIVERSITY OF ALABAMA SCHOOL OF MUSIC Dennis Monk, Director

Bruce Murray, Assistant Director Kay Barren, Assistant to the Director

John Martin, Coordinator of Music Services Donald Given, Technical Coordinator

Roger Duval, broadcast recording

Concert musicians are University of Alabama f acuity and students. Exceptions are noted in the program.

The University of Alabama School of Music and the Society of Composers, Inc., gratefully acknowledge the support of the following:

Central Bank of the South College of Arts and Sciences, the University of Alabama

Society for the Fine Arts, the University of Alabama The Alabama State Arts Council

Office of Sponsored Programs, the University of Alabama The Department of Philosophy, Talladega College

WUAL/WQPR Public Radio

Dear Colleagues and Friends:

I am most pleased to welcome you to our 26th National Conference in Tuscaloosa at the University of Alabama. Our hosts have planned most carefully and specially for us in the past two years to bring us together for several days of outstanding musical events. Certainly Marvin Johnson along with his colleagues and staff deserve our wann praise and appreciation for the many hours we all know go into creating a conference like this. I would also thank the Director of the School of Music, Dennis Monk, along with all the faculty, students, and staff of the University of Alabama and many others who have contributed to what I know will be another outstanding conference for the society. It is also a pleasure to welcome special guest composer Andrew Imbrie to this gathering. To have our conference in the marvelous atmosphere of the "deep south" is indeed special and should make our next several days together an extraordinary occasion.

It has continued to be a very busy year for the National Chair but a very gratifying one with the National Council and the Executive Committee continuing to work with new strategies and ideas to help give us an ever stronger base from which 'to move. So, I believe we have been able to join together to make a difference, and I think we can continue to look forward to a good, strong future as a society.

So please have an enjoyable conference! I'll look forward to greeting as many of you personally as I can in the next several days to get a sense of how things are going for you and how you are feeling about the activities of the society.

With all best wishes for the conference and inspired composing!!

Greg Steinke President and National Chair, SCI

ANDREW IMBRIE

Guest Composer

Keynote Speaker

Andrew Imbrie holds the endowed chair for composition at The University of Alabama and is Professor of Music at the University of California at Berkeley. He studied at Princeton University and the University of California at Berkeley, where he has served as professor since 1949. His major teachers have included Leo Ornstein, Nadia Boulanger, Robert Casadesus and Roger Sessions. Among his many awards, Imbrie has received the New York Music Cntics' Award, the National Institute of Arts and Letters Grant, and a Guggenheim Fellowship twice for studies in Rome and Tokyo. Imbrie holds memberships in the National Institute of Arts and Letters and the American Academy of Arts and Sciences. He is a member of the Board of Directors of the Koussevitsky Foundation and this past summer served as composer-in-residence at Tanglewood.

SOCIETY OF COMPOSERS, INc. TwENTY-SIXTH ANNUAL CONFERENCE

THE UNIVERSITY OF ALABAMA

SCHOOL OF Music TuSCALOOSA, ALABAMA

MARCH 11-14, 1992

CONFERENCE PROGRAM SCHEDULE

Wednesday, March 11, 1992

REGISTRATION Concert Hall Lobby, 8:00 a.m.

CONCERT 1 Huey Recital Hall, 9:00 a.m.

Five Short Pieces (1989) Song Dialogue Burlesque Lament Caccia

Charles W. Smith

Marshall Scott, trumpet• Gha1'~-S-tnirb_;=piano

Piano Sonata (1986) Lake of Dreams (Fantasy) Handmaiden of the Moon (Variations) Wind Weaver (Dance)

Noel Engebretson, piano

Christopher Meister

Two Greek Songs (1988) William B. Goldberg The Cricket (from the Anacreonta) Evening (Sappho)

Pamela Burns, soprano• Emily Barksdale Moore, soprano &iwQz;d w.hi.te:;=hass •Jonathan Smith, piano

Klockwrk (1977) U Claire Polin Charles Snead, horn • Malcolm Crawford, bassoon

Willie Morris, saxophone Romance Robert Rollin

Robert Rollin, piano

I ,

Five Dialogues Solenne Rubato, quasi improvisando Frenetico Lento, rubato Robusto

Niamh Tuohy, violin• Angela Favazza, piano

Richard Willis

PAPERS AND PRESENTATION SESSION 1 Huey Recital Hall, 11:00 a.m

Extended Vocal Techniques The Timbral Topography of the Noble Snare An Evolutionary System of Pitch Control

Using Motive-Based Hexachords

Sentimental Moods Moderato' Adagio Allegro

CONCERT2 Huey Recital Hall, 2:00 p.m.

Robert Rollin Daniel C. Adams

George Belden

Alan Schmitz

Dennis Herrick, trumpet• William Henderson, piano

Partita (1986) Andras Szentkiralyi Malcolm Crawford, bassoon

From Whence Butterflies? Sarah Johnston Reid (piano and tape) Jerome Reed, piano

0 Perfect Mirror (1985) '*- Scott Warner· Laura Gordy, piano

Steeley Pause for Four C Flutes(1990) ~Jennifer Higdon Liar{la Coffey, Rebacca Hall, Ann Zamboni.Sheryl Cohen.flutes

v'

Duo (1990) Toccata Rondo

Randall Faust, French horn• Julia Morgan, piano Faculty, Auburn University

Jeremy Beck

CONCERT 3 Huey Recital Hall, 4:00 p.m.

Tre Esercizi (1986) Charles Brewer, harpsichord

Strands of Time (1990)

Uncommon Time (1991)

Nocturnal Variations (1989) Moderato Conmoto Vivace

Gold, Incense, and Mirth

tape

Sheryl Cohen, flute

Lynn Faulkner.piano

A Souvenir of Thailand

Three Improvisations for Piano Light at First Morning/Angles Rapture/Distant Remembrance Lament

tape

Kenneth Williams, piano

SCHerZOid Charles Snead, horn

CONCERT4 Concert Hall, 8:00 p.m.

Allen Brings

Sam MaGrill

Janice Misurelli-Mitchell

John Russell

Donna Kelly Eastman

David Brackett

Margaret Brouwer

University Symphony Orchestra Carlton Mccreery, conductor

Welcoming Remarks Derulis C. Monk Director, University of Alabama School of Music

Concerto for Oboe d'Arnore and String Orchestra (1988) Conenergia Lento Allegretto grazioso

Rebecca Henderson, oboe d'amore

Mirrors for Piano and Orchestra (1990) Bruce Murray, piano

Harold Schiffman

John White

A Dance Concerto (1989) Vivace Lento Energico

Scott Bridges, clarinet

Fqµr Journeys in Maine (1989) Driving to Dark Country Snowplow on Perham Street House in Spring Flying on Monhegan Island

Susan Fleming, mezzo-soprano

Thursday, March 12, 1992

CONCERTS Huey Recital Hall, 9:00 a.m.

Quapaw String Quartet

Stephen Gryc

Philip Carlsen

Eric Hayward, first violin • Lei Zhang, second violin Timothy Nelson, viola • David Holmes, violoncello

String Quartet (1990) Allegro Risoluto Lento Presto

Diversion (1987) PENTA.FUN Talk Melody Chorale ~ FINALE.FUN

String Quartet No.I (1990) 1. 2. 3.

Quartet No.1 Moderately Slow Moderate, Bluesy

James R. Greeson

Alejandro Tkaczevski

Harvey J. Stokes

Byron K. Yasui

Native American Roots (1990) Prologue Stanza I Stanza II Interlude Stanza III Stanza IV Epilogue

CONCERT6 Concert Hall, 11:00 a.m.

Greg A. Steinke

from Garland Songs (1990) William Penn Moggin' Along Then It's Spring (part I) A Cornfield in July and the River

Susan Fleming, mezzo-soprano • William Henderson, piano

Matutinal (1990) ~ Eugenio Manual Rodrigues University Singers• Sandra Willetts, conductor Tamatha Webster, soprano• Robin Behn.flute

Psalm 131 (1986) ·)?. Kurt Kazuo Kuniyasu University Singers

Danya Tiller, soprano• Shaun Amos, tenor

Villancicos Rebeldes (1988) He Visto Negro Soy de Panama Tlaltelolco

University Singers

Max Lifchitz

A Dangerous Man (1991) Elizabeth Vercoe Edward White bass • William Henderson, piano

Luncheon for SCI Committee for Women and Minorities 204 Ferguson Center, 12:00 noon

CONCERT7 Concert Hall, 2:00 p.m.

University of Alabama Contemporary Ensemble Gerald Welker, conductor

Di vertimentino ( 1989) Marshall Bialosky Ann Zamboni.flute• Karen Friedman, oboe

Jean Ann Johnson, clarinet• Kar/ton Stephens, bassoon Niamh Tuohy, violin• Melissa Brewer, viola

Skyscraper (1988) Nonnan Weston Willie Morris, soprano saxophone• Theo Vernon, alto saxophone Kim Bain, tenor sxaxophone • Holly Jones, baritone saxophone

Teeth Mother Naked At Last (1990) Dana Brayton Sandra Willells, soprano• Billy Crabtree, clarinet

Mary K. Mauhews, violin• Debbie Gum, violoncello Jennifer Hartsell, piano

Corinne Walters, Donna Bohn, percussion

Fantasy Variations (1988) William Davis Freely Adagio Allegro moderato

Scoll Bridges, clarinet• Victoria Linsley, horn Brian Gum, violin •Debbie Gum violoncello

Jennifer Hartsell, piano

Spectr0.(1989) Elizabeth Bell Dream Dance Song March Stonn

Ann Zamboni, flute• Lara Bishop, oboe Billy Crabtree, clarinet• Kar/ton Stephens, bassoon

Brian Gum, violin• Kristtne McCreery, violin Melissa Brewer, viola• Debbie Gum, violoncello

Jennifer Hartsell, piano• Donna Bohn, Corinne Walters, percussion

Lachrimae (1990) me.z.~ Don Stein Joanne Uniatowski, soprano •Mall Clemens, baritone

Sonja Feig.flute• Billy Crabtree, clarinet Mary K. Mallhews, violin• Debbie Gum, violoncello

Jennifer Hartsell, piano• Blake Tyson, Patrick Martin, percussion

PANEL "THE EMERGENCE OF AN INTERNATIONAL MUSICAL STYLE­

ILLUSION OR REALITY" Choral/Opera Room, 4:00 p.m. Frederic Goossen, moderator

Violeta Dinescu, Cort Lippe, Max Liftch/i, Hubert Howe, Paul Martin Zonn, Andrew Imbrie

Wine and Cheese Party University Club, 5:30 p.m.

CONCERTS ELECTRONIC MUSIC Concert Hall , 9:00 p.m .

. THE McLEAN MIX Excerpts from "Gods, Demons, and the Earth"

Visions of a Summer Night Barton McLean V. Fireflies ( 1990)

digital tape with light patterns Barton McLean, Sparkling Light Console

· Wilderness (1989-90) Priscilla McLean Priscilla McLean, soprano Barton McLean,flexatone

Cara co le Edward Mattila video tape

The Wizard of Id Sylvia Pengilly performers, computer graphics, digitized camera images, synthesizer

Burning Giraffes: In Memoriam Salvador Dali (1990) Rocky J. Reuter Kay Slocum, viola •synthesizer, slide projector

Friday, March 13, 1992

PAPERSESSION2 g:oo Choral Opera Room, ~ a.m.

Varese's "Ecuatorial" and its Melodic Hierarchy The Script for "Poeme Electronique:" Traces from a Pioneer Synchronisms No.3 by Davidovsky Self-Replicating melodic patterns

Timothy T. Kloth ""- Ann Stimson '* Peter M. Susser

Paul A. Epstein

Recital Hall, 8:30 a.m. "The Compositional Tool Kit" A Virtual Instrument Algorithm for Acoustic Instruments Recent Trends in Polish & Hungarian Electro-Acoustic Music Using MAX on the IRCAM Musical Workstation:

A Musical Study

CONCERT9

Scott M. Martin Stephen David Beck

Rodney Oakes Cort Lippe

Convocation Series, Concert Hall, 1T:9t> a.m.

It will never, ever ... Laura R. Hoffman David Pineda, violoncello

Fantasies ~Thomas E. Fitch Alan Harrell, violoncello • Ty Robert Thornton, piano \3Ct - SESAC- t:STU.IJeVt c?.OMPeT1'Tlt>v, -i.µo P/212.£

Passages: Six Movements for Dance I. Birth II. Growth IV. Nurturing VI. Building

Allen Rippe, alto saxophone• Robert Patterson, horn Don Freund, Casio CZ

Don Freund

MAinstreAM (1990) David Ernst Ann 7.amlxmi,flute •Donna Bohn, vibraphone

Andrew Contorupis, Cori Walters, percussion• Larry Mathis, conductor

Triphammer Bridge (1989) Janice Macauley Donna Bohn, Andrew Contorupis, Drew Pepper,

Blake Tyson, Cori Walters, percussionists• Larry Mathis, conductor

National Council Luncheon Anderson Room, Ferguson Center, 12:00 noon

Pentacles (1988)

CONCERT 10 Concert Hall, 2:00 p.m.

Holtkamp Organ

Sam Porter, organ

Themes and Variations "In Memoriam" (1989-90) Leanne Fazio, organ

John Carbon

Marilyn J. Ziffrin

Albebragen (1985) « Wiesla~ Rentowski Wieslaw Rentowski

Fantasia per Organo (1971) Ernes to Pellegrini Sam Porter, organ

Hommage a Monteverdi Jo:I--ul D. White Delbert Disselhorst, organ David Greehoe, trumpet

Faculty, University of Iowa

CONCERT 11 Concert Hall, 4 p.m.

Cadek Trio Patrick Rafferty, violin • Carlton McCreery, violoncello

Bruce Murray, piano

Trio (1982) Ric hard Brooks

Una Bella Differenza (1991) Moderately slow Fast and vigorous with force

Yunhoe (1988)

Trio Allegretto cantabile Sostenuto e con fuoco Allegro vivace

INTERMISSION

BANQUET University Club, 6:00 p.m.

Christe>pher Kuzell

-X Yoon Hee .:E<im-Hwang

Andrew lmbrie

Tribute to David Cohen by Greg Steinke and Warren Hutton Andrew Imbrie, keynote speaker

CONCERT 12 Concert Hall, 8:00 p.m.

University of Alabama Wind Ensemble Gerald Loren Welker, conductor

William J. Crabtree, assistant conductor

Polymorphics (1988) I

Allan Blank

II III

Spawn

Rebecca Hall, Sonja Feig.flutes Caroline Sampson, Karen Friedman, oboes

Heather Blanton, Jean Ann Johnson, clarinets Kar/ton Stephens, Bradley Mitchell, bassoons

Cheryle Naberhaus, Angela Jenkins, horns

Liallf.a Coffey, Rebecca Hall, Virginia Maloney.flutes Karen Friedman, Caroline Sampson, oboes

Billy Crabtree, Heather Blanton, Jean Ann Johnson, clarinets Tina Fondren, bass clarinet

Jonathan McFar/en, Kar/ton Stephens, bassoons

Kevin Hiatt

Three Portraits (1984) Fanfare for George Serenade for Sylvia Celebration for David

Charles Bestor

Liana Coffey.flute •Lara Bishop, oboe Laura Grantier, clarinet• Jonathan McFarlen, bassoon

Lester Walker, trumpet• Victoria Linsley, horn Jeffrey Harbison, trombone• Brent Wood, tuba

INTERMISSION

Concerto for Harpsichord, Winds, and Xylophone (1988) Alexandre Rudajev Jennifer Hartsell, harpsichord• Donna Bohn, xylophone

William J. Crabtree, conductor

Suite No.2 for Wind Orchestra (1990) Proud and Solemn First Kiss Beginning Dancing Lessons Clusteritis Cotillion

Dinos Constantinides

Freedom's Cries: 1989 (1990) Solidarity for Poland

Alan Kinningham

Souls Still Walle the Tiananmen Square When the Wall Fell

Saturday, March 14, 1992

CONCERT 13 Concert Hall, 9:00 a.m.

Visions (1990) Barbara J azwinski Scott Bridges, clarinet

Shadows of Winters Passed (1987) Peter Lieuwen Lia,_a Coffey, alto flute •Blake Tyson, vibraphone

Five Winds on a Thread in Three Pieces (1990) Michael A. Iatauro Lento, con licenza ed espressivo Allegretto Adagio, espressivo

Lian1'a Coffey.flute• Lara Bishop, oboe• April Renfroe, clarinet Karlton Stephens, bassoon• Angela Jenkins, horn

Bioluminescence

Suite of Miniatures (1989) Fanfare and Canon Serenade Puanani's March Cadenzas I & II One-Part Invention

electronic tape

Laura Grantier, clarinet• Andrew Contorupis, percussion

Lydia Ayers

Neil McKay

Free Flight (version IIA) (1988) Stephen L. Syverud two channel tape

From the Egyptian Book of the Dead (1990) Gilbert Trythall Spell for Being Transformed into a Swallow Spell for Going Out into the Day and Living after Death Spell for Being Swift-footed when Going Out from the Earth Spell for Being Transformed into a Phoenix

Janis-Rozena Peri, soprano • Willie Morris, alto saxophone Gilbert Trythall, synthesizer

Iso III (1991)

Echolalia ( 1985)

Contrasts

CONCERT 14 Recital Hall, 11:00 a.m.

Karen Friedman, oboe

Sheryl Cohen, solo flute

Jennifer Hartsell, piano

David K. Gompper

John A. Lennon

Stephen L. Syverud

Serenade and Capriccio (1991) Bruce J. Taub Willie Morris, alto saxophone •Noel Engebretson, piano

Timbre Study No. 5 Hubert Howe

Divertimento for Four Flutes Prelude Chorale Scherzo I Aria Small Talk Reseau Scherzo II Reflection Waltz Finale

electronic tape

David Cohen

Sheryl Cohen, Tang Soon-Ping, Koji Arizumi, Sonja Feig.flutes

BUSINESS MEETING Choral/Opera Room, 1:00 p.m.

CONCERT 15 Concert Hall, 2:00 p.m.

University of Illinois Contemporary Ensemble Paul Marquardt, piano• Jacqueline Woolley, violoncello

Paul Martin Zonn, clarinet • Wilma Zonn, oboe

Sonata for Clarinet * Regina Keane

Double Image (1992) Paul Marquardt

BRIEF INTERMISSION

The Cloning of Wibna Zonn ( 1986) Paul Martin Zonn

... wenn der freude thraner fliesen Violeta Dinescu

Music for Clarinet and IRCAM Musical Workstation (1992) Cort Lippe

CONCERT 16 Concert Hall, 4:00 p.m.

University of Georgia Contemporary Ensemble Lewis Nielson, director

Poem (1990) ';i(. David Vayo Pamela Moseley.flute• Kenneth Carroll, clarinet• Lane Donaldson, violin

Natascha Lautenschlaeger, violoncello• F. Joseph Lozier, piano Lewis Nielson, conductor

War Cries (1990) Daniel Nightingale Leslie Boucher, mezzo soprano• Derek Keller, guitar

Poised Cartography (1988) I

'T"'Joseph Jurek

Trio

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Lane Donaldson, violin• Kevin McKinney, trumpet Paul Christianson, piano •Lewis Nielson, conductor

John Van der Slice Pamela Moseley.flutes• Ken Carroll, clarinets

Fausto Borem de Oliveira, bass• Lewis Nielson, conductor

Five Sees (The Lovers) Lewis Nielson The Marriage (Mark Strand) The Funeral (Mark Strand) Wanting Out (Gavin Ewart) Somebody's Gone (Charles Henri Ford) Nothing But Death (Pablo Neruda, trans. Robert Bly)

Leslie Boucher, mezzo soprano• F. Joseph Lozier, piano

Ambassadors of Fortune (1990) Kenneth A. Jacobs Luck is a Lady Top of the Morning Object of Affection

Eric Nelson, trumpet• Eric Willoughby, trumpet• Kee/am loworn, horn Michael Brewer, trombone• Jeff Bryant, tuba• Robert Romza, conductor

CONCERT 17 Concert Hall, 8:00 p.m.

Alabama Symphony Orchestra Paul Polivnik, conductor

Varadero Memories (1985) Orlando Jacinto Garcia

Concerto for Piano and Chamber Orchestra (1990) Bruce Murray, piano

Four Poems of Arnaut Daniel (1990) Richard Russell, tenor

INTERMISSION

The Ruins of the Heart ( 1990) Susan Fleming, mezzo-soprano

The Big Night (1989)

Charles Argersinger

Lewis Rosengarten

Diane Thome

Michael Schelle

This concert is sponsored by generous contributions from Central Bank of the South

The Alabama Stllte Council on the Arts

RECEPTION Sheraton/Capstone Inn, 10:00 p.m.

BIOGRAPHICAL AND PROGRAM NOTES

Wednesday, 9:00 am. Charles W. Smith is currently Professor of Music at Western Kentucky

University and was this year's coordinator of the Southeastern Composers League Forum hosted by Western Kentucky University. The Five Short Pieces for Solo Trumpet were composed in 1989 and each movement explores a different style and utilizes varying technical requirements.

Christopher Meister holds degrees in piano performance and music composition. In 1985 he was nominated for the Lily Boulanger Award and in 1988 was in residence at the Palen ville lnterarts Colony in New York. Currently he teaches music at the Governor's Magnet School for the Arts in Virginia. "The sonata is in three attacca movements. The first is a fantasy, the second is a set of variations, and the third is a dance. The task I set myself in writing it was to generate several types of characteristic figuration (for instance trills, arpeggios , repeated notes, more or less isolated staccato notes, tremolos, chords) and weave them together in various combinations to create the piece."

William Goldberg studied at the Juilliard School and the New York College of Music, and is currently teaching in Maine. His Tenebrae won the first award at the Georgia State Brass Symposium in 1972. In 1982 he formed the Cormorant Press devoted to new music.

Claire Polin studied at the Philadelphia Conservatory, the Juilliard School and Temple University and is currently on the faculty of Rutgers University. She has received the Leverhulme Fellowship, a MacDowell Fellowship, and numerous other prizes. She has assisted William Kincaid in the preparation of a new flute method and is a member of the Pan-Orphic duo.

Robert Rollin studied at the Juilliard School, the City College of New York, and was a Doctoral Fellow at Cornell University. He has received grants and awards from the American Music Center, various research councils, and ASCAP. "The Romance (1991) is a short character piece for piano solo. The middle section refers to a Mexican corrido - a folk ballad derived from the Spanish Romances of the fifteenth and sixteenth centuries. In Mexico, these anonymous ballads which related incidents from history and legend became folk ballads that in many villages served as the local newscast of important events. In another sense, the piece alludes to Mozart's and Schumann's Romanzes whose middle sections were characterized by increased musical activity and excitement. In all events the piece is a remembrance of the composer's visit to Guadalajara under the sponsorship of the Ohio Cultural Alliance and the Society for the Arts of Guadalajara."

Richard Willis studied at the University of Alabama and the Eastman School of Music. He has been awarded the Prix de Rome, the Joseph Beams Prize, the Howard Hanson Prize, the Ostwald Award. Currently he is composer-in­residence at Baylor University. The Five Dialogues was written for the Auriole­Fauchet Duo who gave the first performance in St-Germain-en-Laye (Paris) in May 1984.

I+

Wednesday, 11:00 am. Robert Rollin - see Wednesday, 9:00 am. Daniel Adams studied at Louisiana State University, the University of

Miami, and the University of Illinois at Urbana-Champaign. He is currently Assistant Professor of Music at Texas Southern University and Vice President of the Houston Composers Alliance.

George R. Belden studied at Bethany College, the University of Northern Colorado, and the University of North Texas. He is currently Associate Professor of Composition and Theory at the University of Alaska Anchorage and co-chairman of Region 8 of SCI.

Wednesday 2:00 P.M. Alan Schmitz studied at the University of New Mexico and Rutgers

University and is currently Associate Professor of Music and Chair of the Humanities, Arts and Communication Department at Alaska Pacific University. Three Sentimental Moods was premiered in 1987 by Deborah and Ben Davis. "For each movement the instruments have been assigned specific melodic or harmonic intervals which give a certain "flavor" and coherence to the sound. The first movement is moderate in tempo while the trumpet primarily has 5ths and major 6ths with the piano's tritones. The second movement is slow, the trumpet is muted, and the intervallic assignments consist of minor 6ths and major 3rds for the trumpet and major 7ths for the piano. The third movement is moderately fast, in nine-eight meter, and the trumpet part includes intervals of the 4th and minor 3rds while the piano mostly has minor 7ths."

Scott Warner is a doctoral candidate at the University of Michigan and is currently Professor of Piano at St. Mary's College of Minnesota. His compositions have been widely performed and he has received grants and awards from ASCAP, A.S.U.C., and the Iowa Council for the Arts. "From a technical standpoint, 0 Perfect Mirror is a series of symmetrical sonorities based around the pitch C#. On an emotional level, it is a meditation on the terror and ecstasy one would experience if one could look directly into the face of God. 0 Perfect Mirror was a major prize winner in ASCAP's Grants to Young Composers Program."

Andras Szentkiralyi studied at the Bartok Conservatory in Budapest, the Santa Cecilia Conservatory, Rome, and Oberlin College, the University of Illinois, Princeton University, and the Staatliche Hochschule fur Musik in Munich. His Partita "was original! y written in 1981 for unaccompanied horn but it lends itself much better to the bassoon's agility and wider register. The work opens and closes with the same recitative-like refrain, marked "Pensively," that also connects the four fast dance movements, marked "Lively," "With Impetus," "Very Rhythmically," and "With Fire."

Sarah (Sally) Johnston Reid studied at the University of Texas at Austin and is currently professor at Abilene Christian University and editor of the ILWC Journal. From Whence Butterflies? "is a fantasy for piano and tape and one of a series of six similar works. The title is from a haiku by Joy Shieman of Las Altos, California: 'From whence butterflies? I Thirteen years descends the stairs/ in long yellow gown.' This realization employs Yamaha TX series synthesis modules.

Jennifer Higdon has studied at Bowling Green State University and the Curtis Institute of Music, and is currently completing her Ph.D. at the University of Pennsylvania. She has received the Nitzsche Prize, the Charles Miller Alfredo Casella Award, and was finalist for the ASCAP Awards for Young Composers. Steeley Pause reflects the challenge of writing a composition filled with tension. "Steeley" is from the metal steel, which implies intensity. "Pause" carries two meanings in the context of this piece. In the first, it represents the moments of silence in the piece, which, because of all the musical activity occurring around them, are within themselves intense. And secondly, "Pause" means to take a moment, which is about the duration of this work, since the longer intensity goes on, the less intense it becomes.

Jeremy Beck studied at the Mannes College of Music, Duke University, and Yale University and is currently on the faculty of the Mannes College of Music. He has won awards from the National Federation of Music Clubs, the Mary Duke Biddle Foundation, and grants from Meet the Composer and commissions from Jacques d'Amboise, Duke Drama, and the National Shakespeare Company. "Duo for horn and piano was composed in the fall of 1990. It is in two movements and is entitled Duo because the piano part is not merely an accompaniment; it is an equal musical partner with the horn in this work. The first movement, Toccata, begins with a rhythmic figure in the piano and a harmonic expansion of intervals in the piano. This rhythm and the concept of intervallic expansion become the generative basis for the entire movement. The horn writing is virtuosic and the syncopated interrelationship of the two parts creates a movement which is fast and furious. There are two tonal centers in this movement, G (where it begins) and C# (where it ends). This progression will be complemented by the same sort of tritone structure in the second movement (Bb - E) which also uses a progressive tonality. This movement, although entitled Rondo, is not a traditional use of this form. Rather, the form is turned 'inside out' as the requisite sections return during the course of the movement, but not in their 'expected' places. Also, this music integrates as one of its sections what would be a slow movement (presented in developmental sections itself), allowing the horn to display its more lyrical, singing qualities."

Wednesday, 4:00 P.M. Allen Brings studied at Queens College, Columbia University, and Boston

University. Currently is Professor of Music at the Aaron Copland School of Music at Queens College. Tre esercizi exploit "the harpsichord's eminent ability to sharply differentiate contrapuntal lines, be resonant and somber at one moment, cold and scintillating at another, to be a vehicle for virtuosity at all times. The first and third esercizi resemble in their textures and imitative beginnings the two-part inventions of Bach although the rhythm and tempo of the first are also reminiscent of the Baroque allemande. Each is based on two contrasting motives and is basically ternary in form. Both are expanded by methods having their roots in the eighteenth century though the prevailing chromaticism, which is almost total, and the ways in which pitches are combined harmonically betray an undeniable twentieth-century bias. The slow, second piece is a set of variations over -- and later also under -- a ground bass."

Sam Magrill studied at the University of lllinois, Champaign-Urbana and is currently Composer-in-Residence and Assistant Professor at the University of Central Oklahoma. He has received grants and awards from the National Endowment for the Arts, the Illinois Arts Council, ASCAP, and the Oklahoma Music Teachers' Association. Concerning Strands of Time, he writes "Six lines of distinct character and timbre derived from the same material... a layer of eight percussion patterns without noticeable meter permuted in a modified rondo ... as the threads in this tapestry of sound interact, the drama of forms and textures unfolds. The composition was realized in the LA Harbor College Electronic Music Studio in the summer of 1990, utilizing a Yamaha DX7IIFD with an installed E! board by Gray Matter Response and a Yamaha RX5 Drum Machine."

Janice Misurelli Mitchell was a student at Goucher College, Peabody Conservatory, and Northwestern University. She has received grants from the Illinois Arts Council, the National Flute Association, the Atlantic Center for the Arts, Northwestern University and the International League of Women Composers. "Uncommon Time was commissioned by the National Flute Association for the 1991 High School Soloist competition. It is constructed using a fourteen-note tone row which has implications of tonality: major seventh chords and augmented triads, as well as segments which are less tonal. The piece traces a dialogue of two different musical ideas; they first appear as percussive tones opposed by sustained melodies on harmonics, then full tones against reduced sounds and harmonics, then phrases in an antecedent/consequent pattern. Throughout, phrases are structured in asymmetric rhythmic patterns; hence, the words, "uncommon time."

John Russell is a professor of composition and piano at California Polytechnic State University, San Luis Obispo. "Nocturnal Variations is based on a four-note motive stated at the beginning of the first movement. I employed serialistic methods, but with a good deal of freedom."

Donna Kelley Eastman is a Fellow of the Charles Ives Center for American Music, the Virginia Center for the Creative Arts, and the Ragdale Foundation. Her compositions have been performed in this country and in Europe and the Far East where she has lived for extended periods of time, an experience which reflects itself in the style and content of her musical expression. Ms. Eastman is currently completing an opera in collaboration with the poet Dona Stein. "Gold, Incense, and Mirth -- A Souvenir of Thailand" is a tape piece realized on the Fairlight III, using sampled sounds of instruments collected by the composer during a three-year stay in Thailand. The collection includes assorted bronze bells and gongs; a clay drum; a ranad-- a rosewood mallet insrurment which is the major melodic instrument of the classical Thai ensemble; the ching -- cupped hand cymbals which serve as the tactus or beat-keeper for traditional dance music; a teak elephant bell worn by all the working elephants in the teak forests; and brass temple bells which hang from the ornate eaves of all Thai temples, offering a gentle hypnotic welcome. The sounding of the temple bells in the middle of the piece call the instruments of the classical ensemb'e to their traditional position, ranges, and tunings, as they would be heard in a typical temple offering of music and dance. Soon, though, the lure of Western e:~ctronics returns them to the altered sounds and ranges of the opening section.

David Brackett studied at the University of California at Santa Cruz, New England Conservatory, and Cornell University. He has received a fellowship to the Pittsburgh New Music Festival for a performance of his Chamber Concerto, and to the Yaddo Artist's Colony. "Titling a piece which is notated in Western staff notation, "Improvisations," may seem to be a contradiction of sorts. The title refers to the manner of composing, not of performance .... The first piece, "First Light at Morning/Angles," explores a single sonority which expands in forays of increasing intensity. "Rapture/Distant Remembrance," features sections that employ upward sweeping gestures and tremolos in alternation with sections that feature mordant (not mordent) grace notes. Eventually the ideas from the two sections merge. "Lament" conveys a single lyrical mood, which rises and falls gradually .... The compositions of these pieces was made possible by a grant from the Y addo Corporation.

Margaret Brouwer is currently Assistant Professor of Music and Composer in Residence at Washington and Lee University, is also Founder and Director of the new music festival, Sonoklect. Her compositional successes have included the Lee Ettelson Competition, Carmichael Competition, the Phi Mu Alpha Sinfonia's New Music Premier Winner, and Indiana University's Composition Competition and she has received grants from the Virginia Commission for the Arts, WEST AF Meet the Composer, NEA, the Indiana Arts Commission, and Washington and Lee Glenn Grants. "The request for me to write a solo horn piece provided the ideal opportunity to explore the captivating beauty of the sound world that is particular to the French horn. Within that sound world are timbres that are highly contrasting. Consequently SCHerZOid is a study in opposites. It combines the contrasting sounds that the horn does so beautifully; the familiar, singing lyricism with the heroic and the aggressive. It also explores new sounds that are sometimes shocking and grotesque. The contrasting sections of the traditional scherzo form became in this scherzo continually more separate as the piece progressed until finally it seemed that the piece had assumed a complex life of its own."

Wednesday, 8:00 P.M. Harold Schiffman studied at the University of North Carolina at Chapel

Hill, the University of California at Berkeley, and the Florida State University, Tallahassee. He is now Professor Emeritus of Composition at F.S. U. "The Concerto for Oboe d'Amore and String Orchestra was written in 1988 for Juli Ann Giacobassi, English hornist of the San Francisco Symphony, who gave the first performance on March 4, 1990 with the ARTEA Chamber Orchestra. The Music is intended to convey a spirit of joyous celebration, tempered by reflective and lyrical expression. This piece completes a trilogy of concerti for members of the oboe family, the other being Concertina for Oboe and Chamber Ensemble ( 1977) and the Chamber Concerto for English Hom, Strings, and Winds (1986).

John White is currently Professor of Composition and Theory at the University of Florida and is director of Florida Musica Nova. He has received commissions and grants from the National Endowment for the Arts, the Atlanta Symphony, the Center for American Music, the Eastman School of Music, the National Choral Director's Association, the Florida Department of State, the USIA, and the Ministries of Culture of Iceland and Finland. "While Mirrors for Piano and

Orchestra is virtuosic for the soloist, the intent was not to write a flamboyant display piece - it is not a concerto, but a blend between the orchestra and piano within a single movement. The work is entitled Mirrors for two reasons. It is in a kind of arch form in that the second half of the piece is a retrograde of the first half, although this principle is by no means applied strictly. Also there are many places in the solo piano part where the two hands operate as mirrors of each other with the opposing thumbs functioning with a polarity which creates contrary motion."

Stephen Gryc studied at the University of Michigan and is currently Associate Professor of Composition and Theory at the Hartt School of Music. He has received grants and fellowships from the AS CAP Foundation, the Connecticut Commission on the Arts, the MacDowell Colony, the Charles Ives Center for American Music, and the University of Hartford and his awards include the Rudolf Nissim Prize and the Newly Published Music Award from the National Flute Association. "A Dance Concerto" was completed in 1989 with support from the Connecticut Commission on the Arts and the Mac Dowell Colony. The piece is dedicated to the memory of Benny Goodman, and the three movements are subtly haunted by the music of the swing era. The lively rhythms suggest the dance though the work is not intended as ballet music. The movements are concise and neoclassic in style and form. The fast and brief first movement is a rondo form in which the principal theme and the alternate tune finally merge. The tripartite second movement includes a jazz-tinged dance which is flanked by slower, more introverted music. The final movement is again rondo-like. The music that follows the soloist's cadenza restates all the principal tunes of the last movement as well as some of the motivic ideas from the first."

Philip Carlsen studied at the University of Washington, Brooklyn College, and the Graduate Center of CUNY and is currently Associate Professor of Music at the University of Maine at Farmington. He has received fellowships from the National Institute of Arts and Letters, NEA, and the Maine Arts Commission and has also been a resident at the MacDowell Colony. "Four Journeys in Maine, commissioned by the University of Maine at Farmington in celebration of its 125th anniversary, is a setting of four poems by Wesley McNair, who also teaches at UMF. The poems will be included in his third book of verse, My Brother Running, forthcoming in 1993 from David Godine."

Thursday, 9:00 A.M. The Quapaw String Quartet is currently in its twelfth season as the

premier chamber group of the Arkansas Symphony Orchestra. The members function as principal players and core string instrumentalists in the Symphony.

James R. Greeson is associate professor of music theory and composition at the University of Arkansas in Fayetteville. He has been honored in the Music Teachers National Association's "Composer of the Year" competition and in the St. Louis "Forum for Composers" competition. The String Quartet was commissioned by the Quapaw String Quartet for their tenth anniversary. The work is in three movements and explores a freely atonal pitch language which relies heavily on intervals of minor thirds and half-steps. The first movement develops two ideas, the first being athletic in nature and the second more passive. The second movement

was actually started about twenty years ago as a student piece. It was significantly reworked and extended for its use in this work. The last movement is in a fast 6/8 and is essentially a perpetuum mobile. Fmmally, it is a loose rondo and includes a musical analogy to a clock running down prior to the final thematic statement."

Alejandro V. Tkaczevski studied at the Hartt School of Music. Stanford University. He has been chosen as a finalist in the UNESCO International Music Council FORUM '91 and received an ASCAP-Hubbel Award. "Diversion is a light piece; its aim is to delight the listener as would a Divertimento of the Classical era. Each movement has a special character that appeals to different musical sensibilities. PENT A.FUN is a quick tour of the musical world. In Talk Melody we witness a dialogue between four good friends. Chorale appeals to our sense of harmonic majesty. Canon is the most intellectual of movements, and takes us from the depths of confusion to the heights of order. At the end, FINALE.FUN returns us to some ideas presented in the first movement, but this time it's a tour through musical history."

Harvey J. Stokes is currently Associate Professor of Music at Hampton University and is the recipient of numerous honors for his compositions including an AS CAP Foundation Grant and other prizes. "The String Quartet No.1 was composed through a commission by the Oxford String Quartet. The Music is each of the three movements is generated from motivic material stated in the first five measures: 1) a chord in the Violoncello and Viola (a member of pc set 4-20), 2) a rhythmic pattern by which this chord is articulated, and 3) an ensuing eleven-note melodic idea in the 2nd violin. Movement I follows the single-movement sonata principle, while movements II and III are in one-part and three-part form respectively. Referential pitch-classes in the quartet are as follows: C for movement I, F# for movement II, and C for movement III. Seven-note scale materials in the quartet are members of pc set 7-34 (the so-called SuperLocrian collection). In movement II, mode I of this collection is used (the SuperLocrian scale). In movements I and III, mode 5 is used (the Lydian-Mixolydian scale)."

.+ Byron K. Yasui studied at the University of Hawaii, and Northwestern University, and is currently professor of Music at the University of Hawaii. "Quartet No. 1 was composed in 1987 for the Galliard Quartet. References in the first movement to the opening six pitches of the pop standard, Chicao, were not accidental as a major part of the piece was written during the composer's stay in Chicago. Jazz influences can be heard or felt in the second movement, which is indicated "bluesy."

Greg A. Steinke studied at Oberlin Conservatory, Michigan State University, the University of Iowa, and Michigan State University. Currently, he is Professor of Music and Director of the School of Music at Ball State University and National Chairman of the Society for Composers, Inc. "The composer's intent in Native American Roots is to portray/contrast the dichotomies, paradoxes, "mysteries?" of the events in Eastern Europe in the fall-winter of 1989/90 with those of the Native American a century earlier. This musical "portrait" then becomes a mixture of east/west, native/non-native and oriental/occidental philosophies and musics. At the time of the 1989/90 struggles for freedom, the above" strains" of ideas and musics played in the composer's mind and pushed/pulled with one another

+

as the piece developed and emerged in the created herein as he wrestled with The Bitter Roots of Peace, wherein cultures in 1989/90 seemed to regain their roots but those in 1889ff struggled only to be destroyed. Where does this leave us today??"

Thursday, 11:00 A.M. William Penn, formerly theory and composition faculty member at the

Eastman School of Music, is currently visiting Associate Professor of Composition and Electronic music at the University of Connecticut. He has received numerous commissions and awards, including two ASCAP-Deems Tayler Awards, four National Endowment for the Arts grants, and six ADDY awards.

Eugenio Manuel Rodriques studied at Connecticut State University and is currently a graduate fellow at Duke University. In May 1989, a full concert of his works was presented at Ives Hall in Danbury, CT, and his Aguas do Mondego was premiered by the Ives Chamber Orchestra in August 1989. "Matutinal was written in celebration of dawn, the birth of a new day. In Greek mythology, Eos, to whom the poetess refers, is the goddess of dawn."

Kurt Kazuo Kuniyasu studied at the University of Hawaii, the University of Miami, and is a DMA candidate at the University of North Texas. "In each of our lives, there are a few events which remain vividly in our memories for as long as we live. Somehow, we remember precisely where we were, who we were with and what we were doing when we 'heard the news.' The composition of the present work was begun, by coincidence, on that fateful day in 1986 in which the lives of seven courageous American were cruelly and unnecessarily cut short before a stunned nation and world. Consequently, this work is dedicated to Ellison Onizuka and his six ahipmates and friends aboard the Challenger. For surely, 'they have touched the face of God."'

Max Lifchitz. "Unlike the traditional "Villancicos" which were popular songs many times associated with the Christmas season, Villancicos Rebeldes ("Rebellious Villancicos") try to capture and communicate the feelings of frustration and exasperation so apparent throughout Latin America. The texts employed are by poets from three different countries: Mexico, Panama and Uruguay. Their words are set in a simple and direct manner. The listener will find the musical language both contemporary and folk-like."

Elizabeth Vercoe studied at Wellesley College, the University of Michigan, and Boston College. She has received numerous awards and prizes, including grants from the national Endowment for the Arts and Meet the Composer Grants, and is a board member of the International league of Women Composers.

Thursday, 2:00 P.M. Marshall Bialosky was recently named Emeritus Professor of Music at

California State University Dominguez Hills where he was the founding chaim1an of the Music and Art Departments in 1964. A former national chair of SCI, he is currently the president of The National Association of Composers/USDA. "Divertimentino was commissioned by the Chamber Music Conference and Composers' Forum of the East in the summer of 1989. After a very brief

introduction, a march-like theme is heard which constitutes the main thematic idea of the piece along with a similar subsidiary theme. These two ideas are dissected and discussed extensively throughout the piece often broken down into three and four­note parts of themselves. A rather quizzical coda concludes the work."

Norman Weston studied at Indiana University and received his doctorate from Northwestern University. Among his awards were an ASCAP grant and the Padrone-Kantscheidt award. He is currently chair of the Department of Music at Saddleback College in Mission Viejo, CA. His work Skyscraper opens with a paraphrase of an Ornette Coleman tune ("The Jungle is a Skyscraper") and soon slides into an obsessive use of minor 2nds. A long, slow coda closes the work.

Dana Brayton studied at the University of Washington, Seattle, the New England Conservatory, and Boston University. He has received fellowships from the Charles Ives and Wellesley Composer's Conferences and to Tanglewood. "Teethmother Naked at last is based on a poem about the Vietnam war by Robert Bly. It is a direct response to growing up with the Vietnam war as a teenager and being drafted into the army. Robert Bly's image based poetry captured my own feelings about that war and about war in general. The piece is dedicated to soprano Christine Schadeberg, for whom it was written."

William Davis studied at the University of Kansas and the Eastman School of Music and is currently on the faculty of the University of Georgia. "Fantasy Variations opens with a free first movement featuring a clarinet solo (which includes quarter-tones) and a piano cadenza. The slow second movement is characterized by pairing of instruments: clarinet and horn, cello and horn, and violin and cello. Quarter-tones are again used in a cello solo in the middle portion of this movement. The virtuosic third movement features a violin cadenza which is followed by a wild senza misura section in which all five instruments play in an unmeasured manner. The spirited coda drives to the end in a whirlwind of fast scalar passages and repeated notes. The work is entitled "Variations" not as much because it varies a melodic line throughout, but because it varies a set of pitches either horizontally, vertically, or both combined. The set is constructed by continuously stacking two minor thirds/augmented seconds and a perfect fourth (for example, E-G-Bb-Eb-F#­A-D-etc.)."

Elizabeth Bell studied at Wellesley College and the Juilliard School of Music. In 1986 she received the Composers' Competition in Farmington, Utah and her works have been recorded on Classic Masters, CRS, and Vienna Modem Masters labels. "Spectra is about rainbows: about the dividing up oflight (or sound) into its various wavelengths; about the gradual development of an image from a blank page into faint gray outlines, then little by little the color coming until the full range of the rainbow is alive; about the promise of calm after a storm. The five movements are short, and mainly in simple classical forms. They begin with the highest ranges of the instruments, adding depth as they progress until the last movement stretches the whole length of the keyboard. The tonal centers also descend, by minor thirds , from C down to C again. The music is tied together with the "rainbow music" that begins and ends the piece, and is interpolated at various other points along the way. The final movement Storm, is not classical; it was inspired by the many thunderstorms I heard during the nights of the unusually stormy spring and summer of 1989."

Don Stein. "Lachrimae is a setting of texts from the writings of William Shakespeare and adopts its title and general musical structure from the works of Shakespeare's contemporary, John Dow land. Some of Dow land's Lachrimae Pa vans are found in settings for voice and lute, but his best known arrangements of these is the instrumental Lachrimae, or Seaven Teares for five viols and lute. In writing Lachrimae, I adopted Dowland's instrumental style as well as some of the mannerisms characteristic of the lute songs of his day, using, however, the more dramatic resources of the twentieth-century musical language. The instruments engage in a continually shifting contrapuntal dialogue which underscores the emotions and moods of the vocal lines. The singers, while sharing in the contrapuntal fabric, focus on the expressive declamation of Shakespeare's words. Lachrimae was originally written for two voices and orchestra; the present chamber version was favored over a piano reduction of the score since it allows for the variety of instrumental color that was integral in the original conception of the work."

Thursday, 4:00 P. M. Panel: Frederick Goossen, is Professor of Composition and Director of

Graduate Studies at The University of Alabama School of Music, composer, and theorist. He received the B.A., M.A., and Ph.D. degrees from the University of Minnesota. Dr. Goossen has held commissions from numerous American Orchestra, choral groups, and ensembles, as well as colleges and universities. A member of the American Composers Alliance, and the Alabama Teachers of Music Theory, he taught previously at the University of Minnesota and Berea College. His compositions have been recorded by the Steinerius Duo, pianist Bradford Gowen, and the Louisville Orchestra. Dr. Goossen has had several works published, "Equali" (1972); "Death, Be Not Proud" (1973); "American Meditations" (1973); "Let Us Now Praise Famous Men" (1975); "Six Chorales for Organ" (1971); "Hodie" (1972); "Temple Music" (1980); "Clausulae" (1980). Recent works include sonatas for clarinet and piano, and for alto saxophone and piano; two symphonies, No. 4 having been commissioned and premiered by the Tuscaloosa Symphony Orchestra; a large solo piano work commissioned by pianist Bruce Murray; a solo work for the Engliksh pianist John Savory; and a piece for horn choir, commissioned by the College of Engineeting of the University of Alabama in celebration of its 150th anniversary in 1988.

Thursday, 9:00 P.M.

The McLean Mix is a performance duo that has performed extensively throughout the U.S. and in Europe and the Pacific Rim. Barton McLean is presently visiting professor at the Integrated ARts Program at Rensselaer Polytechnic Institute, and Priscilla McLean was recently Visiting Professor at the University of Hawaii. "The last of the five tone poems that make up Visions of a Summer Night, Fireflies is a summation of all the previous works. Perhaps nothing symbolizes the atmosphere of a summers' night more completely than the twinkling of fireflies set against the vastness of the summer night, symbolized here by the pointillistic

twinkling bright sounds against the deep and evocative bass pedals. To accompany the music, the newly-created Sparkling Light Console is employed to visualize the fireflies. Fireflies employs sampling and FM synthesis techniques as sound sources along with extensive processing, all driven by Vision sequencer, and was recorded directly to the DAT tape master." "The dramatic song setting Wilderness for solo soprano voice, tape, and flexatone obbligato was originally conceived for solo voice and ten instruments and premiered by the Relache ensemble in 1985. The new synthesized version, developed for McLean Mix touring using "Perfonner" sequencer, remains faithful to the original score, while emphasizing the techniques that are best accomplished digitally. Wilderness is a realization of the poem by the same name by Carl Sandburg, and is a boisterous, often clamorous affinnation of the wilderness and all its creatures. In addition to digital sound sources, the stereo tape contains a variety of actual animal sounds including wolf, honeybees, panther, hyenas, chimpanzees, hawks, mistlethrush, and a bestial bass viol!"

Edward Matilla studied at the New England Conservatory and the University of Minnesota and is currently Professor of Music Theory and Composition and director of the Electronic Studio at the University of Kansas. "The Music to Caracole was composed for dancers after the choreography had been completed and existed on video tape. Usually the music comes before the dance, then the choreographer follows its tempo and mood to create movement. This then was a reverse process and an interesting new way of working for me. I viewed the tape repeatedly to work out timing and capture the mood of each of the five sections of the piece. The rondo-like fonnal design of the choreography was a natural fonn for musical treatment. A number of musical ideas and textures were considered and evaluated before the basic musical material was settled on. A rough draft was composed which underwent several revisions before the final version was refined."

Sylvia Pengilly has been recently investigating the possibilities of integrating digital audio with digital video and camera footage. The Wizard of Id, for performers and interactive video, was presented at the National Conference of SEAMUS, held in November, 1990, at LSU, Baton Rouge.

Rocky J. Reuter studied at the University of Wisconsin-Platteville, James Madison University, and Ohio State University. Currently he is assistant professor of Music at the Conservatory of Music at Capital University. "Burning Giraffes: In Memoriam Salvador Dali, a multi-media work for amplified viola, computer­controlled synthesizers, and computer-controlled slide projectors, was commissioned and premiered in 1990 by violist Kay Slocum. Rather than being a concerto for viola and electronic instruments, Burning Giraffes attempts to integrate the live performance of the violist with the sounds of the synthesizers, including both sampled and synthesized timbres, in such a way that it is difficult to tell the two apart. The visual presentation consists of approximately 240 slides taken from three 1937 paintings by Salvador Dali. The work begins with a visual introduction that serves as a homage to Dali, followed by a musical introduction that gradually builds a motive which penneates the entire work. The musical introduction is accompanied by brief glimpses of sections of all three paintings. Three movements follow, each exploring in detail one of the Dali paintings and developing the musical motive of the introduction. The pitches of the motive are gradually introduced during each of

the fonnal sections while the accompanying hannony consists primarily of pitches extracted from the motive. The viola part is treated as a solo part at times and as accompaniment to the electronic music at times, but is totally reliant upon the motive throughout the work. The work concludes with another collage of all three paintings and the simultaneous presentation of several musical ideas used throughout the composition.

Friday, 8:30 A.M. Timothey T. Kloth is associated with WVXU at Xavier University,

Cincinnati, Ohio. Ann Stimson is presently a doctoral candidate in music theory at the

University of California in Santa Barbara. Also active as a flutist, she teaches at Westmont College and performs in the Prisms New Music Ensemble.

Peter M. Susser studied at Bennington College, the Manhattan School of Music, and is currently a D.M.A. candidate at Columbia University.

Paul A. Epstein is Professor of Music Theory at Temple University. He studied privately with Luciano Berio on a Fulbright grant to Italy in 1962-63, and is a graduate of Brandeis University and the University of California at Berkeley.

Scott M. Martin studied at the Peabody Conservatory of Johns Hopkins University, and is currently Assistant Director of Music Media Technology at Alabama State University and Instructor in Music Theory.

David Stephen Beck is Director of The Electro-Acoustic Music Studios at Louisiana State University and an active member of SEAMUS. Professor Beck says the following regarding his research and compositions ... "Researchers have long been searching for ways to integrate acoustic instruments with synthesized or computer processed sounds, mostly in the areas of real-time computer pitch tracking and score following. While score following is a logical means for the coordination of computer and performer, I have been more interested in interactive processes between the acoustic and computer instruments. My search has been for a logical and musical link between the intuitive processes of acoustic performance practice and real-time computer music synthesis."

Rodney Oakes has recently returned from a sabbatical leave, during which he will be lecturing a working at the Chopin Conservatory in Warsaw, Radio Warsaw, the Hungarian Computer Music Association, and the Krakow Conservatory.

-t Cort Lippe studied composition with Larry Austin, and following a year in Florence, studied at the Instituut voor Sonologie. After three years at the Centre d'Etudes de Mathematique et Automatique Musicales, he is currently at the Institut de Recherche et Coordination Acoustique/Musique (IRCAM). His works have received numerous prizes and perfonnances.

Friday, 11:00 A.M. Laura Hoffman studied at Radford University and Memphis State

University and is currently Administrator of The New Dance Series in Halifax, Nova Scotia and secretary of the Atlantic Canadian Composers' Association. "It will never, ever. .. is a virtuosic solo cello work, alternating a recurring melody with

splashes of rapid passage work of coloristic areas. Dark and brooding sections alternate with reckless pizzicatos, playfun triplets with intense tremolos. The main thematic material receives its most extensive development to end the work."

Thomas E. Fitch studied at Butler University and Carnegie Mellon University, and is currently a doctoral candidate at the University of Minnesota. "In Fantasies, I hoped to put myself on an emotional (if not a cognitive) roller coaster, and (if it is possible) to carry other listeners along with me. I aspire to that end; but if I cannot achieve that, I would be content to convince someone else that I had."

Don Freund studied at Duquesne University and the Eastman School of Music and is currently on the faculty of Memphis State University. He has received grants from the National Endowment for the Arts and prizes from the Washington International String Quartet Competition, the IS CM/League of Composers 197 6 International Piano Music Competition, the Hanson Prize, and 12 ASCAP awards. "Passages was commissioned for the Island Moving Company, a modern dance/ ballet company in Newport, R.I. It was composed in collaboration with the choreographer Judith Wombwell who suggested the title and the program for the piece; the six movements describe the maturation of a society as well as an individual. The work was first performed outdoors, so primal naturalistic gestures dominate the musical character."

David Ernst studied at Duquesne University and Rutgers University and is currently Coordinator of Music at York College, CUNY. "MAinstreAM ( 1990) was written for Claire Heidrich and the New Music Consort at the Manhattan School of Music. The title purposely evokes jazz concepts which permeate the work. The vibraphone, for instance, often assumes the role both of piano and/or bass. Another jazz influence is the rhythmic drive, with rhythms derived by extensive motivic variation including rotation and both additive an subtractive methods. The piece is polyphonic and pitches, both melodic and harmonic, are based upon a rather free application of set theory principles applied to a single 5-note set of pitches."

Janice Macaulay studied at Brown University and Cornell University and is currently Assistant Professor at Anne Arundel Community College. She has received two of the three Best of Category Prizes in the 1983 Delius Composition Competition, as well as two Honorable Mentions from the International League of Women Composers, and grants from the Meet the Composer. "Triphammer Bridge crosses a deep gorge that is located at one of the entrances to Cornell University. It is also the title of a poem by A.R. Ammons, who has perfectly translated into words the harsh, bitter cold of the stark, jagged, icy ledges of the gorge in winter. Although I crossed this bridge almost daily for several winters, the opportunity to create my own translation of this place into sound did not occur until a few years later, during an oppressively steamy Maryland summer."

Friday, 2:00 P.M. John Carbon received his Ph.D. from the University of California at Santa

Barbara and is currently Associate Professor at Franklin and Marshall College. "There really is no extramusical idea behind Pentacles. It is a fantasy rondo, or a double theme and variations (like the 2nd Movements of Beethoven's 5th Symphony) depending on how you look at it. The first theme is yearning and rhapsodic, whereas

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the second is toccata-like and playful. Or, if you prefer, the refrains are yearning (but becoming more and more impassioned and full as the piece progresses) and the episodes are playful (but becoming more and more triumphant verging on demonic) . Harmonically the piece reflects the title in that quintile harmony is fused with secundal. This happens in a free manner so that layers of these harmonies interact at different intervals (for example strands of 5ths and 2nds may be layered a 6th apart), The language is at times minimal, but the piece is developmental. Listeners have remarked that, like other recent music of mine, Pentacles seems to fuse minimalism with neoclassicism."

Marilyn J. Ziffrin studied at the University of Wisconsin and Columbia University. "This piece was written to celebrate the memory of those we love, especially those in the arts who have died of AIDS. Their untimely deaths cut short their creative lives and left a void in ours. The two themes on which the composition is based are a Mozarabic requiem chant from the tenth century and an Ashkenazic kaddish chant from the late eighteenth century. Only a portion from each is used, and each theme goes through several variations. The two are combined in the coda."

Wieslaw Rentowski studied at the Fr. Chopin Academy of Music, Warsaw and the Academy of Music in Lodz, and is currently studying at Louisiana State University. "Albebragen for organ solo is an example of my reflections about twelve-tone music. In this case about the Violin Concerto of Alban Bert .... Albebragen has been recorded by Veriton."

Ernesto Pellegrini studied at the Juilliard School of Music and at the University of Iowa. He has been an IBM Fellow, a Composers' Conference Fellow, and a Charles Ives Center for American Music Fellow. Currently, he is Professor of Music at Ball State University. "If there is one musical element that is exploited greatly in this work, it is texture. The entire piece was conceived at first as an exploration and later as an exploitation of that musical element. A formal concept is essentially non existent, and melody, if found, can only be viewed as being subservient to texture. Since the work is written for organ, the harmonic vocabulary is more in line with clustery arrangements and thus, the textural element comes into focus. Even though some serial procedures are evident at times, it is only by coincidence that they occur. They are there only for their textural properties, and often they are perceived as stratifications of those properties."

John D. White, currently Chair of the Philosophy Department at Talladega College - the oldest historically Black college in Alabama- is a pianist and composer whose works have received attention, having been selected for performance at numerous regional, national and international conferences of composers and performers. His music calls for the very finest in player viruosity and expressivity. In recent years new works have been premiered by Dr. William Scharnberg, homist at the University of North Texas; Mauricio Loureiro, famed Brazilian clarinetist; and Michael Geary, percussionist with the University of Iowa Center for New Music. Dr. Randall Faust of Auburn University premiered SES TINA for solo horn in Munich at the International Hom Society Conference.

Dr. White is the author of seventeen treatises on widely diverse philosophical subjects: refutations to Wittgenstein; a mathematical proof for Platonism; aesthetics; philosophy of history; applications of logic to belief systems;

and a paper on infinity derived from considerations of the ETHICS of Baruch Spinoza, to name examples of the writings which have been read at philosophical conferences in the United States.

Dr. White holds the Ph.D. in Music with a composition thesis from the University of Iowa where he studied with Richard Hervig; the Master of Music in Composition from the University of Idaho; the Bachelor of Music in Applied Piano from the University of Kentucky. He currently teaches humanities, philosophy and logic, and maintains an active schedule of concertizing throughout the United States performing, in addition to his own works, twentieth century chamber literature by composer colleagues. Recent performances have included Society of Composers Regional Conferences in Anchorage, Alaska; Baton Rouge, Louisiana; Columbus, Ohio; Miami, Florida; SCI National Conferences in Las Vegas, Nevada and Tallahassee, Florida; and College Music Society Conferences in Denton, Texas; Little Rock, Arkansas; and San Juan, Puerto Rico. In the summer of 1991 he was recipient of a Lilly Foundation Grant to underwrite expense for rehearsals for H, a piece for two percussionists and piano; COURTLY "ADDIO", NEON SEIN LEO, a recent piece for horn, percussion and piano; and to complete two philosophy papers: THE MAKER'S MIND MODEL IN AESTHETICS, and BELIEF SYSTEM INTERNAL INCONSISTENCY.

Friday, 4:00 P.M. Cadek Trio - In 1950, the internationally renowned violinist, Ottokar

Cadek established a string quartet at The University of Alabama. Reorganized several years ago as the Cadek Trio, the ensemble has performed virtually the entire piano trio repertoire while maintaining Ottokar Cadek's dedication to the dissemination of new music.

Richard Brooks studied at the Crane School of Music, SUC Potsdam, SUNY Binghamton, New York University, and is currently on the faculty of Nassau Community College. He was Chair of the Executive Committee of ASUC (now SCI) and continues as Producer of the Record/CD series. "The Trio was composed as a result of a NEA Composer Fellowship. While it is in one continuous movement there are broad sections reminiscent of traditional multi-movement forms. At the beginning, all three instruments strike a twelve-note chord which forms the raw material for the entire work. Each instrument exploits and develops specific intervallic structures derived form the opening chord. The materials are exploited both tonally and atonally. Throughout, the composer has striven to attain a high degree of lyricism and emotional intensity."

Christopher Kuzell studied at Los Angeles City College, Cal State University, Los Angeles, and the University of Southern California and recently retired from the faculty of Allan Hancock College. From the age of eight he has been an active violinist and is currently first violinist of the Benedetto String Quartet. "Una Bella Differenza (A Beautiful Difference), was suggested by a magazine article and picture of various cities in Italy. The words imply a different approach to the subject, the music, which though being contemporary, still retains an aspect of beauty. The first movement is in a theme and variations form. After a slow introduction by the cello alone, the full theme is stated by the cello and piano and

later repeated with the violin. Four variations of the theme plus a short coda section comprise the movement. The second movement is in sonata-allegro form, but in reduced proportions. It begins with the principal theme stated by the piano. The first part of the subordinate theme resembles variation 4 of the first movement. The development section "works out" fragments of both themes. The recapitulation includes not only the principal theme of this movement, but also incorporates the introduction and theme from the first movement. + Yoon Hee Kim-Hwang studied at Seoul National University and is currently completing a Ph.D. at the University of Minnesota. "Yunhoe can be translated into English as reincarnation, which is a Buddhist term. In Buddhism, the idea of reincarnation is the passing of the soul into another body. This happens endlessly -- it does not matter in which body the soul lives, it is the same soul, although with different outward appearance. This piece presents the same idea in musical terms, especially structurally. It is based on one theme only which is reincarnated throughout the work in many different forms. It appears first in very simple motion and then becomes more and more complex. In the middle of the piece, the complete subject appears. It continues to a climax, the texture becoming more agitated, and then ends suddenly as the soul is transferred to another body."

Andrew Imbrie. "The Trio No.2 (1989) is in three movements. The first begins with a lilting, rhythmically flexible piano introduction, to which the two strings soon add a wide-ranging melody of several phrases' duration. This eventually peaks and subsides to the low range of the 'cello, after which the original introductory material, now scored for all three instruments, serves briefly as a . transition to a new section. Here the piano is the core, its melody carried by successions of closely packed harmonies, while the other instruments comment - the 'cello pizzicato, the violin pursuing a whimsical couse through both high and low registers. This texture soon disintegrates, and is followed by a scurrying pattern of fast quintuplets, forming the basis for the middle section of the movement. The climax occurs when the quintuplets give way to still faster action, resulting in a lightening and fragmentation of the forward motion, and leading back to the second idea (originally for piano), now scored so that the 'cello has the melody. This is soon passed along to the violin, and at length leads to the return of the opening material, abbreviated to a kind of reminiscence rather than a full-fledged recapitulation. Just before the quite close there is a still more evanescent reference to the scurrying quintuplets, heard as if from a distance. Whereas the first movement consisted of rapid exchanges and interweavings of the three instrumental strands, the second allows the protagonists to speak singly, with fewer interruptions. The violin begins, and is joined by the supporting 'cello, which at the end completes the melody, bringing it down to the lowest register, while the piano begins its solo. After this, all three join together to bring the first part of the movement to a culmination. The piano then replies with its own bell-like version of the opening violin melody. Supported at first by the strings, it then proceeds to a further, and more impassioned, development of the idea. When this has spent itself, the others come back discreetly; then the 'cello has the last word, with its concluding solo. The third movement has a rondo-like quality, and is characterized by rapidly changing meters. There are harmonic references to the opening movement, appearing now in new contexts but

intended as a unifying force for the work as a whole. This concluding movement is bright in coloration and exploits the virtuosity of the performers."

Friday, 6:00 P.M. - Banquet - Andrew lmbrie, Keynote Speaker Professor lmbrie (see program preface)

Friday, 8:00 P.M. University of Alabama Wind Ensemble. Gerald Welker, director. Allan Blank studied at the Juilliard School of Music, Washington Square

College, the University of Minnesota, and the University of Iowa and is currently Professor of Composition at Virginia Commonwealth University. He has been the recipient of numerous awards, including the George Eastman Competition and the Lind Solo Song Competition, and has received grants from NEA and the Virginia Shakespeare Festival. "Polymorphics for double wind quintet is in three movements. It was commissioned by Dr. Fred Cohen, Director of CURRENTS. University of Richmond and funded by a grant from the Virginia Commission of the Arts. The title reflects a significant surface feature, multiple shapes found in either short or long areas of the work. Furthermore, the title honors the changing features rather than the recurring elements. In addition, I have been interested in the unpredictable interaction between dramatic, playful, and narrational modes of expression.

Kevin Hiatt studied at the University of Missouri-Kansas City Conservatory of Music and received his DMA from the University of Miami and is currently on the faculty of the New World School of the Arts.

Charles Bestor studied under Paul Hindemith, Vincent Persichetti and Peter Mennin. He is a fellow of the Mac Dowell Colony, the Virginia Center for the Creative Arts and has received the Delius Prize and awards from the New England Composers Orchestra and the Bourges International Electroacoustic Competition. "Three Portraits is dedicated to those pictured within and to the MacDowell Colony, where we all met and where this work was largely written. It's three movements are musical portraits, after the manner of Elgar's Enigma Variations, of three artists -­two musicians and a painter -- and there are a number of musical references, some of them obvious and some of them carefully hidden, to their association with the composer and their work together." -r Alexandre Rudajev. Studied at Prague Conservatory and pursued further studies with Nadia Boulanger in Paris. He has won numerous awards and prizes. "The concerto is in three movements. The first part is fast with occasional changes of accents. The important role is played by xylophone which at times is as prominent as the solo instrument. The second section is rather a fantasy on the Blues than the real form of Blues. The movement opens with a harpsichord solo and the melody is later taken by the ensemble. The xylophone is omitted from this movement. The last movement is a Rondo, but not in a strict sense of the form. There are two important motives and they alternate. The first motive is fanfare-like the other is in a form of a waltz. Before the end of the composition there is a Cadenza for solo harpsichord. The xylophone is again an important protagonist of the solo instrument."

Dinos Constantinides is presently Boyd Professor and Head of

Composition at Louisiana State University and Music Director and Conductor of the Louisiana Sinfonietta and the LSU New Music Ensemble. "Suite No.2 unfolds the story of a young man. The five movements of the Suite are played without a long pause. They are distinct, however, and the movement titles indicate the moods and impressions created by the music in each one. In the first movement, Proud and Solemn, chordal sonorities in different rhythms and different registers evoke the quiet pleasure the self-absorbed youth takes in himself. The second movement is The First Kiss, the music a combination of tenderness and nervousness. The composer cautions (in fact, about the entire Suite), "Don't tell too much. The element of surprise will be lost.' The music is very clear, however, as to whether or not this episode culminates successfully. The third movement is Beginning Dancing Lessons. One feels the self-consciousness and the short concentration span of the adolescents, perhaps some frustration with the discipline of the lessons, and a surprising blue note. The fourth movement is named Clusteritis. An '-itis' denotes an illness, and the movement title and the dominant musical technique employed herein constitute a musical pun. Whose sickness is this? Contemporary composition cannot eschew this technique, a necessary stage in the development of harmony; the young man at his stage in life seeks compulsively to spend his time in a group of his peers, no matter how awkward. The fifth movement is Cotillion, an elaborate dance or fonnal ball, and this is the longest and most brilliant movement of the Suite. The fonn is ABA with a Coda. The A section is the longest, the B section recapitulating material from the previous four movements, as though the youth in his moment of joy has brought his entire personality together, despite the troublesome parts. The Coda intensifies the A material and brings the whole to a climactic conclusion. The entire Suite becomes a Paean to life."

Alan Kinningham. "The purpose for this work is to use the concert band as a medium to express the emotions that swept the world in 1989. 'Solidarity for Poland' is the description given for the first movement. Its arch fonn lends itself well to developing programmatic ideas of the struggle between Solidarity and Communism. After a slow introduction which is used to help set the tone of the work, the dramatic first theme can represent the Solidarity movement. The second theme, the Communist theme, is a very mechanical theme that is in conflict with itself. This is represented by the cross rhythms (fives against sevens and eights) and the polytonality of each of the respecuve rhythms. The third theme is the top of the arch. It can tienote the idea of change. "Souls Still Walk the tiananrnen Square" is free in fonn. It serves as a lament for the students who sacrificed their lives for the ideals of freedom in China. This movement is designed as a study in timbral study. Wind sounds, spoken phrases, passages to be sung, and less traditional percussive techniques are employed. 'When the Wall Fell' represents the inexpressible joy felt by the Gennan people as they stood and watched the Berlin Wall being destroyed. This movement is a quasi-sonata-allegro fonn . The harmonic language is built on a combination of pandiatonicism and polytonaiity. The shifting keys and meters provide an intoxicating dance-like spirit that is meant to capture their thoughts and feelings at just the moment they realized the wall was actually coming down."

Saturday, 9:00 A.M.

Barbara Jazwinski studied at Stanford University and the City University of New York. Among her awards are the 1981 Prince Pierre of Monaco Musical Composition Award, the First Prize in the Nicola De Lorenzo Composition Con1est. and the Special Prize in the National Competition for Improvised Music by the Polish Composers' Alliance. She has received numerous commissions and grants, including the Louisiana State Arts Council, the Presser Foundation, Newcomb Foundation, and Meet the Composer, Inc .. "Visions for clarinet solo was composed in 1990. The work is cast in one movement. However, it consists of three sections that are differentiated in terms of character, articulation and dynamics. The work exploits expressive and timbral characteristics of the instrument in various registers and dynamic levels and focuses on it's great agility."

Peter Lieuwen studied at the University of New Mexico and the University of California, Santa Barbara and is currently Assistant Professor of Music and Composer-in Residence at Texas A & M University. He has received the Music Affiliates Award, an award from Meet the Composer Inc ., first prize in the Musician's Accord National Competition, and first prize in Contemporary Record Society's National Competition.

Michael A. lataur o studied at the Manhattan School of Music, Central Michigan University and the University of Colorado and currently is Associate Professor of Music and Chair of the Music and Fine Arts Department at New Mexico Tech. His Five Winds on a Thread in Three Pieces was premiered at the fust annual Ernest Bloch Music Festival.

Lydia Ayers has extensively researched extended vocal and woodwind techniques, including quarter tones, multiphonics, buzz tones and other unusual flute timbres, and the Partch, Indian and Arabic microtonal system, and is currently working with a 75-tone Indian/Partch scale on a tubular percussion instrument built by Woodstock Percussion and in unlimited just intonation on the computer at Brooklyn College. "Bioluminescence uses a number of Indian tunings mixed with just intonation breaking out of the boundaries of the I I-limit and going to the 23-limit. The Indian tunings came from ragas of the deep night, including Paraj, Sohini, Lalita, Vibhasa, Durga, Hambir and Khammaja. Some of the gamelan-like timbres resulted from a tuning using groups of 17-denominator ratios, generally with the higher frequencies dropping out before the lower frequencies. The metallic timbre results from a relationship among high harmonics, the quality of which changes when it is detuned. In this piece, I also flirted with utonalities and combining aggregates of ratios which are not closely related to each other, such as a section combining ratios of 7, 8, 13, and 19. Some of the thickest aggregates in this section give strange, !hunky timbres. It was produced at Brooklyn College on a Sun Computer in the CSound program in Music 11 . Curtis Bahn designed the template for the score which allows direct input of ratios. This is done by using one parameter field for the numerator, another for the denominator, and a third for the octave. The computer then converts them to Hertz. This piece was done entirely using additive synthesis. The timbres resulted from the lengths of individual tones within groups of sine tones and their harmonic relationships to each other. "

Neil McKay studied at the Toronto Conservatory and the Eastman School of Music and is currently on the faculty of the University of Hawaii. "Suite of

Miniatures is a series of short movements of varying moods for two players. Fanfare and Canon presents a fanfare-like figure in the clarinet, supported by coloristic percussion; in the middle section the vibraphone initiates a textural figure which is imitated by the clarinet. Serenade is a Song without Words, the vibraphone providing the accompaniment for a sustained melodic line played by the clarinet. Puanani's March (Puanani is McKay's granddaughter) is joyful with exuberant clarinet, insistent snare drum and some surprises. Cadenzas I and II are for clarinet and percussion in turn, are connected and are made up of material from the previous movements. One-Part Invention evolves from the final notes of Cadenza II, the players sharing the melody in unison or successively.

Stephen L. Syverud is currently director of the Electronic Music Studios at Northwestern University. "Free Flight was completed in 1988 using equipment in the Moog Electronic Studio at Northwestern University. A Roland D20 provides the sound sources for the entire piece. The pitch material is controlled by a twelve-tone row that was used in Charlie's Blues. Pitches 11 and 12 of the prime set at 0 transposition are pitches 1 and 2 of P4. The same relation exists between P4 and P8 as well as P8 and PO. Therefore, a collection of 30 pitches may be stated before repetition in the same order. The last six pitches of the prime set at) transposition are a transposed retrograde of the first six pitches. These features and a fixed registral control used in the original and revised version of Charlie's Blues are also used in Free Flight. The 6th and 7th pitches of PO are F and F#. All other pitches are arranged symmetrically around these two pitches. Also, F and F# are the only pitches of a single timbre allowed to sound together. The sounds are used singularly to form each of six tracks. Two sounds are modified piano sounds and one sound is a modified organ sound. The timbre and envelopes of these three sounds are altered, basically the timbre is brighter and the initial/final decays are longer. Three shorter sounds (glockenspiel, string pizzicato, harp) are altered timbrally by modifying the waveshape and filters. The six tracks are recorded individually on four separate channels at different tempi. The final two-channel performance is a rnixdown of the four-channel tape."

Gil Trythall is Professor of Music Theory at West Virginia University. Janis-Rozena Peri is Professor of voice at West Virginia University. "The poems in From the Egyptian Book of the Dead, inscribed in Egyptian hieroglyphics more than four thousand years ago, are prayers intoned by priests at the tomb of a deceased noble to secure safe passage to and from the land of the dead."

Saturday, 11:00 A.M. David K. Gompper studied at San Diego State University, the Royal

College of Music, London, and the University of Michigan and is currently Assistant Professor of Theory/Composition at the University of Iowa. He has n.:ceived a National Graduate Fellowship, the Charles E. Ives, and a Composer's Fellowship from NEA. "Iso III is in one movement and divided into five parts. I attempt to mimic the double-piped aulos through the use of multiphonics, and further add the use of four cylindrical tubes. These tubes are adjusted to resonate to the four lowest pitches of the oboe (B-flat to C\_ sharp) when the bell of the oboe is slightly inserted into the opening. However, inserting the oboe as far as possible into the tubes will

produce beats or standing-wave patterns. The latter is combined with multiphonic and alternate-fingering trills to exploit the dramatic range of expression of the oboe. Two themes run concurrently throughout Iso III: one for Apollo (two\_ note motive: tritone) and one for Python (three-note motive: descending chromatic). The work tonally emanates from the pitch E and an altered phrygian scale. The tritone (F-B) functions as a central force, out of which four tonalities (identified by Perfect fifths) appear from half-steps above or below the tritone: Part I, E - B; Part II, F - C; Part III, B - F sharp; Part IV, B flat- F; Part V, a return to E."

John Anthony Lennon studied at the Universities of San Francisco and Michigan and is currently on the faculty of the University of Tennessee. He has. received a Guggenheim, a Prix de Rome, a DAAD, and the Charles Ives Prize. "Echolalia was commissioned by the National Flute Association. It is a one movement work which contrasts lively, excited areas with ornate, dark passages of slower speed. As the title suggests, there is an echoing element appearing throughout the piece in different manners. Overall, it is a very lyric work meant to be accessible to general audiences."

Stephen L. Syverud. "Contrasts is a serial composition. Transpositions and permutations of the twelve-tone row determine the order of all pitches and govern other aspects of the composition as well. Fixed registration (certain pitches heard only in particular registers) is used to sectionalize the piece and aid in stressing certain pitches (tonal areas). Durational aspects and dynamics are also dependant upon the manipulation of the series .... Symmetrical relationships are another important aspect of the work. Many times these relationships are exact palindromes and are expressed durationally, texturally, and dynamically as well as intervalically. Symmetrical relationships also express the form of the entire piece. Contrasts is dedicated to my two children, Dana and Derek. Their different natures are reflected in the title, but in reality (as with the composition) the differences (sections) may not actually be apparent and, at times, may be an illusion."

Bruce J. Taub studied at Columbia University and is currently Editor-in­Chief of C.F. Peters Corp. in New York. "Serenade and Capriccio was written in 1991 and is dedicated to my good friend and colleague, M. William Karlins."

Hubert Howe is currently Professor of Music at the Aaron Copland School of Music, Queens College and also teaches at the Juilliard School of Music. He held the Endowed Chair in Composition at the University of Alabama, 1988-89. "Timbre Study No.5 (1991) was composed and synthesized entirely during my stay at the Gubbio 1991 festival in Gubbio, Italy. In the piece, the overtones of each tone are generated and controlled individually in order to create complex timbre changes. For each tone, a series of overtones is stated at the beginning of the sound that reflects the harmony of the surrounding passage. Tones are stated in basically three ways: ( 1) a cyclic pattern that states the overtone series at least twice over the course of the duration, (2) a complex envelope that state the series once with a changing timbre, and (3) a pattern that states each overtone individually, as a separate tone. Most sections use the first 16 or 24 partials to create the complete sound. Near the end, there is a passage that uses only high overtones, with no energy at the fundamental frequency and all the overtones concentrated in the same frequency area, as the fundamental frequencies reach into lower and lower octaves, until the entire series is inu·oduced once again. Throughout the piece, there is a fascinating interplay and

tension between the overtones and the fundamental frequencies or pitches produced by the series."

David Cohen. See program preface.

Saturday, 2:00 P.M. University of Illinois Contemporary Ensemble has long been dedicated to

making outstanding performances of the most demanding and challenging music of the twentieth century. Records and CDs of their performances can be heard on CRI, Advance, Centaur, Crystal, Opus One, UBRES, and Mark.

Jacqueline Wolley is an undergraduate music performance major in the 'cello class of Laurien Laufmann at the University of Illinois. This is her first year as a mamber of the chamber players.

Wilma Zonn is a professional oboist who has performed with the chamber players for more than 20 years. Presently, she lives in Nashville where she performs as a freelance artist and soloist, and records in the studios. She is oboist for the Nashville New Music Consort.

Regina Keane is a doctoral candidate at the University of Miami. Her earliest musical influences were dominated by the ballets of George Ballanchine, which led to three years of studies in Europe. "My clarinet sonata was written in the summer of 1988. It was inspired by a clarinetist at Interlachen, Richard Hawley, who had just won a major youth competition. I was interested in writing a 'dramatic abstract' music - a fiery sort of 12-tone music that is not based on rows or sets, but rather, is unified by motives and symmetries. For me, the expressive style of this kind of music has always seemed to require a rhythmic motion that is fraught with irregularity and asymmetry, and which relies less on an obvious pulse."

Paul Marquardt is a composer and pianist. He has studied composition with Joseph Schwantner, Robert Morris and Salvatore Martirano. His composition HEADSPIN received a 1988 BNII award. He is a member of the Krause/Marquardt Piano Duo and a dedicated performer of twentieth-century piano music. "In Double Image (1992), I choose a number of different ways to support and surround melodies so as to form three compositions."

Paul Martin Zonn has been on the music faculty of the University of Illinois since 1970 where he is chair of the Composition-Theory Division and co­ordinator/conductor of the new music ensembles. Performing on clarinet, alto saxophone, and slide 3oprano sac, he recently completed a recording with Anthony Braxton. Zonn's compositions embrace a wide vocabulary of sound and style from country songs to jazz to avant garde MIDI. "The technical and structural components of The Cloning of Wilma Zonn ( 1986) will be readily apparent and need no detailing here. I have a fascination for visual imagery integrated with aural imagery. In this work I tried to reference MTV, big-bucks technology, and the NEA.''

Violeta Dinescu studied at the Conservatory of Music in Bucharest and has r taught at a number of institutions in Romania, Germany and the United States. She

has received many grants and over 50 international prizes. Althoughshe has been living in West Gennany only since 1983, she has already succeeded in becoming one of the most imortant young composers in Germany. Most important to her is the

organic development of the musical language. She is concerned with the tone of the music and not so much with the dialectics of the acoustic material. This results in her extreme sound constellations and unusual tone colors created by the expressivity of the musical gesture, caused by the emotional content or influenced by the compositional process.

,+ Cort Lippe (see Friday, 8:30 A.M.). "Music for Clarinet and IRCAM Musical Workstation (1992) was written for the clarinetist Esther Lamneck and realized at IR.CAM and at the Center for Computer Music and Music Technology, Kunitachi College of Music, Tokyo. The electronic part was created using the IR.CAM Musical Workstation, a real-time digital processor, and the program MAX, developed by Miller Puckette - whose technical advice made this piece possible. Technically, the clarinet pitches are tracked by the computer as the performer plays. This pitch information is sent to a 'score follower', which allows the computer to follow the player's performance by comparing it to a copy of the score which is stored in the computer. At specific points designated in the score.electronic events are triggered by the score follower. The computer also tracks other parameters of the clarinet, such as amplitude and continuous pitch change, and uses this information for continuous control of the digital synthesis algorithms running in the computer. Therefore, it is the player who triggers and controls all electronic events. All the sounds in the electronic part come from the composed clarinet part and are recorded and transformed by the computer in real time during the piece. Thus, the musical and sound material for the instrumental and electronic parts are one and the same. The instrument/machine relationship is entirely symbiotic; the instrument and computer are equals in the musical dialogue. At times one part may dominate, but in the overall formal structure a duo is implicit."

Saturday, 4:00 P.M. The University of Georgia Contemporary Chamber Ensemble is a

performance group composed of graduate and undergraduate students. Founded in 1979, the ensemble focuses on the performance of modem masterworks and recent music. It has performed at many major metropolitan centers in the Eastern and Southeastern United States, including Carnegie Hall and the Spoleto Festival in Charleston, SC. The ensemble has been directed since its inception by Dr. Lewis Nielson.

David Vayo studied at the University of Michigan and is currently at the School of Music of Illinois Wesleyan University. He has received awards from ASCAP, the American Academy and Institute of Arts and Letters, and the National Association of Composers USA, and currently serves as Membership Chair for S.C.I. Concerning Poem: "I have always believed that composition is a sort of chemical reaction between the composer and all the music he or she has previously heard. The composer's unconscious creativity breaks down and recombines elements from various pieces in new combinations which reflect the individual sensibility of the composer. While writing the first few pages of Poem, I had the remarkable experience of being aware in a very specific way of the musical influences affecting that section; these included a song by Ives, a Villa-Lobos piano piece, Bloch's Baal Shem, and a string quartet piece by Mayuzumi. This brief glimpse into my own

creative processes reinforced my conviction that composition is very much a social activity; without the influences of other musical styles, a composer has little raw material with which to fashion a unique language. The dominant mood of Poem is a wistful lyricism. In the middle of the work, this gives way to an acrobatic playfulness, which gradually builds to the impassioned declamation of the climax. The work ends almost inaudibly, seemingly vanishing into thin air."

Daniel Nightingale studied at the American Conservatory of Music and is currently Music Project Specialist at the Edwin A. Fleisher Collection of Orchestral Music. "In War Cries, it was my intention to set texts that could serve as a tribute to those who have died in war, regardless of what side they were on or cause they espoused. I also wanted a piece that would sound recognizably 'American.' This influenced my selection of the texts and my decision to use the guitar as accompaniment."

Joseph Jurek studied at the University of California, San Diego, SUNY Stony Brook, and is currently a doctoral student at the University of Illinois at Urbana-Champaign. "Poised Cartography is a work composed from transformations of its opening material. These transformations are created by the mapping of pitches and registers from one section to another in a consistent manner. With this method, gestures appear and reappear in a cyclic fashion as passages of the work are constantly foreshadowed and echoed. Density is composed by presenting these variations of material in a series of different time spans. Poised Cartography is dedicated to Herbert Briin."

John Van der Slice studied at the University of California at Berkeley, the University of Hawaii, and the University of Illinois at Urbana and is currently Associate Professor of Theory/Composition at the University of Miami School of Music. "The generalized form of the Trio for Flutes, Clarinets and Bass (1990) may be likened to the envelope of an acoustic vibration (attack - steady state - decay): the assertive opening (attack) brings together three individuals who react to each other (with bravado, reticence, mutual allegiance), each eventually displaying a personality or disposition (steady state), until they join together to argue and explore a specific matter to the point of exhaustion (decay)."

Lewis Nielson studied at the Royal Academy of Music, Clark University, and the University of Iowa receiving his Ph.D. in theory and composition in 1977. He is currently Professor and Chairman of Music Theory and Composition at the University of Georgia where he also direcxts the nationally recognized University of Georgia Contemporary Ensemble, amoung other groups. He has received numerous grants and awards for his works, including from the NEA, the Delius Foundation and the Groupe de Music Experimentale de Bourges in France. He has received many commissions, including ones from Lake Placid Sinfonietta, the University of Geeorgia Bicentenial Commission and from smaller ensembles and performers.

Kenneth Jacobs, composer and educator, directs the Experimental Music Studios at the University of Tennessee, a position he has held since 1974. Author of works for acoustic insturments, electronic media, and combinations of the two, he perhaps is vbest known for multi-media works featuring his own artwork in synchronous projection. His music has won prizes from CCNY, Boston University, the International New Music Competition, the Tennessee Music Teachers

Association and the Texas Music Educators Association.

Saturday, 8:00 P.M. Alabama Symphony Orchestra, Paul Polivnik, Conductor

+ Orlando Jacinto Garcia received his doctorate from the University of Miami in Florida and is currently on the faculty of Florida International University. During the 1991-92 academic year he will be in residence at the Universidad Central under a Fulbright grant. "V aradero Memories (Recuerdos)" refers to the beach town of V aradero located in Cuba and is based on the composer's memories of his weekends spent visiting his grandparents. Nevertheless, it should be noted that the work was given its title not for programmatic reasons but simply because the composer was reminiscing about his time in Cuba when the work was being completed."

Charles E. Argersinger studied at Arizona State University and is currently on the faculty of Washington State University. He has been composer-in­residence at Wolf Trap Center and received the 1992 Washington State Arts Commission Artist Fellowship. "The Concerto in one movement was written for Chicago pianist, David Schrader who recorded the work in the summer of 1990 with members of the Chicago Symphony Orchestra, and was funded by a major grant from Washington State University. Its tight organization on the motivic and architectural levels ultimately gives way to the dramatic curve which is of paramount importance in the composer's mind."

Lewis Rosengarten studied at Colgate University, Ithaca College School of Music, and Indiana University School of Music. The Four Poems of Arnaut Daniel are based on the works of a late twelfth-century troubador who was highly praised by Dante. "In musical terms, there are several intriguing parallels between Daniel's time and ours. The Troubadors composed in an era of pre-tonality. Now, of course, for many, we live in a post-tonal generation. The use of intervals which do not concentrate on "sweet" thirds and sixths is also a similarity. It was my intention to create a work which demonstrates some of these musical similarities and inclinations without making obvious references to the past. This may take the form of concentration on open harmonies, those of the perfect fourth and fifth, or employing older formal procedures to fashion the structure. The first poem begins with a droning figure in the double basses which is not unlike the sounds of the hurdy­gurdy. The open intervals used here as well as the "non-tonal" overtones produced by a special type of circular, drone-like bowing, set the mood for the entire work. Unrequited love is the theme and while writing the music I kept in mind how new this subject was for the poets of medieval times. In the second poem, the poet expresses the overwhelming power fulfilled love can have. This power however, is stated conditionally by using the phrases "love would ... " and "fever would .... " It is this unrealized aspect of love that I have chosen to emphasize. With regard to the poem's other elements I have employed dance-like, rhythmic regularities as a reference to the past and the Nile. The harp suggests the strumming of the lute. Orchestral outbursts reflect the thrust of the whole work, as such boundless expectation may hasten tragic disappointment. To this point, I have alternated

between a chamber-like orchestra for the first poem, excluding violins and brass, and the full orchestra for the second poem. 1his type of alternation exists in the final two poems as well. In the third poem, I call for an ensemble with fewer woodwinds, horns, gentle percussion and fewer strings. The mood here is decidedly lighter in nature and I make reference to a Classical form, the minuet. There is finally time for some sense of reason! Springtime begins the wondrous melting of winter's frosts. The final, dark poem concludes the work with what has been implied all along: without love there is no life. The music is carefully constructed around a quasi­passacaglia For this movement, I have composed a chorale-like configuration which is constantly repeated. At midpoint through the movement, it is reversed and then continuously played in retrograde until the coda section. 1his music is a type of mirror, reflecting life and love with their counterparts. The notion of the Romantic period was that love transcends death. For me, the ultimate message in the poetry of the Troubadors is that death succeeds love. Without love we are left with the reality of mortality. This idea is yet another connection between our time and the world of medieval musician-poets like Arnaut Daniel." Funded (in part) by the Margaret Fairbank Copying Assistance Program of the American Music Center, made possible through grants from the NEA, Mary Flagler Cary Charitible Trust, the Jerome Foundation, and the Pew Charitible Trusts.

Diane Thome studied at the Eastman School of Music, the University of Pennsylvania, and Princeton University. She was received fellowships from the Woodrow Wilson Foundation, the University of Pennsylvania, Princeton, Tanglewood, and'the Inter-American University in Puerto Rico and has received grants from the NEA Composer Fellowships, the National Federation of Music Clubs, the Martha Baird Rockefeller Fund for Music. Currently, she is Professor of Theory and Composition in the School of Music at the University of Washington. "The Ruins of the Heart" was inspired by Edmund Helminski's beautiful translations of texts by the 13th-century Persian, Jelaluddin Rumi, widely regarded as the greatest Sufi poet of all time. The texts used represent my selected excerpts from the original translation rather than any single complete poem, and are embedded throughout the orchestral music using the soprano in the dual roles of narrator and singer. As the piece evolves dramatically, the vocal and orchestral music gradually become more intertwined. Having previously explored combinations of tape and live performance in a number of small chamber compositions, I was interested in composing an orchestra/tape work in which the tape would function both as a quasi­acoustic complement and as a powerfully contrasting counterpart to the live instrumental and vocal music. The three tape sections which are interpolated and overlapped with the orchestral music were synthesized by a Spectral Synthesis "SynthEngine" digital signal processing system, using Audio Vision and SynthEngine Sampler software. A variety of natural and synthetic sounds were sampled and extensively transformed by this system. I wish to thank Ted Wolfe and Mark Doenges of Spectral Synthesis in W odinville, Washing ton, for their generous assistance and for the opportunity to beta-test the system, and to thank Robert Austin who was my collaborator in the production of the tape. The Ruins of the Heart was commissioned by Peter Eros and the University Symphony."

Michael Schelle is Composer in Residence at Butler University in

Indianapolis. He has received grants and awards from the NEA, Arts Midwest, the Welsh Arts Council, MacDowell Colony, ASCAP and BMI and has been composer­in-residence at the Spoleto USA Festival and the Wolf Trap Center. "Composed on a commission grant from the Barlow Endowment (Utah), and premiered by the Kansas City Symphony, The Big Night anticipates the anxious and restless dreams of a young violinist the night before she is scheduled to perform the Tchaikovsky Violin Concerto. The dreams are filled with anxiety, stress, mystery, and hallucinations because it is the young soloist's first public performance (of this or any other concerto) a major orchestra. The work progresses through three distinct sections of the dream(s), each conjuring up reactions to the anxious subconscious including schizophrenia, moments of calming prayer and, finally, a bizarre nightmare of the upcoming performance itself. In this final section, tiny fragments of the Tchaikovsky Violin Concerto are filtered through various 'soloists' from within the orchestra and culminate in a brief, frantic fantasy in which miniature fragments of assorted Tchaikovsky scores are blended, distorted, layered and 'mis-quoted'. The work comes to a close on a gentle, relaxed and intimate 'coda,' suggesting that 'everything is (probably) going to be O.K .... "

Large Ensemble Rosters

Alabama Symphony Orchestra Paul Polivnick Music Director/Conductor David Itkin Associate Conductor Timothy Banks Director of the Alabama Symphony Chorus

First Violins Marianne G. Roy,

Concertmaster Chair endowed by

Mr. & Mrs. Elton B. Stephens Rebecca Boyer,

Associate Concertmaster James Pipkin,

Assistant Concertmaster Susan Dorrough,

Assistant Concertmaster Ai-Yi Bao William F. Hassay, Jr. Roger W. James Michael J. McGillivray Anne B. Pandolfi Gerald Rosenbaum Paatricia George Treer

Second Violins Paul Sonner, Principal Marilyn S. Pipkin, Assistant Kathleen Tesar, Assistant Jeffrey Z. Flaniken David Handler Steven Leonard Mary Ann Busch Noble William Lee Ousley Yuri Treer Holly Ager

Violas Kevin P. Roy, Principal Julie B. Samples, Assistant Irene Cervantes Todd Gabriel Florence Hale ldalynn Jacobs Thomas Ludwig Susan Robinson

Violoncellos Warren Samples, Jr., Principal Chair endowed by

Mr. & Mrs. Emil Hess

Alice Connolly Mazanec, Assistant

Elizabeth Davis Mark Fasshauer Fredrick Hood Craig Hultgren Patricia Pilon Jo Ann Strickland

Basses David J. Mazanec,

Principal Mik Groninger, Assistant Mike Bradt Karen K. Pandolfi Joseph Kazakevich Mark Wilson

Flutes Vendla Weber, Principal Lisa Wienhold, Assistant Barbara Trauffer

Piccolo Barbara Trauffer, Principal

Oboes David Weber, Principal Gina Pontoni, Assistant Bernard Gabis *Shari Cornutt, Assistant Oboe

English Horn Bernard Gabis, Principal

Clarinets Daniel Granados, Principal Judith 0. Donaldson James P. Ramey

E-Flat Clarinet Judith 0. Donaldson

Bass Clarinet James P. Ramey

Bassoons Jack Sharp, Principal Elizabeth Elder, Assistant Michael Bevers

Contrabassoon Michael Bevers

Horns David Pandolfi, Principal Joel Tarpley, Assistant Kevin Kozak Michael Pandolfi Rebecca Dillashaw

Trumpets John McElroy, Principal Paul Jackson, Assistant Bart Jones

Trombones Carey Donaldson, Principal Paul Welcomer Wm. Newell Sheridan

Bass Trombone Wm. Newell Sheridan

Tuba James E. Jenkins, Principal

Timpani Tom Freer, Principal

Percussion Timothy Miller, Principal Kevin Barrett, Assistant Bill Wiiliams

Harp Judith Sullivan, Principal

Keyboard Instruments Ellen S. Tweiten

Organ H. Edward Tibbs

Personnel Manager John McElroy

Librarians Catherine Sherwin Michael Pandolfi

Production Manager David Dorrough

Technical Director Harold Gaston

University of Alabama Singers Sandra Willetts, Conductor

SOPRANO Muriel Aiken Carolyn Ellis Shannon Forrestor Susan Kirkland Danni Leathers Beth McClure Sarah Ovington Danya Tiller Ellen Watson Tamatha Webster Andrea Westerman

ALTO Jennifer Clark Erica Edwards Bernice McCall Amy McDonald Jennifer Moore Lindy Rhine Joy Scheib Robyn Self Khristina Spruill Lady Vowell Angela Washburn

TENOR ' Jason Briley Matt Clemens Jon Durkovic Eric Lovett Jay Oden Bart Patrick Scott Rucker Bill Stevens Douglas Wilkerson

University of Alabama Symphony Orchestra Carlton McCreery, Conductor Violin I Flute Niarnh Tuohy, Soon-Ping Tang,

Concertmaster Principal Mary K. Matthews Liana Coffey Hilarie Harp Kathleen Touchstone Piccolo Kristine McCreery Ann Zamboni Ai Yi Bao Rene Knetsch Oboe

Karen Freidman, Violin II Principal Brian Griffin, Lara Bishop

Principal Javier Medina Clarinet David Handler Laura Grantier, Holly Ager Principal Michael Bowman Edward Stafford

Viola E-tlat Clarinet W. Brent Swain, Billy Crabtree

Principal Melissa Brewer Bassoon Susan Robinson Karlton Stephens, Mary Brown Principal

Elisabeth Walley Violoncello Alan Harrell, Horn

Principal Tori Linsley, Miles Richardson Principal David Pineda Cheryle Naberhaus, Cliff Hand Associate/III Craig Hultgren Angie Jenkins

Greg Haas Bass SueEllen Coleman,

Principal Bethany Cryder Joe Ben Swain

BASS Shaun Amos Jeffrey Evers Brett Geiger Darrell Goodwin Sidney Lankford, Jr. Jack Miller Scott Prouty Jonathan Smith Brian Wadsworth Judd Wiggins Greg Wilbur

Trumpet James McClure,

Principal Michael Johnson David Grady

Trombone Dan Drill,

Principal Jeremy Carlson Christopher Jones

Tuba Michael Mason

Keyboard Matt Clemens

Percussion Andrew Contorupis Patrick Manin Cori Walters Kendra Walden

Timpani Larry Mathis

The University of Alabama Wind Ensemble Gerald Loreh Welker, Conductor

FLUTES Liana Coffey (Principal) Soon-Ping Tang (Assistant Principal) Rebecca Hall Sonja Feig Ann Zamboni (Piccolo)

OBOES Nora Mcfarlen (Principal) Karen Friedman (Co-Principal) Caroline Sampson Lara Bishop (English Horn)

CLARINETS Laura Grantier (Principal) Sandra Hill (Associate Principal) Krista Brunner (Assistant Principal) Angela Reichert Billy Crabtree (E-Flat)

Elizabeth Vallers (Principal Second) April Renfroe Tina Fondren Kimberly Haralson

Stella Prater (Principal Third) Jean Ann Johnson Heather Blanton Myra King

Edward Stafford (Basset horn) Ruth Lemley (Principal Bass) Keava Boswell a (Contra-alto)

BASSOONS Jonathan Mcfarlen (Principal) Elisabeth Walley (Assistant Principal) Karl ton Stephens Bradley Mitchell (Contrabassoon)

SAXOPHONES Michael Congiardo (Principal Alto) Christopher Bentl.ey (Alto) Jason Mingledorff (Tenor) Heather Peck (Baritone)

CORNETS Lester Walker (Principal) Roger Guilian (Assistant Principal) Bradley Sargent Jonathan Head

TRUMPETS Wendi Clark Jeffrey Derman

HORNS Victoria Linsley (Principal) Cheryle Naberhaus (Assistant Principal) Angela Jenkins MarkHestla Greg Haas

TROMBONES Jeffrey Harbison (Principal) Brian Hinton (Assistant Principal) Jeanette Turner Christopher Jones (Bass)

EUPHONIUMS Jeffrey Atkins (Principal) Joshua Jackson (Assistant Principal) Brian Taylor

TUBAS Michael Mason (Principal) Brent Wood (Assistant Principal) Eric Bradshaw

STRING BASSES SueEllen Coleman (Principal)

THE UNIVERSITY OF ALABAMA

SCHOOL OF MUSIC